THE GREATEST SONGS OF THE 1960s THAT NO ONE HAS EVER HEARD
1,350) Longbranch/Pennywhistle — “Bring Back Funky Women”
Glenn Frey and J.D. Souther (before the Eagles took flight) with a plea to bring back funky women. “And bring back fuzz guitar too! This is a cool song.” (daisyjane1070, https://www.youtube.com/watch?v=Xyb2c0JiyLk)
Longbranch/ Pennywhistle? What kind of name is that?* Anyway, Rob Ross tells us about the band’s sole LP:
Longbranch/Pennywhistle was a country rock/folk duo comprising Glenn Frey and John David Souther, which they formed not long after meeting in Los Angeles. . . . Both Frey and Souther had made the migration from Detroit to California and were adapting to what would become the California sound, first dipping deep into the then-burgeoning new country-rock style. The album sank without a trace . . . . Some of the fine musicians who helped shape this album include rockabilly guitarist James Burton, slide guitarist Ry Cooder, Buddy Emmons on pedal steel, Wrecking Crew pianist Larry Knechtel, drummer Jim Gordon, bassist Joe Osborn and fiddler Doug Kershaw. . . . Taken on its merits alone, this fine album deserved a much better fate . . ; the songwriting is mature, the arrangements well thought out and executed beautifully In by the players and really does deserve a long, second look/listen.
https://musictap.com/2018/10/10/reissue-review-longbranch-pennywhistle-s-t/
Richie Unterberger is less enthused, calling it “a pleasant yet unthrilling album of modest harmonized early country-rock[ where p]re-echoes of the sound of the Eagles and 1970s mellow Californian rock can be heard”. (https://www.allmusic.com/artist/longbranch-pennywhistle-mn0001470731#biography)
Souther himself said “[i]t’s got a certain charm to it, even if it still sounds like an 8-track record from guys who didn’t write that well working with first-time producers.” (https://www.soundandvision.com/content/jd-souther-legend-longbranchpennywhistle)
Sterling Whitaker adds to the story:
Born in Detroit, Frey made his way to California to launch his career, where he met a singer-songwriter from Texas named John David Souther. They formed a duo, and their blend of early country-rock and folk with vocal harmonies attracted a lot of attention when they began playing at the famed Troubadour in Los Angeles, which led to a recording contracting with Amos Records and a self-titled debut album in 1969. . . . Frey and Souther wrote all of the songs, both individually and collectively . . . . The tight, focused songwriting that both men would later employ is still in its formative stages on many of the songs . . . . The . . . album was unsuccessful, and the duo disbanded in 1970. The following year, Linda Ronstadt drafted Frey to play in her new backing group, which she envisioned as a group of country-rock all-stars. Frey first met Don Henley, Bernie Leadon and Randy Meisner on that gig . . . . The chemistry between the band members was so strong that they split off to form the Eagles . . . . Souther was a frequent songwriting collaborator, co-writing Eagles hits including “The Best of My Love,” “Heartache Tonight,” “James Dean,” “Victim of Love” and “New Kid in Town.” Souther also went on to a successful solo career, scoring hits including “You’re Only Lonely” and “Her Town Too,” a duet with James Taylor.
https://tasteofcountry.com/glenn-frey-before-the-eagles-longbranch-pennywhistle/
As does Allniter:
Glenn Frey and J.D. Souther met one fateful day in a Los Angeles coffeehouse, introduced by their girlfriends, who were sisters. Before long, these “Detroit Brothers” (J.D. was born there, but only lived there in infancy, and most recently had hailed from Amarillo, Texas) would have music in common as well. . . . Feeling confident, they approached Tom Thacker to get a record deal at his label, but when Don Lanier heard them, he brought them to Thacker’s old roommate, Jimmy Bowen, who had just taken over running Amos Records. . . . Bowen says their sound reminded him of the early Everly Brothers, and he wanted them so badly in fact that he offered Thacker a GM position at Amos, and a piece of Amos’ publishing rights in return for allowing them to sign with Amos. In addition, he allowed Thacker to produce their eponymous debut LP. . . . After the first album was released . . . . [t]he label wanted them to cover well-known songs by established writers; J.D. and Glenn wanted to become established writers, whose songs would be covered by other people. . . . Longbranch Pennywhistle would not make the album that Amos wanted, and Amos would not fund the rock-oriented album that Longbranch Pennywhistle was intent upon making . . . . After a protracted period of waiting and uncertainty, Glenn and J.D. were eventually released from their contractual obligations with Amos . . . . With their acoustic duo seeming to go nowhere, both J.D. and Glenn were seeking and making other contacts, and would eventually split up Longbranch Pennywhistle. J.D. wanted to go solo, Glenn wanted a band. . . . [J.D.] would collaborate on subsequent Eagles albums . . . . [and] would go on to record as a solo artist and act as producer for some of the most notable artists of the Seventies, and also formed the Souther Hillman Furay Band with Chris Hillman . . . and Richey Furay . . . .
* J.D. Souther explains:
We were just called John David & Glenn before that. . . . We started talking about band names since there were three of us including David Jackson, and we didn’t want to call it John David & Glenn & David. . . . What happened was, at the time, we were being managed by Doug Weston, [the owner] of The Troubadour. We were in Doug’s office and he said, “You gotta have a name.” I had been reading Mark Twain, so my head was all full of arcane language, phrases, and terminology. Glenn said, “Longbranch.” And I said, “Pennywhistle”. . . . Doug Weston said, “Great. They’re both phallic, so let’s use ’em both.” So, it just stuck. We said, “Yeah, okay, fine.
https://www.soundandvision.com/content/jd-souther-legend-longbranchpennywhistle
Pay to Play! The Off the Charts Spotify Playlist! + Brace for the Obscure 60s Rock Merchandise
Please consider helping to support my website/blog by contributing $6 a month for access to the Off the Charts Spotify Playlist. Using a term familiar to denizens of Capitol Hill, you pay to play! (“relating to or denoting an unethical or illicit arrangement in which payment is made by those who want certain privileges or advantages in such arenas as business, politics, sports, and entertainment” — dictionary.com).
The playlist includes all the “greatest songs of the 1960’s that no one has ever heard” that are available on Spotify — now over 900 songs. The playlist will expand each time I feature an available song.
All new subscribers will receive a Brace for the Obscure 60s Rock magnet. New subscribers who sign up for a year will also receive a Brace for the Obscure 60s Rock t-shirt or baseball cap. See pictures on the Pay to Play page.
When subscribing, please send me an e-mail (GMFtma1@gmail.com) or a comment on this site letting me know an e-mail address/phone number/Facebook address, etc. to which I can send instructions on accessing the playlist and a physical address to which I can sent a magnet/t-shirt/baseball cap. If choosing a t-shirt, please let me know the gender and size you prefer.
Just click on the first blue block for a month to month subscription or the second blue block for a yearly subscription.
Brace for the Obscure (60s rock)! / Off the Charts: 60s Rock Revelations😊 