ROCKETS DO SAHM

THE BOTTLE ROCKETS

''SONGS OF SAHM''

FEBRUARY 19 2002

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1 Floataway 03:07

2 Mendocino 03:08

3 Be Real 02:33

4 At The Crossroads 05:15

5 She's About A Mover 03:49

6 Lawd, I'm Just A Country Boy In This Great Big Freaky City 03:07

7 Nitty Gritty 03:10

8 Song Of Everything 03:45

9 Sunday Sunny Mill Valley Groove Day 03:14

10 Stoned Faces Don't Lie 04:58

11 You Can't Hide A Redneck (Under That Hippy Hair) 04:04

12 I Don't Want To Go Home 03:08

13 I'm Not That Kat Anymore 03:50

All Tracks By Doug Sahm

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Mark Deming AMG

If there's an artist who deserves a tribute album, it's Doug Sahm, the tireless Texas groover whose Lone Star state of mind encompassed roots rock, blues, country, garage rock, norteño, psychedelia, and a countless number of spots in between over the course of a career that spanned five decades. One might have figured some bunch of Austin all-stars would have been the most likely candidates to honor Sahm on disc after his untimely passing in the fall of 1999, but the responsibility has instead fallen to those proud sons of Festus, MO, the Bottle Rockets, who take a lively stab at 13 of Sahm's compositions on their first album for Bloodshot, Songs of Sahm. The Bottle Rockets have long proven themselves a superb straight-ahead rock & roll band with a deep feeling for rough-and-tumble roadhouse country, but while those are both paths Sahm traveled, that was hardly the sum total of his accomplishment, and while there's never a moment on Songs of Sahm where you doubt that the BoRox love these songs with all their heart and soul, on a few cuts they sound as if they're playing a bit out of their league -- the easy shuffle of "Be Real" doesn't quite suit a band whose forte is stomp, the bluesy lament of "At the Crossroads" is a few notches too slow for comfort, and "Sunday Sunny Mill Valley Groove Day" sure sounds goofy coming from a band with no outwardly hippielike tendencies. Also, producer Lou Whitney doesn't get this band's power on tape with the same élan as Eric "Roscoe" Ambel. But, for the most part, Sahm's tunes fit the Bottle Rockets better than you'd have any right to expect, and this album's best moments are superb, especially the hard rock groove of "Floatway," the manic rave-up on "I'm Not That Kat Anymore," and the deathless "Lawd, I'm Just a Country Boy in This Great Big Freaky City." One hopes that Brian Henneman has another batch of quality originals on deck for the Bottle Rockets' next album, but Songs of Sahm is not only a fitting tribute to one of alt-country's primal influences, it's a healthy dose of rockin' country and lots of fun.

BIOGRAPHY/AMG

Jason Ankeny

Festus, Missouri's Bottle Rockets ranked as one of the leading lights of the 1990s roots rock revival, thanks to a sound that bypassed the punk heritage proudly upheld by most of the band's contemporaries in favor of a redneck fusion of Southern boogie, country-folk, and crunching rock & roll. The group was fronted by singer/guitarist Brian Henneman, a Missouri native who formed his first band, Waylon Van Halen & the Ernest Tubbadours, in 1977 with friends Tom and Bob Parr. After a succession of names and a steady rise in musical competence, the threesome began landing club dates both locally and in Illinois, where they became friends with the young Jay Farrar and Jeff Tweedy, who would later start Uncle Tupelo.

In 1985, the trio was playing straight-ahead honky tonk under the guise of Chicken Truck (so named in honor of the John Anderson song) with a new drummer, Mark Ortmann. Instead of giving in to local crowds who wanted to hear covers rather than originals, the bandmembers focused solely on performing their own material, which they began roughing up with a Crazy Horse-like edge. Shortly after frequent tour mates Uncle Tupelo signed a 1990 record deal, however, internal problems led Chicken Truck to disband; while the Parrs returned to civilian jobs, Ortmann moved to Nashville to become a session player, and Henneman became a roadie with Uncle Tupelo, even playing on their March 16-20, 1992 album.

