Monday, March 3, 2025

Merry Airbrakes - Merry Airbrakes (1973 us, awesome protest folk psych blues rock, 2019 remaster)



"Its 1973... in three years it will be 1976. This album of music, conceived and recorded during the months between the 1972 Presidential election and the full-flowering of the Watergate disclosures, is an anti-capitalistic, anti-imperialistic album, and is the distillation of the best four years of my life, in the Vietnam War, and as one of the Vietnam Veterans Against the War." - Bill Homans (Merry Airbrakes)

"Well-known bluesman and one-time Oklahoman Bill Homans, known in the blues world as "Watermelon Slim" and known by 70's rare psychedelic vinyl collectors as "Merry Airbrakes" found work as forklift driver, funeral officiator, small-time criminal, newspaper reporter, saw miller, and truck driver for industrial waste among others. In 1979, Slim and a friend came to Oklahoma and wound up in Pushmataha County, where he bought a piece of land and took up watermelon farming. That vocation didn't last, but the nickname he got doing it did.

It was in Vietnam, while laid up by an extended illness at a Cam Ranh Bay hospital, that Homans negotiated in French the five dollar purchase of his first guitar from a “papasan” in a tiny commissary on the hospital grounds. “It was the nastiest old guitar you ever saw, but it did have all six strings on it,” he said. There, with a Zippo lighter and a broken shard of a coffee can top, he began to teach himself to play his unique, backwards style of bottleneck slide.

After returning stateside he would join the ranks of Vietnam Veterans Against the War (VVAW), and in 1973 recorded with his brother and friends an LP titled “Merry Airbrakes,” a protest album he categorized as “psychedelic folk.” A cut from that record eventually appeared on a Country Joe McDonald compilation of music by Vietnam veterans. However, his music career would soon tank. A brief career in petty crime ensued, which he would forsake by 1978."

What is an underground album? Some people would say that it is one which has been produced outside, or in spite, of the music industry, whether or not it has prospered. This album, Merry Airbrakes, has incontrovertible underground credentials.

Six years have given me ample perspective on my first recordings, here presented to you. This may be one of the only albums you'll hear by a Vietnam veteran, and aside from certain American bluesmen, John, Prine, and a literal handful of others, American music has never addressed the Vietnam War and its effects. Certainly it is the only place you will ever hear a song from the Vietnamese point of view.

This change, on the surface. This is, afterall, the post-industrial-peak technocracy, in which it is acknowledged at the highest levels that full employment will never again be achieved, and that people therefore must be mindlessly entertained so as to maintain stability. The ship sinks slowly and in one piece, according to the "conservatives" economic scenarios.

But that spirit which made Merry Airbrakes possible does not change. it is this very spirits of our Mother the Earth which has kept me on the path I have walked since joining the VVAW. That path has led me to Seabrook, New Hampshire, to New Mexico, New York, South Dakota, Minnesota, and many places in between. Our cries of "Bring our brothers home, now!" have become "Save the earth!" and "No nukes!" I'm still walking (and, though it's getting expensive, driving) that path of planetary service.

The songs herein are especially dedicated to my brothers who made it back to the world, and to those who didn't...

To the Gainesville Eight, who realize better than most, that revolution is a continuous and dynamic process if it exists at all. I also wish to express my love and gratitude to Gandalf, Ethel, Danny, Barbara, Don, Mike, cousin Pete, my parents and all the people who have been my friends and lovers. Finally, to all political prisoners, from Saigon to Concord to Bogue Chitto to Valparaiso.
Love in struggle,
by Bill Homans
Tracks
1. Vigilante Man (Woody Guthrie) - 3:42
2. Frog Song (Peter Homans) - 3:25
3. The Bearded Man - 4:02
4. Quang Tricity - 2:29
5. Even Those Among Us - 4:46
6. Draft Board Blues - 5:39
7. Three Hearts - 4:03
8. A Happy Song For Hanoi - 1:38
9. Preacher Song (Peter Homans, Bill Homans) - 4:29
10.Tribure To Frankie (Peter Homans) - 0:22
All songs by Bill Homans except where stated

