Warren S. Richardson Jr. - Warren S. Richardson Jr. (1969 us, stunning hard psych, 2008 RDI remaster)

In 1967 Richardson-nee Spooner contributed lead guitar to Michael Condello's "Condello" LP (see separate review).  A couple of years later Condello apparently repaid the favor by producing 1969's cleverly-titled "Warren S. Richardson Jr.".  Recorded at Richardson-nee-Spooner was credited with penning all six tracks and material like 'Reputation'' and 'Shady Lady' offered up a pretty good set of fuzz-propelled hard rock.  

Spooner had a voice that was well suited to the genre and this was one of those rare albums that actually seemed to benefit from the addition of horns (courtesy of Owen Eugene Hale, Richard Lewis and Joseph Ray Trainer).  In case anyone cared, perhaps because it strayed a little bit from the predominantly hard rock formula, excluding the needless and seemingly endless drum solo, the psych-tinged 'Wind and Rain' struck me as the standout effort on the album.

Bad-cat

Tracks
1. Reputation (Traditional arr. by Warren S. Richardson Jr.) - 6:38
2. Easy Rider (Warren S. Richardson Jr.) - 2:57
3. Shady Lady (Warren S. Richardson Jr.) - 6:54
4. Wind And Rain (Warren S. Richardson Jr.) - 10:27
5. Stella (Warren S. Richardson Jr.) - 3:18
6. Goin' Home (Warren S. Richardson Jr.) - 3:04

Personnel
*David Birkett - Bass
*Mickey Mcgee - Drums
*Owen Eugene Hale - Sax
*Richard Lewis - Keyboards, Horns
*Warren S. Richardson Jr. (Aka Bill Spooner) - Vocals, Guitar
*Joseph Ray Trainer - Sax

Related Act
1968  Condello - Phase I

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Moby Grape - The Place And The Time (1967-68 us, sensational westcoast psych, demos and outtakes, 2009 Sundazed release)

Despite a myriad of obstacles, Moby Grape managed to persevere and create a potent and enduring body of recorded work, recording four albums during its original 1967–1969 lifespan. While 1967’s Moby Grape is widely acknowledged as a classic (and one of rock’s greatest debut albums), the subsequent Wow, Moby Grape ’69 and Truly Fine Citizen are all underrated gems with much to recommend them. It’s a measure of the musicians’ abundance of talent and creativity that, despite the multiple roadblocks that they confronted, Moby Grape recorded prolifically and cut a wealth of originally unreleased material. The Place and the Time offers a scintillating assortment of rare tracks cut during the band’s heady 1967–1968 heyday. Encompassing audition recordings, album outtakes, alternate versions, live material and more, the recordings offer a powerful testament to the remarkable rapport that made Moby Grape such a unique force.

The fact that music this stunning and original sat on the shelf for so long is just another in the litany of injustices that haunt the Moby Grape story. But the band’s majestic recorded legacy has outlasted the bad luck, bad choices and bad vibes. The music remains as fresh and inspiring as ever, and the vintage material featured in this collection constitutes a crucial addition to Moby Grape’s already monumental body of work. 

Sundazed

San Francisco's Moby Grape remains a prototype: a hard rocking quintet, all monster singers, top-shelf instrumentalists and skilled songwriters. These auditions, demos, outtakes, alternate and extended versions, and live recordings from 1967-8 have the loose vibe and flubs that prevented them from being deemed releasable at the time, but the imperfections accentuate Grape's never-played-safe, gutsy rock'n'roll. There are moments when it sounds like the music is going to explode into chaos, but these professionals could take it to the edge and pull it back at the abyss. Jerry Miller is a guitar god, Peter Lewis a folk-rock master, Bob Mosley a muscular bassist and blue-eyed soulman extraodinaire, Don Stevenson a driver of a drummer and more, and Skip Spence is a one of rock's most original madmen. Why they don't make 'em like Moby Grape any more is arguable- but they don't.

