S/D Southern Rock

steve morse is one of them thar vircheeeeosos. know what i mean, vern?

Totally.

The early Allmans are so unique. They have the chops, the soul, the grit, the love for exploration. They can sound like free jazzbo fire music, roadhouse blues, acid rock, southern soul, etc. etc. They can get so screaming heavy at times. Again, it so damn unique...at least, to these ears.

I mean, the Allmans, for me, also makes sense on a playlist with bands like Hawkwind, Can and other psych-era beasts.

Second show my 15-year old self ever attended was Blackfoot opening up for Foreigner ("Tour of the '80's"). I was stupid enough to go for Foreigner, but smart enough once I was there to realize how much better a band Blackfoot was.

The thing about Blackfoot is how fucking *heavy* they could be; different genre, sure, but they had a crunch worthy of Pantera, "Train Train" you know, but check out "Fox Chase" after Shorty Medlocke was done with the harmonica. To this day, I can hear traces of Blackfoot when Hank III gets all hellbilly.

And "Spendin' Cabbage" is a slow country blues that ranks with any of 'em--from Skynyrd, the Allmans, whoever.

I'll have to check all that out. Thanks.

There's a best of the Dixie Dregs album that would probably fit the bill. I had two albums. Both had one great number followed by rapidly diminishing returns. When I put them on I doubt if I ever listened to either all the way through. I remember one called "Punk Sandwich" which was probably on Night of the Living Dregs or something.

"Southern Gothic": def *not* R.E.M., but I'd say some of Janis Joplin's (carefully timed) psychodramas, and (country artists with morbid rock appeal)some of Freakwater's, Willie Nelson's "Half A Man," "I Just Can't Let You Say Goodbye," and some other early para-psychowestern/film noir glosses; ditto "Folsome Prison" etc-era J.Cash and Townes Van Z.;a lotta Dylan (Minnesotan, but meta-Southern like Fogerty, and come to think of it, Gregg Allman said he was put off by the Southern Rock hype because he thought all rock was basically Southern)Roky, Daniel Johnston, Jandek, Gov't Mule Not Gothic, but a handful,and a classic (however erratic): Doug Sahm. Still damn good (judging by a bunch of Instant Live sets and a recent set on Beale Street Caravan): Allmans.

Also, with some Southern Gothic themes (not always done right): Drive-By Truckers. Brighter Than Creation's Dark, despite dumbo title, is pretty darn good for the most part, though too long(but that means you can flush the duds and still have a good-sized keeper). Jason Isbell's Sirens Of The Ditch I called "b-movie beatitudes" in Voice and that still seems right (kid knows his Welty and his Zevon).

Big Star's Sister Lovers will be the last Southern Gothic I mention on this ol thread (which is probably dead, therefore Southern Gothic)

"southern rock band follow them into rock/improv/free jazz/classical//blues exploration?"

At least going by their first record, Sea Level went into an odd mix of jazz fusion and southern rock (definitely playing down the guitar), but of course it came out of the ashes of the Allman Brothers. It is a decent record and sounds very late 70s as it has that hi-fi 'sheen' in the production.

Coming from what I have been listening to a bunch in the past few years, I have come to the conclusion that both Gov't Mule and the later period Allman Brothers that included Warren Haynes is quite underrated.

Haynes seems to be mostly known for his guitar playing, but I think he is a pretty good songwriter and singer. I think he goes with more adventure with Gov't Mule and he isn't afraid to test the jazz waters in a rock band. The last live record and studio album of the Allman Brothers, which also featured Derek Trucks are both quite fine. I think most just know that it will be a solid live version of the Allman Brothers and play the classics well, if not inspired, but some of their later records are of high-quality.

yeah, sea level is a good mention. and then you've also got the more beefheartian:

http://www.progreviews.com/reviews/images/HGB-MtE.jpg

heh, that one. i played "halifax" on the radio once, a dude called up and he was both happy to hear it and cracking up that someone would play the whole thing on the radio.