Merry Airbrakes
*Bill Homans - Slide Guitar, Vocals,  Harp, Maracas
*Peter Homans - Guitar (Tracks 2,10)
*Bert Carey - Bass (Tracks 1,3,5,6,9)
*Ray Essler - Drums (Tracks 1,3,4,5,6,9)
*Bob O'Connell - Guitar (Tracks 1,3,5,9)
*Bill Heilingmann - Percussion (Track 2)
*Ted Labombard - Lead Guitar, Organ (Track 3)
*Ken Warner - Piano (Track 9)
*Lindley Goolrich - Vocals (Track 10)
*Unknown - Pedal Steel Guitar (Track 9)

Saturday, March 1, 2025

Tim Hardin - Nine (1973 us, elegant folk bluesy classic rock, with Peter Frampton)



In the days before music evolved into a mass ritual designed for immense concert halls and football stadiums, it was a more personal experience lived out in clubs. Whether it was the Lovin' Spoonful at the Night Owl in New York, Tom Rush at the Club 47 in Cambridge or the Byrds at Ciro's in LA, one factor remained constant: the audience always had a clear shot at the artist, and whoever presumed to take that stage had better be able to communicate ... 

One of the best communicators to come out of that era was Tim Hardin. His quarter was the mid-60's Village in New York, a fondly mythologized place in time that produced the likes of Bob Dylan, Phil Ochs, Eric Andersen, David Blue and Richie Havens. One oft-repeated slice of the mythology placed Tim as the only acknowledged threat to Dylan's supremacy in that viciously competitive inner circle, but the difference between the two was really so vast as to render any comparison worthless. Dylan was a great idea man for a generation that was willing to use its imagination. Bob Dylan spoke to the mind of that generation; Tim Hardin spoke to its heart.

The warm recognition that accompanies any encounter with several of the songs he's written-"Reason To Believe", "Misty Roses", "If I Were A Carpenter" and "Don't Make Promises"- is really only an introduction to an extensively absorbing artistry. His songs made common experiences as fresh as the feelings that inspired them, which explains why his material has been covered by performers as diverse as Johnny Cash and Rod Stewart.

Tim Hardin, however is more than just a songwriter He is also a singer, and a singer's singer at that. He has a marvelous voice that suggests sandpaper and honey, and he sings with an emotional conviction that holds together his musical skirmishes with blues, jazz and gospel. He's generally credited as the first to have promoted a serious marriage of electricity and folk music, but calling Tim a folksinger is like calling Paul McCartney a bass player. What he does is such a personalized hybrid of music that the only adequate description is the man's name.

Nine is the first album Hardin recorded after he voluntarily exiled himself to Britain in 1973, and its cast of supporting characters includes such familiar names as Peter Frampton and Andy Bown. More than anything, this is an album by Tim Hardin, singer. Oh sure, the majority of his singing is still devoted to his own songs. Six of the ten here are from his pen; two, "Never Too Far" and "While You're On Your Way," will be familiar to longtime Hardin devotees, and the newer "Look Our Love Over" is stamped with the same magic that caused hungry translators to flock to so many of his earlier works. The four songs that are not his, and the continually shifting musical perspective that distinguishes the album as a whole, serve to display the full range of his voice as an interpretive instrument. Each individual cut makes different demands of that instrument and, as you'll discover when you play the album, he comes through with more vitality than most of the singers who surfaced yesterday. Tim Hardin is still one of the best communicators we've got.
by Ben Edmonds, January 1976
Tracks
1. Shiloh Town (Tim Hardin) - 3:00
2. Never Too Far (Tim Hardin) - 3:05
3. Rags And Old Iron (Norman Curtis, Oscar Brown Jnr.) - 4:53
4. Look Our Love Over (Tim Hardin) - 5:01
5. Person To Person (Tim Hardin, Andy Bown) - 3:48
6. Darling Girl (Michael d'Albuquerque) - 4:25
7. Blues On My Ceiling (Tim Hardin) - 3:05
8. Is There No Rest For The Weary (Dominic Troiano) - 3:18
9. Fire And Rain (James Taylor) - 3:39
10.While You're On Your Way (Tim Hardin) - 3:22

