MEDIUM
RARE - Scott Morgan (Real O Mind)
Geoff Ginsberg and Real O Mind Records had begun the process of better acquainting
the world with the recorded works of the often underrated and 
under-appreciated
former Rationals/Sonics Rendezvous and now Hydromatics guitarist / vocalist
(and Detroit rock-n-roll elder statesman) Scott Morgan, with the "Take
a Look" 7" single. This is continued to some degree in on the 14 tracks
which make up "Medium Rare, 1970-2000" but also provides a wider view
of this white/black soul rock-n-roller.
Opening the CD is the down and funky Al Green penned "Full of Fire"
and some could easily mistake this for that stockstandard modern blues/funk
by the likes of Kenny Wayne Shepherd, etc., but this track is saved with the
rock-n-soul vocals from Morgan and the impressive lead guitar work, which crashes
headlong into an abrupt end.
Another impressive track is "Rhythm Communication", which according
to the meticulously prepared liner notes was recorded back in the early 80s
and features an intro riff reminiscent of The Stooges 'We will Fall', followed
by a "We gotta get outta this place" inspired bass guitar line and
then combined with a funky backbeat, stylish female backing vocals and then
breaks into some blues/funk boogie all with a very mainstream 80s-styled production
sound.
Tracks four to six and track 10 are performed by The Rationals featuring Scott
Morgan on vocals and lead guitar and provide some of the highlights of the CD.
"Hold on Baby" recalls the likes of Sam & Dave and Otis Redding,
with fine lead vocals from Morgan, backing vocals from Steve Correll and Terry
Trabandt (whom also contributes some solid but funky bass guitar), clever brass
section arrangements and proves white guys can play soul/funk like the aforementioned
legends of the genre.
"The Monkey Time" also features some top notch musicianship and another
fine lead vocal on this amazing Curtis Mayfield-penned tune. Two marked departures
follow with "Free Rock" (which features some heavy duty rhythm section
work and scorching, seering lead guitar work) and "Pop Poppies" (which
brings down the mood, volume and tempo with rhythm guitar work almost reminiscent
of Radio Birdman's 'Man with Golden Helmet' and some spooky, garage/pyschedelia
inspired lead guitar noodling).
Track 11 is "Cool Breeze" and might be known to fans of Sonics Rendezvous.
This version wisely does not attempt to match the original's monstrous power,
but still has appeal with some interesting use of harmonica. The final listed
track "Satisfyin' Love" is probably the major surprise to fans of
Scott Morgan through his time in Sonics Rendezvous - it's a Neil Young/Flying
Burrito Brothers/Gram Parsons/Eagles- inspired easy-going country rock tune,
complete with slick Fender Telecaster lead guitar work and Rolling Stones styled
keyboards but still surprises with an almost folk rock inspired middle.
The final (unlisted) track 'Josie's Well' is a further excursion into acoustic
music for Scott Morgan. As the song explores the topics of Scotland, whiskey
and poetry and is performed with acoustic guitars
and cello.
Three of the tracks are recorded in the 1970s, two are recorded in the 1980s
and the rest are recorded since the 90s, with "Satisfier" recorded
in 2000. Eight of the 14 tracks are penned by Scott Morgan and demonstrate his
abilities in writing an impressive variety of songs. The CD also features guest
appearances from the likes of Robert Gillespie, Gary Rasmussen and Scott Asheton.
"Medium Rare, 1970-2000" provides an unique insight into the recorded
music and songwriting of Scott Morgan and continually surprises with diversions
into soul, funk, R 'n' B, heavy rock,
country rock and folk. - Simon Li
1/2
The last non-sellout in a line of powerful, soulful, R&B-influenced rock
singers from the '60s, Scott Morgan's had a lot of notoriety the last few years,
since the world of Rockdom at large belatedly discovered the joys of Sonic's
Rendezvous Band, the late-seventies Dee-troit "supergroup" that he
fronted in tandem with (and later in opposition to) ex-MC5 guitarist Fred "Sonic"
Smith.
