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27 Apr 2017

The Morning Dew “Second Album” 1995 (recorded in 1968 and 1970) US Garage Psych Rock




The Morning Dew  “Second Album” 1995 (recorded in 1968 and 1970) US Garage Psych Rock
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The disc contains material for the second album, recorded in January 1970 +4 track recorded on «Fairyland Studios» summer of 1968.

Recorded Audio House (Lawrence, Kansas) January, 1970, except songs 7 to 10, recorded at Fairyland Studios in the summer of 1968 
“This compilation has their harder rock pieces from 1969 to 1970.”

The Morning Dew’s body of work provides a compelling object lesson in how far into the ether the average American rock dude would drift over the course of the 1960s. Early in that fabled decade, lead guitarist Mal Robinson and drummer Don Sligar played together in a Ventures-influenced instrumental combo called the Impax and a pair of blue-eyed R&B acts, the Runaways and the Durations. Robinson and Sligar then joined forces with bassist Don Shufford to form a folk-rock band, the Toads, which in 1966 would evolve into the Morning Dew with the addition of guitarist Don Anderson. The Morning Dew started out as a swaggering garage rock outfit before embracing the fuzzy sounds and sonic wanderlust of psychedelia late in the decade. They cut an album for Roulette that was released in 1970, not long before the band called it quits, but No More 1966-1969 collects several small label singles and demo sessions the band recorded in the years before that album, and while most of the stuff here is strong if not exactly mind-bending rock & roll from the Middle of America, the group’s creative progress is inarguably fascinating. The opening cuts, “No More” and “I’m Not Your Stepping Stone” (modeled after Paul Revere and the Raiders, not the Monkees) are classic sneering garage rock, and Robinson’s vocals and lead work are a cut above the average, but by the time they recorded “Winter Dreams” (complete with an autoharp) and “Sycamore Dreamer” (a slick number with flute, violin, and wah-wah guitar adding to the trippiness), they might not have been dropping acid but they were listening to enough bands who did to pick up the influences, and they carried them off pretty well. By the time this disc has come to a close, the Morning Dew have transformed themselves into Topeka’s answer to the Strawberry Alarm Clock, and on “Lady Soul,” “Money Honey Blues,” “Rainbow Women,” and a cover of the Youngbloods’ “Get Together” that drips with panning, they sounded as expert as their big-city compatriots and hip enough to pass for actual hippies in dim light. For fans of vintage garage and psychedelic rock, No More 1966-1969 is a solid collection that captures a lesser-known band in fine form, while for sociologists, the Morning Dew provide an absorbing case study in the freaking out of Young America. Either way, it’s well worth a listen………by Mark Deming ………….
In 1963, lead guitarist Mal Robinson formed The Impacts, a blues band composed of fellow Holiday Junior High School students that performed several live takes of James Brown songs. The band went through several incarnations, and name changes before emerging as a three-piece folk rock group, known as The Toads, that included Robinson, Dan Sligar on drums, and Don Shuford on bass guitar. No recordings of these early groups exist, however, it established them as a popular regional act, and in June 1966, with the addition of rhythm guitarist, Don Anderson, the band became The Morning Dew, which was a reference to the Bonnie Dobson song of the same name. As the band members graduated from high school, they all attended Washburn University and based themselves in the area.

The group began rehearsing and performing extensively to hone their playing abilities for potential recordings. In August 1966, the band travelled to Lawrence to record four demo tapes, two of which were cover versions and the other two compiling original compositions. The two covers, “I’m Not Your Steppin’ Stone” and “The Sportin’ Life”, became favorites in The Morning Dew’s live act. Their two self-penned songs, “Winter Dreams” and “Touch of Magic”, were both written by Robinson, and represented a transitional period for the band as they delved into complex musical structures. Subsequently, the demos completed were not released in the group’s active duration, but they succeeded in attracting promoters and agents to record a single.

In late 1966, the band was signed by Fairyland Records to produce their debut single. By April 1967, the group entered Fairyland Studios to record the single, the first to be distributed by the label. Even with his inability to read music, Robinson, again, composed the two songs for the band. It required ten hours and ten takes each for the two songs, “No More” and “Look at Me Now”, to be prepared at the expense of $200. In total, 2000 copies were issued for distribution, and the single managed to peak at number nine on the Topeka regional chart, KEWI.[6] As a result of the record’s success, The Morning Dew extended their touring throughout the Midwest. As psychedelic music became popularized, the band, then considered a typical rock outfit, completely morphed into a harder-edged psychedelic rock act, which was reflected in their elaborate light shows and stage performances. On July 14, 1967, The Morning Dew became the featured house band for a month at a nightclub near the Bagnell Dam. To correlate with the venture and future touring, KEWI radio maintained daily interviews with the group. 

The band’s excelling popularity necessitated another single, accordingly they registered further recording in Fairyland Studios in late 1967. Resulting, was the single “Be A Friend” b/w “Go Away”, which included involvement with the regional groups, Plato and the Philosophers and Goldilocks and the Three Bears.[5] Musicically, it displayed their versatility, as the compositions explored psychedelic influences, and it retained the band’s folk rock roots. Their fan base was afflicted by the band’s lack of focus on a specific genre, still the single charted in the top 30 in Topeka. Although the release was not near the success of their debut, the band’s popularity did not show signs of declining. Throughout 1967 and 1968 the group performed with prominent acts like Strawberry Alarm Clock and The Turtles. 

In 1968, The Morning Dew were sporadically involved in recording sessions that spanned from July into August. Ten songs were recorded, nine of which were originals by Robinson. The demos garnered interest from Roulette Records in 1969, making the band the earliest rock group from Kansas committed to a major label. Robinson later said the process of searching for a label was difficult, mainly due to their geographical location not being regarded as an epicenter of the psychedelic rock scene. The current songs were examples of the group’s advancement into psychedelic music, along with unreleased material showing that the band was venturing outside the genre. Finally, in 1970 The Morning Dew’s debut album, At Last, was released and was poorly marketed, but has since become a collector’s item. It saw the band replicating their live act by utilizing fuzz-tone guitars and other abnormal sound effects.

Still under contractual agreements, the band expected to produce another album. The band recorded demos with an altered lineup that swapped Anderson for Ferdy Baumgart on keyboard and added David Howell on guitar. Baumgart was highly influential on the band’s arrangements, which embraced a direction toward progressive rock. However, for financial and legal reasons, Roulette Records did not commit The Morning Dew to a recording schedule, so the practice tapes went unreleased. Discouraged by the improbability of their second album being released, the band decided to disband in May 1971. 

In 1995, Collectables Records released Second Album, which featured the material intended for the botched album when the group was active. In 2010, a compilation album titled No More 1966-1969 was distributed, and contained all of the group’s recordings before their first album………wiki……… 

01. Someday - 4:24 
02. Flying Above Myself - 4:21 
03. My Kind Of Music - 4:08 
04. Lion> Away From It All - 9:26 
05. 1849 - 4:58 
06. Satin Gotta Hold On Thee - 4:18 
07. Money Honey Blues - 2:56 
08. Then Came The Light [Alternate Stereo Version] - 3:55 
09. Something You Say - 3:33 
10. Our Last Song - 1:16

Mal Robinson - lead guitar, lead vocals 
Blair Honeyman - bass, vocals 
Ferdy Baumgart - guitar, organ, vocals 
Dave Howell - piano, organ 
Don Sligar - drums 

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