Foxx "The Revolt Of Emily Young (A Rock Novella By Buzz Cason And Pepper Martin"1970 US Psych Pop Rock

Foxx  "The Revolt Of Emily Young (A Rock Novella By Buzz Cason And Pepper Martin"1970 US Psych Pop Rock

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A concept album co-written by singer/guitarist Pepper Martin, the collection was produced by Cason and credited to the studio band Foxx (consisting of bassist Butch Bourque, former Livin’ End drummer Little Joe Martin, singer/rhythm guitarist Martin, and well known studio pro Al Perkins on lead guitar). This is one of those early-197s albums that’s been largely lost to audiences. Judging by the number of reviews you’ll find, it’s even escaped notice from hardcore collectors with the few on-line reviews tending to be brief and somewhat critical. That’s unfortunate since the set was actually quite enjoyable and innovative in its own way.. Yeah, it was clearly a product of a certain timeframe and parts of the set haven’t aged all that well (other than wine, few things do), but it’s one of those albums that grows on you the more you listen to it. Like many concept pieces, the plotline to this one was a little vague to my ears, but seemed to follow the birth, childhood, and brief life of namesake Emily Young (along with her impact on family and friends). Side one got you from birth through early adulthood where Emily left home in order to hitchhike across the country. Side two followed her spiritual search (‘Opus Epyllion (The Age Of Light)’), downfall ('Flight Termination’), and death ('Just Another Village Incident’). Kind of a bummer ending … Still, musically the set was quite good. Pepper had one of those chameleon-like voices that was equally at home on country-tinged material ('Into Something Real’), hard rock ('Rock Jock Bobby Sloan’), pop (the Beach Boys-styled harmony rich 'Rebecca’s Prayer’), and even sunshine psych flourishes ('Sunshine Children’). Though never a flashy player, Perkins turned in nice leads when required - check out his solo on 'Flight Termination’. All-in-all quite enjoyable and something that sunshine pop fans would certainly clamor to hear. Even better, it’s still quite affordable….Bad Cat…~

I don’t know why this fantastic pop psych. concept album is so underrated… Am I the only one living in my planet? Am I stupid? While re-listening to it, I was thinking about a sort of American version of the Pretty Things circa SF SORROW or PARACHUTE. This means no flaws, no tedious moment and the perfect compromise between many diverse influences with soft passages and rockier ones, the lead guitar reminding me of Jimi HENDRIX. More seriously, I find the comparison with STEELY DAN quite accurate….by….GAZHOO117 …~