Mojo

Tracks
1. Indifference (Columbia Audition Recording) - 2:53
2. Looper - 2:37
3. Stop (Demo Recording) - 2:21
4. Rounder (Instrumental Outtake) - 2:02
5. Sweet Ride (Never Again) (Unedited Version) - 5:56
6. Loosely Remembered (Demo Recording) - 3:26
7. The Place And The Time (Alternate Version) - 2:25
8. Bitter Wind (Demo Recording) - 2:48
9. Seeing (Alternate Version) - 5:12
10.What's To Choose (Alternate Version) - 2:01
11.Soul Stew (Outtake Recording) - 2:19
12.If You Can't Learn From My Mistakes (Demo Recording) - 1:25
13.You Can Do Anything (Demo Recording) - 3:37
14.Skip's Song (Demo Recording) - 3:29
15.It's A Beautiful Day Today (Demo Recording) - 4:14
16.What's To Choose (Demo Recording) - 3:21
17.Hoochie (Demo Recording) - 3:20
18.Big (Demo Recording) - 2:31
19.Rounder (Live Recording) - 2:02
20.Miller's Blues (Live Recording) - 6:07
21.Changes (Live Recording) - 4:18
22.Looper (Demo Recording) - 2:08
23.Soul Stew (Instrumental Outtake) - 2:20
24.Cockatoo Blues (Tongue-Tied) (Demo Recording) - 3:41

Moby Grape
Peter Lewis – Rhythm Guitar, Vocals
Bob Mosley – Bass, Vocals
Jerry Miller – Lead Guitar, Vocals
Skip Spence – Rhythm Guitar, Vocals
Don Stevenson – Drums, Vocals

1966-69  Live (Sundazed digipack issue)
1969  Wow (Sundazed Issue)

Related Act
1972  Bob Mosley - Bob Mosley
1974-77  Bob Mosley - Never Dreamed

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Van Morrison - Veedon Fleece (1974 ireland, remarkable folk jazzy rock, 2008 japan SHM remaster)

By 1974, Van Morrison was probably exhausted. During the past ten years, the Irish troubadour had morphed from a garage rock king (as the leader of Them) to a pop hit machine to the craftsman of such landmark albums as Astral Weeks and Tupelo Honey. His eighth album, Veedon Fleece, hit stores in late 1974, shortly after the release of those instantly accessible masterpieces — and it was greeted by a collective shrug by the rock critical establishment. Time has proven them wrong. 

The album is the grand culmination of Morrison's work over the past decade, combining R'n'B with celtic music, country and traditional rock and roll. At the center of it lies "You Don't Pull No Punches, But You Don't Push The River" — a wildly ambitious, nearly nine-minute song filled with piano, soprano saxophone and flute, where Morrison sings about the quest for the mysterious "veedon fleece" — an elusive treasure that's never quite defined. Repeated references to "William Blake and the Sisters of Mercy" may leave you scratching your head, but it's clear this album finds Morrison at the absolute top of his game. "Streets of Arklow," a tribute to the historic Ireland town, is another stunning beauty featuring Morrison singing in top form, complimented by a string section. 

This reissue includes a scant two bonus tracks and no liner notes, but it's still worth the price for the improved sound. After Veedon Fleece, a drained Morrison took the longest break of his career, not emerging until 1977. He's released many wonderful albums since, but he's never again hit the majestic heights of this one.

by Andy Greene

Tracks
1. Fair Play – 6:14
2. Linden Arden Stole The Highlights – 2:37
3. Who Was That Masked Man – 2:55
4. Streets Of Arklow – 4:22
5. You Don't Pull No Punches, But You Don't Push The River - 8:50
6. Bulbs - 4:18
7. Cul De Sac - 5:51
8. Comfort You - 4:25
9. Come Here My Love - 2:21
10.Country Fair - 5:42
11.Twilight Zone (Alternative Take) - 5:48
12.Cul De Sac (Alternative Take) - 2:54
All songs written by Van Morrison.

Musicians
*Van Morrison - Vocal, Guitar
*Ralph Walsh - Guitar
*John Tropea - Guitar
*David Hayes - Bass
*Joe Macho - Bass
*Dahaud Shaar (David Shaw) - Drums
*Allan Schwartzberg - Drums
*Nathan Rubin - Violin
*Terry Adams - Viola
*James Rothermel - Flute, Recorder
*Jack Schroer - Soprano Saxophone
*James Trumbo - Piano
*Jef Labes - Piano

1967  Blowin' Your Mind! (extra tracks edition)
1971  Tupelo Honey (Japan SHM remaster)
1974  It's Too Late To Stop Now (Japan SHM remaster)

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The Quincy Conserve - The Very Best Of (1968-73 new zealand, awesome jazzy groovy psych brass rock)

The Quincy Conserve was formed in Wellington in late 1967 by Malcolm Hayman. Malcolm was an extremely talented musician who had already been on the music scene for twelve years by that stage. Hayman was only 15 years old when he arrived in Wellington in 1955 as a member of the Maori Hi Fives showband. The following year the singer-guitarist formed the Trademarks, long-time residents at the Mexicali, a popular nightspot owned by American expatriate Harry Booth.

