The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format.
This late 1969-70 British group (recording at Abbey Road for EMI's progressive Harvest label) manages to sound authentically American on this collection of 1920's & 1930's blues, folk & jug band songs (though an actual jug is played on only a few tunes). They are traditional tunes. When this album failed commercially, two members exited, and the reconstituted group shortened their name to "Panama Limited", started making limited use of electric instruments and started writing original songs influenced by Captain Beefheart.
In the liner notes to these carefully packaged reissues, all four of the Incredible String Band principals– co-founder Clive Palmer, core duo Mike Heron and Robin Williamson, and Elektra records executive Joe Boyd– offer their insights in separate essays. Three of them mention the smell of patchouli. Such were the times, certainly, but the ISB are loved equally by avant-garde musicians, psychedelia enthusiasts, and those slightly dweeby young gentlemen who hang around music shops on college campuses. The reissue of their first four albums probably put to rest any notion that the ISB were a properly great band, releasing just one true classic, but they were rarely anything less than brave, inspired, and profoundly weird.
Forty years ago, this original of this album almost appeared on Island Records, and therein lies a tale almost as interesting as the record itself. Ian A. Anderson, as he was then known, almost shared a name with Jethro Tull's frontman. The band's management decided the label wasn't large enough for two Ian Andersons and the newcomer was shuffled off elsewhere. As an anecdote it's priceless, but so is this artefact of the British blues boom of the late 1960s. It was, perhaps, great hubris on Anderson's part to believe he could write blues songs equal to those of the greats (and he probably cringes these days over "Short Haired Woman Blues"), but in many ways they hold up well, and he's helped out by some excellent musicians, notably the great Bob Hall on piano, while Chris Turner turns in some stunning harmonica performances…
The Nitty Gritty Dirt Band's second album is a masterpiece. From the opening bars of Jackson Browne's "Shadow Dream Song," the high spirits overflow the grooves (or ones and zeros, on the CD) of the record. The singing and playing are more confident, and some of the songs - including the bluesy "Ooh Po Pe Do Girl" and the hook-laden "I'll Search The Sky" by Jeff Hanna, and Copeland and Noonan's (the "Buy for Me the Rain" team) "Tide of Love" - are as solid as anything coming out of California. Even the kazoo-dominated "Coney Island Washboard" and "Happy Fat Annie" and the nostalgic '20s-styled Jackson Browne-written "It's Raining Here in Long Beach" fit well into the mix, reflecting the full range of the band's influences…
The UK's leading big band, The Syd Lawrence Orchestra, were chosen by producer Mike Valentine for his exploration into the sound differences between direct cut vinyl and a multi-track analogue tape recording and mix done of exactly the same event. The album had to be recorded live so he had to choose a selection of music which would be of the perfect length. Valentine chose a recording studio which not only had a superb sounding space, but also an engineer versed in the black art of cutting live vinyl. Ultimately, he chose Air Studios with engineers Jake Jackson and John Webber. The Syd Lawrence Orchestra led by Chris Dean perform music consisting of eight pieces from the big band era, the creations of Glen Miller, Artie Shaw, and Benny Goodman played live at Air Studios. That recording is now available on CD - enjoy!