Davell Crawford: “My Gift To You” (2013) CD Review

Davell Crawford’s new album (his first in many years), My Gift To You, is such a joy to listen to. The first time I put it on, I was taking care of stuff around my apartment – you know, stuff I’d prefer not to do – and this album had me smiling the whole time. There is something both soothing and uplifting about so many of these tracks. But there is also a lot of fun material here, particularly “Southern Woman” and “Going Back To Louisiana.”

My Gift To You combines elements of jazz, gospel, blues, folk and pop. It is mix of original material and interesting choices of covers, including songs penned by James Taylor, Steve Winwood and Billy Joel. The covers he really makes his own. This album also features some great guests, including Dr. John, Nicholas Payton, and Steve Riley.

The CD includes extensive liner notes, with Davell Crawford’s thoughts on each of the tracks. His brief essay on why he hadn’t released any music for a while might come across as a bit self-indulgent, but that’s okay. There is also a longer piece by Geraldine Wyckoff. My Gift To You is dedicated to New Orleans (Davell Crawford’s home), and some songs deal in a very direct way with that city, like “Stranger In My Own Home.”

My Gift To You opens with “Creole Man,” a song that approaches from a distance, rushing at you. Then when it reaches you, it quickly takes on a tribal feel, mixed with orchestral sounds. And hell, that’s just the instrumental intro. Davell Crawford’s vocals have a soft, smooth, almost feminine quality, but there is a power too. This song is a very strong opening track, with a sound all its own, that gives you high expectations for the rest of the album. “Creole Man” was written by Davell Crawford.

“River/White Socks & Drawers” begins with a good, funky groove, particularly in its vocals. Dr. John provides some very cool spoken word vocals on this one (“You know the spirit of the river/Ain’t gonna never lie”). And it’s the backing vocals that really make this track special. There’s also some nice work on saxophone by Donald Harrison, Jr.

“Junco Partner Cud’in Joe” has a scratchy record effect that helps give it a kind of 1970s, strangely romantic, late-night feel at the start. This song has a subdued jazzy feel that pulls you in. It’s a song that feels like it could pounce on you at any moment.

It’s been a while since I’ve listened to Billy Joel, but Davell Crawford’s cover of “The River Of Dreams” is a reminder that he wrote some damn good songs. This rendition is so sweet, so beautiful, so touching, due in large part to Davell’s vocals. And I do love the saxophone part by Donald Harrison. There is also an interesting backing vocals section toward the end.

Davell Crawford follows that with a cover of James Taylor’s “Fire And Rain” – a slow, thoughtful version. For me, the trumpet part by Nicholas Payton really makes this one stand out. “Southern Nights/Many Rivers To Cross” is a really wonderful instrumental track combining the two songs, and performed by Davell Crawford solo on piano.

“Don’t Ever Be Blue” is one of my favorite tracks. It just really has a good vibe about it that raises my spirits. It’s one of those songs that makes you feel good about being alive, and it features Steve Riley on accordion and fiddle. “Don’t Ever Be Blue” was written by Davell, and his vocals are particularly wonderful on this one.  “Just keep going on, and keep singing your song and doing the best you can do/Don’t ever be blue.”

“Southern Woman (Ain’t Nothin’ Like A)” is a fun, energetic song written by Davell Crawford. He sings, “I been all around the world/I fancy life and the pretty girls/But still one thing I wanna find/A southern woman, make her mine.” This song has a great groove, with nice work on horns (Marlon Jordan on trumpet and Clarence Johnson III on saxophone).

But the track that is the most fun is “Going Back To Louisiana,” which features Dr. John on lead vocals, and some delightful backing vocals. I love the vibe to this song; it has a great, kind of slow, bright feel. Steve Riley is wonderful on accordion and fiddle, and I love Davell’s work on piano. Everything just works perfectly to create a groovy atmosphere and one of the CD’s best tracks. When Dr. John asks, “Can you dig it?” I can’t help but answer, “Oh yeah.” “Going Back To Louisiana” was written by Davell Crawford.

I’ve always loved Blind Faith’s “Can’t Find My Way Home.” Davell Crawford does a good job with it, giving it his own interpretation. Though I actually don’t like the backing vocals echoing the title line, which seems to take away from the emotional impact of it.

My Gift To You ends with the pretty “Ode To Louisiana,” complete with a string section. In this one, Davell sings, “I’ll travel the whole wide world over/And sing of your beauty and love.”

CD Track List

1. Creole Man
2. River/White Socks & Drawers
3. Junco Partner Cud’in Joe
4. The River Of Dreams
5. Fire And Rain
6. Southern Nights/Many Rivers To Cross
7. Don’t Ever Be Blue
8. Louisiana Sunday Afternoon
9. Southern Girl
10. Southern Woman (Ain’t Nothin’ Like A)
11. Stranger In My Own Home
12. Until I See You In A While
13. Going Back To Louisiana
14. Can’t Find My Way Home
15. Ode To Louisiana

My Gift To You was released on June 11, 2013 on Basin Street Records.

(Note: I also posted this review on Pop Culture Beast.)

Cat Mother And The All-Night Newsboys: “Albion Doo-Wah” (1970/2013) CD Review

Albion Doo-Wah is the second album by country rock band Cat Mother And The All-Night Newsboys. Their first album, The Street Giveth…And The Street Taketh Away (1969), was produced by Jimi Hendrix, and yielded a top-40 hit single, “Good Old Rock And Roll.”  Their second album has never before been released on CD, and is a truly excellent album.

If you haven’t heard of these guys, you’re not alone. I hadn’t heard them either, though now after listening to this album, I find it remarkable that no one turned me onto them before. Their sound is right up my alley. It’s a great dose of late 1960s, early 1970s rock, but with some traditional bluegrass instruments. It’s an excellent combination, making their sound distinct. There is also a playful quality to a lot of their material, which helps to make it still feel fresh. Their sound is quite a bit different even from others in the country-rock vein of the time. If you like Country Joe & The Fish, The Band and The Byrds, you should definitely check out this album.

By the way, one of the band members is Jay Ungar, on violin and mandolin (as well as guitar and vocals). You might know him from his work with David Bromberg and with Molly Mason. And you almost certainly know him for his song “Ashokan Farewell,” which was used in Ken Burns’ documentary The Civil War.

I do wish some new liner notes had been written for this release, especially as it’s never been on CD before. I want more information about this band.  I also am excited to hear their other releases, though for now I’m going to enjoy this wonderful CD.

The album opens with “Riff Raff,” a groovy rock number with just a touch of funk and with some cowbell. Here is a taste of the lyrics: “And every time I turn around, you’re always trying to shoot me down/But you don’t know, you tell me you don’t know/And then you say that you don’t want no riff raff hanging around.” It’s basically a fairly straight rock tune at first. But then there is a very cool jam section, led by keys and then by violin (coming as a nice surprise) over a good, steady rhythm on bass and percussion.

“Turkish Taffy” is a cool mix of country with a European old-time feel (especially due to the violin), and features some really nice touches on piano and mandolin. There are also some good lyrics: “I feel older now/So much older now/Well, time will tell if I’m wrong or right/It makes no difference how I cry/If you want to come and rescue me, then you just go ahead and try.” By the way, this song is much quieter than the other tracks – I had to turn the volume up quite a bit. I’m not sure if it was that way on the original release, or if it happened during the remastering (or if it’s just my copy).

“Booneville Massacre” (or perhaps “Boonville Massacre” – it’s spelled both ways on this CD) begins with an urgent bit of violin, and then a steady rhythm comes in. I really love the mix of bass, keys and violin on this song.

“I Must Be Dreaming” begins much more firmly in country territory, led by the fiddle. This song has such a great feel as well as some good vocals. “It just keeps on raining when you know the sun ought to shine/Could you help me one more time?/Could you let me have a dime?/This time I’m leaving/I said I must be dreaming.” This song also boasts some wonderful instrumental sections. At the end it speeds up for one last great fun instrumental burst led by the violin, which I love. This is one of my favorites from this release. It was written by Bob Smith.

“Last Go Round” has a slower, sweet vibe and a beauty (in the same way a lot of songs from The Band do). Here is a taste of the lyrics: “So have another sip of wine/It may help you to relax/You know that you’ve got to draw the line/Everybody is together at last/Look out, look in.” Lyndon Lee Harry provides some nice vocals on this track. (By the way, this is another of the many songs that rhyme “self” with “shelf.”)

“Strike A Match & Light Another” has a fun country vibe. It’s one of those great pot-smoking tunes (though I’m not sure it’s really all that pro-pot, with the line “But there ain't much you'll be thinking once you've started smoking pot”). This song is great fun, and one I need to share with my friends. I really dig the vocals. Here is a bit of the lyrics: “When your feet are in the stirrups and your ass is on the ground/Cause the grass that he's been eating is the finest stuff around/Well, let us not remember boys and let us not forget/Strike a match and light another marijuana cigarette.” “Strike A Match & Light Another” was written by Jay Ungar.

Cat Mother does a seriously rocking rendition of “Been All Around The World” that got me dancing in my apartment. I’m used to the slower, more woeful version by the Grateful Dead, and also the folk versions by Dave Van Ronk and Bill Morrissey (which they did under the title “Hang Me, Oh Hang Me”). This is a tremendously cool version, with some lyrics I hadn’t heard before. Lyndon Lee Hardy provides some backing vocals on this one.

“Good Times” begins as an excellent folk song with a slow groove. “Don’t you remember them good times baby/Don’t you remember when the people weren’t crazy/Don’t you remember them times.” And then: “Don’t you remember when we could sing/We could sing ‘bout most anything.” I love the violin. Nearly two minutes in, it picks up, becoming more of a rock song. This is another of my favorite tracks. It was written by Roy Michaels.

“Theme From Albion Doo-Wah” is an instrumental rock track (this one too seems a bit quieter than the other tracks). It’s a pretty nice jam, but it’s the track that excites me the least. There is a section approximately 1 ½ minutes in that reminds me of something from Neil Young’s Everybody Knows This Is Nowhere album.

Albion Doo-Wah concludes with “Rise Above It,” a wonderful gospel-flavored folk tune. It feels like a traditional song (reminding me of “Will The Circle Be Unbroken”), but is an original tune written by keyboardist Bob Smith. It begins, “See the poor man in his misery/See the rich man in pain/When the hand comes down to touch them/Don’t they both look the same/So rise above it/Rise above it/Leave your worries behind/For the poor man has treasures/That the rich man can’t buy.” This song is an excellent way to end the album.

CD Track List

1. Riff Raff
2. Turkish Taffy
3. Booneville Massacre
4. I Must Be Dreaming
5. Last Go Round
6. Strike A Match & Light Another
7. Been All Around The World
8. Good Times
9. Theme From Albion Doo-Wah
10. Rise Above It

Musicians

Cat Mother And The All-Night Newsboys are Michael Equine on percussion and vocals; Bob Smith on piano, organ and vocals; Roy Michaels on bass, guitar and vocals; Jay Ungar on violin, mandolin, guitar and vocals; Larry Packer on guitar, violin and viola; and Paul Johnson on guitar.

Albion Doo-Wah was released on June 4, 2013 through Real Gone Music.

