Wolfmoon
Wolfmoon
1973 Fungus FB 25149
01 Cloak Of Many Colors
02 If He Walked Today
03 My Kinda People
04 If I Had A Hammer
05 People Get Ready
06 Proud Mary
07 God Bless
08 What Is Heaven For
09 Treasures That I Found
10 The Artist
Artwork By – George Reeder Jr
Coordinator – Yvonne Williams
Deadwax matrix runout info:
SIDE A: F-25149-A-RE-1-11-1
SIDE B: F-25149-B-1-11-1 p@ D PR T-2Producer – Jerry Williams Jr.
Lineage:
Fungus 25149 LP; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; Audioquest King Cobra cables; M-Audio Audiophile 192 Soundcard; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; Stereo->Mono fold down in Click Repair; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.
A look at this cosmic album cover art leads you to speculate excitedly about the contents. Who is Wolfmoon? Is he some kind of psychedelic superhero who goes bowling with planets amidst the stars? What does his music sound like? You put the record on your turntable, half expecting squalls of Echoplex feedback guitar to fill the room and fulfill your urge for uncovering some lost psychedelic funk treasure, but what meets your ears is… slightly off-kilter southern soul. I think I use the phrase “slightly off-kilter” a lot whenever I try to describe the work of Swamp Dogg to the unfamiliar. Swamp Dogg, the musical persona of one Jerry Williams, Jr, produced this album, wrote all the songs that aren’t cover tunes, and possibly played half the instruments. And his approach, his musical gestalt if you will, has always struck me as what it would sound like if an arranger for Muscle Shoals Studio ate a quarter ounce of psilocybin mushrooms at 8 a.m. right after getting to work, and continued on as if it were just a normal day at the office. The song structures are more or less traditional, the elements all familiar to the universe of southern soul music of the 60’s and early 70’s, but there is always just enough strangeness – odd lyrics and titles, occasional embellishments of inter-dimensional lysergic audio production creeping through an arrangement like kudzu overtaking a barbecue stand – to alert the listener that something is a little bit “off.”
Williams/Dogg’s production work for other artists usually plays it a little more straight than on his own records, and Wolfmoon is no exception. So I’ll confess to some mild disappointment when I discovered that the sounds emanating from the grooves did not sound like a collection of early Funkadelic outtakes thrown into a blender with some of Otis Redding’s ashes and some paint chips from the discarded scepter of King Floyd. This is high quality soul music, but with the exception of the expansive take on “People Get Ready”, there are no ‘freakouts’ here. Since I have no idea what Wolfmoon actually looks like beyond the comic-book style cover art, I found it helps to visualize an animated film with him “in character” singing all these songs.
Almost half the songs are infused with an idiosyncratic gospel-soul religiosity, and a look at the song titles will probably help you guess which ones. “If He Walked Today” speculates on the second coming of Christ in a way that uncomfortably reminds me of a truly awful assignment I turned in for a drama-writing class when I was a teenager in which I attempted to cast Jesus as a hippie in Greenwich Village or the Haight (can’t remember which) in 1970. I mean that was pretty much the whole “plot,” I don’t think there was much else to it. Wolfmoon’s track is better than my dramatic script, which for some reason I still haven’t burned in a bonfire but refuse to actually reread. Another track, “God Bless,” is a cute observation of little kids offering nightly prayers to Deputy Dog, Elmer Fudd, and Tweety Bird. Talking about the “off kilter”, funky gospel-soul tunes among the original compositions is a good segue-way to the cover songs. While “If I Had A Hammer” wins my praise for being the funkiest version of that song you’re likely to come across, it’s the eight minutes of Curtis Mayfield’s “People Get Ready” that is truly the centerpiece of this whole album. I mean, all the other songs clock in at under 3 minutes, meaning that “People Get Ready” here is nearly 4x as long as any other track, so I have to believe we are meant to regard this as THE highlighted show-stopper. With a long intro and outro vamp on one chord sandwiching Mayfield’s spiritual civil-rights anthem in the middle, it largely works. But it is one of those things that is probably more impressive the first couple of times you hear it. It’s a restrained kind of psychedelic freakout leading into the main tune, and I mostly applaud Swamp Dogg’s decision to remain understated rather than taking the easy approach to such an idea and just adding squalls of feedback and tape delay. But then other times I wish there were in fact a swelling tsunami of feedback and tape delay, leading up to a crescendo that cuts off suddenly, yielding to the stately D-major / B-minor / G major progression of this immortal, uplifting tune. Instead, the opening vamp just kind of chugs along for a few minutes and then just kind of collapses on itself. They give the song a worthy treatment, and I’m 99% sure that it’s Jerry Williams himself doing the spoken rap of the lyrics in the middle of the track rather than Wolfmoon. If I were grading it, I’d give it an A but not an A+. An A+ for this kind of idea would be reserved, for example, for Baby Huey’s take on Sam Cooke’s “A Change Is Gonna Come,” which is a truly staggering achievement of raw psychedelic soul. Given that Baby Huey’s one and only album was produced by Mayfield, and how that track kind of stands out as a centerpiece there, I can’t help but wonder if Swamp Dogg / Jerry Williams Jr. was actually inspired to arrange “People Get Ready” this way by hearing that album, that it planted the idea of “I want to do something kind of like that!” If so, good for him – but he doesn’t really get close to that kind of brilliance. But really, saying that any soul/funk artist falls short of Curtis Mayfield is less of a criticism than a compliment, like saying any pop/rock artist is not quite as brilliant as Lennon/McCartney. I’m excited to see Swamp Dogg getting more recognition in the last few years, manifesting in unexpected ways – for example, The Isley Brothers and Carlos Santana just covered his song “Total Destruction To Your Mind” on their recent collaboration, and Santana has incorporated into his live set!
As I was putting the finishing touches on my vinyl transfer of my Fungus Records original copy, I discovered that this had actually been reissued a few years ago in a very limited edition. It was done by ‘Alive Records’ on a series of Swamp Dogg-related reissues, which I know he was personally involved with and fully endorsed. In fact he wrote personalized liner notes for this and other releases in the series, and I’d love to see them someday – perhaps they would help shed some light on the enigma of Wolfmoon. If you like this stuff, go and get yourself one and pick up the other Alive Records reissues while you’re at it — I have only one at the moment but it sounds pretty great. The original Fungus Records version of this was distributed by BASF Records, the famous tape company who briefly had their own label in the 70’s. And in spite of having hardly a scratch on it, my copy is a bit noisy, which indicates cost-cutting somewhere in the laquer-cutting or manufacturing process (although it maybe have been cut at a Preswell plant, based on the matrix info). So rather than breaking the bank to get an O.G. copy, I’d encourage folks to check out the reissue. Plus, maybe you send me a pic of those liner notes, I’d like to read ’em.
password: vibes
