SWEETWATER

When you're fronted by a very strong singer who belongs in the same club as Grace Slick, Janis Joplin, Annie Haslem, and Julia Holter, your chances for success are pretty strong. So, why had I never heard of this band (except as a similar name for the made-up cover for Led Zeppelin in the Cameron Crowe bio pic, Almost Famous: Stillwater)?

1. "Motherless Child" (5:09) So, don't you want somebody to love? Lead singer Nancy Nevins has a powerful, professional voice, even if it is a carbon copy of two other iconic female singers from the same era. Nice flute play. (8.75/10)

2. "Here We Go Again" (2:34) a nice composition that, unfortunately, represents a blending of Jefferson Airplane and The Association's harmonized male choir vocals for accents/tandems to Nancy's lead. (8.75/10)

3. "For Pete's Sake" (2:53) a little jazzy ditty with great fell, harpsichord, and totally wordless choir vocals that reminds of The Mamas & The Papas. (Was Lou Adler involved with the production of this album?) Very happy and catchy. (9/10)

4. "Come Take a Walk" (3:51) a very pretty, warm and engaging song that almost feels like a white singer's attempt at a heart-felt R&B performance. Bongos, drums, gentle bass, organ and, of course, active flute support Nancy's masterful vocal. The flute, electric piano, and drum finish is very fun. (9/10)

5. "What's Wrong" (4:04) open social commentary over Latin-based rhythms and instrumentation, the whole-group choir lyrics are accented by a few individual performances--especially from Fred and Nancy. (8.875/10)

6. "In a Rainbow" (3:18) more music that sounds like Lou Adler or John Phillips might have been involved (I know they weren't) with another Latin-flavored palette over which Man! Nancy Nevins' voice sounds just like current West Coast vocal sensation Julia Holter! (9/10)

7. "My Cyrstal Spider" (3:57) Nancy moves back to her Grace Slick-like power voice over this very cool, very-creative, heavily-engineered song. A top three for me to be sure! (9./10)

8. "Rondeau" (1:19) like a pop-version of a classical choir piece. Interesting and not unpleasant. (4.33333/5)

9. "Two Worlds" (3:59) more Baroque harpsichord pop with Nancy's Mama Cass/Grace Slick power vocals; this one crossing into territory made familiar by artists like Nancy Sinatra and Petula Clark as well. The male "bah-bop" choir vocals accenting Nancy's performance from the background are also quite stereotypic for this era of music. Great instrumental palette and recording. (8.875/10)

10. "Through an Old Storybook" (2:35) delicate music from harpsichord, flute, cello, picked acoustic guitar, and tuned metal percussives precede the entry of the LETTERMEN-like gentle male choir vocals. Nancy's joinder to the choir adds a nice little nuance--sometimes with her harmonies, sometimes through her counterpoint--sounding/feeling not unlike ANNIE HASLAM's contributions to her band, Renaissance's sophisticated compositions. (9/10)

11. "Why Oh Why" (3:01) turning to a more raucous Country R&B sound and style, the band launches into a very unique and idiosyncratic song that sounds like it could come from the Carter family or some other Southern Baptist choir. Interesting--and talented! (8.875/10)

Total Time: 36:06

A very collection of very creative, very well-crafted and skillfully rendered and engineered songs that expand upon the power psychedelic rock of Jefferson Airplane and other early Latin- and Baroque pop bands. I must repeat my praise for the rather exceptional sound recording/rendering and engineering: the vocals and instruments are all so clear and distinguishable. As was the pattern at the time (especially in the West Coast music scene), there is a lot of social commentary and consciousness-raising attempts in the lyrics--especially the songs credited to Fred Herrera.

B+/4.5 stars; a near-masterpiece of very creatively-crafted and superbly-rendered psychedelic and often-sunshine pop songs. Highly recommended to any self-respecting "prog lover."

Best known as the very first band to play at Woodstock following Richie Havens and Swami Satchidananda, the Los Angeles based SWEETWATER was unusual for a so-called psychedelic folk rock band in that it featured eight members and featured instrumentation such as cello and a conga / bongo section before Santana popularized Latin percussion in rock music. Sounding most like Jefferson Airplane, SWEETWATER followed in that band's footsteps by integrating jazz and psychedelic rock into its folky style. The band existed from 1968 - 1971 and released three albums.

The members were multi-ethnic and despite never really finding a major breakthrough with its three albums before lead singer Nansi Nevins was killed in a car accident even though they toured with virtually every major band of the era including Jimi Hendrix, the Doors, Cream, the Grateful Dead, Big Brother & The Holding Co. w/ Janis Joplin, C S N & Y, the Who, Frank Zappa, Jefferson Airplane, Chicago, Chuck Berry, Spirit, the Allman Bros., E.L.P., Joe Cocker, War, Linda Rondstadt, Santana, Joan Baez, Beach Boys, Steve Miller, Chambers Bros., and many others.