The American Foxx group is a one-time studio project, formed by producer Buzz Cason, specially for recording the concept album The Revolt Of Emily Young. All the songs on the record were written by Kaeson in collaboration with singer and guitarist Pepper Martin. The disc has a subtitle “rock novella” and can be regarded as a vinyl product with a rigid concept, since it contains an exposure (storyline) that progressively develops from the first composition to the last one. The album tells listeners about entering into the mature life of a girl named Emily Young, and it, perhaps, can be attributed to the category of mini rock operas. It is likely that this is the only Nashville project of the time, which sounded as if recorded in England by British musicians. Since the main role in the creation of this record belongs to the producer Buzz Kaesong, then, probably, it is worth to get to know him better.
The singer, composer, producer and sound engineer James E. Cason (nicknamed “Buzz”) was born on November 27, 1939 in Nashville, Tennessee. In 1956, he founded his first band The Casuals, which is considered to be the first Nashville band to perform rock and roll. In 1957, after recording the first album, “The Casuals” was replaced on the “The Everley Brothers” tour, playing about 60 concerts instead. Later they became the accompaniment of Brenda Lee. Together with Richard Williams and Hugh Jarrett from the vocal group “The Jordanaires” Kaeson organized a new band “The Statues”, with whom he recorded the hit single “Blue Velvet” at Liberty. In 1960 he started a solo career and under the pseudonym Harry Miles (Garry Miles) released a very successful song “Look For A Star”, which reached the 16th place in the list of the best-selling single records. In 1962, Buzz produced a new version of the Mexican folk song “La Bamba” for “The Crickets”, adapted in due time to the rock-and-roll sound of Richie Valens (Richie Valens). In 1967, Buzz, together with Mac Gayden (Mac Gayden) wrote the song “Everlasting Love”, which became his most successful hit. Originally it was performed by Robert Knight (Robert Knight), without much success, however. However, after it was re-recorded in January 1968 by the band “Love Affair”, it managed to take off on the first line of the British charts. In 1974, Carl Carlton performed 6th in the list of the best selling singles of the United States. In the late '60s, Buzz Kaeson became a rather prominent figure in the music industry. Together with Bobby Russell (Bobby Russell) he created the musical publishing house “Russell-Cason Music”. In addition, Buzz headed the record company “Rising Songs” he created and became the owner of the state-of-the-art recording studio “Creative Workshop”. It will subsequently record stars such as Dolly Parton, Jerry Reed, Emmylou Harris, Olivia Newton-John and The Doobie Brothers. Being a prolific author and a powerful generator of new ideas, Buzz Kaeson sought to expand his sphere of interest in show business, and boldly mastered the previously uncharted creative territories. And in the light of a new era in popular music following the release of the historical mega-album “The Beatles”, “The Orchestra of the Club of Lonely Hearts of Sergeant Pepper”, the concept album “The Revolt of Emily Young” conceived by Buzz Kazon seems to be an idea that is inherently well founded and more than adequate spirit of the era.
This record is a historical document reflecting the mood of the progressive part of American youth of that period in music. The aspirations and hopes of the colorful hippie hairy tribe slowly fell into decay before the cynical face of reality. Many stars of the sixties have already moved to a different world from the overabundance of their chosen lifestyle. The escalation of violence initiated by the Nixon administration against peaceful student demonstrations shocked the American youth: May 4, 1970 - the shooting of a protest action against the war in Vietnam at Kent University (4 killed, 9 wounded), May 9, 1970 - shooting demonstration in defense of civil rights Afro-American students in Augusta (Georgia) (6 killed, 80 wounded), May 15 - shooting anti-war demonstration at Jackson University (2 dead, 12 wounded), August 29 - shooting in East Los Angeles coalition protest march Rica-Mexico Youth «Chicano Moratorium» (4 killed). It is hardly possible to imagine a more gloomy year for the pacifist of a long-haired America tuned.