Had the recording of their April 1978 stand at the Second Chance in Ann Arbor
(released 20 years later on Mack Aborn Rhythmic Arts as "Sweet Nothing")
appeared when the band was still happenin', the whole history of Rawwwk as we
know it might well have been changed. A dynamo of a band with great songs, two
distinctive lead singers in Morgan and Smith, mighty guitar damage from Sonic
(who had evolved so far as a player, singer, and writer since the Five's heyday
that he almost seemed like a different musician), and the powerhouse engine
room of Gary Rasmussen (ex-Up) on bass and Scott "Rock Action" Asheton
(ex-Stooges) on drums, the Rendezvous seemed unstoppable on paper but had the
great misfortune to be treading the boards at a time when disco and cover bands
had usurped the place of passionate, fiery original rock'n'roll on the evening
stage, and recognition outside their native Michigan eluded them (although their
legend loomed large).
Much of Scott's recent, uh, high visibility has come as a result of his association
(instigated by his ex-manager, Philadelphian Geoff Ginsberg) with Swedish rockarama
juggernaut the Hellacopters. The 'copters wore their reverence for SRB on their
sleeves, even covering the Rendezvous' one released recording "City Slang"
on their "Payin' the Dues" album and Scott's "Heaven" on
a six-song EP. Eventually, Scott journeyed from his home in Ann Arbor to Noo
Yawk City to meet his Swedish acolytes, share a chunk of their stage, and record
a couple of singles ("Downright Blue" b/w "Thanks for Nuthin'"
and "Slow Down, Take A Look" b/w "16 With a Bullet") for
Sub Pop. That meeting led to the release of an album on the 'copters' then-current
label, White Jazz, by the Hydromatics, an aggregation consisting of Scott,
Hellacopter guitarist Nick Royale on drums (his original instrument from early
Entombed days), and Dutch SRB fans Tony Slug (ex-Nitwitz, Loveslug) on guitar
and Theo Brouwer (ex-Nitwitz) on bass. That album, "Parts Unknown,"
was a solid slab of Detroit Rock Action, including covers of four SRB toons
as well as Scott's dynamite rendition of Sonic's opus "Baby Won't Ya"
from the MC5's best/last album, "High Time." A new Hydromatics album
was recorded in April and awaits release.
In mid-1999, Scott regrouped with the SRB riddim boyzzz (both of whom had worked
with him off and on through the years as the Scott Morgan Band and Scots Pirates)
with ex-Radio Birdman mastermind Deniz Tek (who had previously played with Scott
and Brother Wayne Kramer on the 1995 Detroit roots-tribute "Dodge Main"
for Alive) in the lead guitar slot to play a one-off gig at the Magic Stick
in Detroit as the Rendezvous Band. The resultant recording was the premiere
release on Ginsberg and Dave Champion's Real O Mind label and proof positive
that the SRB vibe was still strong.
With all the attention on SRB, it's easy to forget that before that band's wayward
trajectory, Scott had already experienced teenaged stardom as leader of the
Rationals, Ann Arbor garage kings transformed (under the tutelage of their manager
and A-Square Records honcho Jeep Holland) into blue-eyed soul brothers supreme,
covering Otis Redding's "Respect" a full year before Aretha made it
her own, cutting a string of strong singles for labels including A-Square, Cameo-Parkway,
and Capitol, and a classic but damn-near-unobtainable album on Crewe. Their
late-period signature tune "Guitar Army" provided the title for a
book of Detroit poet/music critic/revolutionary shill/dope martyr John Sinclair's
"street and prison writings," and became a Motor City anthem on a
par with Bob Seger's "Heavy Music" and the Five's "Kick Out the
Jams" its own self. And it's as a tonsil-tearing R&B belter and versatile
songwriter that Scott, in this writer's opinion, really excels, but it's been
hard to hear those sides of his work (his solo albums on Revenge and Schoolkids
being rarer than hen's teeth these days). Until now.