Add to that SWEETWATER had a major television presence and was featured on Red Skelton, Steve Allen, Playboy After Dark, Hollywood Palace, American Bandstand amongst others and of course got international exposure throughout the decades as a performer at Woodstock. This self-titled debut was released in 1968 and featured their best known track, the opening "Motherless Child" which is a traditional black spiritual song that dates back to the end of the slavery era and was the track they opened with at Woodstock.

SWEETWATER's debut is a warm collection of psychedelic pop songs that features a more sophisticated style than is usual for much of the so-called sunshine pop of the 1960s. The cello and and flute give the album a chamber folk flavor while the dead ringer for Grace Slick vocals make the album sound like Jefferson Airplane had they gone a completely different musical direction. The band was also unusual in that it completely avoided electric guitar with most of the electric string parts being played on the bass however acoustic guitars were deemed ok.

In many ways SWEETWATER sounded very much like a 60s psychedelic folk rock band but the band was just a bit more complex than the average pop band with compositions that took on darker tones and off-kilter breaks that deviated from the main melodic flow. Tracks such as "My Crystal Spider" showcase how the band would interrupt the pop melody flow in order to add little breaks of progressive deviations. Tracks like "Rondeau" showcased the band's connection to medieval folk styles which were brought to life by the warm flute lines. The tracks are well crafted with catchy pop hooks but offer a much larger band experience than the average guitar / bass / drum / keyboard limitations of most 60s folk rock bands.

SWEETWATER's debut is not to be missed by lovers of warm melodic chamber pop / folk from the 1960s. It contains all the best aspects of the 1960s without falling into the trap of sounding cliche and despite Nansi Nevins' similarity in style to Grace Slick, the music is quite different than Jefferson Airplane and i actually prefer the sound of SWEETWATER to the majority of Airplane's output. This album is chock full of beautiful melodies and the excess instrumentation gives it an orchestral feel that really allows a tapestry of woven melodic counterpoints to come to life. The tracks are diverse with a huge range of influences with more upbeat rockers as well as tender ballads.

I'm really shocked that SWEETWATER wasn't met with a larger success story given they had all the right opportunities and exposure. I guess the world wasn't quite ready for this brash and over-the-top sound and the band never really got rediscovered. Although Nansi Nevins died from a drunk driver crashing into her on December 1969, the band had enough material with her to release two more albums but called it quits in 1971. The surviving members reunited for Woodstock '94 but the band still remains a relative obscurity considering the significant exposure they received which is too bad because i really love this debut.

Sweetwater was a fine California band that is quite forgotten nowadays. They are mostly known for performing at Woodstock and that is also the only reason I checked them out. To be fair I don't find this group so "prog" as some people will state. They sound like a mixture between Jefferson Airplane and Santana (two bands that also played Woodstock). Their best known song is a version of the traditional "Motherless Child". The other songs are written by the band and are not that strong. They are too thin in composition and too mediocre. Nothing really stands out.

I got the feeling most people grant them succes due to Nansi's accident. Which was horrible. I do believe the band had some huge potential. The next album features 2 songs by Nansi and shows a great step forward in songwriting. They could have be really big. Besides, as people also point out, the band was a cultural mix and features cello and congas. Yes that is quite unusual in rock. But then again, putting in foreign instruments doesn't immediately make you 'progressive'.

Based on the music alone, I find the album pretty weak. It's a nice listen but not for repeated listenings. For me the best Sweetwater songs are the Nansi songs "Day Song" and "Look Out" which are included on the second album. This album sounds more like a Jefferson Airplane tribute.

Sweetwater is a band that's known purely for their performance on Woodstock. Without Woodstock they would have been forgotten immediately and never have gained any attention. Why? Because the music, as ambitious as they are, is plain boring.

"Just For You" is their second album and starts off with the titular song. The song has no direction and sounds really thin. The only good element are the percussion and the flute. Actually, next to Nansi Nevins' vocals, the percussion and the flute are the only aspects of the recods I like. After the Santana-like opener comes a song by Nansi. "Day Song" is a real nice ballad with beautiful vocals by Nansi. Too bad it's only 2 minutes. The last song on side 1 is purely cringe. It's a pretentious song about the wind called "Windlace" and features aweful vocals by Alex Del Zoppo and a cliche cowbell. After listening to side 1 I feel disappointed. The band features 7 great musicians, but how come the songs have no direction, no hooks and sound so thin? Like I already stated; the only thing that stand out are Nansi's vocals, the percussion and the flute. The rest is just boring filler and most of the time it lacks power and direction.