This concept album, inspired, no doubt, by the psychedelic recordings of The Beatles and Pretty Things (SF Sorrow), tells the story of a teenage girl named Emily Young from the time she was born until she entered adulthood when she leaves the house and travels around the country hitchhiking (side A). The second side narrates about her spiritual quest (“Opus Epyllion (The Age Of Light)”), the fall (Flight Termination) and death (Just Another Village Incident), which came most likely from an overdose. The plot line, as in many conceptual works of that time, is slightly vague and the authors do not give precise indications of the reasons for its transition from real life to another dimension. Whether it was an unforeseen accident or a deliberate decision to interrupt his journey in search of light, the creators of the rock novella give the right to decide for the listeners themselves. The album also does not give any unambiguous answers, why the heroine of the record in particular, and the “children of flowers” in general, found themselves in such a hopeless situation, in such a spiritual impasse. Was Emily really a pure and innocent creature, entangled in her own search and strayed? Or was she the victim of a cynical deception that led to such a sad ending? Or was she simply not able to achieve that enlightenment she was striving for? In any case, the spiritual aspects of human existence, considered on this concept album, make his audition a very unusual activity, because besides aesthetic pleasure, it also provides ample food for philosophical reflections.
Musically, “The Revolt of Emily Young” is a magnificent collection of psychedelic pop songs. Spiritual quest for the heroine takes place against the backdrop of melodic music, psychedelic guitar sound and impeccable orchestration performed by former classmate Buzz Casson, and by that time already a well-known arranger Bergen White. Basically, this is folk-rock with psychedelic elements, although sometimes there are heavier compositions (seventies after all in the yard), but they sound quite smoothly and calmly, without a far-fetched emotional tear. In the Foxx music, there are no visible, more accurately audible drawbacks, no tedious or protracted moments - it represents an ideal compromise between various sound influences, among which you can find quiet, gentle passages, and a guitar impregnated with the spirit of Jimi Hendrix. On the plate there is not a single pass-through composition and, in addition, its consistency is very rigorously verified, which, unfortunately, many albums of this kind are sorely lacking.
In addition to the above-mentioned singer and rhythm guitarist Pepper Martin, Foxx also included bass player Butch Bourque, a former member of the Livin End group, drummer Little Joe Martin and solo guitar player Al Perkins. In addition, the producer of the disc Buzz Kaeson participated in the recording as a pianist and organist. The most famous and experienced musician “Foxx” was, of course, a Texas multi-instrumentalist, producer, sound engineer and composer Al Perkins (18.01.1944). The guitar company “Gibson” will name him later the most influential performer in the world for Good. Welcome (Dobro) - six-string resonator guitar, invented in the US in the early XX century, came from the Czech Republic brothers Dopera. From the usual acoustic guitar Good differs in the built-in metal resonator. But back, however, from the world of six-string instruments to El Perkins himself - in 1968, after serving in the army, he moved to California with the Texas group “The Sparkles”, and in 1969 he returned home and took part in the Foxx project. In 1970 he again went to California with a group of East Texas “Shiloh”, in which you could find the future member of The Eagles by Don Henley and the producer and arranger Jim Ed Norman, will soon be working with the same “Eagles”, the group “America”, Linda Ronstadt (Linda Ronstadt) and many other famous American performers. In 1971, after the breakup of the Shiloh group, Al Perkins became a member of the Manassas group of Stephen Stills. In 1973 he joined the Souther-Hillman-Furay Band. In addition, he recorded with Flying Burrito Brothers, Dan Fogelberg, Leonard Cohen, Gram Parsons, Roy Orbison, Bob Dylan and The Rolling Stones. “ However, the list is far from complete.
Not surprisingly, a musician at the level of Al Perkins in the creative spike with producer Buzz Kazon set a very high level of professionalism on this disc. The bass parts of Batcha Burka are perfected throughout the whole album, Pepper Martin’s voice is like a chameleon and perfectly merges with any sound material - whether it’s dissected country (Into Something Real), proto-hard rock (Rock Jock Bobby Sloan) or pop-psychedelia , full of iridescent vocal harmonies in the style of "The Beach Boys” (“Rebecca’s Prayer” and “Sunshine Children”). Al Perkins himself does not bend a stick in any of the compositions and pulls the blanket on himself, his solo parts are strict, correct and technically verified. The performance of all the songs is almost flawless and very strange that, despite the enormous creative potential, this fantastic project was not appreciated by contemporaries and did not have any continuation. This record, released in May 1970 - one of the lost pearls of the early seventies. And it’s very sad….~