I really dig that record. Hell, I even saw Hampton in the jam band years!

Wasn't there some story about the HGB being the biggest dud Columbia ever released?

Funnily enough I have a radio promo copy with the big piece of paper glued to the front.

Don'tcha just love having big major label promos of cult records that (nearly) sank without a trace? That should be a thread. I had a Modern Lovers one too, if that counts.

"Don'tcha just love having big major label promos of cult records that (nearly) sank without a trace?"

um, that would be half my record collection.

oops, that was me scott.

Wasn't there some story about the HGB being the biggest dud Columbia ever released?

2nd lowest. Apparently the only thing that sold less was a Yoga instructional recording.

Here's an overview of Hampton's next 40 years, much as I had room for (after the Coe stuff, and the reason they're in the same piece is that they were in town on the same night, although there are some other convergences I look at elsewhere--anyway)

http://charlotte.creativeloafing.com/gyrobase/nowhere_is_now_here/Content?oid=38443

Suggesting HGB is a generic and overdone cruel trick to play on someone stumbling into this thread looking for southern rock suggestions.

Atlanta Rhythm Section and the Marshall Tucker Band were ubiquitous in the genre in the Seventies and early Eighties. The Atlanta Rhythm Section started out hard and made two albums with the usual chopsy guitar fire. And no one bought them (see .38 Special for a similar early story line). Then they scored two hit singles, "So Into You" and a redo of "Spooky" (which was them as the Classic IV) which couldn't be escaped on radio. They haven't aged as well the Marshall Tucker Band. Shout re-released most of the latter's stuff. MTB also had a string of songs which were mainstrays on FM radio: "Can't You See," "Fire On the Mountain" and "Heard It In a Love Song." They stuck out slightly from the usual nondescript southern rock players in the use of a flute. I confess abandoning all interest in either of these bands. They were both significant parts of the miasma of professional hack classic rock, useful as third billing in stadium rock shows, headliners in mid-size to smallish theatres.

so hot

https://www.youtube.com/watch?v=rMclpOK7a2w

Yeah, that's awesome.

I still dont understand how xhucck doesnt hear southern rock influence in Down, Clutch and Corrosion. Especially COC.

Wonder if Rickey Medlocke is still back w Skynyrd? If, so he'd be the last original, next to Rossington. The Duane Allman Anthologies, Vols. 1 & 2, are still great. Vol. 1 has everything from "Layla" to all kinds of rarities, incl from unfinished solo album--just rhythm guitar there, but droll songs & vocals: Chuck Berry's "No Money Down," and what might be an original, "Happily Married Man"("I ain't seen my wife in two or three years")
http://cdn.head-fi.org/5/5f/5f026522_DuaneAllmanAnthology.jpeg

i think swing is essential for him as far as southern rock goes and he doesn't hear it in those bands.

x-post

Warren Haynes of course is in the Allmans, and has recorded with COC too, but he swings more in the former (and the Dead, and Phil Lesh and Friends, and Mule when Allen Woody was still alive)

nothing against COC though! I've got the new one, haven't played it yet.

Dos is a good place to start with Mule, re blues, metalish doom etc

i think swing is essential for him as far as southern rock goes and he doesn't hear it in those bands.

^i thought this was dumb until i remembered this is a guy who thinks Kix is the heaviest band of all time. All good.

https://www.youtube.com/watch?v=baW5GmIbXjY

https://www.youtube.com/watch?v=jkZrEwRYwZc

https://www.youtube.com/watch?v=NhzTQk7eOiE

https://www.youtube.com/watch?v=hVqBpx5nlQE&feature=related

https://www.youtube.com/watch?v=ZyoG2iMjOYE&feature=related

https://www.youtube.com/watch?v=yceCq6kexiw&feature=related

https://www.youtube.com/watch?v=ZSUT5AzV-jw

https://www.youtube.com/watch?v=D0FPxuQv2ns

I think I fell in love with her as a teen watching BOA on In Concert or one of those shows. Go Jim Dandy!

