The First Edition | Just Dropped In (Single)

It's the song Joel and Ethan Coen made beyond famous in their 1998 cult hit film "The Big Lebowski", all with the thanks to musician and producer T-Bone Burnett for plucking this gem out of near obscurity, and the absolute one song that has been on my 'I-must-own-this-record-if-it's-the-last-thing-I-ever-do' list. It's also the one song in the history of music that gives some shred of coolness and dignity to Kenny Rogers, despite the many terrible country cross-over songs we've been subjected to all these many years. "Just Dropped In (To See What Condition My Condition Was In)" is the epitome of awesome regardless of where it's been or who has sung it.

American singer-songwriter Mickey Newberry was revered for the numerous songs he wrote for the likes of Johnny Cash, Roy Orbison, Ray Charles, Willie Nelson, Hank Snow, Waylon Jennings, B.B. King, Tom Jones, Jerry Lee Lewis, John Denver, Bobby "Blue" Bland, and of course Kenny Rogers and The First Edition.

Newberry was primarily known for his country songs, many of which explored dark themes and undertones. The lyrics and music in a more psychedelic laced "Just Dropped In" is believed to reflect the the effects of LSD, and was written to warn off potential users of the drug. With the mesmerizing intro of Beatles-like backwards looped guitar chords and the contorted and mashed guitar playing of Glen Campbell, the song may have made people even more excited about the drug's allure and nature. The idea seems pretty solid, given the interpreted dream sequence in "The Big Lebowski" that features the tune, as seen here (film clip may contain some stuff little kids probably shouldn't see or hear just yet):



Despite "Just Dropped In" being out of the ordinary from the typical polished country harmonies The First Edition was known for, the song managed to be a top 5 hit for the band in 1968, their highest reaching single of the band's existence. Rogers also claimed Jimi Hendrix said 'it was his favorite song of all time.'

On the flip side to "Just Dropped In" a very contrived Mamas & The Papas-sounding "Shadow In The Corner of Your Mind" tune is one of those songs that permeates typical AM Radio playlists, a folk-y rock tune that isn't entirely bad, but really doesn't deserve to be the B-side to the awesomely psychedelic "Just Dropped In". With all it's worthwhile harmonies and jangly acoustic guitars and tambourine, "Shadow" ends up falling flat, like a discarded 'could be' theme song for the Monterrey International Pop Festival. A first-time listener might even suspect it's a different band all together and want their money back.

"Just Dropped In (To See What Condition My Condition Was In)", for all intents and purposes, should have been a single MONO A-side/STEREO B-side release without "Shadow In The Corner of Your Mind" ever seeing light of day. The lead guitar parts sound spectacularly mind blowing in either mix, and Rogers' vocals give the song a rocker's authority obviously not present on any of his other records. However, despite the lack-luster dribble that is "Shadow", "Just Dropped In" will go down in history as one of the finest recording achievements ever committed to wax, and will forever be synonymous with Jeffery Lebowski, AKA 'The Dude'. I honestly don't know if T-Bone Burnett could have chosen and saved a more perfect song for pop culture history.

And in case you were wondering, yes...this record really does tie the room together.

RECORD NOTES | "Just Dropped In (To See What Condition My Condition Was In)"

Released: 1968
Song Credits: "Just Dropped In" - Newbury | "Shadow In The Corner of Your Mind" - M. Settle
Personnel:

Kenny Rogers (Vocals, Bass Guitar)
Mickey Jones (Drums, Percussion)
Terry Williams (Guitar, Vocals)
Mike Settle (Guitar, Backing Vocals)
Thelma Comacho (Vocals)
Glen Campbell (Lead Guitar)
Mike Deasy (Lead Acoustic Guitar)

SIDE A: 3:20
SIDE B: 2:52

Art of the Cover Pt.3 | The Single

The Single. The 45 RPM Record. The 7". The little record that could goes by all these names, and refers to the size of this small wonder, usually featuring anywhere from two to four songs over both sides. Everything about the single is perfect: the size, the shape and the allowable length at which can play music. What's also perfect and brilliant about the single? The cover and the label.

From a designer's standpoint the 7" single has an amazing allure. It's a magnificent format one can hold in their hands and stare upon relentlessly and hypnotically. They are portable, framable and to people such as myself, inspire countless artistic creations.

Picture sleeve singles, such as the Sex Pistols single pictured above and The Rolling Stones single to the right, are the most desirable amongst music fans and collectors. They are the visual masterpiece that usually best represents the songs contained behind those paper walls. They liven up any record collection without a doubt. Most 7" singles seem that much more magical with an accompanying picture sleeve.

