Matthews Southern Comfort - Later That Same Year (1970 uk, marvelous folk country rock, 2008 remaster)

Ian Matthews left Fairport Convention in 1969, and while the U.K.'s greatest folk-rock band was beginning to reinvent itself in a more traditional and very British direction, Matthews began digging deeper into the American influences that had marked his old band's first era. Later That Same Year, the second album from Ian's new group Matthews Southern Comfort (it was released in late 1970, a mere six months after their debut, hence the title), is a beautiful set of songs that splits the difference between West Coast folk-rock and early country-rock, with Gordon Huntley's pedal steel and Roger Coulam's lending an air of sunny sadness that dovetails beautifully with Matthews' silky tenor. 

Matthews wrote three of the songs on Later That Same Year, and they rank with the album's finest moments, especially the ethereal harmonies of "And Me" and the graceful simplicity of "My Lady," but Matthews also borrows some excellent material from American writers, including a cover of Neil Young's "Tell Me Why" that remains faithful while creating a languid mood of its own, a fine, poignant take on Jesse Winchester's "Brand New Tennessee Waltz," and two by Al Anderson, which date from the latter days of the Wildweeds before he joined up with NRBQ (and "Mare Take Me Home" and "And When She Smiles" show Big Al was already a songwriter of no small talent and Matthews handles both tunes beautifully). 

While country influences run all through the album, Matthews had the smarts not to try to emulate a Nashville production or arrangement style, and instead the album suggests the shadows of Tim Buckley or early Crosby, Stills & Nash while adding an English pastoral subtext all their own. After Later That Same Year, Matthews parted ways with Southern Comfort to record solo and later form Plainsong, but you'd never guess that this album was recorded by a band on its last legs -- this is subtle but confident music that comes from a handful of artists working at the height of their skills. [Before the release of Later That Same Year, Matthews Southern Comfort released a cover of Joni Mitchell's "Woodstock" as a single, and it became a sizable hit in both America and Europe; it was added to the American edition of the album when it was released in the States in 1971.

by Mark Deming

Tracks
1. To Love (Gerry Goffin, Carole King) - 4:42
2. And Me (Ian Matthews) - 4:37
3. Tell Me Why (Neil Young) - 2:03
4. Jonah (Carl Barnwell) - 4:13
5. My Lady (Ian Matthews) - 1:37
6. And When She Smiles (She Makes The Sun Shine) (Alan Anderson) - 2:16
7. Mare, Take Me Home (Alan Anderson) - 3:44
8. Sylvie (Carl Barnwell) - 5:40
9. The Brand New Tennessee Waltz (Jesse Winchester) - 2:59
10.For Melanie (Carl Barnwell) - 6:45
11.Road To Ronderlin (Ian Matthews) - 2:21
12.Woodstock (Joni Mitchell) - 4:30
13.The Struggle (Ian Matthews) - 3:50
14.Parting (Ian Matthews) - 2:54
15.Scion (Howard Blaikley, Ian Matthews) - 3:28
Bonus Tracks 12-15

The Matthews Southern Comfort
*Ian Matthews - Guitar, Vocals
*Carl Barnwell - Guitar
*Gordon Huntley - Steel Guitar
*Keith Nelson - Banjo
*Mark Griffiths - Bass
*Andy Leigh - Bass
*Roger Coulam - Piano
*Ray Duffy - Drums
*Tristan Fry - Vibraphone

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rep>>> Pearls Before Swine - Balaklava (1968 us, psych folk gem, 2010 japan remaster)

A record that virtually defies categorization, Pearls Before Swine's 1968 epic Balaklava is the near-brilliant follow-up to One Nation Underground. Intended as a defiant condemnation of the Vietnam War, it doesn't offer anthemic, fist-pounding protest songs. Instead, Rapp vented his anger through surrealist poetry, irony, and historical reference: Balaklava was the 1854 Crimean War battle that inspired Alfred, Lord Tennyson to write his epic The Charge of the Light Brigade; in reality, the "Charge" was a senseless military action that killed scores of British soldiers.