In "Medium Rare," Geoff Ginsberg has assembled a tasty smorgasbord
of Morgan rarities drawn from three full decades of magnificent obscurity. Chronologically,
the train starts rolling in 1970, with the original Rationals' very last studio
outing, a remarkably soulful take of the Walt Disney "Song of the South"
chestnut "Zip-a-Dee-Doodah," with guitarist Steve Correll proving
that there was more than one great singer in the band. Also included are three
of the four studio tracks cut during a brief reformation in 1992 (with Scott
handling lead guitar chores): a remake of their 1967 hit, Sam "The Man"
Taylor's "Baby Hold On," a poppy, horn-driven cover of Major Lance's
great dance smash "Monkey Time," and "Open the Door," which
actually sounds like it could've been recorded by Southside Johnny & the
Asbury Jukes or one of those late seventies R&B-based outfits that were
so popular in the wake of Broooce (and believe you me, pilgrim, it's only a
manifestation of the vagaries of fate that Scott never achieved the success
of Broooce Springstone, John Cougar Melonhead, et. al. - proof positive, if
any more were needed, that there's "No Justice In Rock 'n' Roll").
There's so much joy in these grooves that I defy anyone with a heartbeat and
a pulse who digs music to hear 'em without at least smiling or, more to the
point, dancing.
Also well-represented are the '98-'99 studio efforts of Scott's "L.A. band,"
the Jones Bros. - Detroit natives John Burke (drums) and Jubei Hughes (bass),
and Hendrixoid guitarist Manny Alvarez (former guitar tech for Beach Boy Carl
Wilson!). The jewels in that particular crown as represented here are a spirited
cover of Al Green's "Full of Fire," with Morgan at his fire-eating
best, and the moody, Near Eastern-sounding "Pop Poppies," an ode to
MTV which boasts a soaring, arcing solo from Alvarez. Also noteworthy are the
funky rock workouts "Radio Hollywood" and "Free Rock," which
wouldn't have sounded out of place on any of Wayne Kramer's Epitaph albums.
The remainder of "Medium Rare" is devoted to demo and "basement"
sessions, but that's no reflection on the music's quality. "Cool Breeze"
(in a more straight-ahead rockin' version - laced with blazing dual guitars
- than the one that appeared on Scott's 1996 "Revolutionary Means"
album) and the countryish "Satisfying Love" were cut in April 1978
(while the rest of Sonic's Rendezvous Band were touring Europe as Iggy Pop's
backing band) with the "Brothers of the Road" band, including former
SRB bassist Ron Cooke, keyboardist Harry Phillips (ex-Mitch Ryder's Detroit),
and guitarist Steve Dansby.
From late '83, "Rhythm Communication" features the first edition of
the Scott Morgan Band, with Scott Asheton providing "extra drums"
while Scott's brother Johnny Morgan lays down the solid four-on-the floor, Ron
Cooke again on bass, and Gary Rasmussen's sometime employer Mike Katon on guitar.
The track starts out funky, then breaks down into an Allman Bros.-like jam (with
Morgan and Katon both providing the sting on guitar) over a shuffle beat. From
1984, "She's Wild" has Scott backed by a stripped-down unit of his
brother Johnny, Gary Rasmussen, and Katon. The album ends on a pensive note,
with an acoustic bonus-track version of "Josie's Well" (originally
heard on the "Rock Action" album) that features Gary Rasmussen on
cello.
For new initiates, "Medium Rare" provides a worthy introduction to
the depth and breadth of Scott Morgan's substantial talent. For long-time fans,
it's absolutely essential. Hell, it's THE BEST MORGAN COLLECTION CURRENTLY AVAILABLE
and the most joyously rocking - maybe even just the BEST - record I've heard
so far this year. Now if I can just live long enough to experience a Scott Morgan
LIVE set that incorporates some of these great jams (not to mention the Rationals'
hits and some hotsoes off his early solo recs) in addition to the Rendezvous
stuff... - Ken Shimamoto
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