Review Summary: “The original D-O double G”
Welcome, dear reader. Yes, I am offering an obscure but influential album from the seventies for your consideration. Don’t worry, it won’t take long. I don’t want to go unnecessarily deep here and write a long-winded review full of shallow musings about “neglected masterpieces.” What I’m looking for is a quick write-up, focused on the music itself and the overall presentation of this sweet old album. Yet, I’m not even sure where to start.
Let’s clear the genre tag issue first, shall we? I just have to do it, because it bothers me. Now, Swamp Dogg himself claims that at least some of the songs included here were written under the influence of LSD. Moreover, there are references to acid sprinkled throughout the album and a direct mention of ”psychedelic music to blow my mind.” But…
You know what, this doesn’t feel very psychedelic to me. Maybe the vocals sometimes sound the part, and the lyrics get suitably quirky at some points, but overall “psychedelic” is not the most fitting descriptor here. What you get instead, is jangly piano, lively guitars, and juicy saxophone. This is one part of good old rock and roll mixed with two parts of classic soul and R’n’B. As such, this is not a guitar-driven album. The guitar does get a place in the spotlight when it’s required, but the songs are mostly carried forward by either keyboard or bass. What matters though, is that all the elements are neatly balanced and carefully put together to create a rather tasteful and diverse sonic palette. I personally would prefer for the saxophone to take center stage from time to time, and get more complex and developed parts. Alas, it is more of a seasoning here meant to enrich the flavor, but not to be the main course. It is, however, just a minor gripe as the sax still sounds great and constitutes an important part of the arrangements.
I would also like to pay special attention to the vocals. Swamp Dogg does an incredible job as a singer here, and his voice elevates even the lesser cuts. He provides youthful vigor for faster songs, sometimes hanging on the verge of outright screaming, but only venturing over that verge when the song itself commands for the vocalist to become unhinged. Then, for slower numbers, Swamp Dogg gets into a more reserved and careful exploration of the lower range of his voice, complete with a hint of pleasant rasp and great articulation. Also, the vocals always hit the right spot in terms of emotion, equally fitting the sarcastic “Redneck,” the introspective “Synthetic World,” or the more romantic songs.
I have to say, however, that the album is front-loaded to some extent. I mean, the first four songs are just perfect, but afterward, it’s a more uneven ride, although there are some good jams and sparkling gems reserved for the back half of the LP. Still, the songs tend to blur together as the album progresses, and not all of them possess a distinct identity. Also, the short runtime is not beneficial for some of the songs. There are several tracks here that don’t even go over the three-minute mark, and most of them end rather abruptly, just before they can take flight.
Anyway, while certain songs could use some development, overall the album in question represents a great combination of masterful songwriting and musicianship with genuine playfulness and fun. Even if you’re not a fan of the genre, or the album’s age scares you, I suggest you give it a shot. Especially now that spring is just around the corner. Swamp Dogg may not be the most obvious springtime companion, but a damn good one!