I think one interesting thing about The Outlaws is that they were a southern guitar army kind of band that really wanted to be The Eagles. I got the first three studio albums and it is interesting how much they kind of went for that other kind of high harmony kind of country rock sound of that era even getting Bill Szymczyk to work on their third record (and the last with Henry Paul until later on down the road).

I saw them live a couple times. They were best as an opener, compelled to keep it short. Anything else and Green Grass & High Tides turned into a 25 minute endurance test. Too much pandering to a biker festival audience spoiled the soup. Had a minor hit late with a cover of "Ghost Riders in the Sky" but it didn't really help. They just had a rep as a road band with three guitarists who'd get together at the front of the stage to mow you down with finger calisthenics but no particularly memorable tunes except the Green Grass endless jam.

xpost Ruby had an album backed by Grey Ghost, right? Never heard it, never saw a sign of them again, mebbe assembled studio/road pros? Think I saw some good reviews of it. Yeah, the big Outlaws radio hit I remember was def in wake of Eagles: "There goes another love song/They're singin' about me again." But the Eagles went more towards mainstream rock, only used three Glynn Johns smooth loungepoke harmony etc tracks on On The Border, I think. I guess a fair number of people still craved the earlier approach. The guitarathon was harder on wannabees, though I saw Grinderswitch on the same bill with Cowboy, of all bands. Cowboy had me thinking of a more consistently in-focus Traffic, and got some applause, even a few cheers--but lots of yells for Grinderswitch, who were good for a grunty while, and I'm all for the meat'n'taters, but jeez.

In their original power trio incarnation, Hydra could go from sounding exactly like Cream at their heaviest to the Jimi Hendrix Experience at their--well, their mean, which was pretty exacting. They had a rep as an urban Southern Rock band, supposedly jamming with BOC and the Stooges, which came to mind on their self-titled debut, esp. re the scurrying in the walls of "If You Care Enough To Survive," alongside the bulldozer bounce. But although the vocals were great on their power ballads, "Feel The Pain" and Dreams of Sweet Miriam," they got distracting on the second, Land Of Money, with the dated sub-Johnny Winter hoarse bellowing. Third album went back to the trio I think, but my copy sounded warped, so I went on to other things, ballin' on a budget etc. Here's the first
http://3.bp.blogspot.com/_VctICBWwlk8/TJfSmg3fO4I/AAAAAAAAAQY/orJVV0eBHdI/s1600/Cover.jpg

crisp 30 minute interview w Russell Gulley, singer-songwriter-guitarist, played early on with one of Hank Williams' musicians, later w Eddie Hinton, the Swampers etc, also had a band called Jackson Highway--good detail on Muscle Shoals and before (no music excerpts)
http://arts.state.al.us/actc/1/listserverindividual/20120722russellgulley.htm

Also: Paul Hornsby, played w Hinton in Men-its, several of whom were recruited for Hourglass by pre-ABB Duane and Gregg, later key player/producer at Capricorn, etc good interview (text of it http://swampland.com/articles/view/title:paul_hornsby">)http://swampland.com/articles/view/title:paul_hornsby

I missed this tie-in with the Muscle Shoals doc, but prob on YouTube, as is the doc's trailer:
https://www.youtube.com/watch?v=auGUm2r0cLs&feature=youtu.be

CANDI STATON, JASON ISBELL, JOHN PAUL WHITE & THE SWAMPERS TO APPEAR ON LETTERMAN TONIGHT IN A TRIBUTE TO MUSCLE SHOALS
http://ih.constantcontact.com/fs197/1102000774575/img/2168.jpg

Tonight on Late Show with David Letterman, catch a special musical performance from the film Muscle Shoals, featuring R&B legend Candi Staton, Jason Isbell, John Paul White (The Civil Wars) and The Swampers (Spooner Oldham, Jimmy Johnson & David Hood). They will perform "I Ain't Easy To Love" which is featured in the Magnolia Pictures film Muscle Shoals, in theaters now & available on iTunes and On Demand everywhere.

