Friday, April 16, 2010

Hot Platters: Link Wray (1971)


Yabba dabba doo, folks.  Looking back on things, I'm sorta impressed by the wide variety of highly creative records that were released in the early 70's and today's Hot Platter is a great example of what I'm talking about.  While Link Wray (Polydor, 1971) failed to ignite the public imagination, it is indeed one of a handful of records (The Rolling Stones Exiles On Main Street, The Band's Music From Big Pink, John Lennon's Plastic Ono Band, among others) which had inspired musicians to consider a more laid back approach to record making.  Wray, in particular, seemed to anticipate the future low-fi revolution in which musicians would record outside of traditional studios.  In his case, he remodeled an old chicken coop on his family's farm in Maryland and, using only rudimentary recording gear, Wray managed to craft this low-fi masterpiece.  "How low-fi is this record?"  Well, listen to "Fire & Brimstone"...besides a basic drum thing goin on, Wray gets a percussion groove happening with a can full of nails.  You can't get much more low-fi than that, eh?

If you're not familiar with Link Wray's overal musical history, he was originally known for being one of the first "heavy" guitarists in the 50's.  His biggest hit, "Rumble", typifies his overall approach, using thick distortion and power chords (pre-Pete Townshend, folks) to get his point across.  After his initial success, Wray's popularity began to fade and by the early seventies, he was sick of the music biz and searching for new sounds.  Wray seemed to anticipate the future revolution in which musicians would record outside of traditional studio spaces.  In his case, he remodeled an old chicken coop on his family's farm in Accokeek, Maryland and, using only rudimentary recording gear, went on to craft his self-titled low-fi masterpiece.  The record met with initial indifference but over the years, it became a cult favorite.  Link Wray is often considered part of a matched set of records; it is complimented by Beans & Fatback, which was released in 1973 and recorded in the same chicken coop.

Link Wray passed on to his great reward in 2005.  That same year, a fine compilation titled Three Track Shack was released.


Track List:
01. De Da
02. Take Me Home Jesus
04. Rise and Fall of Jimmy Stokes
05. Fallin Rain
07. Ice People
09. Crow Bar
10. Black River Swamp
11. Tail Dragger







Further Reading:
Link Wray (a nice piece from the Spectropop site)

Saturday, April 10, 2010

Hot Platters: Crazy Horse



Today's Hot Platter, the self-titled debut record by Crazy Horse,is one of those great pieces of vinyl that fell through the cracks of public consciousness when it was first released in 1970.

Crazy Horse, best known for their role as Neil Young's backing band, consisted of Danny Whitten(guitar/lead vocals), Billy Talbot (Bass) and Ralph Molina (Drums). In a 1996 interview, Billy Talbot recalled the band's early years, "We all knew each other from the Laurel Canyon days when Neil was with Buffalo Springfield. We'd meet up and play music acoustically in each others houses and stuff. When Buffalo Springfield broke up and he was ready to do his second solo album, Neil came and sat in with us at the Whiskey Au Go Go when we were known as The Rockets and then asked us to play on the album." After backing up Neil Young on his 1969 album, Everybody Knows This Is Nowhere, the band became friends with guitarist Nils Lofgren and producer Jack Nitzsche who would go on to help them craft their own record shortly after sessions for Young's After The Gold Rush album were completed in 1970.

Guitarist Danny Whitten was the band's most accomplished songwriter. His singular vocal style and song lyrics would give Crazy Horse their own identity aside from being Neil Young's back-up group. Whitten's developing heroin addiction would later cause him to be fired from Crazy Horse and he subsequently died from an overdose in 1972. His death would go on to inspire Neil Young to compose a series of dark songs which became the Tonight's The Night album.

Whitten's musical legacy is enhanced by this album which captures a wide variety of fresh sounds.  From the gorgeous ballad I Don't Want To Talk About It (years later a hit for Rod Stewart) to the hard edged rock of Beggar's Day; it all simmers along like big ol' pot of stick-to-yer-ribs stew.

While this record is sadly out of print, you can get a good idea of the magic of Crazy Horse by checking out the recently released Neil Young & Crazy Horse Live At The Fillmore East album.  It's interesting to note that Everybody Knows This Is Nowhere  (& probably some of the darker sounds from this here platter as well) provided the musical template for the grunge movement later on.

Track Listing:


2. Dance Dance Dance

3. Loot At All The Things

4. Beggar's Day

5. I Don't Want To Talk About It

6. Downtown

7. Carolay

8. Dirty Dirty

9. Nobody

10. I'll Get By

11. Crowjane Lady



Further Investigation:


Friday, April 9, 2010

Hot Platters: Eli & The Thirteenth Confession (Laura Nyro)



Laura Nyro is one of a handful of artists whose singular approach to their art has always given me pause. Among the many fine albums I own by her are New York Tendaberry, Gonna Take A Miracle,Christmas & The Beads of Sweet, Angel in the Dark, and Stoned Soul Picnic (excellent compilation) and today's Hot Platter...Eli & The Thirteenth Confession.

Nyro, who died in April 1997 from ovarian cancer,was best known for her pop songwriting which produced hits formany artists in the late sixties/early seventies. You probably know her music from hearing it on the radio in the form of hits like Wedding Bell Blues (Fifthe Dimension), Stoney End (Barbara Streisand), And When I Die (Blood Sweat & Tears) and Eli's Coming (Three Dog Night), among others. Ironically, Nyro never experienced hits with her own material. Her best selling single was a cover version of Carole King's Brill Building classic, Up On The Roof. Despite my love for some of these well crafted pop hits of the sixties, it is the work that Nyro did on her own albums that I find the most satisfying. Eli & The Thirteenth Confession, her debut effort for Columbia records which was released in the spring of 1968, is a great example of her ability to seamlessly blend elements of pop, gospel, bluesand jazz together to produce a unique sound that was all her own.

When I first heard Eli & The Thirteenth Confession in '68, I was immediately taken with the pure sound of Nyro's strong voice which had operatic overtones. For me, Eli and its followup, New York Tendaberry, captured the restless sound of the urban landscape of New York city. Within the imagery of these songs, I found a palpable sense of religion, specifically elements of catholicism, that gives depth to the material and enables it to rise above the standard pop music of the time. As far as I know, the only other artist who has successfully blended religious elements into popular songs in this manner would probably be Prince.  It's interesting to note that Prince is a fan of Nyro's music.

From the Wikipedia site: "The concept of Eli and the Thirteenth Confession tracks the journey from childhood into womanhood. The first few songs explore the innocence of youth, while the middle of the album finds the central character discovering the perils of drugs and rogue lovers. By the album's conclusion, the character has grown into a sexually-aware adult, which is mirrored in the more passionate and feminine music towards the climax."

It's truly remarkable that Nyro was only 20 years old when she recorded this album.

Track Listing:

1. Luckie
2. Lu
3. Sweet Blindness
4. Poverty Train
5. Lonely Woman
6. Eli's Coming
7. Timer
8. Stoned Soul Picnic
9. Emmie
10. Woman's Blues
11. Once It Was Alright (Farmer Joe)
12. December's Boudoir
13. The Confession


More info on Laura Nyro: