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From the back cover notes about the band members: “Keith Moon. The fastest nineteen-year-old drummer in the world uses at least five pairs of drumsticks during The Who’s act. He plays so ferociously that the sticks splinter and shoot into the audience. Behind his sixteen-piece drum kit, he has brown eyes, black hair, and a passion for breeding chickens.”

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I had never heard of The Stalk-Forrest Group before (though I’m clearly aware of Blue Öyster Cult – more cowbell!!); I received this record as a gift this past Christmas from a yoga student (I’ve been gifted waaayyyy more records as a yoga teacher than a vinyl blogger 🤷‍♀️) and apparently – or at least according to my student – until its physical release on vinyl, it was considered kind of a holy grail of lost recordings to collectors of late 60′s/early 70′s psych. There’s also a fair bit of confusion about the timeline of recordings, for what label they were being recorded, even what the band’s name was at the time! From Discogs: “There were at least two recording sessions by the band. The first, possibly at Elektra’s NYC studio, was archived under the briefly-used band name Oaxaca and resulted in a 10-song master tape. The second recording session, as The Stalk-Forest Group, was at Elektra’s Los Angeles Sound Recorders studio where six songs were re-recorded. These six songs were combined with three songs from the Oaxaca master to produce a 9-song Stalk-Forrest Group master tape. Both versions of the album were rejected by Elektra and not released, although the Stalk-Forrest Group album was assigned the catalog number EKS-74046…The Stalk-Forrest album is a combination of six re-recordings done in LA in February of 1970 and three songs from the earlier Oaxaca master: “What Is Quicksand?; “Donovan’s Monkey” and “Arthur Comics.”

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My early exposure to Neil Young was via my parents in the 70′s and mostly in conjunction with CS&N (my folks really dug the harmonies). I didn’t really listen to much of Young’s solo work until college in the late 80′s/early 90′s where my roommate’s CD copy of Decade was on heavy rotation, mostly for the track “Cinnamon Girl,” the lyrics of which she’d switch to Cinnamon Boy as she was dating a redhead dude at the time. I got to see Neil Young perform in ‘91 at the Bradley Center in Milwaukee when he was on tour to promote Ragged Glory (’90) supported by Social Distortion and Sonic Youth. We had shit seats and the sound was even shittier (lots of concrete + noise rock/punk/heavy guitar = muddied and deafening….Young apparently got a case of tinnitus as a result of this tour) but the concert was VERY cool and Young did perform “Cinnamon Girl.”

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Zeppelin’s third album went to #1 in both the US and the UK and its sole single, “Immigrant Song” went to #16 in the US. Filled with Norse imagery, Plant says the lyrics were inspired by their 1970 performance in Iceland. Also playing an influence on the overall rootsy, folksy (albeit pretty hardcore folksy) was the band’s writing retreat to Bron-Yr-Aur in rural Wales – the obvious result: the fantastic barn-stomper “Bron-Y-Aur Stomp.” I also love the hard-rocking funk of “Out on the Tiles” (primarily written by Bonham), the acoustic vibe of “Gallows Pole” (a reworking of a traditional folk song) and the two lovely ballads “Tangerine” (written by Page when he was still in the Yardbirds) and “That’s the Way.”

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Let It Bleed was a pivotal recording and a massive hit, going to #1 in the UK and #3 in the US. It not only is included on many best-of lists (records, songs like “Gimme Shelter” and “You Can’t Always Get What You Want”) but is also viewed by many popular culture historians as the record that marked the end of the 60′s – not only in its release timing but also turning a view of the world from the happy, hippie flower power energy that infused youth culture to one of darkness, violence and destruction (helped along, of course, by the disastrous Stones concert at Altamont the day after Let It Bleed’s release).

Our version of Let It Bleed is an early US edition. The cover of Robert Johnson’s “Love in Vain” (the only cover song on the LP) is credited to Woody Payne in the liner notes and according to Wiki marks it as an early pressing (Woody Payne was a pseudonym of Johnson’s). The whole album is seeped in American blues and honky tonk and my favorite tracks are “Gimmie Shelter” (how it’s spelled on the cover and the inner sleeve of our copy), “Let It Bleed” and “Midnight Rambler.” I do like “You Can’t Always Get What You Want” but I kind of over-listened to it in the 80′s when it was included on The Big Chill soundtrack.

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