Suzie Morgenstein

At a time when rock was evolving away from the forces that had made the music possible in the first place, Creedence Clearwater Revival brought things back to their roots with their concise synthesis of rockabilly, swamp pop, R&B, and country…

Most people discover this recording when a friend runs breathlessly into their living space shouting something like "You've got to hear this! This guy is unbelievable!" One listen confirms. Groom was apparently a protege of Duane Allman, and he does sport the same devil-may-care attitude in his slide guitar playing, but he was his own man. Evidently one of the long line of bluesman (albiet white and ordinary looking) to succumb to drink and drugs and plain bad luck, Groom sang with conviction and played like a man possessed. This recording features pristine sonic quality, and the live in the room sound of a gathering of friends playing mostly for themselves. The song choices may look cliche at first glance, but Groom makes all of them his own. Mick Taylor plays (somewhat uncharistically) tasteful support, and Groom supports Taylor well on his solos.

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically…

Most people discover this recording when a friend runs breathlessly into their living space shouting something like "You've got to hear this! This guy is unbelievable!" One listen confirms. Groom was apparently a protege of Duane Allman, and he does sport the same devil-may-care attitude in his slide guitar playing, but he was his own man. Evidently one of the long line of bluesman (albiet white and ordinary looking) to succumb to drink and drugs and plain bad luck, Groom sang with conviction and played like a man possessed. This recording features pristine sonic quality, and the live in the room sound of a gathering of friends playing mostly for themselves. The song choices may look cliche at first glance, but Groom makes all of them his own. Mick Taylor plays (somewhat uncharistically) tasteful support, and Groom supports Taylor well on his solos.