Foxx: 
Pepper Martin - Guitar, Vocals 
Al Perkins - Lead Guitar, Vocals 
Butch Bourque - Bass, Vocals 
Little Joe Martin - Drums, Vocals 
+ 
Buzz Cason (aka James Cason) - Piano, Organ 

Tracks: 
01. New Bethel Awakening 3:32 
02. Rebecca’s Prayer 2'15 
03. Doctor John 2'13 
04. Sunshine Children 2'38 
05. (Untitled Track) 0'30 
06. Rock Jock Bobby Sloan 0'28 
07. In The Garden 3'04 
08. Syndrome Of Change 3'19 
09. Highway Children 4'30 
10. Into Something Real 3'28 
11. Opus Epyllion (The Age Of Light) 3'20 
12. Flight Termination 3'53 
13. Just Another Village Incident 3:54 
14. Last Words 2'29 
15. New Bethel Awakening II 2'15 
16. The Revolt Of Emily Young 1'14 

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Friar Tuck ‎ “Friar Tuck And His Psychedelic Guitar” 1967 US Psych Pop Rock,Experimental

Friar Tuck ‎ “Friar Tuck And His Psychedelic Guitar” 1967 US Psych Pop Rock,Experimental

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An oft-overlooked piece of the LA pop-psych jigsaw, this 1967 oddity combines typically complex vocal arrangements by the legendary Curt Boettcher with virtuoso guitar interludes from LA session legend Mike Deasy, and features backing from the team responsible for the landmark Millennium and Sagittarius LPs. A truly deranged mixture of cover versions and originals, it’s presented here complete with four ultra-rare bonus tracks from non-album 45s, making it an essential purchase for fans of sunshine pop and psychedelia…~

It would be all too easy to simply write this off as a mere exploitation knock-off designed to catch naive hippies. It certainly is that, but it also has the hand (and voice) of Curt Boettcher all over it, and it features Mike Deasy, heavy L.A. session cat and sometime-member of Phil Spector’s Wrecking Crew on guitar, musical arrangements and producing. Consisting of about half covers and half originals, the album could hardly be considered truly psychedelic (mostly thanks to the Boettcher vocals) but it is quite interesting in its own way. Deasy’s arrangements are strange and wonderful with some hot guitar playing and liberal use of the echoplex. He gives “Louie Louie,” the quintessential simple rock & roll tune, a wildly elaborate arrangement, virtually re-creating the tune entirely. He gives Nat Adderly and Oscar Brown, Jr.’s “Work Song” an echoplex and guitar intro, inserts a bit of twang then goes into a classical sounding passage and back. Oddly enough, it also sounds reminiscent of the Count Five’s “Psychotic Reaction”! Deasy’s ultra-stoned sounding vocals on “Alley Oop” are hilarious. The originals can’t be called instrumentals due to Boettcher and company’s ever present wordless vocals, which get really bizarre on “Fendabenda Ha Ha Ha” and “Where Did Your Mind Go?.” [These tracks are a really odd combination of gonzo guitar soloing and the Living Voices on acid. The bonus tracks by the Flower Pot have actual lyrics and are less elaborately arranged than the Friar Tuck album, and have quite a different feel to them. “Black Moto” and “Wantin’ Ain’t Gettin” even have some sitar. Originally issued as 45 rpms, they’re a nice addition and it makes sense to gather Deasy’s originals all in one place. All in all, Friar Tuck & His Psychedelic Guitar is a thoroughly entertaining curiosity. [This album was reissued in 2007 with four bonus tracks from the Flower Pot.]… by Sean Westergaard….~

At first listen via Pandora this caught my ear as a goofy outing by some amateurs. However, after a few listens I noticed that the arrangements were pretty thick with musical quotes from many of the other groups of that time. The vocals are weird blends of choral harmonies matched with very casual lead vocals. My favorite is Alley Oop. The singer only sings a few lines in the song, and actually makes the song sound less contrived than the original. The Louie Louie arrangement is very very distant from the Kingsmen version. Also there’s alot of sound effect fun at the tail end of many of the songs. The lead guitar solos are not very interesting but I like this recording for the adventurous disregard of the original arrangements of the cover tunes. The musicians actually include some session players from the era. If you are saturated with the many similarities of the other “psychedelic” groups from that era, give this a listen to cleanse your palette…alternates between tongue-in-cheek and serious playing….by…TBo…~

What can I say about this wonderful record ? Once you go Friar tuck you’ll never go back , that is , if super psychedelic fuzz infused reverb dripping endless dreamy Ethereal Phil Spector like Pet sounds acid trips with Charles Manson at the psychedelic dance party is your thing ,the ultimate and essential cornerstone to any space age pop Psychedelia LSD exotica groove lounge collection ,Once I heard this LP I’ve spent years after trying to find something else that comes close to this , but with no avail , this is far too advanced , you could listen to this album a hundred times and still here new sounds and ideas within the layers upon layers of ethereal wordless vocal harmonies and raga reverb tremelo space echo guitar bliss , a precursor to My Bloody Valentine ? 