During his roadie days, Henneman recorded a demo tape of new material, which Tupelo manager Tony Margherita began discreetly shopping around. After cutting a solo single backed by Farrar and Tweedy, he re-formed his old band with Ortmann on drums, Tom Ray on guitar, and Robert Kearns on bass, renaming the outfit the Bottle Rockets. After a 1993 self-titled effort, a year later the band issued its second independent LP, The Brooklyn Side, named after a bowling term. A portrait of life in rural blue-collar America, The Brooklyn Side was the subject of lavish critical praise, and the positive notices led to the band signing with a major label, Atlantic, which promptly reissued the 

album

.

Shakeups at the label led to delays in the release of their next album, 1997's 24 Hours a Day, and when the album sold poorly, the Bottle Rockets were dropped. In 1998 they signed with the small Doolittle label and released an odds-and-ends EP, Leftovers; by the time they completed their next album, 1999's Brand New Year, the label had gained major-label distribution, but that deal proved to be short-lived, and in 2000 the Bottle Rockets were once again without a label. In 2001 they signed a deal with alt-country trailblazers Bloodshot Records; their first album for the label, a tribute to Doug Sahm, was released early the following year. Tom Ray left the Bottle Rockets in 2002, and the band moved ahead as a three-piece, signing yet another new record deal -- this time with Sanctuary -- in 2003, and releasing a new album, Blue Sky, in the fall of that year. Zoysia arrived on Bloodshot Records in 2006, followed by Lean Forward in 2009.

Not So Loud: An Acoustic Evening

In 2011 the band released Not So Loud: An Acoustic Evening, which was recorded in an old schoolhouse and featured material drawn from all eras of the band's history. By now, the group once again had a stable lineup, with Henneman and Ortmann joined by guitarist John Horton and bassist Keith Voegele. In 2012 the Bottle Rockets teamed up with Marshall Crenshaw for a series of tour dates, with the Bottle Rockets playing a full set as openers and then backing Crenshaw for the second half of the show. In 2013 Bloodshot brought out a deluxe reissue of the Bottle Rockets' first two albums, accompanied by rare bonus material and endorsements from a handful of well-known fans. As the Bottle Rockets continued to play short tours with Crenshaw, they began previewing new material in their sets, and in October 2015 they released a new album produced by Eric "Roscoe" Ambel, South Broadway Athletic Club.

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Brian Henneman/Guitar, Vocals

Robert Kearns/Bass, Organ, Vocals, Wurlitzer

Matt Netzer/Handclapping, Vocals

Mark Ortmann/Bongos, Claves, Cowbell, Drums, Maracas, Tambourine

Tom Parr/Clarinet, Guitar, Guitar (Acoustic)

Lou Whitney/Guitar (Acoustic) On 3

Dudley Bron/Organ On 9

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SILVER SUMMER 1968

I had a request for this one a couple of months ago, At that time I could not locate it. I stumbled across it yesterday while cleaning  out some files So here you go better late than never I guess

Tracks

1. Light Your Windows 2:09 (3:09)

2. Dino's Song 3:37 (3:36)

3. The Fool 13:25

4. Who Do You Love 12:48

5. Mona 11:49 (11:48)

6. Smokestack Lightning 10:48

7. Codine 6:01

8. Back Door Man 4:30 (4:19)

9. Acapulco Gold and Silver 12:01 (12:11)

Total 78:20 (78:10)

HAVE SITAR...WILL TRAVEL

Raga rock is rock or pop music with a heavy Indian influence, either in its construction, its timbre, or its use of instrumentation, such as the sitar and tabla. More recently, scholars have included British rock music from the 1960s and 1970s that utilizes South Asian musical materials and instruments and Western ideas of South Asia.

Raga rock is not normally considered a specific genre of music, but rather a general aspect of any rock significantly influenced by Indian classical music. Since Indian influences are primarily limited to 1960s rock, most raga rock is limited to that decade, although heavily Indian-derived sounds are found in some post-1960s rock.

