Bob Mosley - Never Dreamed.txt
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Title - Never Dreamed
Artist - Bob Mosley
1999 - Taxim Records
Track Listing
01 - There Is The Sun - (Susan Whitecloud/Pete Delacroix) 03:10
02 - Dead Or Alive - (Susan Whitecloud/Pete Delacroix) 03:21
03 - Never Dreamed - (Susan Whitecloud/Pete Delacroix) 05:12
04 - Willy Shakespeare Blues - (Susan Whitecloud/Pete Delacroix) 04:29
05 - Shoot The Xylophone Man - (Susan Whitecloud/Pete Delacroix) 02:31
06 - Put It Off Until Tomorrow - (Dolly Parton/Bill Owens) 03:28
07 - Louisiana Mama - (Gene Pitney) 02:42
08 - Question - (Justin Hayward) 02:58
09 - Leavin' Through The Back Door - (Susan Whitecloud/Pete Delacroix) 03:22
10 - Willy Shakespeare Blues (alternate take) - (Susan Whitecloud/Pete Delacroix) 04:28
11 - Never Dreamed (alternate mix) - (Susan Whitecloud/Pete Delacroix) 05:22
Personnel
Bob Mosley - vocals
James Burton - electric guitar, acoustic guitar
Sonny Curtis - acoustic guitar
Glen D. Hardin - piano
Joe Osborn - bass
J.I. Allison - drums
Frank Arnett - steel guitar
Emory Gordy - bass
J.P. Whitecloud (Pete Delacroix) - tambourine, background vocals
This is a real good story describing the history of this release ...
It seems that sometimes triumph and tragedy go hand in hand and the story of Bob Mosley goes well with this theory. His creative highs are closely bound with personal downfalls – in true Moby Grape style, it seems. For this is the musical legend with whose legacy the man's name is ultimately connected. Much has been made of the band's early heydays, the mishaps and scandals, and the great music that came with them. Bob Mosley, singer, bass-player and guitarist, was one of the four songwriters in Moby Grape, next to Peter Lewis, the late Skip Spence and Jerry Miller. Some of his classic contributions to the Grape repertoire: "Mr. Blues", "Come In The Morning", "Lazy Me", "Bitter Wind", "Rose Colored Eyes", "Trucking Man", "It's A Beautiful Day Today", "Hoochie" and more. Listening again to these classic cuts it becomes evident that Bob Mosley's personal style is very much based upon the concept of intensity. His urgent style of singing has distinct expressive qualities and sometimes is reminiscent of John Fogerty. Despite the versatility of the band's music, Bob Mosley's musical priorities can be safely located at the crossroads of country and blues. That's where he seems to be at home. His voice is unmistakable. No matter what.
NEVER DREAMED is a collection of previously unreleased songs. It's a chapter from the man's history that's been completely unknown until now and presents the story of a remarkable encounter: a meeting of rock and country giants from Buddy Holly's "Crickets" and the legendary band of Elvis Presley. To be precise: James Burton and Sonny Curtis (guitars), J.I. Allison (drums), Glen D. Hardin (piano) plus Joe Osborn and Emory Gordy (bass) with fellow "Cricket" Joe B. Mauldin serving as sound engineer. So is this Moby Grape meets Texas meets Nashville meets Memphis? Well, in a way it is. but NEVER DREAMED is first of all the brainchild of songwriter and producer Jean-Pierre "J.P" Whitecloud:
It's 1974 and J.P. Whitecloud lives in San Diego, CA. He has just decided to focus on songwriting and arranging instead of a singing career. He has also just finished writing a number of songs with his wife Susan and wants to record this material. His first L.A. contacts lead him to former "Cricket" and songwriter J.I. Allison ("That'll Be The Day", "Peggy Sue") who quickly agrees to take part in recording sessions, bringing along his old pals Curtis and Hardin. J.P. Whitecloud is doing the singing for the time being. Warren Wolf, a friend and producer in London, likes the takes and encourages Whitecloud to record some more cuts in order to have something more substantial. Whitecloud's mind is blown severely by the fact that for the second session Hardin brings along none other than Telecaster legend James Burton, a personal hero of his. Since Burton's innovative playing had graced the early hits of Ricky Nelson, every second Tele player is trying to copy Burton's licks. At this point he's mainly working for Elvis besides doing session work. Whitecloud is impressed by Burton's humble ways and the sessions go very well.
Polydor is expressing interest, asking for more material. J.P. Whitecloud is dreaming a dream of being able to present this one-of-a-kind band as a regular working unit with the name of Jango. He is encouraged to do so because Glen D. Hardin has just left the Presley band and is only working for Emmylous Harris. But it turns out that things don't fall into place. The Crickets are moving their base to Nashville and James Burton is still doing well with Elvis. Polydor agrees to put out the album if this band agrees to tour Europe – which is impossible. So J.P. Whitecloud has some brillant backing tracks in the can but no band and no real singer to finish these songs convincingly.
