Reviews

The Outlaw Blues Band

By: Akarma Records

2001-03-08

Artist: The Outlaw Blues Band

Title: The Outlaw Blues Band and the People

Label: Akarma Records

Genre: Blues-Rock

The Outlaw Blues Band decided to call themselves outlaws because of their self-proclaimed unconventional music. This is how they referred to rock music of the day-”It’s a 4/4 tempo that’s still rocking in its chair, not as a lady, but as a wench that shook up the historical path of music.” They stated in the album liner notes that they created the song “Death Dog Of Doom” in 6/8 tempo, thus making them a progressive band.

I agree that their sound is very progressive for the time that they recorded this album (1968). Being an avid electric blues lover myself, I found this LP very easy to appreciate. “Two ‘Tranes Running” is most likely a dedication to John Coltrane. It sounds very much like free-form progressive jazz. Possibly this is what Coltrane would have sounded like if a clone of him were playing in the same room. This is only a hypothesis of what I heard; others may have an entirely different interpretation than I. Their version of “Tobacco Road” was quite unusual. I had never heard the song done this way. I knew I was in for a ride when that song played through.

This group was far ahead of its time. They were to make one more album, “Breaking In”, in 1969. And that was the end of this out of the ordinary group. It’s to bad it couldn’t have lasted longer. I would have been very interesting to see how things developed over the course of a few more albums.

ALBUMS:

1(A) OUTLAW BLUES BAND

(Bluesway BLS 6021) 1968

2(B) BREAKING IN

(Bluesway BLS 6030)

1969

NB: (1) reissued on CD and LP (Akarma 108 CD/LP). (2) reissued on CD and LP (Akarma 107 CD/LP).

As their name suggests, this was a blues-rock outfit but they were a pretty good one at that. From California, they were one of the several new acts signed by Bob Thiele, the producer of several interesting jazz artists (Coltrane, ) and rock groups (, etc).

Their first album features lots of fluid guitars and you should enjoy this if blues-rock is your thing. Even if it isn’t you might still like it. Certainly, I’ve Got To Have Peace On My Mind is very imaginative with interesting sound effects and it extends far beyond the usual blues-rock format. The band also have strong jazz influences, particularly in the drumming and the sax (or flute) interludes. Other highlights include an interesting reinterpretation of ‘s Tobacco Road, the instrumental Death Dog Of Doom, Tried To Be A Good Boy (But I’m Worse Than A Nazi), Two ‘Tranes Running (not a misspelling but an homage to Coltrane!) and the catchy Lost In The Blues.

After Gonzales, their bass player, was replaced by Dickens (who would later play with Willie Hutch, a soul/funk singer), they recorded a second album in the same style, still mixing blues covers (Stormy Monday Blues) with original material (Mano Pano Shhhh, Plastic Man, Day Said…).

They can easily be compared to the best moments of the or, although their albums are only minor collectibles at present.

Bass player, Joe Francis Gonzales died recently of liver cancer.

OUTLAW BLUES BAND – Outlaw Blues Band and the People

Blues Way | 1969

Reviewed By: Motown67

Tobacco Road starts things off with a nice rhythm tack, some strong guitar work, and a little breakdown where the band gets a little loose and frisky. Next is a Blues tune with the great satirical title of Tried To Be A Good Boy (But I’m Worse Than A Nazi), followed by the fast-paced How Bad Love Can Be and I’ve Got To Have Peace On My Mind where they get a little Psychedelic. The rest of the album isn’t that hot, but the first side is very listenable from beginning to end.

OUTLAW BLUES BAND – Breaking In

BluesWay | 1969

Reviewed By: Motown67

The Outlaw Blues Band was one of many Blues revivalist groups from the 1960s. They start off with 3 covers that set a really nice, laid back, electric Blues sound with Plastic Man, Stormy Monday Blues and My Baby’s Left And Gone. The second side sounds totally different because it’s all original material that mixes Pop, Blues, Jazz, and Rock. The best tunes are the Latin-tinged Jazz-Rock of Mamo Pano Shhhh with some strong work on the vibes, and the slow and Funky blues of Deep Gully that’s been made famous by De La and Main Source sampling it.

This is the Outlaw Blues Band’s second album originally released in 1969 on ABC/Bluesway. The band was, without a doubt, one of the most important blues-rock groups of the late ‘60s to early ’70s on par with Canned Heat, Paul Butterfield Blues Band, (cduniverse.com)

OUTLAW BLUES BAND

Breaking In (BluesWay 69)

Reviewed by: Motown67

Here is the monster LP by `the Outlaw Blues Band` which features the killer funk and breaks track `Deep Gully` this has been sampled by `Cypress Hill` amongst others and is a wild tune.check the audio clip out for a teaser of the dope sounds on this lp.how can you not love this music.very tough lp to find.

Several members of Rosie’s ORIGINALS formed an outfit in ‘65or ’66 called The Outlaw Blues Band. Good band, but not a big seller, and we all know what that means!

One guitarist from OBB who may have also been an ORIGINAL was Leon Rubenhold, and his last recording that I know of was about 1980, with a band called Rainbow Red Oxidizer.

Cheers, Rx

La “ Bluesway” tentò il lancio di un gruppo bianco “minore”, dopo averci già provato con la Dirty Blues Band e la Outlaw Blues band: la James Gang di Joe Walsh – in seguito chitarrista con “The Eagles ” e che proprio alla Bluesway incontrò Syzmzyck – proveniente da Cleveland, Ohio,pensando che il trio non potesse essere pronto per essere recepito su ABC; i discografici vennero smentito dal successo di brani come “Funk 48” e “Take a look around”. Un successo che non fece il gioco della sussidiaria che aveva, piuttosto, il compito di usare gli artisti come outsider e apripista per B.B. King.

So I was all ready to lay down the words of wisdom, and say this 1969 blues LP is just about one cut, but then I had to go back and relisten just to be sure. Don’t get me wrong, “Deep Gully(1)” is definitely the standout. An extra chunky peanut butter groove with lazy vibes and harmonica, complete with dubbed out a false ending. Good enough to be sampled by Muggs and De La, a Roosevelt Ballroom wall piece- trust me it’s nice and worth the price of admission alone. But there are actually a couple other gritty ditties for you to sink your bicuspids into if you want to venture further. The latin soul instrumental “Mamo Pano Shhhh(2)” comes cowbell clunking correct, and sets up the smooth Bataan-esque vocal cut “You’re the Only One(3)” lovely. And let’s give it up for ivory soul brother Phillip John, whose giant jewfro eclipses bandmate Lawrence Dickens sizable naps in a close race on the cover.

-Monk