Richie Havens | Electric Havens

Record junkies, fans and ravenous collectors, take note: used record stores are your best friends, especially if the vinyl on hand is extremely affordable. Sometimes these places make it difficult to not walk out of there without spending fist-fulls of cash, or spending your entire day sifting through record after record. However, chances are the search is entirely worth it if you find something worth looking for.

Just this week after hitting up one of my local Half Price Books I found this gem of a Richie Havens record, "Electric Havens," which I have never seen before, nor new existed. Oddly enough, there were three copies and I picked the cleanest one the store had. It's a curious little record, one that doesn't seem to have much info about, except for a blurb here and there on the net.

"Electric Havens" technically is Richie Havens' second album, though it mostly consists of his early demos with a full electric band overdubbed. Released on the Douglas International record label, this LP saw release prior to Havens signing with Bob Dylan's manager, Albert Grossman, and landing on Verve Records. Probably the reason why there isn't much info on "Electric Havens" is that the album supposedly wasn't to see light of day, as Havens had the record pulled from the shelves shortly after, probably due to the treatment of the overdubs on his original demos. However, the record actually is quite interesting and works well on the level of being something that sounds like it was recorded live in the studio in one or two takes. The timing of the session band sounds slightly off in some places, like his cover of Dylan's "Boots of Spanish Leather", but there still resides a charm in the electric version that would be lost with the acoustic demo alone.

Havens, even in these early first recordings, has an austere vocal presence that earned him popularity and fame at Woodstock, and has served him well throughout his long career. Primarily, these recordings serve as a document of the traditional music Havens might have been performing in the club scene in early-mid 1960s. Another Dylan cover appears here, "Oxford Town", which has a dark bluesy feel to Dylan's quirky and upbeat original. Of course, Havens would go onto record a number of Dylan's songs throughout the years and constantly and consistently make them 'his own.' Several of the songs presented here deal with the subject of a lonesome traveler, like "900 Miles", "I'm A Stranger Here" and "3:10 To Yuma" which fits in well with the earthy blues and folk sound provided by the anonymous backing band.

It's a real shame more of the world doesn't have easy access to these recordings. In fact, the album never saw release on CD, assuming Havens still wanted to keep it locked away in his vaults. Thankfully, few vinyl copies have escaped for our listening enjoyment. I'm reminded of the two demo albums by Tom Waits that saw release after he came onto the scene; another instance where those recordings were not intended for commercial release. I'm glad they were, however, as they are some wonderful, heart-felt and honest recordings, like I find "Electric Havens" to be. My only complaints about this LP is the lack of info about the contributing musicians, the some-what boring cover art and that the record is entirely too short. But hey, what are you gonna do? We're lucky to have what we have.

ALBUM NOTES | Richie Havens "Electric Havens"

Released: 1968
Douglas CAT#: SD-780
Recorded: New York City, NY
Song Credits: Various
Producer: Alan Douglas
Personnel:

Richie Havens (Vocals, Guitar)
Additional Contributing Musicians Unknown

SIDE ONE: 13:41
SIDE TWO: 16:19

Jethro Tull | A

Being a Jethro Tull fan for a number of years now I can honestly say the album "A" is sort of the 'odd duck' in the band's early catalog. "A", which was originally intended as band leader Ian Anderson's first solo record, became the band's 13th studio album in 1980, and has been met with much controversy and criticism with casual and die hard Jethro Tull fans for years.

Since the late 1960s Jethro Tull had been synonymous with blues, folk and progressive 'art' rock, which made the albums "Aqualung", "Thick As A Brick" and "A Passion Play" some of the band's most critically acclaimed records in music history. At first listen, "A" seems like a completely left field record from the rest, since the synthesizer is quite the predominant instrument throughout, ushering in what would be the signature sound of 1980s pop and rock music. However, there are subtle similarities to Tull's earlier catalog with Anderson's distinctive flute and vocal sound and guitarist Martin Barre's strategic handling of the electric guitar, despite having had undergone a drastic lineup change just prior to the recording of this album.