Whitecloud starts looking for a proper singer who is right for the material – to no avail. Then someone mentions to him the fact that Bob Mosley is around in San Diego and he starts looking for him. Finally, he finds him singing and playing in a bowling alley. J.P. remembers: "His singing was so good that I walked up to him after the set and told him that I wanted to record him the next day. And he did. In fact, he sang all nine songs on this album in one day, seven of the nine in one take. That was amazing since he had never heard of any of them before. Joe B. ... said Bob was one of the best singers he had ever heard." And so the album is ready to be shopped around. But by this time it's been known throughout the industry that Bob Mosley has personal problems. Record companies shy away, just like Bill Graham, who comes close of signing a deal at one point. NEVER DREAMED is shelved for more than 20 years.
And here it is on TAXIM, finally. The songs belong to the house of American roots music with elements of rock, blues and country blended in various shapes, sizes and moods. The one-of-a-kind singing and playing styles of Bob Mosley, James Burton and Glen D. Hardin are unmistakable. NEVER DREAMED is the small gem that time forgot. Today, Bob Mosley is back on track. He had hit the hard times in the early nineties, culminating in four years of being homeless. But amazingly, he has pulled himself back and is now a member of Moby Grape again, whenever the band chooses to appear on stage every once in a while. His singing and playing is strong as ever.
J.P. Whitecloud has become a successful producer and is glad to be still friends with Mosley. NEVER DREAMED is a wonderful document of a special musical encounter. Nothing more and nothing less.
Review by Joe Viglione
For those seeking the gritty West Coast vocals or psychedelic overtones of Bob Mosley's 1972 self-titled debut, or anything resembling Moby Grape, the Never Dreamed album will not only shock, it will show another side of this talented and oft forgotten rock & roll soldier. Contrast the cover of Justin Hayward's "Question" with Mosley's original material from four years earlier, specifically the track "So Many Troubles" on the aforementioned Bob Mosley LP, producer Jean Pierre Whitecloud choosing the song and recording only the half of the tune that is the ballad side of the Moody Blues. Mosley's tone and strength are perfect for such a challenge -- but even hardcore Moby Grape fans will be hard-pressed to recognize the voice which sounds like a cross between Richard Harris and Jerry Lee Lewis on this set of country tunes. Though the date on the liner notes states November 1999, this material was recorded in 1976/1977 when Mosley sang and played bass for Fine Wine, a band released on Polydor. Producer J.P. Whitecloud actually recorded this material with Waylon Jennings in mind as Jennings was interested in a couple of the songs Susan Whitecloud and her producer husband -- under the pseudonym Pete Delacroix though it is actually J.P. Whitecloud -- had written. Without Jennings the stellar tracks -- featuring members of Buddy Holly's Crickets as well as James Burton and Glen D. Hardin from Elvis Presley's band -- were lost in limbo. Polydor actually showed interest -- as did Bill Graham with his Columbia Records distributed label and a potential Eddie Money tour to promote this disc, were it not for the singer's Syd Barrett-style notions of going to the planet Saturn getting in the way. It's truly a great tragedy because the cover of Bill Owens and Dolly Parton's "Put It Off Until Tomorrow" is striking in its authenticity -- and could have been a Waylon Jennings smash. "Willy Shakespeare Blues" also proves Mosley could have easily made the transition from rocker to country legend had that been the focus. As Tommy James brilliant My Head, My Bed & My Red Guitar album is the textbook for great country music by a name rocker getting lost in the shuffle of the industry, this material didn't even see the light of day until 23 years later when a German label picked it up for issue. And as Tommy James kept active and his album failed to achieve the popularity it deserved despite his high profile, the excellent songs that the Whiteclouds co-wrote here can't be blamed for languishing on the shelf for decades; they were victims of a business that thinks in terms of dollars rather than art. "Shoot the Xylophone Man" not only sounds like the killer, Jerry Lee, it would be perfect for him, the elegant guitar lines running as quick as the bass and piano in wonderful fashion. Mosley cut the vocals in one day, sometimes in one take, but they sound great and give this project added caché bringing the opening track, "There Is the Sun," a commercial flair missing in some of Mosley's own work. This could be likened to Bill Withers participation on Grover Washington, Jr.'s "Just the Two of Us," a collaboration that generated something special. The project is the vision of producer/arranger Jean Pierre Whitecloud and, perhaps, should have been credited to him and Mosley together. For Moby Grape fans it will be an oddity, for Bob Mosley it is a remarkable indication of what could have been.
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