Mike Deasy, Famous session guitarist who is still available to play on YOUR album today !!! Master of the sixties’ West Coast Sound , He worked closely with Phil Spector and Brian Wilson , among thousands of others ,you’ll find he played sitar on countless albums( such as Jackie Gleason’s Now Sound for Today’s Lovers) rivaled only by Bill Plummer ,Deasy teamed up with Gary Paxton , Ben Benay , and Kurt Boettcher many times , the vocal arrangements on this album are hands down the best I’ve ever heard from Curt Boettcher , and Ben Benay ’s own album “ Goldenrod” is actually the backing tracks from this album and the “ Millenium” album , the story goes that Deasy took acid with Charles Manson and the family back when Manson was hanging around the Beach Boys , somehow Mike blew his mind and had to be recovered after days of hiding in the woods , henceforth he became Friar Tuck , and the back of this LP reflects these disturbing times in his life with Manson-esque poetry Deasy played in Tommy Roe’s backup band and helped write Sweet Pea , and once they went to play the song at Disneyland whilst Deasy was fully clad in Friar Tuck garb , Disney would not allow him to enter the park other than to play with the band , he really was Friar Tuck during that phase thats the revelation , 

Mike Deasy also worked with Ry Cooder on ’ Tanyet ’ by the Ceyleib People. There are two types of people in this world , the pre- Friar Tuck who don’t know about this gem , and the post Friar Tuck , who have never been the same musically since hearing it ,(and perhaps a small third group who thinks I’m goofy?)…~

Credits 
Bass – Jerry Scheff 
Drums – Jim Troxel 
Guitar – Ben Benay, Jim Helms, Mike Deasy 
Organ – Mike Henderson (3) 
Piano – Butch Parker 
Vibraphone – Toxie French* 
Vocals – Alicia Vigil, Bob Turner (2), Dottie Holmberg, Dyann King, Jim Bell (3), Michele O'Malley, Sandy Salisbury, Sharon Olsen 
Vocals, Arranged By [Vocals] – Curt Boettcher 


Tracklist 
Sweet Pea 3:11 
Louis Louis 4:56 
Work Song 4:48 
Alley-Oop 5:09 
All Monked Up 2:47 
Ode To Mother Tuck 1:50 
A Record Hi 2:32 
Fendabenda Ha Ha Ha 2:30 
A Bit Of Grey Lost 2:37 
Where Did Your Mind Go? 3:35

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Bobby Brown "‘Prayers Of A One Man Band’’ 1982 US Psych Pop

Bobby Brown  "‘Prayers Of A One Man Band’’ 1982 US Psych Pop

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Perhaps because they were recorded in the mid-1970s, the first two Bobby Brown albums (no I’m not talking about Whitney Houston’s former husband), are the ones that seem to get all of the attention and coverage. That’s unfortunate since 1982’s “Prayers of a One Man Band” may be the best and most enjoyable of Brown’s albums. Like the others, this was a one man project with Brown responsible for writing, performing and producing all 12 tracks. It was also released on his own Destiny label with most copies being sold at his impromptu performances. In addition to a priceless picture of Brown’s homegrown multi-instrumental contraption, his considerable charms including a multi-octave voice, a knack for penning catchy (if goofy) songs (check out 'The Boy a Sailor’ and 'Hawaii Net I’ll Miss You’, and a likeable counter-cultural outlook on life were all on display. Musically the set sounded a little fuller and more sophisticated than the two earlier releases (perhaps a reflection of the fact it was recorded across nine separate studios). The other difference I detected is Brown’s mix of personal insight and social and political commentary shifted towards a more activist stance including commentary on animal rights ('If the Angels Cry’), environmental ('Sweet Clean Air’), social and political issues. His voice certainly remained an amazing instrument, capable of replicating Beach Boys-styled harmonies and even turning in a wild Tony Joe White swamp rock segment (check out 'Jungle Cowboy’). Besides, how could you not get a charge out of somebody who was willing to dedicate an album to: “To the people that watched me ad-lib these songs into their shape on the street corners of the world, a lot of your energy went into helping me select and refine my music and message. To say something that tries to improve the condition of our world may come off as sounding preachy, but if the magic and your love can be found in my attempt, it comes off as right by me. Thanks for thousands of perfect moments.”…by…RDTEN1….~