Musicians
*Tim Hardin - Vocals, Guitar
*John Mealing - Electric Piano, Piano 
*Bob Cohen - Guitars
*Andy Bown - Bass
*Mike Driscoll - Drums
*Jimmy Horowitz - Piano (Track 5), Organ 
*Peter Frampton - Guitar (Tracks 2,3)
*David Katz - Strings Section
*Lesley Duncan, Liza Strike, Madelaine Bell, Susan Glover - Backing Vocals


Friday, February 28, 2025

Satan And Desciples - Underground (1969 us / mexico, weird garage freak psych, 2012 edition)



C’mon, regardless of what you think of the music, you’ve got to admit the band name and the cover art (courtesy of William Mahood) were pretty hysterical.  Besides, if it featured Freddy Fender, it had to have something going for it.

I can’t tell you much about this outfit.  They apparently started out as a New Orleans bar band and recorded at least one single as Satan & Satan’s Roses (‘I'm a Devil’ b/w ‘We Recommend’ Sable  catalog number # 404), before mutating into Satin & the Desciples (sic).  The goofy cover shows them to have been a quintet, while the liner notes provide a Lake Charles, Louisiana address for Goldband Records, providing some additional support for the notion they were Louisiana-based.  There are no production, or performance credits, though Bates, Childs and Denson were credited as writing the material. 

1969’s “Underground” is one of those album’s most folks will find thoroughly appalling.  Lyrically, musically, thematically, and sonically it’s hard to argue the point.  To be honest, a bunch of 5th graders could have probably come up with something at least as good.  That said, there’s going to be a select group of folks who think the album is so bad as to actually have merit.  Call it a character flaw, but I guess I lean towards the latter category.  Overlooking the obvious characteristics, this is one strange effort.  About half of the collection recalled Sam the Sham and Pharohs-styled garage rock (had they been forced to play with one arm behind their backs).  With his sing/song vocals on tracks like the crazed ‘Devil Time‘ and ‘Satan On Universe’ the anonymous lead singer sounded like Sam Samudio, or Root Boy Slim after soaking in warm Budweiser for a week. 

Exemplified by material like ‘Satan’s First Theme’, ‘Ensane’ (sic) and the seemingly endless ‘Book of Alpha’ (and you thought high school science class dragged on), the predominant satanic theme was about as ominous and threatening as a teletubby. Maybe it was just me, but backing vocals that included the phrase ‘he’s the booger man’ didn’t really serve to frighten the listener.  The other half of the album was given over to strange folk and country material.  ‘Why the Seas’ Are Salty’ and ‘Black Sheep’ (the latter including an accordion solo) were hysterically inept – imagine your drunk uncle deciding to sing the next time he showed at the local pub.  
Bad Cat
Tracks
1. Satan's First Theme - 7:47
2. Why The Sea's Are Salty (L. G. Childs) - 2:00
3. Black Sheep (Ray O. Bates) - 2:41
4. Devil Time (Dennie Denson) - 2:03
5. Satan On Universe (Ray O. Bates) - 2:44
6. Ensane (Ray O. Bates, Dennie Deacon) - 2:09
7. Book Of Alpha (Ray O. Bates) - 8:15

Satan And Desciples
*Ray O. Bates - Vocals
*Freddy Fender - Guitar
other members unknown,
probably Mexican Musicians,
as to my knowledge, all passed away.

Thursday, February 27, 2025

Smoke Rise - The Survival Of St. Joan (1971 us, excellent concept psych rock, 2013 flawed gems edition)



