Welcome to
Weedlemania!
staring
The Wildweeds
Above photographs courtesy of www.wildweeds.net
Weedlemania! (thanks to Lori for coining that phrase!)
Al, Skip, Bob & Al
No Good To Cry - the 45
No Good To Cry - 'Best Of' Album
Big Al
Skip
List of singles:
THE
WILDWEEDS
'No Good To
Cry / Never Mind '(Cadet Concept 5561) 1967
'Someday
Morning / Can't You See That I'm Lonely '(Cadet Concept 5572) 1967
'It Was Fun
(While It Lasted) / Sorrows Anthem '(Cadet Concept 5586) 1968
'I'm
Dreaming / Happiness Is Just An Illusion '(Cadet Concept 7004) 1968
'And When
She Smiles / An Overnight Guest '(Vanguard 35107) 1968
'And When
She Smiles / Paint And Powder Ladies '(Vanguard 35134) 1970
'Baby,
Please Don't Leave Me Today / Ain't No Woman Finer Lookin' '(Vanguard 35144)
1971
'C'mon, If Your Comin' / Goin' Back To Indiana '(Vanguard 35155) 1971
Wildweeds |
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| Personnel: | ||||
| AL ANDERSON | ld /rhythm gtr, vcls | A | B | C |
| BOB DUDEK | bs, vcls | A | B | C |
| AL LEPAK Jnr. | drms | A | B | |
| MARTIN 'SKIP' YAKAITIS | perc, vcls | A | B | C |
| RAY ZEINER | keyb'ds, vcls | A | ||
| ANDY LEPAK | drms | C |
| ALBUM: | |||
| 1(B) | WILDWEEDS | (Vanguard VSD 6552) | 1970 |
NB: (1) reissued on LP.
| 45s: | |||
| 1 | No Good To Cry/Never Mind | (Cadet 5561) | 1967 88 |
| 2 | Someday Morning/Can't You See That I'm Lonely | (Cadet 5572) | 1967 - |
| 3 | It Was Fun (While It Lasted)/Sorrow's Anthem | (Cadet 5586) | 1968 |
| 4 | I'm Dreaming/Happiness Is Just An Illusion | (Cadet Concept 7004) | 1968 |
| 5 | And When She Smiles/An Overnight Guest | (Vanguard 35107) | 1968 |
| 6 | And When She Smiles/Paint And Powder Ladies | (Vanguard 35134) | 1970 113 |
| 7 | Baby Please Don't Leave Me Today/Ain't No Woman Finer Lookin' | (Vanguard 35144) | 1971 |
| 8 | C'mon If Your Comin'/Goin' Back To Indiana | (Vanguard 35155) | 1971 |
NB: (8) released as by Al Anderson and Wildweeds.
This group started life in Windsor/Windsor Locks, Connecticut. Their sole album is composed of musically competent electric folk music with a strong country influence. Among the more interesting tracks are Belle and An Overnight Guest. They generated a good time sound, but although their songs lacked lyrical poignancy, their album remains of minor interest to some collectors.
Al Anderson went solo after the band's demise. He also joined NRBQ in the early '70s.
Another member, Ray Zeiner (who'd left prior to the LP) put out one solo 45, I Had A Girl/You Know Your Love (Poison Ring 721) in 1969. Zeiner and "Big Al" were the driving force behind the "Weeds" and internal rivalry within the group led eventually to their break-up.
Their bass player, Bobby Dudek, was incidentally blind. Andy Lepak replaced his older brother's place on the drum stool, when Al Lepak was drafted.
Their strong 45 debut No Good To Cry was covered by The Moving Sidewalks (ZZ Top's Billy Gibbons, guitar & vocals) on their Flash album.
Compilation appearances include: My Baby Left Me on Pop Music Super Hebdo (LP).
(Vernon Joynson / Steve Swider / Max Waller)
© Borderline Books 1995 - 2002.
Web version administered by Ivor Trueman. ivor@borderlinebooks.com
PO Box 146, Ireland Wood LDS, Leeds, LS 16, England.