The Trademarks were very popular, and after four years of constant playing, queues formed to see them every time they played. Over the years, 30-odd musicians passed through the ranks of the Trademarks, before Malcolm disbanded the group in 1961. The Trademarks owed more than a little to the Maori showband tradition, where Hayman had learnt his licks, but the group gave Wellingtonians their first taste of rock'n'roll. One member of the Trademarks was Rodney "Dody" Potter, who was later a member of the Keil Isles and Dallas Four.

Following the demise of the Trademarks, Malcolm spent 18 months at the New South Wales Conservatorium of Music, followed by two years on the Australian-Pacific cabaret circuit with a variety of bands. Malcolm was a severe diabetic and in 1965, during a residency in New Caledonia, he came down with tuberculosis, spending the next 14 months in a Noumea hospital. He returned to Wellington in the middle of 1966 and formed a new band called the Soundells.

The Soundells had a residency at the Downtown Club in Wellington and at the end of 1967 they were enticed to go to Auckland to play there. They accepted the offer, but Malcolm decided not to go. Now without a resident band at the Downtown Club, owner Roy Young had enough faith in Malcolm to give him a budget to recruit, equip and rehearse a new band for his club. Malcolm immediately tried the rhythm section of Sounds Unlimited, who had just dissolved, but at rehearsals found that they were not appropriate. He then started scouring the countryside, looking for the best musicians, with a promise of a regular gig and a steady wage.

Malcolm recruited bass player Dave Orams from the Underdogs, keyboardist Rufus Rehu from the Quin Tikis, another previous member of Sounds Unlimited, saxophonist Johnny McCormick, and an inexperienced saxophonist, Dennis Mason. On drums was Bryan Beauchamp, from Bari and the Breakaways, but he was quickly replaced by another former Quin Tikis, Earl Anderson.

Rehearsals over, the Quincy Conserve debuted at the Downtown Club in February 1968. They were one of the most talented and professional groups to appear on the New Zealand music scene in the late sixties. They were Wellington's first 'supergroup'.

Malcolm continued playing for a number of years, but finally his diabetes caught up with him and he died as a result of complications on the 5th November 1988.

Quincy Conserve were never a true pop group, they were more of a musicians band, with Malcolm Hayman possessing one of the most distinctive voices in Kiwi Rock.

In 2001 EMI released a CD called "The Very Best Of Quincy Conserve", which contained most of their singles and some good album tracks.
Sergent-au

Tracks
1. Ride The Rain (Lawrence) - 2:52
2. Roundhouse (Miller) - 3:15
3. Aire Of Good Feeling (Petrik) - 4:16
4. I've Been Loving You Baby (John, Taupin) - 2:52
5. Hallelujah (White, Caswell) - 2:26
6. All Right In The City (Dunn, McCashen) - 2:38
7. Soul Thing (Mansfield) - 3:15
8. I Feel Good (Brown) - 2:48
9. Lulu Belle (Coleman) - 3:07
10.Keep On Pushing (Geraci, Corrao, Smelka) - 3:11
11.Lovin' Look (Emmerson) - 2:35
12.Everybody Has Their Way (Lawrence) - 3:59
13.Somebody, Somewhere, Help Me (Miller) - 2:44
14.Going Back To The Garden (Mason) - 4:15
15.I'm So Proud (Landan) - 2:17
16.Here's To The Next Time (John) - 2:39
17.My Michelle Charm (McCormick) - 3:46
18.Keep On Playing That Rock and Roll (Winter, La Croix) - 3:48
19.Slut (Rundgren) - 4:17
20.Volcano (Robertson) - 2:35

The Quincy Conserve
*Malcolm Hayman - Lead Guitar, Vocals
*Dave Orams - Bass Guitar
*Rufus Rehu - Keyboards
*Johnny McCormick - Saxophone
*Dennis Mason - Saxophone
*Bryan Beauchamp - Drums

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Van Morrison - It's Too Late To Stop Now (1974 ireland, gorgeous folk rock jazz r 'n' b, 2008 japan SHM remaster)

Named for the mighty Belfast singer's exhortation at the close of his song, Into The Mystic, It's Too Late…is oft-referred to as one of the greatest live albums ever recorded. Included in the first batch of remasters of the 'Man''s back catalogue, now’s your chance to argue the toss again.