This is an underrated record by US progressive band Smoke Rise. In 1970 they created the first American rock opera and Paramount Records allowed them to release a double concept album. As a consequence the vinyl edition (with a gatefold sleeve and an accompanying booklet that explained the elaborate story) was released in 1971. It was backed by strong, progressive elements, tight rhythm section, smooth four parts vocal harmonies and enthusiastic performances. This very melodic album was actually quite heavy, with some tracks standing up well against far better known competitors like Grand Funk and Bloodrock. Unfortunately, commercially the set went nowhere. This reissue is simply too good to be ignored!
Liner-Notes
Tracks
    The Prison
1. Survival - 3:42
2. Someone Is Dying - 2:40
3. Run, Run - 0:47
4. Back In The World - 2:30
5. I'm Here - 2:33
6. Love Me - 1:02
    The Farm 
7. Stonefire - 3:35
8. Love Me - 2:47
9. Lady Of Light - 2:14
10.Country Life - 1:41
11.Run, Run - 1:33
12.Precious Mommy - 1:52
     The Encounters
13.Medley - 2:14
     Survival/Run, Run/Back In The World
14.Lonely Neighbors - 2:37
15.Cornbread - 1:44
16.This Is How It Is - 1:24
17.Cannonfire - 3:40
    The Submission 
18.It's Over - 2:22
19.Darkwoods Lullabye - 1:42
20.You Don't Know Why - 2:46
21.Propitious - 1:04
22.Burning A Witch - 4:09
23.Love Me - 3:58
Tracks 1,9-11,15-20 written by Hank Ruffin, James Lineberger
Tracks 2-8,12,14,22,23 written by Gary Ruffin, James Lineberger
Track 13 written by Hank Ruffin, Gary Ruffin, James Lineberger
Track 21 written by Gary Ruffin

Smoke Rise
*Gary Ruffin - Guitar 
*Randy Bugg - Bass 
*Hank Ruffin - Keyboards 
*Stan Ruffin - Drums, Percussion
With
*James Lineberger - Lyrics

Rebecca And The Sunny Brook Farmers - Birth (1969 us, unique blend of folk pop jazz and acid rock, 2007 edition)



This is a delightfully weird record, and one that grows on the listener with repeated plays. Rebecca & the Sunnybrook Farmers were a sextet from Pittsburgh, PA, who didn't seem to have any fear of where to tread musically. The songs here range from breezy lyrical pop ( "Ma-Ma" ) that breaks into waltz time signatures -- picture a cousin to "Nowadays Clancy Can't Even Sing" with a lead vocal somewhere midway between Laura Nyro and Joanie Sommers -- to topical political statements ("What Do You Think of the War?"), the latter highlighted by extended instrumental freakouts (the latter broken up by lush choruses and an intermittent lead vocal, all supplemented by a sitar). And in between those two extremes are Janis Joplin-style blues workouts, upbeat mid-'60s folk-rock ballads, and spacy psychedelic excursions, highlighted by Mickey Kapner's guitar and organ and Ilene Novog's viola; the latter even gets into sonic and textural reaches that weren't explored much more heavily until Jerry Goodman joined the Flock. And coupled with debts also owed to the Byrds, the early/middle Jefferson Airplane ("Endless Trip"), the Doors ("What Do You Think of the War"), and even the We Five, this is one eclectic album, covering lots of territory, and most of it surprisingly well. The ballads hold up best of all, but even the anti-war material is highly effective musically. 
by Bruce Eder
Tracks
1. Oh Gosh (Running Through The Forest) (Ilene Rappaport, Mickey Kapner) - 3:11
2. Two Blind Sisters (Ilene Rappaport, Mickey Kapner) - 2:34
3. David And Sally (Ilene Novog, Mickey Kapner) - 3:18
4. Love (Ilene Rappaport) - 3:15
5. Endless Trip (Ilene Rappaport) - 2:41
6. Better Dead Than Red (Ilene Rappaport, Mickey Kapner) - 5:46
7. All These Ties (Mickey Kapner) - 2:21
8. What Do You Think Of The War ? (Ilene Rappaport,Mickey Kapner) - 5:18
9. Ma Ma (Ilene Rappaport) - 2:49
10.Ghost (Mickey Kapner) - 1:42

Rebecca And The Sunny Brook Farmers
*Ilene Novog - Backing Vocals, Harpsichord, Viola
*Ilene Rappaport - Lead Vocals, Backing Vocals, Guitar, Harmonica, Recorder
*Mickey Kapner - Backing Vocals, Guitar, Organ, Sitar
*Clifford Mandell - Backing Vocals, Percussion, Drums
*Ernie Eremita - Bass, Backing Vocals
*Ki Ki - Lead Vocals, Backing Vocals

Wednesday, February 26, 2025

Eddie Hinton - Very Extremely Dangerous (1978 us, magnificent soulful rhythm 'n' blues)



