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Today I was a guest on “The Good, the Bad, and the Ugly,” DJ Greg Lyon’s radio program on Asheville’s 103.5 FM WPVM. The Great Society’s version of “Sally Go ‘Round the Roses” is proto-krautrock.

Here’s our playlist:

Artist Song Album Label New
Gene Clark So You Say You Lost Your Baby Flying High
The Great Society with Grace Slick Sally Go ‘Round the Roses Conspicuous Only Its Absence Columbia
Sir Victor Uwaifo Dododo (Ekassa Number 1) Guitar Boy Superstar 1970-76 Soundway *
Citaumvano Lamnandi Ugolohlano (It Fetched This Person) Siya Hamba! Original Music
Derrick Laro and Trinity Don’t Stop Till You Get Enough VA – Hustle! Reggae Disco Soul Jazz
Lancelot Layne Yo Tink It Sorf? VA – Calypsoul Strut *
Lee $cratch Perry Fire Repentance Narnack *
Ginger Baker’s Air Force Da Da Man Ginger Baker’s Air Force
Jennifer Cardini Static – Sometimes I’m Sad for a Few Seconds/Rework – Love Love Love Yeah Feeling Strange Kompakt
Einstürzende Neubauten 4.13 für den Untergang 7″
Einstürzende Neubauten 26 Riesen The Jewels Potomak *
The N4 N4 VA – Snatch Paste Vinyl on Demand
Brian Eno & The Winkies Baby’s on Fire Dali’s Car
Eddy Current Suppression Ring Sunday’s Coming Primary Colours Goner *
Vigil-Anti Foetal Position VA – Go and Do It: The Aberrant Compilations Small Axe
Razar Money VA – Murder Punk Vol. 1
King Brothers Super X 7″ Bulb
Shit & Shine Honestly Don’t Cherry *
Kosmonautentraum Kosmonautentraum Nr. 8 Liebesmuhn Zick Zack
Red Asphalt Red Asphalt VA – Homework no. 2 Hyped2Death
Muleskinner Mule Skinner Blues Muleskinner Ridge Runner

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(This show preview originally appeared in the Seattle Weekly.)

In the late ’60s, Van Morrison, Joni Mitchell, and Laura Nyro were the first singer songwriters to open up folk music to uptown jazz, soul and R&B. Their innovations spawned a legion of followers, including one Phoebe Snow, who has always straddled the line between soft pop and smooth jazz better than most of her peers. Her mind-blowing voice deserves a lot of the credit. Delicate but never laid back, Snow turns phrases like a nightclub veteran, not some amateur folkie. In fact, she’s one of them Frank Sinatra-types who could sing the phone book and still sound great. Of course, versatility is a double-edged sword. Because Snow defies simple genre identification, she will forever be a cult artist. But hey, I’d rather party with Phoebe Snow than Anne Murray any day.

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(This post originally appeared on my other blog Strawberry Flats, which was dedicated to my love of roots music.)

While driving through the Great Smoky Mountains today, my MP3 player spit out John Hartford’s rendition of “Turn Your Radio On,” from his 1971 stoner-bluegrass landmark, Aereo-Plain. Albert E. Brumley, a legendary composer and son of a sharecropper, wrote the southern gospel tune (he also penned “I’ll Fly Away”). After an eight-mile hike in this glorious part of the country, where massive folds of earth pull you into a never-ending canopy of green, the hymn was far more than just Christian music; it was a kind of prayer to the nature surrounding me. Lines five through eight totally nailed it: “If you want to want to hear the songs of Zion/ Coming from the land of endless spring/ Get in touch with God (get in touch with God)/ Turn your radio on.” The alternate reading then freed my mind to ruminate on additional interpretations, which led to Dr. Leary’s “Turn on, tune in, drop out.” Sure, it’s been a stone-cold clicheaereo-plain since the 1970s, but that didn’t matter. The connections were too interesting — the idea of tuning in something be it God or nature or that higher perception that’s a part of the LSD experience. It didn’t really matter. It was all the same for that brief moment. It all congealed into one of those WOW moments.

The Christian angle in particular blew my mind. That’s definitely a product of my recent relocation to Appalachia. Out in California, where I used to live, country-hippie culture is far removed from Christianity; it has created a new set of religions and deities. Down here, however, churches are everywhere and Jesus is still no. 1, even for many liberal heads who you would assume harbor serious issues with Christianity — and they probably do in many ways. At the same time, there exists here a deep respect for the music, rituals and spiritual essence of the Christian religion. Hartford and the progressive bluegrass movement he helped spawn in the South in the early ’70s is the perfect example. These guys, deeply influenced by the Grateful Dead and groups like Dillard & Clark, were tuning in, growing beards and smoking weed. But instead of following them West Coast hippies into esoterica and Eastern mysticism, folks like Hartford stuck with the religion of their youth, rediscovering the mysticism embedded in the country gospel music of Brumley, the Stanley Brothers, Flatt & Scruggs, Bill Monroe, etc.* This is why Aereo-Plain can go from “Turn Your Radio On” to “Holding,” a song about scoring weed, amazingly enough. This is Christian music — no doubt about it. But it has more to do with the Gnostics than Southern Baptists.