When Morrison hit the road in the Summer of 1973 -ITLTSN collects material from gigs in LA, Santa Monic and London - he'd not only notched up a run of six absolutely flawless collections of what would probably now be referred to as 'soul jazz', but he'd also assembled a team of players that were the equal of his own perfectionism. Such was this perfectionism that the original running order was shorn of his most widely-known tune, Moondance, due to one bum guitar note. In other words this is one of the few live albums you'll ever hear with NO overdubs.

When you hear ITLTSN you realise why this had to be the case: Morrison’s blend of his own classics along with a fair smattering of tracks that influenced him is delivered with such passion, and belief that any studio tinkering would be like throwing a tin of paint over the Mona Lisa. In a live setting all the hyperbole about Morrison's blend of genres into one Celtic, mystic vision makes perfect sense. This is soul music in a very real sense.

It was also a sign of how Van had matured that he can deliver classics like Ray Charles' I Believe To My Soul or Sonny Boy Williamson's Help Me and make them his own. Not only this he improves on his own compositions. Cypress Avenue, complete with the strings of the Caledonian Soul orchestra may even be better than the original on Astral Weeks. Quite a feat. And just listen to how playful Morrison is on the improvised breaks (''You say in France!''): grunting, wailing, going beyond mere words in his striving to convey the heart of this music. This is a master live performer at work. And enjoying it.

With just one bonus track (a version of Brown Eyed Girl) this polished edition gives you the chance to hear one of the best bands and their genius of a singer deliver the goods one more time, 40 years on. It's never too late…

by Chris Jones

Tracks

Disc 1

1. Ain't Nothin' You Can Do (Joseph Scott) - 3:44

2. Warm Love - 3:04

3. Into The Mystic - 4:33

4. These Dreams Of You - 3:37

5. I Believe To My Soul (Ray Charles) - 4:09

6. I've Been Working - 3:56

7. Help Me (Sonny Boy Williamson Ii, Ralph Bass, Willie Dixon) - 3:25

8. Wild Children - 5:04

9. Domino - 4:48

10.I Just Want To Make Love To You (Willie Dixon) - 5:16

Disc 2
1. Bring It On Home To Me (Sam Cooke) - 4:42
2. Saint Dominic's Preview - 6:18
3. Take Your Hand Out Of My Pocket (Sonny Boy Williamson II) - 4:04
4. Listen To The Lion - 8:43
5. Here Comes The Night (Bert Berns) - 3:14
6. Gloria - 4:16
7. Caravan - 9:20
8. Cyprus Avenue - 10:20
9. Brown Eyed Girl (Bonus Track) - 3:24
All songs by Van Morrison except where noted

Musicians
*Van Morrison - Vocal
*Nathan Rubin - First Violin
*Tom Halpin, Tim Kovatch - Violins
*Nancy Ellis - Viola
*Teressa Adams - Cello
*Bill Atwood - Trumpet, Backing Vocals
*Jack Schroer - Alto, Tenor, Baritone Saxophones, Tambourine, Backing Vocals
*Jef Labes - Piano, Organ
*John Platania - Guitar, Backing Vocals
*David Hayes - Bass Guitar, Backing Vocals
*Dahaud Shaar (David Shaw) - Drums, Backing Vocals

1967  Blowin' Your Mind! (extra tracks edition)
1971  Tupelo Honey (Japan SHM remaster)
1974  Veedon Fleece (2008 Japan SHM remaster)

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Van Morrison - Tupelo Honey (1971 ireland, superb folk rock jazz r 'n' b, 2008 japan SHM remaster)

Now known more for his fearsome reputation as a curmudgeonly r&b shouter in a hat, at one point in the dim and distant past, Van Morrison was, well… a happy curmudgeon. In the early '70s his magnificent voice and mystic vision were wedded to an idyllic private life and final acceptance within a music industry that had consistently dealt him a bad hand. Many of his fans regard 'The Man' as hitting his artistic peak around this point. Certainly, between the late '60s and mid-'70s he amassed a body of work that remains peerless in the pantheon of blue-eyed soul. Tupelo Honey is, perhaps the most approachable of all these remarkable albums, now included in the first batch of this year's remasters.