In his book Sweet Soul Music, Peter Guralnick described Eddie Hinton as "the last of the great white soul singers," and his debut album, 1978's Very Extremely Dangerous, sounds like a glorious throwback to the salad days of the Muscle Shoals, AL, R&B hit factory of the 1960s, where Wilson Pickett and Aretha Franklin cut some of their most memorable songs. Hinton had already earned an estimable reputation as a session guitarist by the time he finally got to step up to the mic as a solo artist, and Very Extremely Dangerous features him backed up by the always-expert Muscle Shoals Rhythm Section, and Hinton's strong and wiry guitar runs fit the group's emphatic support like a glove. (Hinton and his friends also knew how to bring a solid rock drive to these songs without losing their soulful groove in the process.) 

As a singer, Hinton was never afraid to step on the gas, and if his vocals are sometimes a bit over the top, they're also consumed with a raw and sweaty joy; like Wilson Pickett, Hinton is able to bring a surprising musicality to a shouting style that can express the pleasures of a hard-partying Saturday night ("Shout Bamalama") as well as the tender agony of love ("I Got the Feeling"). It was Eddie Hinton's poor fortune to cut a great blue-eyed soul album just as disco and funk had bumped deep soul off the charts, but Very Extremely Dangerous still stands as a fine example of latter-day soul at its most accomplished. 
by Mark Deming
Tracks
1. You Got Me Singing (Eddie Hinton) - 2:59
2. Concept World (Alvin Howard, Eddie Hinton) - 4:04
3. I Got The Feeling (Eddie Hinton) - 5:06
4. Shout Bamalama (Otis Redding) - 4:13
5. Get Off In It (Alvin Howard, Donnie Fritts, Eddie Hinton) - 3:17
6. Brand New Man (Alvin Howard, Eddie Hinton) - 3:39
7. Shoot The Moon (Dan Penn, Eddie Hinton) - 4:57
8. We Got It (Eddie Hinton) - 5:19
9. Yeah Man (Eddie Hinton) - 3:46
10.I Want It All (Alvin Howard, Eddie Hinton, Sandra Hinton) - 4:34

Personnel
*Eddie Hinton - Guitar, Horn Arrangements, Piano, Vocals
*Barry Beckett - Keyboards, Moog Synthesizer, Organ, Piano, Synthesizer
*David Hood - Bass
*Dennis Good - Trombone
*Harrison Calloway, Jr.- Horn Arrangements, Trumpet
*Harvey Thompson - Tenor Saxophone
*Jimmy Johnson - Guitar
*Roger Hawkins - Drums
*Ronnie Eades - Baritone Saxophone
*Muscle Shoals Horns - Horn


Monday, February 24, 2025

Tim Hardin - 3 Live In Concert (1968 us, gorgeous jazzy folk rock)



Recorded live in 1968 with a backing band comprised primarily of jazz musicians. the support crew is a bit tentative; it's evident that they hadn't played much with hardin, and in places the tempo comes close to breaking down. it's still a good, effective performance; hardin is in good voice (a condition which apparently couldn't be readily counted on, even in his early days), and on the songs that had already been released on his first two albums, the arrangements vary from the recorded versions in interesting fashions. 'live in concert' includes renditions of most of his best early compositions ('if i were a carpenter,' 'red balloon,' 'reason to believe,' 'misty roses,' 'lady came from baltimore,' 'black sheep boy') and half a dozen hardin originals that didn't make it onto his first pair of albums. the best of these is the lenny bruce tribute, 'lenny's tune,' which nico covered on her first solo album (where it was retitled 'eulogy to lenny bruce').
Tracks
1. The Lady Came From Baltimore - 2:00
2. Reason To Believe - 2:30
3. You Upset The Grace Of Living When You Lie - 4:05
4. Misty Roses - 4:35
5. Black Sheep Boy - 2:05
6. Lenny's Tune - 6:45
7. Don't Make Promises - 4:02
8. Danville Dame - 6:15
9. If I Were A Carpenter - 3:20
10.Red Balloon - 3:21
11.Tribute To Hank Williams - 3:55
12.Smugglin' Man - 3:30
Music and Lyrics by Tim Hardin

