Beau Brummels - Bradley's Barn

Bradley’s Barn was the famed studio of Nashville producer Owen Bradley, where the ’Brummels went to record this 1968 classic. And—how could it not?—the band’s country accent became even more pronounced than on Triangle, though they retained those trademark folk-rock harmonic flourishes. Album Description

A Fun "Classic"

Bradley's Barn was, for years, the Holy Grail among Beau Brummels albums. Revered by critics, ignored by consumers at the time of its release, and out of print forever. That, unfortunately is the making of a "classic" in the hype sense of the word. Fortunately, this album is better than all of that. It's the kind of album the Grateful Dead may have been reaching for when they caught the "country" bug a year later. Bradley's Barn deserves to be heard and appreciated by all who enjoy Working Man's Dead and American Beauty. The lyrics are engaging without being impossibly oblique and the music is delightful, whether you are just sitting and being mentally swept away or on your feet dancing. Enjoy!! November 7, 2006

Pioneers of Country-Rock

Bradley's Barn was the last album that Beau Brummels released before their first split up around 1968. ( They reformed in 1975 to do another album ). At this point only two ( of the original five ) members were left. Musically they had changed considerably since their early albums and singles released on the Autumn label. They had a handful of Beatles inspired hit-singles during 1964-65. Their majority of their material was written by lead-guitarist Ron Elliot. Elliot along with lead singer Sal Valentino are the solo survivors from the original line-up and they are supported here by experienced Nashville studio-musicians like Jerry Reed and Kenneth Buttrey. Bassist Ron Meagher was drafted to the army before its completion. The title of the album refers to the famed Nashville studio named after legendary producer Owen Bradley.

It's no surprise that there is a lot of country influence on the album, but it is by no means a traditional country-album. Along with the Byrds, Flying Burrito Brothers, Buffalo Springfield and the Monkees ( Mike Nesmith ) this album documents that the Beau Brummels were also among the the pioneers who created the the musical style later referred to as country-rock. In fact the best tracks on this album, like "Turn Around", "Deep Water" and "Love Can Fall a Long Way Down", sound a lot like Mike Nesmith's great Monkees songs from "Headquarters" and "Pisces, Aquarious".

Compared to their previous dull string-laden album "Triangle" this album was an inspired step back forward, so it's really a shame that the first chapter of Beau Brummels history ended here. August 16, 2006

Bradley's Barn (almost) gets its due

Five years ago I was excited to find that Bradley's Barn, along with Triangle, were available as a Warner Brothers import. They were pricey and the remastering wasn't great, but I treasured them. After all, these LPs didn't come close to charting on their initial release.

Now, Collector's Choice has released B.B. in the U.S. I admire Collector's Choice because they have released things that wouldn't otherwise see the light of day. Though I have the W.B. import, I just had to get this. I comparing, here's what I found:

The import has a better booklet, which includes lyrics and the original liner notes. The C.C. reissue has new notes by Ritchie Utenberger (All-Music Guide). The only way you'll be able to read the original liner notes is with a super magnifying glass. The interesting aspect of this reissue is the music has definitely been remixed, as the sound stage is dramtically different. The remix is a missed blessing; the clarity and overall fidelity is better, but the sound can be a bit harsh at times. Also, considering Collector's Choice is supposedly aimed at the collector, I thought the package could have been better...more history, more information.

May 15, 2006

Believe the Hype

Unlike 1967's overrated "Triangle" LP (in which Ron Elliott tried for a "Pet Sounds" but had to settle for a "Sunshine Superman"), Bradley's Barn deserves its lofty reputation. For although it's not as dusty as something like "Sweetheart of the Rodeo", "Bradley's Barn" outshines that piece of opportunistic genre-hopping through sturdy melodies, good smoke, and lowered expectations. Because sometimes you don't have to walk the walk to talk the talk.... April 24, 2006

+1/2 -- Artistic end to a great band

This 1968 release represents the swansong for the original incarnation of the Beau Brummels. Though they'd regroup in the next decade for a reunion album, this Warner release is the last in a line of singles and LPs that began at San Francisco's Autumn Records. By this point in the band's history the personnel had been whittled down from a quintet to a duo, comprised of vocalist/songwriter Sal Valentino, and guitarist/songwriter Ron Elliott. Augmented by Nashville studio players (including guitarist Jerry Reed, bassist Norbert Putnam, drummer Kenneth Buttrey, and keyboardist David Briggs), Valentino's voice and Elliot's writing brought the essential Brummel elements to these recordings.

Producer Lenny Waronker took Valentino and Elliot to Owen Bradley's studio in Nashville to wax the most artistically polished album in the band's catalog. Many describe this as a country-rock album, but Music City exerted more of a gravitational pull than a thorough influence. There are no weeping fiddles or crying steel, nor any countrypolitan backing singers. Instead, there's an earthy directness to the lyrics that reflect Elliott's early exposure to country songwriting, and country rhythms and tempos lent by the session players. This is sophisticated folk-pop that substitutes deeper introspection for the adrenaline charge of the band's earlier works.

Those who came to the band through their earlier singles may not find this album to provide the same visceral pleasures. The productions charm with a very high level of craft, and though it's not distraught in the way of Big Star's "Sister Lovers," there's a hint of road-end weariness, making this a fitting end for a band whose commercial fortunes didn't track their artistic growth. 4-1/2 stars, if allowed fractional ratings. [©2005 redtunictroll at hotmail dot com] September 4, 2005

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