The Psych Ward–New Riders of the Purple Sage
The Psych Ward–New Riders of the Purple Sage
New Riders of the Purple Sage was the debut album released in 1971 by the lively group of the same name. Formed in the San Francisco Bay circa 1969 during the Golden Age of psychedelia by guitarists David Nelson, John “Marmaduke” Dawson and illustrious Jerry Garcia, their Laurel Canyon sound includes elements of country, bluegrass, psychedelic and southern rock. N.R.P.S. paved the way for the vibrant genre of newgrass, and if released more recently would surely fit that description.
Their debut album is often considered the band’s finest release as it features Nelson, Dawson, Garcia, bassist Dave Tolbert, and drummer Spencer Dryden. I discovered this CD back in 1993 based on Jerry Garcia’s inclusion; it’s been a favorite ever since that rarely leaves my car, and sharing the stage with N.R.P.S. and David Nelson Band was a special treat at a few memorable festivals around Ohio many years ago.
N.R.P.S. kicks off with the rollicking “I Don’t Know You,” driven by Garcia’s bouncy pedal steel hook and pleasant harmonies by Nelson, Marmaduke, and Tolbert. Following in the same vein, “Whatcha Gonna Do” implores the listener to “take a look around” and expand her planetary horizons, as “there’s so much to see.”
“Portland Woman” builds dynamically with a pleasant country lilt. Lyrically, however, its cringey criteria for female companionship haven’t aged well. “Henry” is an amiable foot-stomper that several newgrass bands have covered since, exploring Mexico from Tijuana to the hard road to Acapulco which “isn’t any better if you haven’t any weed.”
Things get weird with the cowboy-psych “Dirty Business” as Jerry augments his pedal steel with wah-wah and delay, joined by guests Commander Cody on piano and Mickey Hart on drums & percussion. Their outlaw side returns on “Glendale Train,” with a train robbery worthy of Butch Cassidy and the Sundance Kid. Anchored by Tolbert’s snaky bass line, the tree-hugging “Garden of Eden” is not so much biblical as environmentally conscious, lamenting humanity’s adverse effect on Earth’s natural resources.
The tender ballads “All I Ever Wanted” and “Last Lonely Eagle” explore Dawson’s and the group’s sentimental side revealing solitary sorrow, with Hart and Cody subtly returning on the latter. “Louisiana Lady” concludes the album on a harmonious rockabilly note, as the protagonist races down the road to meet his southern belle.
N.R.P.S. is a spirited, flippant romp that celebrates the group’s buckaroo rebelliousness and naturalism, contrasted by a plaintive desire for affection. This album is ideal for road trips – particularly west of the continental divide where it just hits differently.
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