Personnel
*Tim Hardin - Vocals, Guitar, Piano On "Lenny's Tune"
*Eddie Gómez - Bass
*Warren Bernhardt - Piano, Clavinet
*Daniel Hankin - Guitar
*Mike Mainieri - Vibraphone
*Donald "Beautiful" MacDonald - Drums


Sunday, February 23, 2025

Rep> Aorta - Aorta (1969 us, excellent wild psych with a hint of early prog rock, 2011 remaster)



Aorta was a highly talented rock band from Rockford, IL that released two albums throughout 1969 and 1970. The band was originally known as the Exceptions, a popular soul rock group that played around the Chicago area and released a handful of singles. It’s interesting to note that the Exceptions had at one time included future members of H.P. Lovecraft (another great Chicago psych band), the New Colony Six, Chicago, The Buckinghams, and Illinois Speed Press. The Exceptions eventually morphed into Aorta when band members felt a more progressive direction was needed.

In 1969 Columbia released this startling record which was a mix of psychedelia, soul, jazz, folk, and rock. The album was housed in a beautiful, graphic sleeve that has always overshadowed the great music from within. Musically speaking, Aorta’s sound comes close to Boston band Listening or even the more psychedelic aspects of early Blood, Sweat and Tears during its Al Kooper phase. There seems to be some kind of concept that reoccurs under the Mein Vein theme. Aorta is solid throughout though, featuring strong musicianship, inventive studio wizardry, superb songs with a healthy dose of fuzz guitar and wonderful string and horn arrangements.

Some songs like Heart Attack and Ode To Missy Mxyzosptlk have lots of organ and are very early stabs at what would later be coined progressive rock. Ode to Missy has some intense guitar solos and a great studio psych out ending that will put your stereo speakers on overdrive. A personal favorite is the more restrained Sprinkle Road to Cork Street, which is a dramatic folk-rock track with horns and a beautiful medieval-like intro. Trippier tracks like the spooky Catalyptic with its ethereal, acid church organ work extremely well too and make it clear that these guys could play any style of music well. What’s In My Mind’s Eye is a great lost piece of psychedelic pop that has really cool disembodied vocals and a prominent horn arrangement.

Aorta may seem grandiose and even downright indulgent at times but make no mistake this really is a great lost record. Conclusion: definitely pick this great album up if you’re looking for some far out, wild psychedelia with a hint of early progressive rock.
by Jason Nardelli 
Tracks
1. Main Vein I (Jim Donlinger) - 2:17
2. Heart Attack (Jim  Donlinger, Jim Nyeholt) - 2:30
3. What's In My Mind's Eye (Ginna Donlinger) - 2:47
4. Magic Bed (Dan Hoagland, Jim  Donlinger) - 2:37
5. Main Vein II (Jim  Donlinger, Jim  Nyeholt) - 1:25
6. Sleep Tight (Lowell George, Russ Titelman) - 4:38
7. Catalyptic (Gary Montgomery, Jack Dalton) - 3:32
8. Main Vein III (Jim  Donlinger) - 0:42
9. Sprinkle Road To Cork Street (Dan Hoagland, Jim  Nyeholt) - 3:06
10.Ode To Missy Mxyzosptlk (Jim  Donlinger) - 3:08
11.Strange (Dan Hoagland) - 4:18
12.A Thousand Thoughts (Billy Herman, Jim  Donlinger) - 3:48
13.Thoughts And Feelings / Main Vein IV (Jim  Donlinger) - 4:07

Aorta
*Jim Nyeholt - Bass
*Billy Herman - Drums
*Bobby Jones - Guitar, Vocals
*Jim Donlinger - Keyboards, Vocals

Saturday, February 22, 2025

Redbone - The Witch Queen Of New Orleans / Message From A Drum (1971 us, soulful funky native rock, 2004 remaster)



The third "Redbone" album contains their second hit: "The Witch Queen of New-Orleans". Another great song, maybe one of the best in the whole Rock History. But the album is much more then that. Wonderful guitar parts, swirling around, overwhelming, taking you far ("Emotions"). 