There have been some fascinating and well designed picture sleeves created over the years, for both big name bands and bands no one has ever heard of. Some of the best and personal favorite picture sleeve singles, in my opinion, have always come from outside the USA, like this Rolling Stones "Street Fighting Man" release from West Germany (yes, that West Germany.) Maybe those designers have always been a little more hip when designing their record sleeves. Of course, those picture sleeves are harder to obtain because they are imports, but I believe collectors also flock to these types of singles because of their covers.

When you pull back the curtain of the cover and reveal the single itself, often times the label of the record itself is so beautiful and glowing, like holding a brick of Ft. Knox gold in your hands.

There are two distinct record labels that come to mind that knocked their designs right out of the parks, and that distinction goes to The Beatles' Apple Records and Sam Phillips' Sun Records. These label designs are the 'Coca-Cola logo' of records. They are perfectly designed in every way, and when you look upon the record label you know you have something special about to hit the turntable. Both record labels prove that time and time again. Instinctively, both The Beatles and Sam Phillips knew their products were so great their record labels and picture sleeves had to reflect that.

I can't think of many other record companies from the golden age of vinyl whose label art alone captured the visual attentions of so many music fans than Sun or Apple Records. Of course, when I do some more digging, I'm sure I'll find something just a special as what these two giants had to offer.

Music and art go hand-in-hand, which is what makes the vinyl record such a treasure to begin with. They are the most accessible art form for every human being on this planet, and communicates to everyone beyond physical language and speech. In the record's visual context, the sleeve and the label design are integral to its communication with the human heart and soul.

As a record fan and collector, I'm always interested in finding the kinds of records that speak to me visually and audibly. While there are several publications about records that address this fact, I've lately been inspired to produce my own survey about some of the most graphically mesmerizing and fascinating vintage record labels and sleeves that have ever been produced.

I have within my own collection some great vinyl examples such as these pictured here, but I know I have a long journey ahead of me. I'm exited about the task of sharing my love of music and design with the public, so as the months roll on and the records keep piling in, this on-going project will prove to be a quite special one for me. I hope my readers out there will follow along as this project goes from concept to publication, the first of many books I hope to publish in association with Classic Waxxx.

What 7" masterpieces do you have in your collections?

Muddy Waters | "Unk" In Funk

It's been long disputed who is the actually 'King of the Blues', even more so when it comes to Chicago Blues. I like the blues no matter where it comes from, rich or poor, black or white, but no matter  who ends up taking the crown Muddy Waters will always hold one of the top spots in my record collection.

There's been some major staples in Muddy Waters' catalog over the decades, like "Electric Mud" and "Folk Singer", but this lesser-known jewel called "Unk" In Funk is another classic that deserves proper recognition.

At the time of the 1970s when the majority of Chess blues players were increasing the electric sound of their music, Muddy Waters was going back to a more stripped-down sound on his records, where the bass, drums, harmonica and vocals really led the ship. Though Waters had already been doing the 'electric thing' with the blues in the late 1960s, this later version of Waters really put his sound back in the country.

"Unk" is a fantastic little record of some of Water's best recordings. It opens up with the shark-sized guitar hook of "Rollin' And Tumblin', the only predominantly electrified recording on the entire record. "Electric Man" and the "should-have-been-jukebox-favorite-of-everyone" "Katie" serves up pure signature Chicago Blues with the help of Carey Bell Harrington on harmonica and the late Pine Top Perkins on piano.

Many of the tracks on "Unk" are classic Waters  recuts, like "Trouble No More", along with new songs like the blistering "Waterboy Waterboy", and covers such as "Everything Gonna Be Alright" and "Just To Be With You". The legendary Paul Oscher lends his harmonica to the title track, while drummer Willie "Big Eyes" Smith keeps the funk alive and well for the rest of the band to follow along flawlessly.

"Unk" has seen release on CD by Hip-O Select/Geffen Records back in 2006, but other than some sound remastering for digital release there isn't much to the CD version. Not even decent liner notes to speak of. An album of this importance to Water's catalog at least deserves proper care and attention when reissuing.

As I've said time and time again Muddy Waters was meant to be heard on vinyl. If you want that "I feel like I'm actually in a juke joint and having the best time ever" vinyl is the way to go, especially when the volume is turned up to 11. Should you want to at least prime your palette before taking on the task of locating "Unk" on vinyl, you can preview the album online here.