Balaklava begins with "Trumpeter Landfrey," an 1880's recording of the actual voice and bugle charge of the man who sounded the charge at Balaklava. It makes the transition into "Translucent Carriages," a mix of acoustic guitars, a basic vocal, and ghostly narration ("Jesus raised the dead...but who will raise the living?"), all the more stunning. "Images of April" continues the mystical feel, combining flutes, cricket chirps, and frog croaks for a nether-worldly effect. Rapp virtually cries "I Saw the World," backed by a powerful string arrangement that makes the song even more impassioned.

Like One Nation Underground, Balaklava is somewhat unfocused: "There Was a Man" is a little too Dylan-esque, and Leonard Cohen's "Suzanne" detracts from Rapp's compositions. Unfortunately, the record closes with "Ring Thing," a morbid piece that refers to Tolkien's famous Lord of the Rings trilogy. Still, this is superb psychedelic music, successfully merging exotic instruments like marimba, clavinet, French horn, and swinehorn with Rapp's unique lisping vocals.

But Balaklava isn't just acid-trip background music. It's probably the best example of what Rapp calls "constructive melancholy" (also the name of a recent CD collection of Pearls songs), a combination of the real with the surreal, and it's indispensable to any serious '60s rock collection.

by Peter Kurtz

Tracks

1. Trumpeter Landfrey - 0:35

2. Translucent Carriages (Herodotus, Harley, Rapp) - 4:00

3. Images of April - 2:44

4. There Was a Man - 2:59

5. I Saw the World - 3:28

6. Guardian Angels - 3:02

7. Suzanne (Cohen) - 5:01

8. Lepers And Roses - 5:23

9. Florence Nightingale - 0:17

10.Ring Thing (Tolkien, Rapp) - 2:20

All songs by Tom Rapp except otherwise stated.

Pearls Before Swine

*Tom Rapp - Guitar, Vocals, Breathing

*Jim Bohannon - Organ, Piano, Clavinette, Marimba

*Wayne Harley - Banjo, Harmony

*Lane Lederer - Bass, Guitar, Swinehorn

With

*Joe Farrell - Flute, English Horn 

*Lee Crabtree - Piano, Organ, 

*Bill Salter - Bass

*Al Shackman - Guitar

*Warren Smith - String Arrangements

*Selwart Clarke - String Arrangements

1967  Pearls Before Swine - One Nation Underground (2010 Japan)

1971  Pearls Before Swine - City of Gold (2003 Water)

1971  Pearls Before Swine - Beautiful Lies You Could Live In (2003 Water)
1972  Tom Rapp - Familiar Songs (2003 Water)

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rep>>> Pearls Before Swine - One Nation Underground (1967 us, great psychedelic folk rock, 2010 japan remaster)

Tom Rapp, an 18 year-old draft resistor and college dropout living in Eaugallie, Florida, sent a small unsolicited reel of tape to ESP. Bernard Stollman invited him to bring his musicians to New York, where they recorded their acclaimed debut, One Nation Underground in 1967.

This is still a stunning piece of work, from the nightmarish sleeve art -- the "Hell Panel" from Hieronymus Bosch's 15th century painting "Garden of Delights" -- to the strange yet powerful songs.

by Peter Kurtz

Tracks
1. Another Time - 3:05
2. Playmate (Saxie Dowell) - 2:17
3. Ballad To An Amber Lady (Roger Crissinger, Tom Rapp) - 5:13
4. (Oh Dear) Miss Morse - 1:52  
5. Drop Out! - 4:07  
6. Morning Song - 4:05  
7. Regions Of May - 3:25  
8. Uncle John - 2:52  
9. I Shall Not Care (Sara Teasdale, Roman Tombs, Tom Rapp) - 5:10
10.The Surrealist Waltz (Lane Lederer, Roger Crissinger) - 3:27
All compositions by Tom Rapp except where indicated

Pearls Before Swine
*Tom Rapp - Vocals, Guitar
*Wayne Harley - Autoharp, Banjo, Mandoline, Vibraphone, Audio Oscillator, Harmony
*Lane Lederer - Bass, Guitar, English Horn, Swinehorn, Sarangi, Celeste, Finger Cymbals, Vocals
*Roger Crissinger - Organ, Harpsichord, Clavioline
*Warren Smith - Drums, Percussion