Having moved to the States under the management of Bert Berns as early as 1967, by 1970 the Belfast Cowboy was living in the hippy haven of upstate New York in Woodstock; next door neighbour to The Band amongst others. Having set out his stall – the richly varied fare of soul, jazz, r&b, and Celtic folk - on his previous three albums, he now could call on Warner’s new staff producer, Ted Templeman. He also used a studio band that drew on those who’d helped make Astral Weeks such a sonic milestone (Connie Kay on Drums) as well as a host of seasoned players including his regular right hand man, Jack Schroer on horns, Ronnie Montrose on guitar, and - giving the album its more bucolic vibe - John McFee on pedal steel.

Wrapped in a cover showing Van exploring the rural heaven of his farm along with, then wife, Janet Planet, horse and even cat (!) TH is full of sweetly autobiographical songs detailing the joys of nuptial bliss (You're My Woman, Old Old Woodstock, Starting A New Life, Tupelo Honey) as well as the kind of raucous shouters and jaunty, countrified numbers that always translated into brilliant live vehicles (Wild Night, Moonshine Whiskey, (Straight To Your Heart) Like A Cannonball). It's a mellow stew, mostly recorded live and guaranteed to brighten up anyone weary of the blues-by-numbers approach he seems to have adopted of late.

With this new edition boasting an alternative take of the single, Wild Night, as well as an unreleased version of Down By The River Side, this is finally the CD release of TH that the fans deserve. Anyone else would be crazy to stay away too…

by  Chris Jones, 2008 

Tracks
1. Wild Night - 3:33
2. (Straight To Your Heart) Like A Cannonball - 3:41
3. Old Old Woodstock - 4:15
4. Starting A New Life - 2:09
5. You're My Woman - 6:43
6. Tupelo Honey - 6:55
7. I Wanna Roo You (Scottish Derivative) - 3:25
8. When That Evening Sun Goes Down - 3:02
9. Moonshine Whiskey - 6:45
10.Wild Night (Alternative Take) - 5:37
11.Down By The Riverside (Traditional) - 3:54
All compositions by Van Morrison except where noted.

Musicians
*Van Morrison - Rhythm Guitar, Harmonica, Vocals, Backing Vocals
*Ronnie Montrose - Electric, Acoustic Guitars, Mandolin, Backing Vocals
*Bill Church - Bass
*Rick Shlosser - Drums
*Connie Kay - Drums
*Jack Schroer - Alto, Tenor, Baritone Saxophones
*Mark Jordan - Piano, Electric Piano
*Gary Mallaber - Percussion, Vibraphone
*John McFee - Pedal Steel Guitar
*Ted Templeman - Organ On
*Bruce Royston - Flute
*Luis Gasca - Trumpet
*"Boots" Houston - Flute, Backing Vocals
*Ellen Schroer - Backing Vocals
*Janet Planet - Backing Vocals

1967  Blowin' Your Mind! (extra tracks edition)

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Charisma - Beasts And Fiends (1970 us, magnificent jazzy prog bluesy rock, 2008 issue)

"Charisma came about from diverging roots emanating from 3 directions. The core of Charisma was Rich Tortorigi (drummer) and George Tyrell (bass player). Both were members of a New Britain, Connecticut soul band called The Mantiques. The Mantiques had been one of the three main horn-based bands in New Britain in the mid to late 60’s, along with Detroit Soul and The Paramounts. Paramounts drummer, Tyrone Lampkin went on to play with Gutbucket and the Parliament Funkadelics.

Before the recording of the second album, Mike DeLisa decided to go his own way, leaving the job of lead vocalist to guitarist Tom. Beasts and Fiends was recorded at the Record Plant in NYC during the summer of 1970. The lead engineer was the top engineer in the business: Jack Hunt (the Woodstock album, Electric Ladyland), assisted by Dave Ragno (the Woodstock album), and Tom Fly (the Woodstock album, former drummer of Lother and the Hand People). While credit was given to Bruce McGaw and Ed Vallone for production, fact is the album was produced by Charisma with interference run by Jack Hunt.