James Flemming Rasmussen remembers : “It was Pat and Lolly Vegas, who hired me to produce the string session. Pat and Lolly were friends of mine, I had known them, since I first came to Hollywood, in 1965. Pat and Lolly were at that time, playing on a Club in Hollywood, and in the daytime, we went in the studio, trying to make some music together. Later in 1969, I produced a hit record “Echo Park”, with an artist called Keith Barbour. On that production, I hired the string session from LA symphony orchestra, and that way Pat and Lolly knew my work with strings. So a few years later, they recorded Witch Queen, then Pat they contacted me, to help them work with a string arrangement on that song.”
RedBone
Tracks
1. Message From A Drum (Pat Vegas) - 3:07
2. Niji Trance (Lolly Vegas, Pat Vegas, Tony Bellamy) - 3:26
3. The Sun Never Shines On The Lonely - 2:32
4. Maxsplivitz - 0:14
5. Emotions - 4:10
6. Jerico (Lolly Vegas, Pat Vegas) - 3:49
7. The Witch Queen Of New Orleans (Lolly Vegas, Pat Vegas) - 2:45
8. When You Got Trouble (Lolly Vegas, Pat Vegas) - 3:24
9. Perico - 0:15
10.Fate - 6:38
11.One Monkey - 4:05
12.Chant: 13th Hour (Pat Vegas) - 3:02
All songs by Lolly Vegas except where noted
Bonus Track 12

The Redbone
*Lolly Vegas - Lead Guitar, Vocals
*Tony Bellamy - Rhythm Guitar, Vocals
*Pat Vegas - Bass, Vocals
*Pete DePoe - Drums, Percussion


Thursday, February 20, 2025

Elliott Murphy - Aquashow (1973 us, amazing folk classic rock)



With all the praise accorded every other artist anointed with the "new Dylan" tag, Elliott Murphy burst onto the scene in 1973 wearing the mantle proudly. His debut, Aquashow, came on like the son of Blonde on Blonde, but with the streetwise poetic bent of Lou Reed. And, as is the case with most 24-year-olds armed with pen, paper, guitar, and harmonica, he has plenty to say. There is the tendency to wield a heavy hand when it comes to his takes on love, fame, growing up, and the underbelly of middle-class life, but Murphy, whose insights cut deeper than the majority of writers his age, is successful more often than not. If the irony of "How's the Family" or the overstated "Marilyn Monroe died for our sins" are a bit much, tracks such as "Hangin' Out," "Scrapbook Graveyard," and "Last of the Rock Stars" more than make up for it, painting a vivid picture of disenfranchised youth -- searching yet self-destructive. 

Still, as good as Murphy can be lyrically, it's the music that first draws you in. From his own electric guitar, and a rhythm section made up of brother Matthew Murphy and Byrd Gene Parsons, to Highway 61 Revisited pianist Frank Owens' organ and piano, Murphy creates some of the most convincing Dylan-esque folk-rock to come along since 1966. In and out of print over the years, Aquashow remains a minor classic, thanks to a keen eye, intelligence, and a sparse, straightforward sound that stays clear of trends. 
by Brett Hartenbach
Tracks
1. Last Of The Rock Stars - 3:43
2. How's The Family - 4:23
3. Hangin' Out - 4:18
4. Hometown - 4:34
5. Graveyard Scrapbook - 2:58
6. Poise 'N Pen - 2:39
7. Marilyn - 4:18
8. White Middle Class Blues - 3:00
9. Like A Crystal Microphone - 3:13
10.Don't Go Away - 4:03
All songs by Elliott Murphy

Musicians
*Elliott Murphy - Vocals, Electric Guitar, Harmonica, Piano
*Matthew Murphy - Bass
*Gene Parsons - Drums
*Rick Marotta - Drums (Track 2)
*Teddy Irwin - Acoustic Guitar
*Frank Owens - Piano, Organ
*Pat Rebillot - Piano, Organ (Track 4) Electric Piano (Tracks 7,9) 
*Matthew Murphy, Gene Parsons, Dennis Ferrante, Maeretha Stewart - Background Vocals 
*Jim Mason, Tasha Thomas, Eddie Mottau, Dick Wagner - Background Vocals