Muddy Waters recordings from the 1970s definitely hold their own against the rest of his enormous catalog of classic hits, including the rarely heard numbers. It should be every music fan's duty to really dive into and experience the treasure trove of music by such an important figure in American music. And if you like what you hear on "Unk" may I also recommend the "Muddy Waters Woodstock Album" that was released the following year, in 1975. Many of the same musicians can be heard on both albums, including some great musicians you know well and love, like The Band's Garth Hudson and Levon Helm, Paul Butterfield and Bob Margolin.

Perhaps the public will see "Unk" with a proper reissue, either on CD or perhaps a heavyweight 180g LP. With the growing popularity of vinyl these days it would be a dream come true to see more people with access to Muddy Waters on vinyl. Until that time comes, get it how you can...

ALBUM NOTES | Muddy Waters "Unk" In Funk

Released: 1974
Chess Records CAT# Stereo CH 60031
Song Credits: Various
Recorded: Chess Records Studio - Chicago, Ill.
Engineer: Malcom Chisholm
Producer: Muddy Waters
Personnel:

Muddy Waters (Vocals/Guitar)
Pinetop Perkins (Piano)
Luther Johnson (Guitar)
Bob Margolin (Guitar)
Carey Bell Harrington (Harmonica)
George Bufford (Harmonica - "Trouble No More" and "Everything Gonna Be Alright")
Paul Oscher (Harmonica - ""Unk" In Funk")
Calvin Jones (Bass)
Willie "Big Eyes" Smith (Drums)

SIDE ONE: 16:33
SIDE TWO: 12:09

Ella Fitzgerald | Ol' Man Mose (Single)

The other day I sat in a used book and record store with a friend of mine, and we sifted through stacks and stacks of used 7" singles, curious to see what sort of gems we could walk away with. After spending what seemed like several hours looking through all of the records, like grubstakers panning for gold, I found this beautiful Ella Fitzgerald single with a Verve Records label, a label synonymous for producing incredible blues and jazz records. I didn't even pay attention to the songs on the record, I just instinctively knew this record had to come home with me. Thankfully, I managed to find a few other Fitzgerald singles on this trip, which they too, found a new home.

As I got home with my loot, the Fitzgerald single was one of the first records I played. Boy, did I hit music gold! The live renditions of the Louis Armstrong penned tune "Ol' Man Mose" and "Bill Bailey, Won't You Please Come Home" sounded absolutely amazing. Never had I heard such sounds come from my speakers. Fitzgerald belts these tunes with such austere authority that it is evident she was born to sing these songs, and exudes an all-time level of confidence during the peak of her career.

Upon doing some further research, these live recordings were part of her live stint at The Crescendo, a tiny club in Los Angeles, California, during 1961-62. Verve Records founder and Fitzgerald manager, Norman Granz, culled some of the recordings from the collection of tapes and released "Ella In Hollywood". Unfortunately, the record was a commercial success, but was panned by critics for the over-dubbing of concert hall applause throughout the record, making it sound fake and artificial. Thankfully, in 2009 the four CD box set of "Ella Fitzgerald: Twelve Nights in Hollywood" saw release of most of Fitzgerald's intimate live material from The Crescendo, restoring the sound of the original small club crown noise and applause (read the original New York Times article here.)

What makes this 7" single special is that the two songs contained herein did not appear on the original "Ella In Hollywood" release, which has been out of print now for some time. The single gave the fans and audience just a small additional taste of those live recordings. However, the 'fake' concert hall audience is not present on the single, and turned up at full volume, makes you feel like you are right there in the smoky club sitting next to Glen Miller and Duke Ellington, who were spotted on occasion in the crowd during these live performances.

Even though the "Twelve Nights In Hollywood" CD box set includes the two numbers from the 7" single, both versions are completely different from one another, making the vinyl single that much more important in terms of hearing everything that has been officially released.

The joy and sass Fitzgerald commands in these recordings, with the Paul Smith Trio setting the pace makes this some of the most exciting jazz my young ears have heard to date. Though I'm enjoying my run of replacing my CD collection with vinyl records where I can, the "Twelve Nights In Hollywood" box set is definitely worth investigating further, especially if just these two songs can command my attention as they have. Imagine what the rest of those recordings from The Crescendo have in store for my ears. Records like this make spending hours in a record store worth every single minute, as you never quite know what sort of musical treasure you will likely unearth.