Charisma was offered the option to record a third album for Roulette Records, but let it pass by. Probably a mistake. Both albums sold better in Europe than they did in the USA. All income went to Roulette Records. Charisma got squat. Same old story.

It looked like Charisma was headed for a breakup as drummer Rich Tortorigi and keyboardist Bob Mocarsky decided to leave the band, but Tom and Bernie located drummer Jim Roselle and keyboardist Mike Reynolds and decided to give it another go. Jim recruited Paul Midney to play saxes and flute, and Ray Mase to play trumpet, piccolo trumpet and coronetto. For a while, Charisma became Midney, named after Paul (?!!), but ended up changing their name back to Charisma. Paul eventually ended up leaving the group to do his own thing in the world of meditation and Ray went on to play with the American Brass Quintet.

About this time Charisma, along with sound engineers Ron Scalise (now at ESPN) and Norman Campbell (now in California) began building a recording studio. Charisma spent the next few years in the studio. But to be able to do that they were forced to compromise their principles by playing commercial music to raise money to pay for the studio addiction.

Charisma auditioned several singers as front men and finally decided on Brian Salke. Brian was not allowed to do the few non-commercial gigs that came up once in a while, but he did appear on some of Charisma’s homegrown recordings. In 1976, Charisma disbanded, leaving one incomplete recording. 

Rich Tortorigi-official

Tracks
1. Street Theatre (Mocarsky) - 3:58
2. The No-Tell Motel (Mocarsky, Langlois) - 5:08
3. Dirty Pigs Don't Get Far In This World (Mocarsky, Langlois) - 2:38
4. Bizwambi: Ritual Dance Of The Reptiles (Charisma) - 4:50
5. Leopold's Ghost (Mocarsky, Langlois) - 4:57
6. The Age Of The Reptiles (Mocarsky, Langlois) - 3:26
7. Beasts And Fiends (Mocarsky, Langlois) - 8:08
8. Pray For Lockjaw (Charisma) - 3:22

Charisma
*Tom Majesky - Guitar, Vocals
*Bernie Kornowicz - Bass, Guitar, Organ
*Rich Tortorigi - Drums
*Bob Mocarsky - Organ, Percussion

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Steve Young - Seven Bridges Road (1970-81 us, brilliant outlaw country folk rock, 2005 remaster and expanded)

If you’re a fan of country-rock, Americana, or the 70s Outlaw Movement, you know that Steve Young is no run-of-the-mill artist.  1969′s Rock, Salt and Nails was a fine debut but on this disc Young comes into his own as a songwriter.  One could make the case that this is Young’s best LP, though the next 3 records that follow Seven Bridges Road are also very good.

Confusingly, there are three versions of Seven Bridges Road, each one featuring a slightly different song lineup.  For my money the 1971/1972 Reprise version (the green album) is the best, but the Blue Canyon (1975) and Rounder LPs (1981) each have something to offer fans.  Recording originally commenced in Los Angeles with Ry Cooder on hand but then sometime later, sessions were moved to Nashville.  Things didn’t go so smoothly down in Nashville.  Steve Young recalls: “These sessions were a clash of vibes.  Some pickers were into it.  Others, I had to fight it out.  There was a lot of friction between those Nashville players and me because of the way they were used to doing things, but it came out quite well.”

Seven Bridges Road is full of incredible performances.  Young’s songwriting is stronger than ever this time around, his singing is often compelling and the musicians that support him are in excellent form.  The title cut and “Lonesome On’ry and Mean” (a big hit for Waylon Jennings) are outlaw classics that have made other artists lots of money.  That being said, much of this album’s strength is in it’s variety: “Come Sit By My Side” is gorgeous folk-rock, there are two hard driving, boozy country-rockers in “Long Way To Hollywood” and “The White Trash Song”, the gutbucket country of “Many Rivers” and quirky Americana (“Ragtime Blue Guitar” and “One Car Funeral Procession”).  Seven Bridges Road is one of the truly great country-rock records.