Like with most Jethro Tull albums there is always a central theme throughout the album's collection of songs, so it would seem fitting that "A" would be centralized around work and the perils that lie within the doldrums of a mundane work existence.  The track "Working John, Working Joe" deals with the idea of working like a slave as much as the next fellow, only having to pay a higher price for success with 'ulcers and heart disease', while 'Black Sunday' gives the sense of a world gone mad when the workforce completely disappears and all is in disarray. "Uniform" conjures up a visual of the distinct clothes we all wear in our everyday servitude to our work life, 'like clones' parading down the streets, 'so smartly dressed.'

Of course, a maybe not-so-obvious secondary theme that courses through the veins of the record is the Cold War that was still raging at this time. The track "Flyingdale Flyer" is about a moment when the USA had a glitch with their missile defense systems and thought the Russians had fired upon them. According to Anderson, 'the song is from the point of view of the Flyingdale Early Warning Station in Yorkshire. They figure the the missile is halfway to America by now, so there is some time left to discover if the threat is real or not.' (I suppose we all know how that story would have ended if the threat was actually real.)

Visually, the album's front and back covers suggests more about the latter theme of the record, the entire band dressed in what appears to be white radiation-like suits sitting at a (probably then) state-of-the-art defense command control panel, or so it seems. Great Scott...I do wonder, however, if the album's cover art inspired Steven Spielberg when working on "Back To The Future?"

All joking aside, "A" is actually a culturally and socially significant commentary on politics and career life, even if you find the electronic sound scape to not be quite to your liking. Though Anderson broadens his musical vision and experimentation with "A" he never wavers on his sharp, biting and smart lyrical writing.

I've always found Ian Anderson to be a bit of a musical and lyrical visionary, and perhaps most of the harsh critics of "A" weren't really ready to hear this album for all its intents and purposes. I believe music finds the listener when the time is right. No one can ever be force to take in music they aren't ready for. Though, I feel electronic music is a bit dated, and maybe "A" is still well ahead of its and our time. On the other hand, the themes of work life and war are all still relevant, more so today than ever, which leaves this album in a strange musical limbo that will always be debated for several more years to come.

I guess all there is left to say is "Get back to work."

ALBUM NOTES | Jethro Tull "A"

Released: 1980
Chrysalis CAT#: CHE 1301
Song Credits: Ian Anderson; Additional Material by Eddie Jobson
Recorded: Maison Rouge Mobile and Maison Rouge Studios - London
Producer: Ian Anderson, Robin Black
Personnel:

Ian Anderson (Flute, Vocals)
Martin Barre (Guitar)
Dave Pegg (Bass)
Mark Craney (Drums)
Eddie Jobson (Keyboards, Electric Violin)

SIDE ONE: 19:12
SIDE TWO: 21:28

Canned Heat | Boogie With Canned Heat

This week marks the 42nd Anniversary of Woodstock, 'an aquarian exposition' music & art festival that took place on a small dairy farm near Bethel, NY. Over a half million people bore witness to hear and experience 32 acts over the course of four days (August 15-18, 1969), which completely defined a generation, as well as being one of the most pivotal and peaceful moments during the tumultuous 1960s. It also served as one of the most important moments in music history.

Of all the bands and musicians from the festival I wish I could have seen perform is Los Angeles based Boogie n' Blues band, Canned Heat, one of the most interesting and entertaining bands of all time who were deep seeded in early Country and Chicago blues.

If you've ever seen the 1970 Michael Wadleigh documentary "Woodstock" you are no doubt familiar with Canned Heat's song "Going Up The Country", which became the unofficial anthem for the festival. Unfortunately, as popular as the song became, it is not indicative of the sound of the band, which I was pleasantly surprised to discover some years after first seeing the documentary film, not really knowing much about the band.

Prior to the band's appearance at Woodstock they released their second album "Boogie With Canned Heat", which features the band's break-out hit "On The Road Again" on side one, a re-worked version of an obscure blues tune by Floyd Jones. The song became a number one hit for the band in several music markets around the globe, and eventually put the first blues song at the top of the US charts. Also on the first side of the record is the tune "My Crime", which details the band's arrest in Denver, CO over drug charges, and eventually led to the band earning the moniker of "The Bad Boys of Rock." Nonetheless, their reputation for being fantastic musicians is evident on "World In A Jug" with a blend of blues, fuzz and psychedelic slide guitar work by Alan Wilson and Henry Vestine, as well as "Turpentine Moan" which guests legendary bluesman Sunnyland Slim on piano.