Come and listen in to a radio station
Where the mighty host of Heaven sing
Turn your radio on (turn your radio on)
Turn your radio on (turn your radio on)
If you want to want to hear the songs of Zion
Coming from the land of endless spring
Get in touch with God (get in touch with God)

Turn your radio on (turn your radio on)
Turn your radio on (turn your radio on)
And listen to the music in the air
Turn your radio on (turn your radio on)
And glory to share (glory share)
Turn the lights down low (lights down low)
And listen to the Master’s Radio
Get in touch with God (get in touch with God)
Turn your radio on

Brother, listen in to the gloryland chorus
Listen to the glad hosannahs roll
Turn your radio on (turn your radio on)
Turn your radio on (turn your radio on)
Get a little taste of joys awaiting
Get a little Heaven in your soul
Get in touch with God (get in touch with God)
Turn your radio on
Turn your radio on (turn your radio on)
And listen to the music in the air
Turn your radio on (turn your radio on)
And glory to share (glory share)
Turn the lights down low (lights down low)
And listen to the Master’s Radio
Get in touch with God (get in touch with God)
Turn your radio on

Listen to the songs of the fathers and the mothers
And the many friends gone on before
Turn your radio on (turn your radio on)
Turn your radio on (turn your radio on)
Some eternal morning we shall meet them
Over on the Hallelujah Shore
Get in touch with God (get in touch with God)
Turn your radio on (turn your radio on)

Turn your radio on (turn your radio on)
And listen to the music in the air
Turn your radio on (turn your radio on)
And glory to share (glory share)
Turn the lights down low (lights down low)
And listen to the Master’s Radio
Get in touch with God (get in touch with God)
Turn your radio on

Notes:
*You could say Jerry Garcia, on some level, was doing the same thing, but there were key differences. Although he played bluegrass, even helping invent its progressive offshoot, he wasn’t a Southerner weened on Jesus. His brand of spirituality was informed primarily by the Acid Tests. That was his religion. Garcia spoke of the self and human consciousness in a mixture of quasi-scientific terms and mystical speak — proto-new age, basically.

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(This post originally appeared on my other blog Strawberry Flats, which was dedicated to my love of roots music.)

Perfect Sound Forever has published a sprawling feature on Lowell George. JP Gelinas’ profile relies heavily on two books: Rock and Roll Doctor, Mark Brend’s bio on the guitarist, and Bud Scoppa’s The Little Feat Saga. I’ve read neither, so Gelinas is dropping some knowledge. And that’s needed. I’ve spun the band’s first two albums endlessly since the summer of 2005, yet I still know very little about George and his band mates. If you haven’t even made it that far, might I suggest tracking down copies of Little Feat and Sailin’ Shoes. Recorded before the funky sounds of New Orleans changed George’s aesthetic, these albums boast a wonderfully quirky takes on roots rock. I’m convinced — even though Gelinas doesn’t provide any supporting evidence — that George was a fairly pivotal influence on Gram Parsons, as well as the Stones from Exile on Main St. to Black and Blue. The latter would make sense considering George was pals with Ry Cooder, who claims Mick and Keith ripped him off during the making of Let It Bleed. Back then the Stones were really digging West Coast rock, it seems.

Because Little Feat’s first two records didn’t sell particularly well, most of the footage and live recordings out there capture the band during its far more popular NOLA-inspired sound. I did, however, find a YouTube clip of the group jamming “Cold Cold Cold” from Sailin’ Shoes, originally released in 1972. It’s a few years after the album’s release, but the performance still gives you a sense of the band’s early sound.

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(This post originally appeared on my other blog Strawberry Flats, which was dedicated to my love of roots music.)

Hollywood could never, ever make a film that captured 1972-74 quite like this photo. Nor could some Brooklynite, his credit card and the local vintage clothing store. I came across it while recently searching the Web for some other stuff. Brewer & Shipley look both awesome and utterly ridiculous. They bridge the divide between California hippie and California cocaine smuggler. Which is actually indicative of the band’s evolution during the decade. As you know from my recent interview, I’m a big B&S fan. Lately I’ve been obsessing over this one tune in particular called “Shake Off the Demon,” a minor hit in 71. Although the duo wasn’t a first tier rural rock act like CSN&Y and the Flying Burrito Bros., they were more successful than most of their granola peers when it came to finding common ground between rustic folk vibes, bubblegum fun and the snowy glitz of glam. “Shake of the Demon” is like earlier Brewer & Shipley: funky country-folk with soaring harmonies and acoustic guitars. But it also has an incessantly pounding piano and this frosty, balls-to-the-wall production. Plus, Quicksilver’s John Cipollina adds some killer guitar. So yeah, it’s some kick-ass rock ‘n’ roll. “One Toke Over the Line” is good, but this is better. The only other jams I know of that go for a similar sound — country glam? — are the Nitty Gritty Dirt Band’s update of Buddy Holly’s “Rave On” and Muleskinner’s over-driven reworking of “Mule Skinner Blues.” And, of course, there’s the grandaddy of them all, the debut album from Crazy Horse, released the same year as “Shake Off the Demon.” Now that’s a killer chunk of country glam as well.

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