“So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark—that place where the wave finally broke and rolled back.” So says Hunter S. Thompson, memorably summing up the demise of the spirit of the ‘60s in Fear and Loathing in Las Vegas. What Thompson couldn’t have known in the early ‘70s, though, was the way that broken wave of hippie aesthetics would distribute its flotsam and jetsam to unexpected places and times. Enter Bobby Brown (not formerly of New Edition, not Mr. Whitney Houston), an erstwhile utopian California mystic whose complete discography, three records recorded in Hawaii in the ‘70s and ‘80s, is both a perfect snapshot of the dimming sunlight of the hippie era’s psychedelic folk influence on pop and a deeply personal expression; his albums were mostly self-released. Austin Leonard Jones, fellow folk oddity and spiritual seeker, launched his new imprint Del Rio Records and Tapes, partly with the goal of seeing Brown’s cracked pop masterpiece, Prayers of a One Man Band, back in print
“I discovered the album crate digging in Los Angeles,” says Jones. “I was intrigued by his handwritten instructions on where to find him in Laguna Beach, as well as his apparent friendships with Carl Wilson and Fleetwood Mac. He seemed to be straight out of a Thomas Pynchon novel, a new age yodeling cowboy drifter sailing into the heart of the sun. I also really loved his percussion.” 
Prayers of a One Man Band is the third and final of Brown’s self-released albums, and is the poppiest and most accessible of his works—if by accessible you mean “sounds like Harry Partch remaking Burt Bacharach’s soundtrack to Butch Cassidy and the Sundance Kid.” 
Brown’s first album, 1972’s The Enlightening Beam of Axonda, was an extension of his dissertation work at UCLA, and also coincided with a time when he was in personal contact with Philip K. Dick. As Jones relates, “Apparently the two used to meet and exchange ideas. Shortly after Axonda was released, Dick also began to have visions of an “information-rich beam of pink light” that eventually led to his spiritual awakening (or mental breakdown) and the publication of his classic novel VALIS in 1982. There are indeed many similarities to Axonda and VALIS, though I suspect a lot of Californians were experiencing beams of spiritual light at that particular point in time. Perhaps they know something we don’t….Shannon McCormick…..~

I predict this album will become a big lost-classic sensation when the right people discover it. This is the hybrid of Bobb Trimble and Pet Shop Boys that hipster 80s ironic pop revivalist fantasies are made of. It’s totally from another planet, but it’s also a pretty straight pop album for the most part. Listening to this guy’s two albums from the 70s was a total chore, slogging through really shitty music to hear a really cool singing voice and some eccentric charm, but this album is a pure joy from start to finish. I went back for second helpings immediately. Those 70s albums find Bobby Brown in a more introspective, folk-scene-inspired approach to singing, but this album finds him in a more extroverted, confident approach that often recalls the yodelling of early Country music. This set of a dozen three-minute outsider synth pop nuggets is the stuff legends are made of…..by….herkyjerky…~

Originally self-released by Bobby in 1982, 'Prayers Of A One Man Band’ sees light for the first time in 33 years. A multi-instrumentalist, inventor, mystical physicist and world traveler Bobby Brown has charmed everyone from Kenny Loggins to Philip K. Dick. 'Prayers Of A One Man Band’, now available publicly for the first time places him along side the likes of The Beach Boys, Harry Partch, and Lindsay Buckingham as a true California visionary!….~

Tracklist 
A1 The Boy A Sailor 3:11 
A2 Steamboat Mama 2:50 
A3 Sail On 3:02 
A4 Lady Tennessee 3:00 
A5 Jungle Cowboy 3:10 
A6 Hawaii Nei I’ll Miss You 3:40 
B1 The Peaceful Ko 'Olaus 2:56 
B2 My Dog The Outlaw 3:19 
B3 If The Angels Cry 3:12 
B4 Sweet Clean Air 3:52 
B5 I’m Bolieve 2:58 
B6 The Cry Of The Wild 2:44 

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