About the film:

Located alongside the Tennessee River, Muscle Shoals, Alabama is the unlikely breeding ground for some of America's most creative and defiant music. Under the spiritual influence of the "Singing River," as Native Americans called it, the music of Muscle Shoals has helped create some of the most important and resonant songs of all time. At its heart is Rick Hall who founded FAME Studios.

Overcoming crushing poverty and staggering tragedies, Hall brought black and white together in Alabama's cauldron of racial hostility to create music for the generations. He is responsible for creating the "Muscle Shoals sound" and The Swampers, the house band at FAME that eventually left to start their own successful studio, known as Muscle Shoals Sound. Greg Allman, Bono, Clarence Carter, Mick Jagger, Etta James, Alicia Keys, Keith Richards, Candi Staton, Percy Sledge and others bear witness to Muscle Shoals' magnetism, mystery and why it remains influential today. http://www.magpictures.com/muscleshoals/

http://ih.constantcontact.com/fs197/1102000774575/img/2169.jpg

Yeah, that might be aite, but this is what I'm gonna watch, before it's gone Happy Friday.
Lynyrd Skynyrd--complete (?) concert, Winterland '75
https://www.youtube.com/watch?v=3QR28CzONi8

Jaimoe on the radio, remembering playing with Otis, James Carr, lots of others leading up to the Allmans; music incl these and other things he was struck by, like (at the moment) Yusef LaTeef with Mike Nock and James Black (a drummer "on the edge of genius and insanity...who studied all kinds of instruments...I never heard anybody else play like that.") Streaming here:

http://www.studentaffairs.columbia.edu/wkcr/story/jaimoe-out-lunch-wednesday-march-12th-12pm

Doesn't sound unique there, but good.

So a lot of that discussion had to do with the ABB's jazz influences, especially Trane and Miles: their version of "After Midnight" and Trane's "My Favorite Things" were played; also a good lyrical instrumental excursion by Jaimoe's Jasssz Band, who are new to me, and still rolling. JJB's vocalist-guitarist Junior Mack was featured on "Leavin' Trunk," with early Allmans appeal; it was on the same Taj Mahal LP as "Statesboro Blues," which got Duane into slide guitar. Can hear some excerpts of the JJB album here, plus a YouTube live shot (and a lot of other Allmans etc stuff I hadn't seen before; natch, since this is their merch etc. site):

http://www.hittinthenote.com/cart/p-1364-jaimoes-jasssz-bandbrrenaissance-man.aspx

Im currently reading the new book. Jaimoe comes across as by far the most sane guy in the band.

Having since read Gregg's autobio, Ah suspect it's a low bar, but Bill's prob right.

http://staticapp.icpsc.com/icp/loadimage.php/mogile/392995/72c248e9ea2adb53d8460b8b2f4a13a9/image/jpeg

austex Records Unleashes “Mutants Of The Monster: A Tribute To Black Oak Arkansas”
Presented by Joecephus & The George Jonestown Massacre
Featuring Shooter Jennings, Eddie Spaghetti, Greg Ginn and more!
CDs Arrive on August 19th, Vinyl on September 19th

“Mutants Of The Monster” is the new 17 track album tribute to ’70’s arena rock legends Black Oak Arkansas. The tribute is a labor of love that began one night in Tennessee over six years ago. The album’s co-producer and Joecephus & The George Jonestown Massacre main man Joey Killingsworth and band played an opening slot for BOA. He was a huge fan of the band and was unable to get a t-shirt in the size he wanted. He was given their manager’s number and with one thing leading to another it was soon decided that Joecephus & The GJM would record a single of the BOA tune “Fever In My Mind” with Jim “Dandy” Mangrum himself singing, to be backed with a standalone version of “Hot Rod” by the band. Enter Shooter Jennings, who had been playing Joecephus and the GJM a bunch on his Sirius/XM radio show. Joey mentioned to him that they had a version of "Hot Rod" in the can and Jennings was game to add vocals. The single release never materialized, but after hearing an interview with some members of Black Flag saying how they used to listen to The Stooges and Black Oak Arkansas, and another interview with BOA guitarist Rickie Lee Reynolds saying how they had toured with bands as diverse as Black Sabbath, KISS and King Crimson, Killingsworth decided his heroes were not getting their due and had the inspiration to pursue a BOA tribute album, a feat never attempted before. After announcing that the project would be a benefit for Memphis area animal rescue The Savior Foundation, interest grew and an impressive roster of guest stars joined the cause.