Side two of "Boogie" opens with "Amphetamine Annie", a drug abuse story about a friend of singer Bob 'the Bear' Hite, and ironically, ended up being one of the first anti-drug songs of the 1960s. Alan Wilson's "An Owl Song" perks things up even more with a little bit of brass and blues B.B. King style, showcasing Wilson blowing a seamless Chicago-style harp. Being known as a band that covered much of other blues artist's material, as well as sneaking in original compositions here and there, Canned Heat wraps up the record with "Fried Hockey Boogie", featuring a very familiar John Lee Hooker "Boogie Chillin'" guitar riff throughout. It also sounds like a reprisal of "On The Road Again" if you are listening closely. The band, however, really breaks loose in the musical air space, giving each musician his own chance to shine and show listeners that this isn't just your average or ordinary blues band.

So you can see for yourself, here is a rare clip of Canned Heat from 'Woodstock' that didn't make the original cut of the film's release, performing "I'm Her Man", which I can say in all honesty even I haven't seen prior to this write-up. Additionally, here is their performance of "On The Road Again" should you desire seconds.





As always, I profess the music spoken about on Classic Waxxx is best enjoyed on vinyl, as sound is important to the entire experience. For Canned Heat, trying to find their catalog on CD has always proved to be a bit of a challenge. You'll have better luck finding all the old albums on LP. However, some instances of CD purchases are warranted, like the "Woodstock" soundtrack and subsequent anniversary box sets, which feature material previously unavailable (which you probably won't see release on vinyl in the near future.) But, if the band's performance at Woodstock is any indication of how awesome they were (and still are), those who witnessed the band first hand indeed were part of something special, as the Woodstock festival reminds us year after year.

ALBUM NOTES | "Boogie With Canned Heat"

Released: 1968
Liberty CAT#: LST-7541
Song Credits: Various
Recorded: Liberty Studios - Los Angeles, CA
Producers: Skip Taylor, Dallas Smith
Personnel:

Bob 'The Bear' Hite (Vocal)
Alan 'Blind Owl' Wilson (Bottle Neck Slide Guitar, Harmonica, Vocals)
Larry 'The Mole' Taylor (Bass)
Henry 'Sunflower' Vestine (Lead Guitar)
Adolfo 'Fito' de la Parra (Drums)
Sunnyland Slim (Piano - "Turpentine Moan")

SIDE ONE: 19:59
SIDE TWO: 22.24

The Ramsey Lewis Trio | Bach To The Blues

Are you upset that you won't be seeing Don Draper & Co. returning to the small screen this fall? Yeah...me, too. At least we can all thank Netflix for streaming the first four seasons of "Mad Men" until Season 5 starts next year.

Even though I've seen all four seasons of "Mad Men" about a zillion times (so far), I can also get my Swingin' 60s fix from the Ramsey Lewis Trio and their incredible "Bach To The Blues" LP.

"Bach To The Blues" marks the original trio's 16th record outing, and one of four albums the trio would release in 1964. Five of the recordings on this album are based on classical music themes, most notably influenced by Rimsky-Korsakov's "The Love of a Princess", Rachmaninoff's "Misty Days, Lonely Nights", Tchaikovsky's "Dance Mystique" and Brahms' "You'll Love Me Yet." Of course, the title track owes the obvious debt to J.S. Bach. As Lewis would go onto say in the liner notes, "It takes hours and hours of training and practice to master the great composers, and regardless of your instrument or musical goal, the best route to competence is a solid classical background." By the time this record was released, the trio had been together for nearly 14 years, and thus from their interpretations of classical music, I'd say they have quite the handle on it.

The remaining four cuts are heavily influenced by the blues, like the funky piano-driven jam "Why Don't You Do Right" and "Travel On", where Eldee Young switches over to cello and Richard Evans guests on bass. You'll want to cling your cocktail glasses together for these songs, as these recordings sound and feel as though they were recorded in your favorite smoke-filled club.