by Jason Nardelli

Tracks
1. Seven Bridges Road (1981 Version) - 3:37
2. Montgomery In The Rain - 4:08
3. Ragtime Blue Guitar - 2:48
4. Long Way To Hollywood - 3:59
5. Down In The Flood - 2:34
6. Ballad Of William Sycamore (Lyrics by Stephen Vincent Benet) - 4:16
7. My Oklahoma (Cheryl Young) - 3:00
8. Wild Goose - 3:43
9. Days Of '49 (Traditional) - 3:35
10.Lonesome, On'ry And Mean - 3:37
11.I Begin To See Design (Steve Young, Cheryl Young) - 2:57
12.One Car Funeral Procession - 3:06
13.Many Rivers - 2:59
14.Come Sit By My Side (Fred Carter, Jr.) - 3:01
15.True Note - 2:56
16.I Can't Hold Myself In Line (Merle Haggard) - 2:17
17.Crash On The Levy - 2:34
18.The White Trash Song (L.A. Version) - 3:03
19.The White Trash Song (Nashville Version) - 2:50  
20.The White Trash Song (N.M. Version) - 3:13
21.Seven Bridges Road (Original Version) - 3:22
words and Music by Steve Young except where stated

Personnel
*Steve Young - Guitar, Vocals
*Pete Drake - Steel Guitar
*Weldon Myrick - Steel Guitar
*Josh Graves - Dobro
*Buddy Spicher - Fiddle
*Charlie Mccoy - Harmonica
*David Briggs - Keyboards
*Fred Carter, Jr. - Bass
*D.J. Fontana - Drums
*Bobby Thompson - Guitar
*Ray Edenton - Guitar
*Bob Moore - Guitar
*Dale Sellers - Guitar
*Pete Wade - Guitar
*Jerry Smith - Keyboards
*William Ackerman - Drums
*Jerry Carrigan - Drums
*Henry Strzelecki - Bass
*Paul Tannen - Vocals
*Ginger Holladay - Vocals
*Mary Holladay - Vocals

1969  Steve Young - Rock Salt And Nails (Korean remaster)

1968  Stone Country - Stone Country (Rev Ola remaster)

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Steve Young - Rock Salt And Nails (1969 us, marvelous country folk psych tinged rock, 2010 korean remaster)

Steve Young’s first solo record, Rock Salt and Nails, is essentially stripped down, a somewhat simple recording, yet adventurous, way ahead of its time, and gorgeous. Every song’s a genuine treat, with sincerely masterful production combining outlaw country, rock, folk, blues, and a touch of gospel.

That’s How Strong My Love Is, the infinitely relistenable opener on this record, sounds just as fresh as anything from the Ryan Adams and David Rawlings collaborations, and features a careful organ part from the poster boy of country rock himself, Gram Parsons. Bluegrass standard Rock Salt and Nails gets a nice pensive treatment, and the fiddle sound on this record- it’s so dang bright and surreal sounding (I can’t help but wonder if, however unlikely, they snuck a few well-tuned Moog synthesizers into the studio!) 

The production doesn’t stand out, but remains ingenious, as in the restraint of those bouncy double electric guitar lines, unleashed only in the very chorus of One Woman Man. I’m unclear on whether the raga-like Coyote is more aptly titled for its lyrical content or representing Steve’s wild lonesome howl on each stanza. And if you let Love In My Time take you with it, it will. A short song but so effective with the all-for-it gospel backup, it’s a great example of Steve Young’s solid, unwavering vocal power. Seven Bridges Road, conveniently placed at track 7 on this disc, is his most well known tune though not from this rendition, but the Eagles’ cover version.

The reason I love this record is for its subtlety in production, a wonderful interplay of country licks hovering at just the right level, creating a playful and relaxed musical atmosphere. The warm, fuzzy strings adding mood and color. Holler In The Swamp, a brilliant tune with full rock band, feels like it could take right off; the musicians behind the wheel of this record simply nail it with an understated drive, the intensifying string section making you want more and less at the same time. It closes with a mighty fine version of Hank Williams’ My Sweet Love Ain’t Around, and it’s nice to know that it’s Gene Clark blowing harp in your headphones.

Some will debate the nature of authenticity in music, but if anything is ‘authentic,’ I know that it’s this classic, country-rock shaping LP. Shamefully out of print for so long, you might construct the album for yourself by combining the mp3s below with Lonesome On’ry & Mean, an overview compilation of Steve Young’s works.

by Brendan McGrath

Tracks
1. That's How Strong My Love Is (Roosevelt Jamieson) - 3:41
2. Rock Salt And Nails (Utah Phillips) - 3:42
3. I'm A One-Woman Man (Johnny Horton, Tillman Franks) - 2:13
4. Coyote (Peter La Farge) - 4:16
5. Gonna Find Me A Bluebird (Marvin Rainwater) - 2:41
6. Love In My Time (Steve Young) - 2:14
7. Seven Bridges Road (Steve Young) - 3:38
8. Kenny's Song (Kenny Austin) - 4:09
9. Holler In The Swamp (Steve Young) - 3:51
10.Hoboin' (Traditional; Arranged Steve Young) - 4:15
11.My Sweet Love Ain't Around (Hank Williams) - 2:55

Personnel
*Steve Young - Rhythm Guitar, Vocals
*James Burton - Dobro, Guitar
*Gram Parsons - Organ
*Gene Clark - Harmonica
*Dave Jackson - Bass
*Chris Ethridge - Bass
*Richard Greene - Fiddle
*Meyer Sniffin - Fiddle
*Don Beck - Guitar
*Hal Blaine - Drums

1968  Stone Country - Stone Country (Rev Ola remaster)

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Clear Light - Clear Light (1967 us, superb psychedelic rock, 2002 remaster)

Clear Light was a folk-rock/psych-rock group from LA that released one LP off Elektra in 1967, famously known for including two drummers, one of them being Dallas Taylor of CSNY and Manassas fame. Paul Rothchild produced the LP, which explains why the recording sessions were fraught with tension and negativity. The group was masterminded by guitarist/vocalist Bob Seal, bass player Doug Lubahn, and lead vocalist Cliff De Young. Prior to Clear Light the band had been known as the Brain Train. Seal felt a name change was appropriate to coincide with the release of a newly recorded debut single, “Black Roses.” Seal decided on Clear Light, a concept he had come across in his readings of Eastern philosophy, a name also shared by a potent brand of LSD.

“Black Roses,” written by Wolfgang Dios, was released in September of 1967. It was a great hard charging folk-rock single with an acid tinged guitar solo that deserved to sell much better than it did. Black Roses appeared on the group’s only full length platter, released in late 1967. Many psych fans are divided when it comes to the Clear Light LP but I think it’s a good one. Maybe not a true classic on par with Love’s Forever Changes or Moby Grape’s debut but still a very good LP without any weak tracks. The band tries nearly everything within a 2 to 3 minute pop song context, loading the songs with good quirky ideas and great guitar solos (check out “Think Again”). 

Some tracks like “They Who Have Nothing” and the baroque “Ballad of Freddie & Larry” bear a strong Doors and Love influence, but this makes sense considering these were all Elektra groups. Other songs like the outstanding fuzz guitar psychedelia of “Sand” and the trippy “Night Sounds Loud” are more original and hinted at a strong future for the group. The former track features some great organ and spiraling acid guitar interplay. The album’s most famous track, a cover of Tom Paxton‘s “Mr. Blue,” sounds dated today with its spoken word dialogue, although, even this song is oddly appealing in its own way and definitely still considered a highlight.

Rothchild’s iron fist policy coupled with the lack of commercial success led to Clear Light’s demise, shortly after the release of this solid album. Not everyone will like this record because of its eccentric nature but it really is a crime that Clear Light was unable to release a followup to this debut. A very worthy release from a talented, accomplished California group.

by Jason Nardelli

Tracks
1. Black Roses (Clear Light, Dios) - 2:09
2. Sand (Douglas Lubahn) - 2:38
3. A Child's Smile (Clear Light, Michael Ney) - 1:37
4. Street Singer (Greg Copeland, Steve Noonan) - 3:17
5. The Ballad Of Freddie And Larry (Cliff De Young, Ralph Schuckett) - 1:56
6. She's Ready To Be Free (Clear Light) – 1:58
7. With All In Mind (Bob Seal) - 2:58
8. Mr. Blue (Tom Paxton) - 6:25
9. Think Again (Clear Light, Douglas Lubahn) - 1:37
10.They Who Have Nothing (Bob Seal) - 2:34
11.How Many Days Have Passed (Bob Seal) - 2:24
12.Night Sounds Loud (Douglas Lubahn) - 2:26

Clear Light
*Cliff De Young - Vocals
*Bob Seal - Guitar, Vocals
*Douglas Lubahn - Bass
*Ralph Schuckett - Keyboards
*Dallas Taylor - Drums
*Michael Ney - Drums

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