Mason Williams: “The Mason Williams Ear Show” (1968/2013) CD Review

Everyone knows Mason Williams for that instrumental hit “Classical Gas,” a song included on his first record, The Mason Williams Phonograph Record, from 1968. Later that same year, Mason Williams released his second album, The Mason Williams Ear Show, which Real Gone Music has now re-issued. I think this is actually an even better album than Phonograph Record, though apparently it didn’t do as well commercially. Sure, it has no “Classical Gas,” but overall the material is really strong on this release, and honestly it is just totally delightful. This is a fun album, particularly tracks like “(Whistle) Hear,” “The Last Great Waltz” and “Cinderella-Rockefella.” And there is a catchy instrumental track, titled “$13 Stella” (named after his first guitar, which is pictured on the album’s cover).

The Mason Williams Ear Show kicks off with “Road Song,” a soft, slow traveling song. I like these lines: “How long has it been since I’ve been somewhere/Somewhere that means something to me.” (We can forgive him for mispronouncing “Oregon” a little later in the song.)  The song seems to gain in power and meaning as it goes on. I feel the song wouldn’t be as effective if it were shorter. (At five minutes, it’s the album’s longest song.)

“Baroque-A-Nova” was also included on Phonograph Record. While it’s odd that he put this song on two albums in the same year, this version is quite a bit different from that on the previous album. Gone are the “ba ba” vocals, and without them, the song has much more serious tone.

“(Whistle) Hear” is a deliciously fun song, with banjo and some peculiar lyrics. “So he listened to the shades of nothing/He heard rocks, sky, sun, eyes/Wood, water, earth/Time flying by/Skin and grass/But none surpassed the sweet sound of love.” With lyrics like these, it’s no question that this song came out in 1968. “But things began to get a little bit weird.” Indeed. 

In high school a girl taught me how to waltz in the parking lot outside a Dunkin’ Donuts. I still think of that from time to time, but particularly while listening to “The Last Great Waltz,” with lines like “She was waltzing by herself there in the little nook/He quietly walked to where she was to get a better look/She was a little different from either you or me/For she did not have two good legs, she had one two three.” This is one of the album’s best tracks. The waltz section is glorious, and totally playful. The girl sings, “I like the waltz/It has its faults/It’s not much fun unless danced by two/I wish I knew/Somebody who would waltz with me/I’m so blue Danube.” And holy moly, the female vocalist here is Jennifer Warnes (who’d later sing with Leonard Cohen). (She was listed as “Jennifer Warren” on the original release.) I seriously love this song. You owe it to yourself to give this one a go. Seriously, it is so enjoyable.

This album has a second duet with Jennifer Warnes, the wonderfully silly “Cinderella-Rockefella.” This is another of my favorites. It is delightful, with a great old-time feel (and a play on yodeling). There is some fun interaction between the two vocalists. He sings, “I love your touch” and she responds “Thank you so much.” He sings, “I love your eyes” and she responds, “That’s very nice.” He then sings, “I love your chin” to which she says, “Say it again,” and so he sings, “I love your chin.” Later she gives and he responds: “I love your face/It’s in the right place.” This song was co-written by Mason Williams and Nancy Ames.

“Cinderella-Rockefella” is followed by “Generatah-Oscillatah,” a very odd and wonderful instrumental featuring synthesizers. This song had me smiling in a slightly demented way. Let me know if it has the same effect on you; otherwise I might need to see someone.

The Mason Williams Ear Show ends with “Saturday Night At The World,” which is kind of pretty and features strings.  Here is a taste of the lyrics: “It’s a Saturday’s night at the world/I am thinking about a girl/And how useless to search it becomes/When you seek all the answers in one.”

CD Track List

1. Road Song
2. Baroque-A-Nova
3. (Whistle) Hear
4. The Last Great Waltz
5. One Minute Commercial
6. $13 Stella
7. Love Are Wine
8. Cinderella-Rockefella
9. Generatah-Oscillatah
10. Saturday Night At The World

This re-issue of The Mason Williams Ear Show was released on June 4, 2013 through Real Gone Music. It features new liner notes by Gene Sculatti, and also includes the original liner notes by Hal Halverstadt.