Stream "Mutants of the Monster" here: https://soundcloud.com/saustex/sets/mutants-of-the-monster-a

The album is co-produced by studio owner and drummer Dik LeDoux. Joey credits him with getting the best performances out of the various musicians who appear on the record as well as keeping project rolling by providing demos to potential guest players. Killingsworth (aka Joecephus) and his band The George Jonestown Massacre (in various configurations) provide the backing on all tracks except “Rock’N’Roll” which is anchored by Nine Pound Hammer and “Keep The Faith” - a bonus track donated to the project by Nashville P*ssy offshoot The Kentucky Bridgeburners.

But as they say, the proof is in the pudding and the results in this case are most tasty. LeDoux and Killingsworth’s genuine love for the band’s material really shines through in the arrangements and treatments of the songs, which were tailored for the guest vocalists and instrumentalists. There is a heavy and grooveful thread that runs throughout, breathing new life into and updating the classic Black Oak favorites.

[http://staticapp.icpsc.com/icp/loadimage.php/mogile/392995/ea41318cd6713c0247951a425a8724f9/image/jpeg

Although Black Oak Arkansas is still a going concern anchored by Mangrum and original BOA guitarist Rickie Lee Reynolds (with a recent album for Atlantic Records), modern recognition of the band is limited to their being lumped in with period southern rocks acts such as Lynyrd Skynyrd and The Marshall Tucker Band. While other acts had a lot more chart success and radio play, they were unmatched as a live act in their heyday (though BOA have one platinum and three gold albums to their credit, and, hold the distinction of being one of only five acts ever personally signed to Atlantic Records by founder and music business hyper-legend Ahmet Ertegun). The band was a top-grossing act, relentlessly touring the arena circuit as a headliner throughout the mid-seventies, performing in front of millions of fans. Jim Dandy’s wild-eyed, backwoods Romeo stage antics, combined with the band’s classic three guitar attack (and the later addition of Ruby Starr to the live show) was not only visually compelling but also just plain fun; in an era that became typified by increasingly stultified performances. Perhaps the greatest testament to the pervasiveness of the band was Van Halen frontman David Lee Roth’s whole-hog co-optation of Mangrum’s look and stage moves… Axl Rose might owe some of his vocal stylings to Jim Dandy as well (witness “Fever In My Mind”).

“Mutants Of The Monster” captures the essence of BOA’s fun spirit and showcases the sturdiness of the material and will hopefully serve as a breeding ground for a new generation of Black Oak fans. With any luck, the album will raise the profile of Black Oak Arkansas, among not only contemporary fans of Classic Rock and Outlaw Country, but critics as well.

TRACK LISTING:

1. Hey Y'all 4:10 
feat. Blaine Cartwright and Ruyter Suys

2. Uncle Lijiah 4:19 
feat. Jimbo Mathus and Robby Turner

3. Hot Rod 2:54 
feat. Shooter Jennings

4. Swimmin' in Quicksand 3:18
 feat. JD Pinkus and Nik Turner

5. Hot and Nasty 2:43 
feat. Eddie Spaghetti

6. When Electricity Came to Arkansas 5:46 feat. Jeff Clayton, Greg Ginn and Rickie Lee Reynolds

7. Short Life Line 3:43 feat. Bill Davis

8. Fever in My Mind 2:14
 feat. Jim “Dandy” Mangrum

9. High 'N' Dry 2:49 
feat. Whiskeydick

10. Lord Have Mercy on My Soul 4:15 feat. Jeff Clayton and Paul Leary

11. Mutants of the Monster 7:03 
feat. CT and Micheal Denner

12. Mad Man 3:39

13. Strong Enough to Be Gentle 4:47 feat. Ruyter Suys and Jimmy Henderson
14. Jim Dandy 2:33 
feat. Jello Biafra and Ruyter Suys

