"Dirty Water" is the Tower debut. The title song is a Punk classic
reproduced on numerous "Nuggets"-type comps, and along with the five
and-a-half minute b-side, "Rari" was recorded in Hollywood by Richard
Podolor. Most of the remaining tracks - originals, covers, and songs
written by Cobb, an accomplished sonwriter - were recorded a year later
(April 1966) at Kearnie Barton's Seattle Studio, and as re-mastering
engineer Bob Irwin points out, were "over-modulated directly to the
multi-track tape, causing the finished master to become a
powerful...gritty and distorted wash of sound..." charactistic of the
Northwest punk/garage bands recording at Barton's studio during the
period (such as the Sonics). These early recordings contained influenced
later groups like the MC5.
Drummer Dave Dodd (an ex-Mouseketeer!) had a sexy, delicately cool
and seductive voice that influenced (N.Y. Dolls guitarist)Johnny
Thunders' breathy singing on "Hurt Me" and other classics. Dodd sings
about two-thirds of the material included and is a near-forgotton
punk-rock progenitor. He could snarl with the best Jagger-imitators and
convey the soft bad-boy sexiness that exudes both cruelty and
vulnerability. (His vocal on the classic "Medication" is one of the most
understated and seductive ever!). Despite scores of versions recorded
in 1966, Dodd manages to make "Hey Joe" sound like it was written for
him. Keyboardist Larry Tamblyn also contributes a couple of fine
rockers. The bonus cuts are all worthy,including the pre-Cobb audition
track, the early-Beatles influenced "It's All In Your Mind," and two
solid outtakes from the "Try It" sessions, with ex-Love bassist (and
"Jaws" cinematographer) John Fleck. I advise the reader to pick up all
four Sundazed remasters rather than the earlier Rhino Best-of or the
ugly Hip-O comp. Not only do you get the complete Tower recordings, but
the best sound and notes as well. With more forward looking management,
this group might be remembered as more than 1 or 2 hit wonders today -
they were LA garage rockers of the first rank, with plenty of attitude
and raunch - and, good songs - to spread macross these four killer sets.
(The other remasters are "Why Pick On Me/Sometimes Good Guys Dont Wear
White," 1966; the much improved-by-bonus-material "The Hot Ones," from
early '67; and the mostly brilliant and risk-taking "Try It," 1967.)
Hey kids, collect 'em all! (by J.P. Ryan)
Personnel: Dick Dodd (drums) Gary Lane (bass) Larry Tamblyn (organ, vocals) Tony Valentino (guitar) + Dave Burke (bass on 12.) John Fleck (bass on 14 + 15.)
Tracklist: 01. Medication (DiTosti/Allton) 2.42 02. Little Sally Tease (Valley) 2.57 03. There Is A Storm Comin´ (Cobb) 3.18 04. 19th Nervous Breakdown (Jagger/Richards) 3.54 05. Dirty Water (Cobb) 2.46 06.Pride And Devotion (Tamblyn) 2.13 07. Hey Joe (Roberts) 2.12 08. Why Did You Heart Me (Dodd/Valentino) 2.28 09. Rari (full version) (Cobb) 5.32 10. Batman (Hefti) 3.04 11. It´s All In Your Mind (Cobb) 2.38 12. Love Me (Dodd/Valentino) 2.45 + 13. Medication (instrumental version) (DiTosti/Allton) 2.43 14. Poor Man´s Prison (Colley/Henderson) 2.23 15. Take A Ride (Cobb) 2.08
Laurel Canyon wonderfully captures the natural, idyllic vibe of its
titular setting, the creative nexus of the late-'60s Los Angeles music
scene.
Swapping the polished pop approach of Jackie DeShannon's past
hits for an appealingly rough-edged country-soul sensibility, the record
celebrates a place and time that transcended the physical world to
signify a virtual Garden of Eden for the flower-power generation.
Featuring extensive contributions from pianist Mac "Dr. John" Rebennack
and guitarist Russ Titleman, Laurel Canyon boasts a swampy, lived-in
charm that perfectly complements DeShannon's sexily gritty vocals.
Her
soulful reading of the Band's "The Weight" anticipates Aretha Franklin's
like-minded cover, but most impressive are originals like "Holly Would"
and the title cut, which eloquently articulate the rustic beauty of
their creator's environs. (by Jason Ankeny)
Personnel: Harold R. Battiste (piano) Jackie DeShannon (vocals) Paul Humphrey (drums) Abe Mills (drums) Mac "Dr. John" Rebennack (piano) Craig Tarwater (guitar) Russ Titelman (guitar) Ray Trainer (bass) + Brendetta Davis (background vocals) Don MacAllister (background vocals) Barry White (background vocals)
Tracklist: 01. Laurel Canyon (DeShannon) 4.07 02. Sunshine Of Your Love (Bruce/Brown/Clapton) 3.35 03. Crystal Clear (Trainer) 3.26 04. She´s My Best Friend (MacAllister) 3.15 05. I Got My Reason (White) 2.52 06. Holly Would (DeShannon) 3.09 07. You´ve Really Got A Hold On Me (Robinson) 2.58 08. The Weight (Robertson) 3.05 09. Bitter Honey (Williams/Nichols) 2.33 10. Come And Stay With Me (DeShannon) 3.07 11. L.A. (DeShannon) 2.47 12. Too Close (Stone/Green/DeShannon) 4.20
"Dirty Water" is the Tower debut. The title song is a Punk classic
reproduced on numerous "Nuggets"-type comps, and along with the five
and-a-half minute b-side, "Rari" was recorded in Hollywood by Richard
Podolor. Most of the remaining tracks - originals, covers, and songs
written by Cobb, an accomplished sonwriter - were recorded a year later
(April 1966) at Kearnie Barton's Seattle Studio, and as re-mastering
engineer Bob Irwin points out, were "over-modulated directly to the
multi-track tape, causing the finished master to become a
powerful...gritty and distorted wash of sound..." charactistic of the
Northwest punk/garage bands recording at Barton's studio during the
period (such as the Sonics). These early recordings contained influenced
later groups like the MC5.
Laurel Canyon wonderfully captures the natural, idyllic vibe of its
titular setting, the creative nexus of the late-'60s Los Angeles music
scene. 