1971  Pearls Before Swine - City of Gold (2003 Water)

1971  Pearls Before Swine - Beautiful Lies You Could Live In (2003 Water)
1972  Tom Rapp - Familiar Songs (2003 Water)

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rep>>> Asterix - Asterix (1970 germany / uk, excellent heavy progressive rock)

Asterix was a direct predecessor of Lucifer's Friend; released one (eponymous) album in 1970. Technically, this was the first Lucifer's Friend album, only under a different name. Also, one single was released featuring a slightly altered line-up, without John's involvement.

Peter Hesslein began his musical career way back in 1963 with a band called the Giants. Peter Hecht and Dieter Horns were both members of a group known as the German Bonds, from 1965 onwards. Peter Hesslein joined the Bonds in 1968 which survived until 1970. At this point the various members took up the study of graphic design in an attempt to forge more sensible careers.

But the call of rock'n'roll was too strong and in late 1970, the ex-Bonds men, together with Joachim Reitenbach , decided to record a new album. They needed a lead singer and eventually found John Lawton who had been with the group Stonewall. The new band released their first album 'Asterix' in 1970 under the same name before they change to Lucifer's Friend.

by Christer Andersson

Tracks

1. Everybody (Tommy Roe) - 3:04

2. If I Could Fly (Dieter Horns, Peter Hecht, Peter Hesslein, George Monroe) - 3:02

3. Look Out (Herbert Hildebrandt-Winhauer) - 3:09

4. Gone from My Life (Tony Cavanna, Peter Hesslein, John Lawton) - 3:30

5. Broken Home (Tony Cavanna, Peter Hesslein, John Lawton) - 4:26

6. Time Again (Tony Cavanna, Peter Hecht, John Lawton) - 3:08

7. Jump into My Action (Dieter Horns, Tony Cavanna, John Lawton) - 3:28

8. Open Up Your Mind (Tony Cavanna, Peter Hesslein, John Lawton) - 3:16

9. Corner Street Girl (Tony Cavanna, Peter Hesslein, John Lawton) - 4:06

10.Change in You (Dieter Horns, Tony Cavanna, John Lawton) - 4:08

11.Morning at My Dawn (Tony Cavanna, Peter Hesslein, John Lawton) - 6:54

Bonus Tracks 1,2

Asterix
*John Lawton - Vocals
*Peter Hecht - Keyboards
*Dieter Horns - Bass
*Peter Hesslein - Guitar
*Joachim Rietenbach - Drums

*Tony Cavanna - Vocals

*George Monroe - Vocals (Tracks 1,2)

Related Act

1970  Lucifer's Friend - Lucifer's Friend (DTS remaster) 

1974  Lucifer's Friend - Banquet (2015 remaster)

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rep>>> Dark - Anonymous Days (1974-95 uk, cool guitar hard prog psych blend)

Anonymous Days is the second studio album from Dark recorded 23 years after the first, the famous and highly collectable 'Round the Edges' LP. The band's line-up remains the same, Steve Giles, Ron Johnson, Martin Weaver and Clive Thorneycroft. Anonymous Days contains songs written between 1974 and 1995 and is the album we always wanted to make, combining the Dark progressive rock style with the latest recording techniques.

The first album was recorded in about 24 hours, this one took an awful lot longer: that's modern studios for you. The tracks are pure Dark combining complicated twin harmony guitar work with thought provoking lyrics and wide ranging musical structures.

We thoroughly enjoyed getting back together again to write and rehearse after all those years, we even played a live gig in our home town of Northampton. At the start of the project Ron's bass guitar was taken from the dust in his loft where it had lain undisturbed for over 20 years. After the album was finished he put it back in exactly the same place ready for the next one?