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| ワイルドウィーズ
『ベスト・アンド・レア』 エアー・メイル・アーカイヴ・シリーズの第３弾は、元NRBQのギタリスト、アル・アンダーソンがミュージシャン人生を歩み始めた最初のバンド、ワイルドウィーズ。 ワイルドウィーズはコネチカット州出身の5人組。67年にリリースしたデビュー・シングル「ノー・グッド・トゥ・クライ」が東部でスマッシュ・ヒットを記録。70年に解散するまでに8枚のシングルと1枚のアルバムをリリースしています。 本アルバムは、タイトル通りシングルと未発表音源からなるレア音源集。当時のプロデューサー、トーマス・ドク・キャヴァリエが自らデジタル・リマスタリング。NRBQファンはもちろんのこと、60'sフォーク／ロック・ファンも待ちに待った待望のCD化です！ |
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01. No
Good To Cry 02. I'm Dreaming 03. Where Is Our Love 04. Someday Morning 05. It Was Fun While It Lasted 06. Happiness Is Just an Illusion 07. I Want You Here 08. I Had A Girl 09. You Know Your Love 10. Can't You See That I'm Lonely 11. Sorrow's Anthem 12. I Can't Stand It 13. Anytime At All 14. And Then There Is Love 15. Never Mind 16. Fuzzy Wuzzy PERSONNEL Al Anderson(Guitar ,vocals) Ray Zeiner(Organ,Clavinet,Electric Piano,Vocals) Bob Dudek(Bass,Vocals) Andy Lepak(Drams,Vocals) Martin'Skip'Yakaitis(Percussion,Vocals) GUESTS Bob De Palma(Flute) Al Lepak Sr.(Percussion,Horn Arrangements) Warren Bloom(Bass) Bert Keyes(String Arrangements) |
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http://www.airmailrecordings.com/AC1004.html
WILDWEEDS |
Wildweeds | VANGUARD ラクガキ（マジック）表（５文字）、裏１ヶ所/所有者のスタンプ（裏） |
70 | M/N | 4,460 | S.S.W |
| Also see, NRBQ Al Anderson, Bob Dudek, Al Lepak Jr., Martin Yakaitis with Charlie McCoy, Weldon Myrick, David Briggs, Mac Gayden, Jim Colvard 推薦盤 !! Al Anderson 率いるソリッドな Country Rock グループ。 New York 録音ながら田舎の風景（匂い）が実に気持ちよく伝わります。同レーベル発売の Al Anderson と共に聴いて欲しいアイテム !! |
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http://www.disc-file.com/listuvwxyz.htm
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Buy: Wildweeds CDs or Wildweeds Videos |
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http://www.musicfringe.com/store/wildweeds/
Wildweeds .....SOLD OUT
http://www.mediawars.ne.jp/~mundo/collect/collectw.html
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| WILDWEEDS
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http://www.midheaven.com/artists/wildweeds.html
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Voted one of the Top 100 guitarists of the 20th Century
by MUSICIAN Magazine in 1993, Al Anderson is back by popular demand.
This self-titled Vanguard recording, originally released in 1972, is
being repackaged with the rare bonus track "C'mon If You're Comin'."
"Big Al," as he's been fondly known for most of his career,
is no stranger to the music world. As a teenager he formed The
Wildweeds and played everything from country to soul to psychedelia.
In 1972, Al waxed his first vocal tracks with The New Rhythm and Blues
Quartet, or NRBQ, and in 1977, penned "Ridin' In My Car," an
NRBQ staple. Al's "No Good To Cry" was later covered by the
Allman Brothers. In 1993, Al left NRBQ to focus on his writing. He
teamed up with Carlene Carter and co-wrote the international Top Five
Hit "Every Little Thing." He's written hit songs for Hank
Williams, Jr., The Mavericks, Deanna Carter and Hal Ketchum. As an
in-demand session player, Al has performed with, Jerry Lee Lewis,
Kevin Welch, The Highwaymen, Diamond Rio, Joe Diffie, Sammy Kershaw,
Etta James and most recently with Olivia Newton John and Trisha
Yearwood. Al has also advanced his talents to radio and television
jingles along with performing the music for the World Wrestling
Federation (WWF). |
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Produced by Maynard Solomon * Bonus track featuring: Al Anderson, guitar and vocals; Bob Lapalm, guitar; Jeff Potter, harp; Bob Dudek, drums; Al Lepak, bass Al Anderson: vocals, guitar, electric piano Engineered and mixed by Jeff Zaraya © 1998 Vanguard Records, |
Al Anderson finally strikes it after all these years At 49, Al Anderson is at the top of his game. Though still best known by
many as the guitarist of the near-legendary, always-on-the-road N.R.B.Q. from
1971 until 1994, Al has proven wrong F. Scott Fitzgerald's famous assertion
"There are no second acts in American lives."
Throughout the nineties - even before his departure from N.R.B.Q. - Al
Anderson has made a name for himself as one of the most dependable and
talented songwriters in country music today, penning hits and album tracks for
the likes of Carlene Carter, The Mavericks, Hal Ketchum, Shenandoah, Jerry Lee
Lewis and many, many others.