Ragas are specific melodic modes used in classical music of South Asia. Thus, any rock songs with obvious Indian influences may be deemed "raga-rock" although the term is frequently used to refer to much more explicitly Indian musical outings. A major influence on raga rock was the Indian classical raga music of Bengali sitarist Ravi Shankar, who himself had become a pop music icon by 1966, following the rise of the raga rock trend.

The advent of raga rock is often traced to the July 1965 release of "See My Friends", a Top 10 single for The Kinks in the UK, although The Yardbirds' "Heart Full of Soul", released the previous month, featured a sitar-like riff by guitarist Jeff Beck.The Byrds' March 1966 single "Eight Miles High" and its B-side "Why" were also influential in originating the musical subgenre. Indeed, the term "raga rock" was coined by The Byrds' publicist in the press releases for the single and was first used in print by journalist Sally Kempton in her review of "Eight Miles High" for The Village Voice. However, in his 1968 Pop Chronicles interview, Byrds member Roger McGuinn denied that "Eight Miles High" was in fact raga rock. The Paul Butterfield Blues Band further elevated the concept of Indian influenced rock music with a 13-minute instrumental titled "East-West", which became the title track of their 1966 album, East-West.

The Beatles' song "Norwegian Wood (This Bird Has Flown)", which first appeared on the band's 1965 album Rubber Soul, was the first Western pop song to incorporate the sitar (played by lead guitarist George Harrison). Harrison's interest in Indian music popularized the genre in the mid-1960s with songs such as "Love You To" and "Tomorrow Never Knows" (Revolver, 1966),"Within You Without You" (Sgt. Pepper's Lonely Hearts Club Band, 1967) and "The Inner Light" (released in 1968 as the B-side of the "Lady Madonna" single).

In the early 1970s, the British progressive rock band Quintessence began to mix elements of Indian classical music with rock and jazz.[13] Later in the decade, guitarist John McLaughlin and his band Shakti introduced a jazz-influenced version of raga rock over the course of three albums.

01 norwegian wood( this bird has flown)  hour glass

02 om  moody blues

03 i'm the light - blue cheer

04 venus in furs - velvet underground

05 see my friends - kinks

06 raga - buffalo springfield

07 tabla rasa - solar circus

08 she's leaving home - big jim sullivsn

09 blue jay way -  lord sitar

10 acka raga - shocking blue

11 raga no.11 - kalacakra

12 babaji (twilight raga)- blue cheer

13 the light of love - humble pie

14 within you without you - jimmy herring

15 winds of change - animals

16 moog raga - byrds

17 raga rock - folkswingers

18 the mad hatter's song - incredible string band

19 girl in your eye - spirit

20 white trash raga - mermen

21 utterly simple - traffic

22 white summer - yardbirds

23 paint it black - rolling stones

24 east-west - butterfield blues band

AUSTIN JAM AND JELLY

 Fueled by the amazing fiddle of Benny Thurman, former bassist for the 13th Floor Elevators, and featuring the vocals of stunning Jerrie Jo Jones, PLUM NELLY was a part of the “outlaw country” movement created when Willie Nelson moved to Austin and began playing local venues, most significantly the Armadillo World Headquarters. PLUM NELLY was rare among the artists at the era as it featured four lead vocalists, no drummer, and vocal harmonies ahead of their time.

  Tennesse native Billy Stoner created PLUM NELLY as a duo with Jones in 1973, creating a stir at the Kerrville Folk Festival and winning the New Folk Contest that year. Shortly after, Thurman, bassist/vocalist Ernie Gammage and guitarist Johnny Richardson were added to the group. Stoner’s songs were at the core of the Plum Nelly ethos although the rest of the band, individually and collectively, wrote material. Much like the progressive country scene itself, PLUM NELLY was courted by the Nashville music business machine and finally sputtered to its demise in the late 1970s.

  The group was the perfect mirror of the intersection of traditional Nashville country music and the free-wheeling hippie lifestyle of early 70s Austin. Stoner’s song “Devil and the Deep Blue Sea” singularly captures this rare point in America’s musical history. “Used to be a redneck” Stoner sings, but “Hippie or a redneck I don’t know which one to be. I’m in between the devil and the deep blue sea.”