15. Rock 'N' Roll 3:42
 Nine Pound Hammer feat. Joecephus
16. The Wild Bunch 4:49 
feat. Kyle Turley and Mickey Raphael
17. Keep the Faith 3:00 
The Kentucky Bridgeburners

FEATURED ARTISTS: 

Blaine Cartwright and Ruyter Suys (Nashville P*ssy)
Jimbo Mathus (Squirrel Nut Zippers)

Robby Turner (Sturgill Simpson)

Shooter Jennings
JD Pinkus (Honky, Butthole Surfers)

Nik Turner (Hawkwind)

Eddie Spaghetti (Supersuckers)
Brian Venable (Lucero)

Jeff Clayton (Anitseen)

Greg Ginn (Black Flag)
Rickie Lee Reynolds (BOA)
Bill Davis (Dash Rip Rock)
Jim "Dandy" Mangrum (BOA)
Whiskeydick
Paul Leary (Butthole Surfers)

CT (Rwake)

Michael Denner (Mercyful Fate, King Diamond)
Jimmy Henderson (BOA)

Jello Biafra

Nine Pound Hammer

Kyle Turley

Mickey Raphael (Willie Nelson Band)

The Kentucky Bridgeburners

For more information visit www.saustex.com

Pne more time---Go Jim Dandy!

http://staticapp.icpsc.com/icp/loadimage.php/mogile/392995/ea41318cd6713c0247951a425a8724f9/image/jpeg

I like Randall Bramblett's records--all of them--a lot, especially this song from his first album, back in 1975. https://www.youtube.com/watch?v=gXeVHBRxwnQ

Black Oak Arkansas' Original Albums Classics collection is a good one to pick up. I've said it on other similar threads, but they are by far the most hippy strange of the classic southern rock groups. The vintager live clips of them at the California Jam are really great too.

Blackfoot is another Original Albums Classic to pick up. They got popular a bit later than the other bands. Their live record cut in the UK is really good. It of course might be doctored, but the crowd is sounding like they are going batshit to them. Kinda wild considering it was cut in '82 during the NWBHM times. Got to wonder if they ever shared the stage with Motorhead in those days...would have been a heck of a show if it happened.

Any Southern rock bands with female vocalists who are worth checking out?

Dale Krantz was strong w Rossington-Collins Band---better live, but I've got both albums on an ancient CD, and they have some good tracks. Krantz later married Rossington and became a backup singer for the early semi-revived Skynyrd, dunno if she's stil with 'em. (Speaking of Blackfoot, Rickey Medlocke, whom Van Zant talked into being Skynyrd's pre-Artemus drummer, came back as singer-guitarist for the Skynyrd revival, don't know if he's still there either
The only other band with a female lead singer I can think of is Grey Ghost, fronted by Ruby Red. Saw her duet w Jim Dandy somewhere once, but don't remember how that was or what Grey Ghost sounded like.
Yeah, Randall Bramblett! Played sax with Cowboy, right? Aand still puts out good albums, singing and songwriting and playing sax, guitar, keys, kind of a backroads, backstreets Steely Dan sometimes.

Blackfoot came along when new wave was becoming the hot trend, used to hear their cover of Spirit's "I Put A Line On You" on college radio around '79, '80, don't know how that first(?) album was, but '83's City Slicker was pretty decent.

Mother's Finest was from Atlanta and had a female lead singer but their sound was more funk/soul hard rock than 'southern rock' in the Capricorn records/Skynyrd way. Like the Isley Brothers it's not hard to hear Mother's Finest as a 70s rock/funk version of the 60s soul sound.