Side 2 starts with a cover that's nothing special. The next song "Song for Romeo" is a big step forward. This is the first song that seems to show any songwriting skills. This song has a good structure and again features lovely vocals by Nansi. Next you get "Without Me" which isn't bad but also totally forgetable. They tried to make a hook with the word 'wanna' but the singer doesn't seem to get it and often sings 'want to' or 'want it' what makes it just dumb. The last song on the album is the best one "Look Out". It's a really catchy uplifting song written by Nansi.

All in all, I find the album lacking power and direction. Most songs seem to go nowhere. Taking into account that the band consists of 7 musicians makes it really strange that the songs sound so thin and powerless. The best musician on the record is Nansi Nevins. If she had gone solo and took the 2 songs "Day Song" and "Look Out" with her, she would have been as huge as Melanie or Joni Mitchell. Like I stated in the introduction: this band wouldn't be known hadn't they played Woodstock...

Best songs: "Look Out" and followed by "Song for Romeo" and "Day Song". The rest is just filler

A couple years ago, and after some debate, I added SWEETWATER, an excellent USA band, the funny thing is that the debate was never about adding them or not, but about what sub-genre suited them best.

According to most sites in the net and the bibliography available, they are considered a Psyche band, but despite this opinions we verified that while most bands were playing with guitars, bass, drums and keyboards or some even more adventurous hired an orchestra to add some artificial intros and/or codas to pop songs, SWEETWATER was using flute, cellos, congas and extra percussion plus an elaborate vocal work to create unusually complex polyphonic structures with fantastic dissonances. They even dare to jump from Folk to Blues based Rock, Jazzy tunes and of course some clearly Psyche tracks, so Proto Prog was the correct place for them.

Many people will ask why they are so unknown, well the answer is in the biography and the excellent review by ClemofNazareth, the tragedy hits them very hard, and lost their place in Prog history. Now, lets go to album itself, which is opened by their most famous performance Motherless Child, a traditional folk tune with excellent arrangements, where the wonderful voice of Nansi Nevins is one of the highlights. This song was performed by the band in Woodstock and as a fact it was the first track performed by a band in the Festival.

The flute by Albert B. Moore and percussion by Elpidio Cobian, blend perfectly wit the strong Psyche organ and the blues based guitar, a fantastic track by SWEETWATER.

In a Rainbow is a totally different track, with an almost medieval short intro that suddenly morphs into a vocal extravaganza with incredibly elaborate chorus where the voice of Nansi is the star. The structure itself reminds me very much of Their Satanic Majesties Request by the Stones with a touch of The Mamas and the Papas and Jefferson Airplane.

Here We Go Again is a typical Psyche song, the first track you would expect from a West Coast band in the late 60's, nothing too innovative but very nice for the listener. My Crystal Spider is probably the most complex track I ever heard from a band of those days, it was common to use dissonant vocal, but real complex polyphonic music with the flute and Cello almost jamming a different tune than the rest of the bans was something very unusual, if you add the blend of genres and influences, you got a Prog track in 1968.

For Pete's Sake is a blend of Acid Psychedelia and Folk that reminds me of some songs performed years later by RENAISSANCE, mainly Prologue, a song that leads us to the short Medieval and almost troubadouresque Rondeau where the polyphonic chorus are the highlight, again an unusual song for 1968.

Come Take a Walk is a radical change from the previous tracks, a simple but very pleasant Blues based ballad blended with a hint of Country, interesting fusion of styles but nothing spectacular.

Two Worlds is probably the weakest track of the album, IMO a filler to prepare the listeners for What's Wrong a song with naive idealistic Flower Power lyrics but excellent musical structure. The first time where the band presents male and female vocals singing simultaneously, while Cobian in the percussion and August Burns in the Cello make a fantastic performance that combines perfectly with Delzoppo keyboards.

Through an Old Storybook is another almost Medieval tune that morphs into an excellent ballad based in the flute performance of Albert B. Moore, reminiscent of Carry on Till Tomorrow by BADFINGER (despite Badfinger released their hit one year later). And the band closes the album with Why Oh Why, a weird track that fuses Psyche with R&B, a funky way to close the album.

Honestly, I consider this album almost essential for any Proghead, because shows clearly one of the first stages of the genre with solid compositions performed with great skills and technique, will rate it with four stars.

Another semi-legendary proto-progressive band from the late sixties, Sweetwater were a flash in the pan that were robbed by time and circumstance of the chance to leave a stronger mark with their music. This is their first and arguably best album, releasing in 1968 not long after the group was formed and only a few years before they would fade into obscurity.

This band was unusual in many respects: the band initially had no prominent electric guitar, favoring instead flute, cello and bass as their primary instruments. All their compositions prominently features vocals, with lead singer Nancy Nevins (sometimes spelled Nansi) setting the tone for multi-layered, folkish harmonies to which nearly all the band’s eight members contributed. The California band also predated Santana with a heavy presence of Caribbean and Latin influences, including Elpidio Cobian on congas and liberal use of hand percussion instruments. They were also one of the first interracial American bands, and at the time the only one I know of that featured a white female lead singer. Nevins was also one of the rare female hippy band singers who sounded more like Grace Slick than she did Janis Joplin, and at times she bore a striking resemblance to It’s a Beautiful Day vocalist Linda LaFlamme as well.