The trio makes good on weaving in and out of classical and blues influenced Jazz melodies on this record, not to mention holding their own to other groups like The Modern Jazz Quintet, The Bill Evans Trio and the original Miles Davis Quintet (with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones.) No stone (or musical mood) is left unturned. Lewis makes note of the importance of the individual jazz musician having equal importance in the group, rather than being an accompanist, and because of this fact, and because each member in the trio has similar tastes and goals, "Back To The Blues" ends up being a success on many levels.

It's obvious on this record, as Lewis further points out, that 'satisfaction is gained in performing the classics more and more through technical accomplishment rather than creative, self-expression as in Jazz - the infant of the creative arts. The Jazz soloist must be an interpreter and composer." This record is not just for the Jazz, blues or classical fan, casual or otherwise. This is a record that documents just how well these three musicians feel, think, breathe and play as one, not to mention paying tribute to the cats that helped shaped their musical minds and creative freedom.

So, next time "Mad Men" goes on a seasonal hiatus it's good to know there are albums like this that can carry you through until your favorite show returns. Find yourself a copy of "Bach To The Blues", mix up an Old Fashioned or a Tom Collins and don't feel too bad there will be no Don Draper to swoon over this fall.

Oh, and by the way...you won't be able to find this gem on CD or iTunes. Just saying. Though, if you want to get a taste of what the Ramsey Lewis Trio is about, dip your toe in the water and check out their immensely popular 1965 album, "The In Crowd".

ALBUM NOTES | Ramsey Lewis Trio "Bach To The Blues"

Released: 1964
Argo CAT#: LPS-732
Song Credits: Various
Recorded: Chicago, IL.
Engineer: Ron Malo
Supervision: Esmond Edwards
Personnel:

Ramsey Lewis (Piano)
Eldee Young (Bass, Cello)
Red Holt (Drums)
Richard Evans (Bass - "Travel On" & "Peace & Tranquility")

SIDE ONE: 17:03
SIDE TWO: 17:24

Eric Clapton | Eric Clapton

Times are really tough for a lot of folks in the world, right now. I mean, where does one even begin to break up the black clouds circling overhead? How much more bad news can we, as a people, take in one sitting? I honestly don't want to know the answer to that question, but it is times like these that I can take refuge in my record collection, especially when my collection has this gem of an album by Eric Patrick Clapton. 

I'm sure by now most music fans are familiar with the guitar genius of Eric Clapton, via his unsurpassed talents with bands The Yardbirds, John Mayall & The Bluesbreakers and Cream. However, "Slowhand" has been recording critically and commercially successful album as a solo artist for nearly four decades, and his first self-titled LP proved (and still proves) that Clapton is indeed, God.

By all accounts "Eric Clapton" is a star-studded, all-nighter blues rock album that really introduced Clapton to the world, not only as a superb solo act, but also as a very gifted and emerging songwriter, as well. The collaboration and guidance of Delaney Bramlett (of Bonnie & Delaney) makes many of these recordings as some of the best booze and blues fueled music ever committed to tape, like the album's opener "Slunky", which sounds as loose and raw as the song title suggests. "Bad Boy" and "Lonesome And A Long Way From Home" are two wonderful horn-laden blues numbers cleverly disguised as what could be upbeat church gospel songs despite the lyrical cry of sadness and depression.

The record produced three major radio hits that still garner massive radio play today, like the J.J. Cale penned tune "After Midnight", which is the quintessential all night boogie song in my opinion, as well as "Blues Power" and the beautiful and endearing Clapton/Bramlett composition "Let It Rain". The all-acoustic treat "Easy Now", which should be a radio hit, as well, sees the start of Clapton's weakness for well-crafted ballads that would follow him to this day.

