While Dylan and the Band were holed up in basement of Big Pink brewing up their response to the summer of psychedelia, Spider John Koerner was doing much of the same back in Minneapolis, and with arguably better results. Instead of eschewing any and all drippy hippie elements like his Woodstock counterparts, Spider John and barrelhouse pianist Willie Murphy carefully plucked and weaved curious harmonies, bizarre instrumentation, clever production and the finer elements of the technicolor scene into an LP that remained firmly rooted in the brilliant folk songwriting with which he'd made his name as one third of Koerner, Ray & Glover. Produced by the same Mohawk production team responsible for Dr. John's magnificent Gris-Gris LP, Running, Jumping, Standing Still is an absolute rarity; an album of incredible depth and ingenuity that has remained far enough off the radar to detract hordes of imitators, and in turn, has managed to age more elegantly than most anything of its time. Standouts include the title track and "Magazine Lady", a couple of the album's finer examples of the duo's penchant for loose grooves and patchwork time shifts, as well as the pillowy leadoff track "Good Night." An album as satisfying on its first spin as its twentieth.
Showing posts with label Bob Dylan. Show all posts
Showing posts with label Bob Dylan. Show all posts
Thursday
Spider John Koerner & Willie Murphy
Running, Jumping, Standing Still - 1967
While Dylan and the Band were holed up in basement of Big Pink brewing up their response to the summer of psychedelia, Spider John Koerner was doing much of the same back in Minneapolis, and with arguably better results. Instead of eschewing any and all drippy hippie elements like his Woodstock counterparts, Spider John and barrelhouse pianist Willie Murphy carefully plucked and weaved curious harmonies, bizarre instrumentation, clever production and the finer elements of the technicolor scene into an LP that remained firmly rooted in the brilliant folk songwriting with which he'd made his name as one third of Koerner, Ray & Glover. Produced by the same Mohawk production team responsible for Dr. John's magnificent Gris-Gris LP, Running, Jumping, Standing Still is an absolute rarity; an album of incredible depth and ingenuity that has remained far enough off the radar to detract hordes of imitators, and in turn, has managed to age more elegantly than most anything of its time. Standouts include the title track and "Magazine Lady", a couple of the album's finer examples of the duo's penchant for loose grooves and patchwork time shifts, as well as the pillowy leadoff track "Good Night." An album as satisfying on its first spin as its twentieth.
While Dylan and the Band were holed up in basement of Big Pink brewing up their response to the summer of psychedelia, Spider John Koerner was doing much of the same back in Minneapolis, and with arguably better results. Instead of eschewing any and all drippy hippie elements like his Woodstock counterparts, Spider John and barrelhouse pianist Willie Murphy carefully plucked and weaved curious harmonies, bizarre instrumentation, clever production and the finer elements of the technicolor scene into an LP that remained firmly rooted in the brilliant folk songwriting with which he'd made his name as one third of Koerner, Ray & Glover. Produced by the same Mohawk production team responsible for Dr. John's magnificent Gris-Gris LP, Running, Jumping, Standing Still is an absolute rarity; an album of incredible depth and ingenuity that has remained far enough off the radar to detract hordes of imitators, and in turn, has managed to age more elegantly than most anything of its time. Standouts include the title track and "Magazine Lady", a couple of the album's finer examples of the duo's penchant for loose grooves and patchwork time shifts, as well as the pillowy leadoff track "Good Night." An album as satisfying on its first spin as its twentieth.
Bobby Charles
Bobby Charles - 1972
Famously aided by Rick Danko, Levon Helm, Garth Hudson and Richard Manuel, Bobby Charles' 1972 self-titled LP has often been referred to as "the Band album that never was". Truthfully, it's much much more than that. Charles, a Louisiana native, creates an album here that bridges the geographical gap to a near physical extent, marrying his bayou swamp rock with the Band's northeastern backwoods mystique to land somewhere near the loose southern funk of a Muscle shoals production. Maybe its the addition of Dr. John's piano, organ and unique rhythm guitar that peppers the album with its charming eccentricities, or the pedal steel and Dobro work of Neil Young cohort Ben Keith, but seasoning and guest stars aside, it's really the strength and well-worn familiarity of Charles' originals that drive the proceedings. Despite the company he keeps, it's his show all the way. Among the ten originals is a handful of brilliance, and although the album itself fades in and out of print, it's standout "Small Town Talk" has lived on in various incarnations, most famously on the 1977 self-titled LP of the song's co-author, Rick Danko.