Anonymous Days was recorded between 1994-1996 at Outrider Studios Northampton, all tracks were composed between 1974-1995

by Martin Weaver, Northampton, England. June 2001

Tracks

1. All The Loving I Need (Steve Giles) - 5:12

2. Madame La Guilloline (Clive Thorneycroft, Martin Weaver, Ron Johnson, Steve Giles) - 6:55

3. Miles And Miles Away (Clive Thorneycroft, Martin Weaver, Ron Johnson, Steve Giles) - 5:38

4. Shadow Of The Rain (Martin Weaver) - 3:20

5. A Hope Full Of Holes (Clive Thorneycroft, Martin Weaver, Ron Johnson, Steve Giles)  - 8:44

6. On Came The Midnight (Ron Johnson) - 6:28

7. Don't Worry About That (Steve Giles) - 5:04

8. Killing My Friends (Martin Weaver) - 5:49

9. Journey's End (Ron Johnson) - 6:30

Dark
*Steve Giles - Guitars, Vocals, Acoustic Guitar
*Ron Johnson - Bass Guitar, Acoustic Guitar
*Martin Weaver - Guitars, Vocals
*Clive Thorneycroft - Drums, Percussion

1969-71  Teenage Angst The Early Sessions

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Homer - Grown In U.S.A. (1970 us, remarkable mixture of classic guitar rock psych and country, 2009 remaster and 2002 bonus tracks hard sleeve)

Born from the alchemical cauldron of ’60s Texas garage mischief—courtesy of The Outcasts and The Stoics—Homer emerged as a psychedelic phoenix soaring into rock’s kaleidoscopic renaissance.

Their singular offering, ‘Grown In U.S.A.’ is an enigmatic private press treasure that pirouettes between dusty backroad psych and the embryonic stirrings of prog, with guitars so vivid they practically narrate the story themselves. Mellotrons pop in like eccentric guests at a cosmic hoedown, while vocals gently nudge you toward nirvana. This rare Texas trinket is now reborn with remastered sound, a tough-as-boots cardboard sleeve, and an obi to make it extra posh. An insert stuffed with tales and snapshots adds to the lore.

by Klemen Breznikar

Tracks

1. Circles In The North (Frank Coy, Galen Niles) - 4:03

2. Taking Me Home (Frank Coy, Galen Niles) - 3:50

3. Dawson Creek (Starkey) - 3:21

4. Survivor (Howard Gloor, Galen Niles, Phil Bepko) - 5:00

5. In The Beginning (Frank Coy, Galen Niles, Howard Gloor) - 3:35

6. Love's Coming (Chet Himes, Frank Coy, Phil Bepko, Galen Niles, Howard Gloor) - 4:04

7. Four Days And Nights 'Without You' (Phil Bepko) - 4:17

8. Cyrano In The Park (Frank Coy, Galen Niles) - 6:35

9. Lonely Woman (Phil Bepko) - 3:38

Bonus Tracks Akarma 2002 edition

10.Sunrise (Galen Niles) - 3:05

11.Dandelion Wine (Frank Coy) - 3:33

Homer

*Phil Bepko - Vocals 

*Frank Coy - Vocals 

*Galen Niles - Lead Guitar 

*Howard Gloor - Steel, Lead Guitar 

*Chet Himes - Bass

*Gene Coleman - Drums

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rep>>> Aorta - Aorta 2 (1970 us, excellent classic rock tunes with psychedelic touches)

During the mid-'60s, the members of Aorta -- originally hailing from Rockford, IL -- had previously been in a group called the Exceptions. Early members of this group included Kal David (later of Illinois Speed Press and H.P. Lovecraft), Marty Grebb (the Buckinghams), and Peter Cetera (Chicago). The Exceptions were a soulful, if unremarkable, Top 40s cover group who were nevertheless acclaimed for their "exceptional" musicianship.

They were one of the more popular acts on the greater Chicago local scene, and released a handful of singles on numerous Midwest labels -- Tollie, Cameo, Quill -- and for L.A.-based Capitol. For the last of these releases, the band dropped the "s" from their name and began calling themselves the Exception (a compilation for the Collectables label, The Quill Records Story, collects two of their singles).

They also recorded an EP called "A Rock & Roll Mass for the Flair label; it featured six different rock songs with words taken from various religious prayers. As each member of the group -- with the exception of bassist Peter Cetera -- already had an eye toward expanding their original material to include a more "psychedelic" sound, they soon reconfigured themselves as Aorta, and, in late 1968, recorded a single for Atlantic.