What I really love about this record is the fact that it is the precursor to Clapton's next band, Derek & The Dominos, as Clapton 'helped' himself to Delaney Bramlett's band for his own, and of course, rounding out the roster by throwing guitar genius Duane Allman into the folds. Both records ooze such a warm and glowing southern comfort that has rarely been captured by any other rock band of this or any era. I also love the insecurity in Clapton's voice in songs like "Lovin' You Lovin' Me" and "I Don't Know Why", as he felt unsure about his vocal ability at the time. You hear a very young man making an honest attempt at expressing himself the best way he can.

Like most classic and timeless records throughout the years, eventually they see some sort of expanded anniversary edition, which is what came of "Eric Clapton" in 2006. The original album was mixed and engineered by Tom Dowd, however the expanded deluxe CD edition features both the original Dowd mix on disc 1, and the previously unreleased Delaney Bramlett mix on disc 2, including some unreleased nuggets worth giving a listen. There are some interesting surprises between each mix, though sadly the expanded version has yet to see an official vinyl release. Real audiophiles will definitely want to enjoy this record on vinyl as well as the expanded CD version. Heck, even the casual fan will enjoy both versions, too.

Time and time again this album reinforces the idea of why I own records, why I spend countless hours and dollars building upon my record collection for those good and bad days ahead.  There are very few records that pass through your fingers and ears, redefining what it means to be a music fan and a human being making it through life. "Eric Clapton" is one of those records, and by the end it lets you know everything is going to be ok.

ALBUM NOTES | Eric Clapton - "Eric Clapton"

Released: 1970
ATCO CAT#: SD 33-329
Song Credits: Various
Recorded: Los Angeles, CA
Producer: Delaney Bramlett
Engineer: Tom Dowd
Personnel:

Eric Clapton (Guitar, Lead Vocal)
Rita Coolidge (Vocals)
Jim Price (Trumpet)
Bobby Keys (Saxophone)
Bobby Whitlock (Organs, Vocals)
Leon Russell (Piano)
Sonny Curtis (Vocals)
Jim Gordon (Drums)
Bonnie Bramlett (Vocals)
Delaney Bramlett (Rhythm Guitar, Vocals)
Carl Radle (Bass)
J.J. Allison (Vocals)
John Simon (Piano)
Stephen Stills (Guitar)

SIDE ONE: 21:12
SIDE TWO: 17:22

Top 10 Records of Summer

If you live in the south, especially Texas right now, you know how brutal Summer has been this year, probably one of the hottest in recent memory. Extreme drought, rolling blackouts, wild fires and dying vegetation and cattle seem to be making things quite miserable for everyone affected. From the looks of it, there is no relief in sight anytime soon. However, with that said there is no reason you still can't enjoy the remainder of the summer. There are plenty of days left to hang out by the pool, sip on an ice cold glass or two of lemonade (or beer, if you prefer) and listen to some of the best songs ever recorded for those lazy Summer days.

Like most people, I usually carry a list of 'top 10' songs or albums in my head at any given time, because you never know when you are going to be asked, "What's you top ten favorite...?" So, in honor of this 'effing triple digit heat of Summer, here are some of my 'Top 10 Records of Summer':

1. Sly & The Family Stone - "Hot Fun In The Summertime"
2. Jimi Hendrix Experience - "Long Hot Summer Night"
3. Eddie Cochran - "Summertime Blues"
4. Bob Dylan - "Summer Days"
5. Jethro Tull - "Summer Day Sands"
6. The Doors - "Summer's Almost Gone"
7. Big Brother & The Holding Company - "Summertime"
8. Sidney Bechet - "Summertime"
9. B.B. King - "Summer In The City" (much better than the Lovin' Spoonful original)
10. Frank Sinatra - "Summer Wind"

Of course, there are plenty of other 'Summertime' themed records out there that deserve honorable mention, like The Beach Boys' "All Summer Long", Nat King Cole's "That Summer, That Sunday" and The Who's cover of Eddie Cochran's "Summertime Blues." Of course, who could possibly forget John Travolta & Olivia Newton John's hit from the film, "Grease", "Summer Lovin'"?!? It's one of those catchy tunes that sticks with you until the bitter end.

