The Time Between

John Stewart – California Bloodlines
Now I never did get John. I used to get the magazine named after one of his songs (Omaha Rainbow) and Zigzag used to rave about this album but for some reason I never got there. Maybe I needed to be older or something as it now resonates more. Sure it’s pretty MOR in lots of ways – his baritone doesn’t have the fragility or soul of some of my favorite singers and the arrangements definitely don’t rock. But there’s a maturity and timelessness to the imagery that’s finally roped me in. It’s not groundbreaking stuff but it’s solid – but there’s something missing I think that keeps it from being the classic that a number of people seem to think it is. It lacks real personality I think – something some of his peers had in spades (Mike Nesmith for example – and even Rick Nelson). Maybe as I listen more it’ll continue to grow on me.
Flaming Groovies.
I give my brother credit here – he was a big fan of these guys and I just didn’t get it at the time. I was turned off by their too obvious (in my book) homage to bands like the Charlatans (the Dan Hicks guys not the UK version). They were just too retro for me in 1976 – and I was too busy listening to Poco (who I thought were a lot more real – what was I thinking?). Now however they sound like the perfect amalgam of the Stones and The Byrds. It’s a great record. The title track is a classic. In fact I played it on the radio recently (thanks to my friend Kevan who let’s me sit in on his Saturday AM show on KTUH – a college station in Honolulu). I didn’t get the chance to do the credits (it was the last song I played that day before handing it over to the next guy). While we were cleaning up the phone didn’t stop ringing and Kevan got a bunch of emails after the show asking who it was. It’s not often a song has that kind of impact – especially in sleepy Honolulu. The rest of the album isn’t up to the same standard but it’s still pretty good. They do Gene Clark almost as well as he did!

The McGarrigles and The Roches
I only put these together because they’re both girl groups, came out around the same time (at least that’s how I remember it) and are both equally fab. Very different but both helped reinvent the role of women in rock I think. Kate and Anna fit nicely into the Americana label and their first album is a classic - songs like Heart like a wheel and especially “talk to me of Mendocino” are beautiful songs – just beautiful songs that have survived many attempts to cover them – but the originals are still by far the best. It’s hard to describe the way these women sing – and their harmonies. Old timey indeed but emotional and modern too. Obviously they spawned a musical dynasty but I don’t think anyone in their family has surpassed what they achieved here. The Roches were a little different. More offbeat. More non-traditional. And more New York. They fit into a more folk music based traditional with weird little arty bits thrown in. The Married Men was the song I wanted to hear again – it’s about prostitutes and their relationship to their clients. It’s knowing, really well put together and very funny. The McGarrigles are so musical and the Roches sound so natural (I guess all being sisters helped here) – hard to believe Bob Fripp produced the album. They’re both great records and worth checking out.
Meal Ticket
I’d almost forgot about these guys – Ray Flacke had been always been on my radar especially after he moved to Nashville. They’re a little like the Brinsleys – not as soulful – but trying really hard to be a classic American country rock band. More piano, great playing but one of the vocalists sounds like he’s trying to be too much like John Hartford - Code of the Road sounds like something off Aereoplane (more about that later). It’s kind of like why I have such a hard time with Lyle Lovett. He sounds exactly like Jesse Winchester (check it out if you don’t believe me). Unfortunately they have that English disease – just working too hard to sound like their heroes. Some places they sound too much like Tumbleweed Connection – that’s the 2nd time I’ve mentioned that record. I guess it’s more influential than I originally thought (although it was the first album I actually bought – I was a singles guy before that).
Gene Clark
If I look at the original Byrds Gene always came fourth. He may have written Feel a whole lot better – the primer for everyone from The Flaming Groovies to Teenage Fanclub to REM – but I never enjoyed him as much as Chris Hillman (the Byrds, The Burritos AND Manassas – hard not to make the argument that Chris was the most influential figure in 60’s music. Just amazing what he’s done). David Crosby had his high points too (if I could only remember my name is such a great record. Beautifully recorded and timeless. A real masterpiece). McGuinn we all know about – and Michael Clark was a drummer so he doesn’t count (only joking). But Gene I struggle with. Maybe he was just too tragically talented but I just haven’t been able to connect with him the way I have with the rest of the band. Sure I love some of his records – the Fantastic Journey of Dillard and Clark is brilliant I think – but I don’t go back to his stuff that much. I’m really being picky here I know – and comparisons are pretty odious when you’re looking at this stellar group. When people talk about talented groups today there’s noone with that kind of talent – and the ability to change the face of modern music in the way they did – for many reasons. Anyway I’m listening to Roadmaster – and it’s pretty darn good. It’s a pretty darn good Gene Clark album. One question I have though. The version of Here Tonight sounds exactly like the version on the Burritos “blue” album with a different lead vocal – it’s definitely Sneaky Pete there. Were they just lazy and put the same song version on both records? For some reason I think they may have both been on A&M so maybe that made it easier.
Cat Mother and the All night newsboys
I used to have this album and have good memories of it. Listening to it now I have to say I must have been listening to a different record. Various Americana styles – old timey and gospelly, with pretty terrible singing throughout. Obviously recorded under the influence it does sound like it was a hoot to make. It definitely has it’s moments but its no surprise that they weren’t more popular. They remind me of a cross between the lovin spoonful and Kaleidoscope.