Eventually, producer Bill Traut (American Breed) approached them on behalf of Dunwich Productions, Inc., and -- with Bobby Jones taking over on bass after Cetera's departure -- they accepted his offer to record their debut album for Columbia in 1969. They recorded two albums under the name Aorta. The first of these, the self-titled Aorta, is today highly acclaimed as a lite-psych album of some minor renown, and though it managed to chart on Billboard's album charts, it failed to do what was expected.

A revised version of the group -- still led by Jim Donlinger and now featuring Michael Been on bass/guitar/vocals -- recorded the drastically different second album, Aorta 2, for the Happy Tiger label. Jim Donlinger -- who along with his brother and Jim Nyeholt (during a brief period between the two albums), had all played in the Rotary Connection -- later left Aorta to join Lovecraft (formerly H.P. Lovecraft, who were signed to Reprise at the time), while Billy Herman would eventually move on to join New Colony Six.

Michael Been later played with Moby Grape members Jerry Millerand Bob Mosley in Fine Wine, and ultimately achieved his biggest success with the Call. Been is also the father of Robert Turner of Black Rebel Motorcycle Club. The original Aorta later re-formed (joining another great Chicago-area group, the Cryan' Shames) to do promo spots for the U.S. Armed Forces on a very rare promotional LP. They've appeared on numerous compilations over the years.

Garage Bands

Tracks
1. Willie Jean (Traditional, Arranged By – J. Donlinger, M. Been) - 3:03
2. Little Bonnie - 4:18
3. Blythe Spirit - 2:49
4. Beg For His Forgiveness - 4:55
5. Egypt (Jim Donlinger) - 4:06
6. His Faith In Men - 5:09
7. Devil, Maggot & Son - 2:48
8. Sandcastles - 2:55
9. Pickin' Blues - 3:12
10.Fallin' Behind - 3:25
All songs by J. Donlinger and M. Been except where noted.

Aorta
*Michael Been - Bass, Acoustic Guitar, Vocals
*Tom Donlinger - Drums, Bongos, Marimba, Congas, Percussion
*Jim Donlinger - Lead Guitar, Acoustic Guitar, Vocals
*Jim Nyeholt - Piano, Organ
Guest Musicians
*Howard Levy - Congas
*Michael Ayre - Congas
*Kenneth Elliot - Cowbell
*George Edwards - Vocals (on track 1)

1969  Aorta - Aorta (2011 Remaster)

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rep>>> Andrew Leigh - Magician (1970 uk, wonderful psychedelic folk rock, 2011 remaster edition including extra track)

Some albums are classic journeyman's efforts, the work of someone who might have gained notice with other bands but was never quite a name in his own right -- thus Andrew Leigh's one-off solo effort Magician, recorded between his stint in Spooky Tooth's final months and becoming part of Matthews Southern Comfort soon afterward.

Despite the cover art and swirl of flutes helping kick things off, Magician is less acid folk/prog whimsy and more an overview of a lot of things in the year of its release, with a little electric bite here and there but otherwise aiming for gentler twang and rough-and-ready acoustic chug. There's stately late-Beatles pop via "Get Myself Together" (one of two songs from friend and fellow pro Kevin Westlake), a bit of moody folk-rock with "Windy Baker Street," easygoing country-tinged rambles like "Solitaire" and "Leaving Song," and more besides.

Throughout, the echoes of people like Bob Dylan, the Band, the Byrds, Free, and many others can be heard, all slotting into what would be Leigh's own career path well and showing that if his work wasn't deathless it was pleasant listening with a bit of flair. Leigh's liner notes are a fun read, the voice of someone who explored a path, then decided on a new one in later years, before returning to music on a casual for-the-heck-of-it basis -- not a bad place to be.

by Ned Raggett

Tracks
1. Magician - 3:22
2. Get Myself Together (Kevin Westlake) - 4:03
3. Goin’ Out To The West (Kevin Westlake) - 4:36
4. Solitaire - 3:57
5. Windy Baker Street - 4:55
6. Take Me Back - 4:50
7. Leaving Song - 2:58
8. Fresh Brown Eggs - 2:29
9. Up The USA - 9:19
10. The Passing (Bonus Track) - 5:01
All titles by Andrew Leigh except where noted.