Mason Williams: “The Mason Williams Phonograph Record” (1968/2013) CD Review

I have a compilation of hits from 1968 that features two instrumentals – Paul Mauriat’s “Love Is Blue” and Mason Williams’ “Classical Gas.” I would listen to those songs over and over, sometimes for hours. I think 1968 is one of the most interesting years for music (and for things in general). Music had a lot to say that year, so it’s interesting that two instrumentals were among the year’s best songs. And it was in 1968 that artist/author/musician Mason Williams released his first record, The Mason Williams Phonograph Record.

Before this, he’d been writing for The Smothers Brothers Comedy Hour. So of course this album is not all that serious (although it sounds as if it is, like the work of the best jesters). This is not a comedy album, but often makes me laugh. It’s difficult to imagine just exactly what reaction he’d hoped the record would get. This is a truly interesting collection of songs. All of songs are originals.

This special re-issue has new liner notes by Gene Sculatti, as well as the original liner notes by Stan Cronyn.

The Mason Williams Phonograph Record begins with “Overture,” touching on several of its themes, then goes into “All The Time.” That song’s first lines, “I’m not exactly leaving you/I just won’t be around all the time,” make me laugh. It doesn’t have a silly or comedic sound, but rather has the sound of one of those big lavish 1960s pop numbers. I love that Mason Williams delivers his lyrics with an earnest sweetness, which of course makes the song funnier.

This album has a lot of odd surprises. For example, there are a couple of incredibly short tracks. “Dylan Thomas” is a strange, very short folk song playing on “London Bridge Is Falling Down.” “Life Song,” another short song, asks, “Isn’t life the perfect thing to pass the time away?” And then “Wanderlove” has an unexpected percussion solo at the end.

“She’s Gone Away” is a fun kind of catchy pop rock song, steeped in 1960s sounds, and it totally works on those terms. Every time I listen to it, one line cracks me up - “She’s gonna stand around in her shoes.”  This track also features some nice work on guitar.

Of course, the centerpiece of this record is that excellent instrumental, “Classical Gas.” This song was released as a single, and reached #2 on the Billboard Hot 100 (“Hello, I Love You” was #1 at the time – not bad company at the top). This song has such a great feel, right from its opening guitar part. And it has a beautiful build. I always love listening to it, and am usually a bit bummed when it ends (which explains why I would sometimes just listen to it over and over).

“Long Time Blues” is a catchy country blues song, with some nice backing vocals. I really dig the piano on this track. Here is a bit of the lyrics: “Sitting by the window/Waiting for the dawn/Waiting for a girl/A long time gone/Long time gone is a lonesome sound.” This is one of the album’s strongest tracks. 

One of the odder tunes is “Baroque-A-Nova.” The only lyrics to this song are “ba ba-ba ba ba-ba.” Go ahead, sing along. You know the word. But the goofiest song on the album is certainly “The Prince’s Panties,” with lines like “He thought life was stupid and it was for him” and “He liked butter for its color.”  He called his many dogs “panties” for they panted, leading to this song’s tragic ending: “And the prince was eaten by his panties.”

The Mason Williams Phonograph Record concludes with “Sunflower,” which begins with guitar and whistling and actually is quite pretty. This instrumental track then changes nearly two minutes in, though retains its beauty. This is a really wonderful tune, one of my favorites from this album.

CD Track List

1. Overture
2. All The Time
3. Dylan Thomas
4. Wanderlove
5. She’s Gone Away
6. Here Am I
7. Classical Gas
8. Long Time Blues
9. Baroque-A-Nova
10. The Prince’s Panties
11. Life Song
12. Sunflower

This re-issue of The Mason Williams Phonograph Record was released on June 4, 2013 through Real Gone Music. Also released on that day by Real Gone Music was The Mason Williams Ear Show, which had also been originally released in 1968.