Sweetwater - Sweetwater [Psychedelic Rock]
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Artist: Sweetwater
Album: Sweetwater
Released: 1968
Source: Reprise
Genre: Psychedelic
Track List:
1 Motherless Child 5:04
2 In A Rainbow 3:17
3 Here We Go Again 2:32
4 My Crystal Spider 3:52
5 For Pete's Sake 2:50
6 Rondeau 1:15
7 Come Take A Walk 3:48
8 Two Worlds 3:56
9 What's Wrong 4:00
10 Through an Old Storybook 2:32
11 Why Oh Why 3:00
Biography by Richie Unterberger
An unusual rock group in both the size of their lineup (which numbered eight), the instrumentation employed, and the eclectic scope of their material, Sweetwater didn't quite get the first-class songs or breaks necessary to make them widely known. Lead singer Nansi Nevins was backed not just by conventional guitar, bass, drums, and keyboards, but also flute (Albert Moore), conga (Elpidio Cobian), and cello (August Burns). Their self-titled debut album was the kind of release that could have only been the product of the late '60s, with the music flying off in all directions, and a major label willing to put it out. Sweetwater blended Californian psychedelia with jazzy keyboards and a classical bent, especially in the flute and cello, but did not cohere into a readily identifiable aesthetic, or write exceptional songs, although they were okay. Perhaps Reprise was willing to give such a hard to market and classify band a shot, figuring that in the midst of psychedelic rock scaling the charts that would have seemed unimaginably weird just a couple of years before, who knew what would sell now? Sweetwater was formed from a group of friends that jammed at coffeehouses in Los Angeles in the mid '60s. Harvey Gerst, who had written a Byrds song with Roger McGuinn ("It Won't Be Wrong"), was an unofficial member of sorts, sometimes acting as road manager and playing guitar. For their debut album they were produced by Dave Hassinger, who had worked, as recording engineer and producer, with the Rolling Stones, Electric Prunes, and the Grateful Dead. In the late '60s they opened for a lot of big-time acts, and played a bunch of festivals without breaking into the headliner ranks. In fact, they were the very first band to take the stage at Woodstock.
In December 1969, twenty year old Nansi Nevins was in a serious car accident in which she suffered severe brain trauma and damaged her vocal cords, putting her in a coma for weeks and necessitating physical therapy for years. Although she had recorded a couple of tracks on their second Reprise album, she was unable to rejoin the band, which had to stop touring and lost any career momentum it had developed. Producer Richard Perry tried working with them, but that didn't pan out well, although the second album was completed with other members of the band taking lead vocals. A more folk-oriented production, Melon, was their third and last album in 1971; they broke up in the summer of that year. The surviving trio of Nevins, keyboardist Alex Del Zoppo and bassist Fred Herrera reunited Sweetwater in 1997, and two years later — to coincide with the 30th anniversary of Woodstock — cable network VH1 produced and broadcast a film about the group, with Felicity co-star Amy Jo Johnson cast as Nansi Nevins; the picture sparked a considerable resurgence of interest in the group, and that same year Rhino released Cycles, a limited-edition retrospective of their work for Reprise.
The only Sweetwater album to feature Nansi Nevins on vocals throughout is hard to get a grip on. Sometimes it's attractive Californian folk-pop-psych not too far removed from the Mamas and the Papas, as on "Through an Old Storybook"; sometimes it's trying for a rock-baroque-classical-jazz fusion, although the material doesn't match the ambitions of the arrangements. Whether intentionally or otherwise, Nevins' vocals often recall those of Grace Slick, though she isn't as good. On "My Crystal Spider," they seem to be going for a far-out psychedelic sound; the ascending and descending bit of harsh electronics in the middle sounds uncomfortably close to effects employed, earlier and to better use, by the United States of America on "Hard Coming Love." When bands, even on their first album, make multiple comparisons to more renowned acts so inevitable that these form the bulk of a review, it's a good indication that the musicians were not in the same league as those they were trying to emulate.
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