Musicians
*Andrew Leigh - Vocals, Acoustic, Electric Guitars, Banjo, Recorder, Piano, Mellotron, Claves, Maracas
*Kevin Westlake - Acoustic, Electric Guitars, Drums, Background Vocals
*Bryan Hayward - Electric, Acoustic Guitars
*Reggie King - Piano, Vocals
*Gordon Jackson - Electric Sitar
*Gary Farr - Harmonica, Acoustic Guitar
*Mike Kellie - Tambourine
*Brian Godding - Electric Guitars
*Tony Priestland - Tenor Sax, Flute, Oboe
*Gary Wright - Electric Piano
*Sam Duboff, George Pastel, Philip Lusher, Mutzi Horvath - Hand Clapping

Related Acts

1971  Southern Comfort - Southern Comfort (2017 reissue)

1971  Southern Comfort - Frog City (2013 remaster)

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rep>>> Gravy Train - Staircase To The Day (1974 uk, splendid prog rock, 2007 bonus tracks remaster)

Released in 1974, Staircase To the Day would be the last album by Lancashire band Gravy Train, a band whose popularity (at least) on the live circuit would not be reflected in their album sales. Originally signed to the Vertigo label for their first two albums, the band then moved to the Dawn label which saw them release Second Birth in 1973. It was panned critically. Thus the Roger Dean illustrated Staircase To The Day would be the groups' final fling at achieving success in the music business.

The album itself is a nice collection of pieces, which synthesises the rock scene of the early seventies and features a myriad of influences or styles which we can readily associate with various other well-known bands from the prog rock/hard rock circles. From the opening Starbright Starlight, one can see that the band achieved a more cohesive and full sound when compared to their previous albums. This was due probably to two main factors: the addition of another guitarist (George Lynon), as well as the handling of production duties by Vic Smith (Vic Coppersmith-Heaven) who had just finished working on Black Sabbath's Vol. 4 and Judas Priest's Rocka Rolla and would in the future go on to work with The Jam. In fact early comparisons of the group saw critics referring to them as being in the same vein as early Jethro Tull, mainly to strong presence of J.D. Hughes' flute. On this album, the flute is "relegated" to a secondary role, only really appearing on the Moody Blues-esque, Mellotron-drenched Staircase To The Day and the acoustic The Last Day.

Tracks like Staircase To the Day and Never Wanted You have a taste of Uriah Heap as well as Sensational Alex Harvey Band, while the closing Busted In Schenectady has a lovely bass/Mellotron interaction which is very reminiscent of Pink Floyd together with Mary Zinovieff's electric violin. On the other hand, we then have tracks such as Bring My Life On Back To Me and Evening Of My Life whose backbone is completely acoustic. Never Wanted You shows off Norman Barrett's strengths as a vocalist, as he rocks away on this number with some great interplay with J.D. Hughes' organ playing. 

Staircase To the Day is a good spin, and indeed listening to this album/band makes one wonder why or how they didn't go on to achieve success, as some other of their contemporaries did. Luck and a question of timing probably played a role in all of this. Having said that, if you want to listen to good early seventies rock music, then this album will go down fine. 

by Nigel Camilleri

Tracks
1. Starbright Starlight - 4:27
2. Bring My Life On Back To Me - 5:44
3. Never Wanted You - 4:00
4. Staircase To The Day - 7:29
5. Going For A Quick One (Vic Smith, Candy Carr) - 5:14
6. The Last Day - 5:35
7. Evening Of My Life (Norman Barrett, J.D. Hughes) - 2:59
8. Busted In Schenectady - 8:11
9. Starbright Starlight - 4:13
10.Good Time Thing - 4:15
11.Climb Aboard The Gravy Train - 3:08
12.Sanctuary - 4:02
All songs by Norman Barrett except where indicated
Bonus Tracks 9-12