All this from a man who, by his own admission, only wrote about 40 songs in
his years with N.R.B.Q.
As if fame and success as a top Nashville hired pen wasn't enough, Anderson
has just released his third - and best - solo album, "Pay Before You
Pump."
"This is the first good one," says Anderson. "There were no
hurdles on this record. That's what I like about it."
Though many were expecting an album reflecting Anderson's more recent
success in the country industry, "Pay Before You Pump" will sound
instantly familiar to Anderson's longtime fans; chock-full of Anderson's
distinctive guitar work, sharp wit, and a baker's dozen new songs, most of
which rock as much as anything Anderson had ever previously recorded.
"I think that everybody kind of figured that I'd put overalls on and
say goodbye to everything. I was ready when I did it."
The second act in Al Anderson's life began earlier in this decade when
Anderson and the other members of N.R.B.Q. were asked to sing on a Carlene
Carter recording session in Los Angeles.
"She came to this job and asked us to come over and sing on this song,
'I Love You Because I Want To.' And the next night she came to see us down in
Long Beach, and I got to talking to her, and asked her if she wanted to write,
because I was thinking about getting a [publishing] deal in Nashville. And a
couple of weeks later I went out and wrote 'Every Little Thing' and 'Something
Already Gone' with her. It was top five all over the world! That was like a
big wake-up call."
It was during this period in the early '90's when Anderson - who had been
known as a heavy drinker for several years - stopped drinking, started taking
better care of himself, lost some weight and found himself in a better frame
of mind than he had been in years.
He also made the decision to leave N.R.B.Q. to pursue his songwriting
career - the band's first line-up change since 1974, when drummer Tom Ardolino
had joined the group.
The New England-based N.R.B.Q. had been critical favorites for a
quarter-century, -a band that single-handedly defined the word
"eclectic."
N.R.B.Q. never played the same set twice and were known for being just as
likely to perform obscure numbers by jazz composers like Sun Ra and Duke
Ellington as they were likely to play "Sink the Bismarck" or
"Get Rhythm," not to mention their own Beatlesque numbers (mostly
written by keyboardist Terry Adams and bassist Joey Spampinato, whose younger
brother Johnny has ably replaced Anderson in the group).
The critical adoration that the group enjoyed never translated into
anything resembling commercial success, however.
"From the outside looking in it was [successful], but not if you look
at the numbers," says Anderson, referring to the band's consistent
popularity as a live act, which the group was never able to carry over into
radio airplay or large record sales. "It was more of a jazz attitude than
not making it on purpose."
When it came time for Anderson to record a new solo album, he recorded
songs written in collaboration with the likes of John Hiatt, Craig Wiseman,
Sharon Rice, Bill Lloyd. Most songs that he had been saving for himself,
though "Without Your Love" had been recorded by Aaron Tippin
previously and "Lonely Too Long" had been written originally for
Bonnie Raitt.
"I've got one now that I know is perfect for Wynonna - and of course
she'll never do it. Every time I think it's perfect for somebody it never gets
done because [the songs] have to go through too many people. A lot of times
the artist never even hears it. As you build yourself up in Nashville you can
finally get to the point where you can go over to Wynonna's house."
There was a brief period of time a few years ago when Anderson served in
both N.R.B.Q. and Carlene Carter's touring group, though he appears
considerably more hesitant to tour at this point.
"I'm very reluctant to go on the road. They don't make a bunk long
enough," says Anderson, referring to his height and size. "These
country guys [who] leave after the show to get to the next town? Hate
that!" Anderson is considering going on the road for a few weeks,
however, to promote his new album. "They're trying to work up a little
something for a couple of weeks."
For aspiring songwriters, Anderson offers this advice: "Go out and eat
dirt with the rest of us," he says with a laugh. "Don't send tapes.
You've got to start out with an open mike at the Bluebird or something. I
didn't have to do that. That was one cool thing."
"I'm just glad that country got so big because Nashville is the place
to be. And it's become so big that it lets cool things happen at the same
time. You get to write great songs. They don't always get cut, and they don't
always get cut the way you'd like. But it makes it so there's an outlet for
your stuff."
"Even if it's bad country, there's so much of it that the good stuff
(also) gets out."
By Jon Johnson
I f there a lesson is to be learned
from the career of Big Al Anderson, it's that good things can come to those
who wait. In Big Al's case, however, it was necessary to wait...and wait...and
wait...and wait...
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