RECORD NOTES | "Ol' Man Mose" b/w "Bill Bailey, Won't You Please Come Home"

Verve Records CAT# VK-10288
Released: 1962
Song Credits: (Ol' Man Mose - Armstrong, Randolph) / (Bill Bailey - Fitzgerald, Smith, Middlebrooks, Levey)
Recorded: Los Angeles, CA
Personnel:
Ella Fitzgerald (Vocals)
Paul Smith (Piano)
Wilfred Middlebrooks (Bass)
Stan Levey (Drums)

SIDE A: "Ol' Man Mose" - 4:05
SIDE B: "Bill Bailey, Won't You Please Come Home" - 2:23

Willie Nelson | (Live) I Gotta Get Drunk

In my opinion, few Texas musicians command the kind of following and attention that Country Music troubadour Willie Nelson does. Dare I say 'Willie' is his own religion? And the gospel of Willie's church is his many songs about heartbreak, boozin' and lament? They are themes in which his numerous followers are all too familiar, year after year, and the collection of songs here on "Willie Nelson Live: I Gotta Get Drunk" prove it once again.

This 1976 LP released by Willie's then label, RCA, originally produced this collection of live recordings in 1966, which had the title "Country Music Concert". These songs were recorded on July 5th at Panther Hall in Ft. Worth, TX. The noticeable differences in the two recordings is the song "Night Life" was left off this reissue and replaced by a studio cut  of "I Gotta Get Drunk." However, the song was recorded three years after "Country Music Concert" was released, and crowd noise was mixed in to make the song sound like part of the original performance, a practice that has been standard for many years in the record business (sneaky buggers.)

The second (and major difference, of course) being Willie did not have his signature long red hair and bandana in 1966, so the obvious move was to also update the album's cover with a more 'throughly modern Willie' (pun intended.)

I'm not quite sure why this version of the original album needed releasing, other than making people hip to more of Willie's live recordings, or to have an excuse to release the song "I Gotta Get Drunk" on record. Perhaps the label wanted to do what most record companies have been doing for decades, repacking old material with new cover art to make the consumer believe they are getting something new? The speculations are numerous. "I Gotta Get Drunk" could have easily been released as a single, but it does fit in well with the other songs, thanks to the magic of dubbing in crowd noise and applause.

Regardless of the reasons for reissue, the record is quite enjoyable, from the various sad-bastard medleys to Willie's clever and touching cover of The Beatles' "Yesterday", complete with witty pre-song banter. The musical offerings continually flow from one song to the next like Lone Star Beer from an ice cold pull tab can. Before you know it, it's time to flip the record over in order to crave more.

These recordings did see release in digital form in 1998 by Bear Family Records, restoring three songs from Willie's 1966 performance that were not included in either vinyl release. It would have been great to hear those missing selections ("I Love You Because", "There'll Be No Teardrops Tonight" and "I'm Still Not Over You") since Willie fans can never get enough of a good thing, but mostly because the closing of the last track feels a little empty without obvious closure from the crowd or emcee. It becomes quite evident to the listener that there is more to hear from this performance.

The cliff hanger ending of the "Live" LP might just have been the appetizer for what was yet to come, leaving Willie's devout followers anxiously awaiting future album releases, live or studio.

Original 1966 release

Nelson had stated in his autobiography "Country Music Concert" sold well in Texas, but didn't do much in the rest of the country, so perhaps "Live" is RCA's attempt to re-introduce Willie's 1966 show at Panther Hall to the growing and ravenous audiences he had finally acquired. Despite the fact this album lacks a real sense of an ending, and could possibly go on for another 30 plus minutes imaginatively, these few recordings are important in showcasing a young and very gifted Nelson in an important country music venue during its hey day. Though Panther Hall closed in 1978, the legend of this show still permeates on and off record.

Long time Willie disciples, and newcomers much like myself, are fortunate enough to be able to experience recordings such as this, even if we weren't around to experience the music first hand. From that point of view, I'm sure most of us could care less if the Willie album we are about to embark on is repackaged for our consumption. The good news is is that we know the content inside is just as good as ever. Of course, do us devout followers a favor and give us a little something totally new. We'll keep coming back for more and will happily spread the gospel.

ALBUM NOTES | Willie Nelson Live "I Gotta Get Drunk"

Released: 1976
RCA Records CAT# APL1-1487
Song Credits: Various
Recorded: Ft. Worth, TX 1966 (Original Recordings)
Engineer: Al Pachucki

Personnel:

Willie Nelson (Guitar, Vocals)
Johnny Bush (Drums)
Wade Ray (Bass Guitar)

SIDE ONE: 19:24
SIDE TWO: 14:26