Famously aided by Rick Danko, Levon Helm, Garth Hudson and Richard Manuel, Bobby Charles' 1972 self-titled LP has often been referred to as "the Band album that never was". Truthfully, it's much much more than that. Charles, a Louisiana native, creates an album here that bridges the geographical gap to a near physical extent, marrying his bayou swamp rock with the Band's northeastern backwoods mystique to land somewhere near the loose southern funk of a Muscle shoals production. Maybe its the addition of Dr. John's piano, organ and unique rhythm guitar that peppers the album with its charming eccentricities, or the pedal steel and Dobro work of Neil Young cohort Ben Keith, but seasoning and guest stars aside, it's really the strength and well-worn familiarity of Charles' originals that drive the proceedings. Despite the company he keeps, it's his show all the way. Among the ten originals is a handful of brilliance, and although the album itself fades in and out of print, it's standout "Small Town Talk" has lived on in various incarnations, most famously on the 1977 self-titled LP of the song's co-author, Rick Danko.Friday
Bob Dylan
Self Portrait - 1970
Writing about something as common as a Dylan album here at the Heat Warps goes somewhat against the grain. Fortunately, all bets are off when it comes to Self Portrait. Widely accepted as the most bizarre entry in his catalog since its release, the album is a mish-mash collection intended to either throw followers off his scent, one-up the bootleggers or gather up the various facets of his personality into a double album package. Whatever its intention, Self Portrait sold well upon its initial release but was ceremoniously torn apart by its critics. To their credit, there was an awful lot to wrap your head around here: multiple versions of the same song, brass-led instrumentals, choral numbers, weird cover versions, Dylan duetting with himself and a few ramshackle live cuts from the Isle of Wight thrown in for good measure. To quote Greil Marcus' opening line of his Rolling Stone review "What is this shit?" 36 years on it's still hard to answer that question, though one thing's for sure; whatever this shit is, it's pretty damn fascinating. An album of tremendous depth and ambition, Self Portrait is unfairly burdened by the formula Dylan laid out in the years preceding it. If this one isn't already in your collection, set aside some quality time to reap the rewards of a proper listen. My introduction to it was on a 16 hour road trip, nearly every mile of which was reserved for this album. My favorites have always been "Days of '49", "Living the Blues," "Wigwam" and the live version of "Quinn the Eskimo", notably for the squall of feedback that chases Robbie Robertson's guitar solo around like a pair of squirrels on a tree. More than any other Dylan record, listening to Self Portrait is an experience unique to every listener. Enjoy yours. Happy Thanksgiving.
Writing about something as common as a Dylan album here at the Heat Warps goes somewhat against the grain. Fortunately, all bets are off when it comes to Self Portrait. Widely accepted as the most bizarre entry in his catalog since its release, the album is a mish-mash collection intended to either throw followers off his scent, one-up the bootleggers or gather up the various facets of his personality into a double album package. Whatever its intention, Self Portrait sold well upon its initial release but was ceremoniously torn apart by its critics. To their credit, there was an awful lot to wrap your head around here: multiple versions of the same song, brass-led instrumentals, choral numbers, weird cover versions, Dylan duetting with himself and a few ramshackle live cuts from the Isle of Wight thrown in for good measure. To quote Greil Marcus' opening line of his Rolling Stone review "What is this shit?" 36 years on it's still hard to answer that question, though one thing's for sure; whatever this shit is, it's pretty damn fascinating. An album of tremendous depth and ambition, Self Portrait is unfairly burdened by the formula Dylan laid out in the years preceding it. If this one isn't already in your collection, set aside some quality time to reap the rewards of a proper listen. My introduction to it was on a 16 hour road trip, nearly every mile of which was reserved for this album. My favorites have always been "Days of '49", "Living the Blues," "Wigwam" and the live version of "Quinn the Eskimo", notably for the squall of feedback that chases Robbie Robertson's guitar solo around like a pair of squirrels on a tree. More than any other Dylan record, listening to Self Portrait is an experience unique to every listener. Enjoy yours. Happy Thanksgiving.Wednesday
Doug Sahm
Doug Sahm and Band - 1973
Here in central Texas
Here in central Friday
Bob Dylan
Blood on the Tracks (New York Sessions) - 1974
Though I've always preferred New Morning or Desire over the much treasured Blood On The Tracks when it comes to Dylan's mid-70s output, these original New York sessions would have made one hell of an LP if the man hadn't second guessed himself and re-recorded all but a couple of the tracks back home in Minnesota. Famously and meticulously constructing this album for months, the back story as to why Dylan recorded the album, nearly released it and finally chose to re-record everything is so long and storied that I'll leave it up to the real Dylanologists to give you the full story. It's up to you however, to hear for yourself how it would have sounded in the first place. Enjoy.
Though I've always preferred New Morning or Desire over the much treasured Blood On The Tracks when it comes to Dylan's mid-70s output, these original New York sessions would have made one hell of an LP if the man hadn't second guessed himself and re-recorded all but a couple of the tracks back home in Minnesota. Famously and meticulously constructing this album for months, the back story as to why Dylan recorded the album, nearly released it and finally chose to re-record everything is so long and storied that I'll leave it up to the real Dylanologists to give you the full story. It's up to you however, to hear for yourself how it would have sounded in the first place. Enjoy.
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