So, no matter how extreme and oppressive the heat, just remember there are some great classics you can throw down onto your turntable while staying cool indoors. Before too long, after baseball season is over, and you've stuffed your face with all of the backyard bbq hot dogs you can possibly stand, you'll be playing Sinatra's "Autumn In New York", yearning for your scarf and sweater and forgetting all about the sweltering unpleasantness that 'was' the Summer of 2011.

Until then, what are your 'Top Ten Records of Summer'?

Ten Years After | Ssssh.

When one starts talking about the British Invasion, one of two things come to mind: 1) The American Revolution and 2) The Beatles, The Rolling Stones, The Kinks, The Who and every other hit rock n' roll band that came to America from the 'other side of the pond' in the 1960s. However, little do people realize that Alvin Lee and his band Ten Years After also hails as part of the musical British Invasion.

Now, I will admit that my knowledge of Ten Years After was quite limited, mostly limited to their one live performance of "I'm Going Home" from the "Woodstock" documentary in 1970, a performance I liked initially, but became bored with after subsequent viewings. But, suffice to say I'm happy to have acquainted myself with more of their catalog over the last couple of years, and my opinion has drastically changed for the better.

"Ssssh", the third studio album (forth album over all) from Ten Years After, is two full-length sides of essential rock from one of Britain's most semi-obscure bands, much in the sound vein of The Small Faces, Johhny Winter and Joe Cocker's 'Grease Band' thrown in for good measure. "Ssssh" grabs your attention from the start, not with any kind of blues guitar hook or three-chord riff, but with the sounds of a milk-starved kitten (produced by Lee on guitar) which always seems to trip my own cats out when playing on the stereo. Immediately, within a split second the album's opening track "Bad Scene" kicks open your door like a frantic mailman, just wanting to get out of the cold and deliver your package. "Two Time Mama" relaxes things just a bit with some interesting blues slide work on what sounds like an electrified National steel body guitar, warning 'don't you two time me.'

Side One wraps up a nice little blues homage package with "Stoned Woman" and a rocking Sonny Boy Williamson cover of "Good Morning Little School Girl", a song that still makes me feel a little dirty after hearing it, with visions of Little Red Riding Hood and the Big Bad Wolf over and over again.

Side Two of "Ssssh" mixes things up just a tad with "If You Should Love Me", a song that sounds like a total precursor to the 1970s arena rock ballads we've come to know and love/loath, but really makes for a nice, lovely and warm AM Radio hit. Or, at least could have made the cut for the "Dazed And Confused" movie soundtrack. Pianist Chick Churchill breaks out into his inner 'Steve Winwood' on "I Don't Know That You Don't Know My Name", making the strange lyrical ballad (all 1:56 minutes of it) another worthwhile hit from the record. The blues kicks back into overdrive on the follow-up track "The Stomp", which sounds like a mash up of Booker T. & The MGs and the Jon Spencer Blues Explosion, with driving funk organs, which could make for the start of a killer album all on its own.

"I Woke Up This Morning" rounds out side two of the record, bringing the album back to the blues where it started, chock full of Leslie West (of the band 'Mountain') guitar riffs and Peter Green (of the original 'Fleetwood Mac'...when they were a bad ass blues band) vocal styling, making Ten Years After quite the original and chameleon-like band they've been known to be. Bassist Leo Lyons and drummer Ric Lee hold down a steady groove, while Alvin Lee tears up on the guitar solos.

It really is a shame that the footage released from the "Woodstock" documentary doesn't feature more of Ten Years After's live chops, as it is evident from this album alone they could hammer out the blues as well as the rest of them. Though subsequent live material has surfaced of the band on CD, nothing really holds a candle to what was pressed in wax in their hey day of the British Invasion.

ALBUM NOTES | Ten Years After "Ssssh."

Released: 1969
Deram CAT# DES 18029
Song Credits: Alvin Lee (except "Good Morning Little School Girl" by Williamson)
Recorded: Morgan Studios, London
Producer: Chris Wright
Engineer: Andy Johns
Album Photography: John Fowlie & Graham Nash
Personnel:

Alvin Lee (Guitars, Vocals)
Leo Lyons (Bass)
Chick Churchill (Organs, Piano)
Ric Lee (Drums)

SIDE ONE: 15:34
SIDE TWO: 16:40