The Gravy Train
*Norman Barrett - Guitar, Vocals
*George Lynon - Guitar
*Barry Davenport - Drums
*Lester Williams - Bass, Vocals
*J.D. Hughes - Keyboards, Vocals, Flute, Saxes
With
*Mary Zinovieff - Keyboards, Violin
*Peter Solley - Keyboards, Vocals
*Jim Frank - Drums
*PP Arnold, Faye Doris, Bobby Harrison - Backing Vocals
*Vic Smith - Cowbell

1970  Gravy Train - Gravy Train (2005 Remaster)

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rep>>> Jesse "Ed" Davis - Ululu (1972 us, magnificent guitar rock with country folk and blues shades, 2003 japan HDCD remaster)

Jesse Ed Davis was perhaps the most versatile session guitarist of the late '60s and early '70s. Whether it was blues, country, or rock, Davis' tasteful guitar playing was featured on albums by such giants as Eric Clapton, Neil Diamond, John Lennon, and John Lee Hooker, among others. It is Davis' weeping slide heard on Clapton's "Hello Old Friend" (from No Reason to Cry), and on both Rock n' Roll and Walls & Bridges, it is Davis who supplied the bulk of the guitar work for ex-Beatle Lennon.

Born in Oklahoma, Davis first earned a degree in literature from the University of Oklahoma before beginning his musical career touring with Conway Twitty in the early '60s. Eventually the guitarist moved to California, joining bluesman Taj Mahal and playing guitar and piano on his first three albums. It was with Mahal that Davis was able to showcase his skill and range, playing slide, lead, and rhythm, country, and even jazz guitar during his three-year stint. 

The period backing Mahal was the closest Davis came to being in a band full-time, and after Mahal's 1969 album Giant Step, Davis began doing session work for such diverse acts as David Cassidy, Albert King, and Willie Nelson. In addition, he also released three solo albums featuring industry friends such as Leon Russell and Eric Clapton.

In and out of clinics, Davis disappeared from the music industry for a time, spending much of the '80s dealing with alcohol and drug addiction. Just before his death of a suspected drug overdose in 1988, Davis resurfaced playing in the Graffiti Band, which coupled his music with the poetry of American Indian activist John Trudell. The kind of expert, tasteful playing that Davis always brought to an album is sorely missed among the acts he worked with. 

His second album "Ululu" is far more a collector's record than an actual "turntable staple," it is a significant improvement from Davis' first solo outing. During the title track in particular, as well as a cover of Merle Haggard's "White Line Fever," Davis' voice achieves a ragged glory that makes the listener realize why sloppy rock & roll can be so much fun. Other standout moments include a version of the tune that Davis co-wrote with Taj Mahal, "Further on Down the Road," and the Davis-penned "Reno St. Incident." In all, it is the fun record that you would expect from a standout session player like Davis. 

by Steve Kurutz

Tracks
1. Red Dirt Boogie, Brother - 3:44
2. White Line Fever (Merle Haggard) - 3:03
3. Farther On Down The Road (You Will Accompany Me) (Taj Mahal, Jesse Ed Davis) - 3:14
4. Sue Me, Sue You Blues (George Harrison) - 2:45
5. My Captain - 3:23
6. Ululu - 3:40
7. Oh! Susannah  (Traditional) - 2:45
8. Strawberry Wine (Levoln Helm, Robbie Robertson) - 2:13
9. Make A Joyful Noise - 3:51
10.Alcatraz (Leon Russell) - 3:15
All songs by Jesse Ed Davis except where noted

Musicians
*Jesse Ed Davis - Vocals, Guitar
*Donald "Duck" Dunn - Bass
*Jim Keltner - Drums
*Mac Rebennack - Organ, Piano
*Billy Rich - Bass
*Larry Knechtel - Organ
*Leon Russell - Piano
*Chuck Kirkpatrick - Backing Vocals
*Albhy Galuten - Piano
*Stan Szeleste – Piano
*Arnold Rosenthal - Bass
*The Charles Chalmers Singers, Clydie King, Merry Clayton, Vanetta Fields - Backing Vocals

1970  Jesse Davis - Jesse Davis (Japan) 

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