The band’s style is difficult to classify, as their studio albums were all over the place in terms of influences, and they were known to perform covers and traditional folk standards in concert as well. The high point of the band’s career was undoubtedly their appearance as the first band to perform at Woodstock, following the solo performance of Richie Havens that kicked off the first night. Half of their 10-song set consisted of songs off this album: “Motherless Child”, “For Pete’s Sake”, “What’s Wrong”, the funky “Crystal Spider”, and the closing track “Why oh Why”.

“(Sometimes I Feel Like a) Motherless Child” is an old American negro spiritual composed by author and civil rights activist James Weldon Johnson shortly after the Great Depression. This has to be considered an essential American folk standard, and has been covered by too many artists to list in the years since it was first performed by Johnson himself.

The rest of the tracks are all original compositions, most of them written by Nevins or by keyboardist Alex del Zoppo, except the final track “Why oh Why” which was penned by flautist the late Albert Moore. The styles vary from hippy folk (“What’s Wrong”, “Rondeau”) to mildly psychedelic (“Here we go Again”, “In a Rainbow”, “My Crystal Spider”) to pop (“For Pete’s Sake”, “Two Worlds”) to even country (“Come Take a Walk”). “Through Am Old Storybook” is hard to classify, and sounds an awful lot like the Association.

The highlight of this album is probably “My Crystal Spider” with its heavily drug- suggestive keyboard dirge and erratic cello solo (how often do you hear that statement when referring to a progressive album?!). The overall feel is of kind of a precocious “White Rabbit”, and this was reportedly a concert favorite.

Naïve flower-power abound, particularly in “Two Worlds” and the too-idealistic “What’s Wrong”, but given the time in which this was released this is rather understandable.

Tragedy became a trademark of the band beginning just four months after Woodstock when Nevins’ car was struck by a drunk driver on the Ventura Highway, leaving her temporarily in a coma and with permanent damage to her vocal chords, as well as internal organ and spinal injuries. The band labored on through her partial recovery and managed to record a couple more albums, but the magic was gone and public tastes were changing, so the band eventually split after a short tour to support their third and final studio album ‘Melon’. Nevins survived the obligatory years of drug abuse to emerge relatively unscathed as a school teacher before reuniting with the band in the hype surrounding the 25th anniversary of Woodstock in 1994. Drummer Alan Malarowitz was no as fortunate, as he perished in his own auto wreck in the Mojave Desert in 1982. Flautist Albert Moore succumbed to cancer in 1994, and cellist August Burns perished following a freak elevator accident in Germany following the band’s breakup.

The remaining members managed to make a go of a revival to some extent, and found some notoriety in a 1999 film release chronicling their career. As far as I know they still manage to appear live on occasion, and there was a modest live album released in 2002, but the significant days of the band ended shortly after they appeared on stage at Max Yasgur's farm in 1969.

This is more interesting as an historical piece than it is as an artistic one really, but it’s not a bad album, and taken in the context of the time it should be considered a pretty good one. This type of music hasn’t stood the test of time all that well, but this is a decent addition to any serious American folk fan’s collection, and wouldn’t be out of place in most progressive music collections either. Three stars seems reasonable.

peace

Just For You isn't a perfect listen, though parts of it are wonderful. You will wonder how you missed it all these years, or perhaps even remember it as an obscure part of underground FM radio from when (ahem).it was good. There was no "Classic Rock"! The idea would have seemed ridiculous; back then DJ's were allowed to take risks. It was a time long before they started scratching up LP's to make sounds like corduroy pants. Those that spun records concentrated on presenting good tunes instead.

It opens with sounds of a morning meadow, and a simple yet beautiful melody sung by Nanci Nevins, the real star here, one of Rock Music's almost-forgotten great female sirens of song. There is a cinematic quality to this title track, and it is easy to let yourself be transported courtesy of Sweetwater's imaginative production. This song is a very dynamic way to begin an album.hey, more cowbell!

Sweetwater's sound is often Latin and urban. A folky commune-style chorus guides you through rolling countrysides and smoky streetscapes of ideas. A searing cello and very emotional piano are held steady by a cool stereophonic trip-out of percussive mayhem. Congas and timbales duke it out in a seeming battle to find out who can be the wildest. Certainly, if you enjoyed the early records by its A Beautiful Day you will dig this beyond measure.

Sweetwater's second release is a showcase for Nanci. It's such a shame that there remains so little of Ms Nevins work in existence, but with Just For You we hear her at her peak, with a voice every bit as great as Annie Haslam's .maybe even a touch sweeter.