Revolving today on the turntable in the ‘rock room’ is the 1971
Sofomore album from ‘Cowboy’, 5’ll Getcha
Ten, a timely collection of soulful denim sewn and whisky soaked tunes.Discovered
and recommended by Allman Brothers Band founding guitarist Duane Allman, the
Jacksonville, Florida-based group was introduced to Allman’s producer Johnny
Sandlin and a beautiful musical relationship was formed. Exuding a laid back
country gait and a hearty Muscle Shoals vibe, the underappreciated record can
nestle nicely next to the likes of ‘Poco’ and the ‘Burrito Brothers’
5’ll Getcha Ten, the second recording made by
the group for Capricorn Records, is one of those unique albums obscured by the
dusty winds of rock history, only to be unearthed years later in hindsight and
to be celebrated and reintroduced to a new era of fans.Recently, Real Gone Music has thankfully revisited this
seminal country rock LP to disseminate its values to a new audience with an
upgraded CD release. Revitalized, remastered and reintroduced,5’ll Getcha Tencan
now claim its rightful place as a standard of country-rock and a pillar of
early 1970s songwriting, collecting a plethora of amazing tracks.
While
the appearances of legendary pianist and Allman Brothers Band alumni Check
Leavell and band founder Duane Allaman increase the interest in Cowboy’s
legacy, the true magic to be found is in the songwriting abilities of founding
members Tommy Talton and Scott Boyer. There is a craftsmanship on display that
illustrates just what attracted Allman to the songwriting duo. The hallmarks of
the record are to be found in the relationships between sweet acoustic picking,
spring water pedal steel, tightly woven harmonies and Leavell’s tasteful saloon
piano which appears on over half of the albums tracks.
Cowboy,
similarly to the group Badfinger and their relationship to the Beatles, will
always be inextricably tied to the Allman Brothers Band. Fortunately, this musical
relationship has caused the band’s music to endure the passing of time and to
always have a listening audience.
The
six-piece band opens the LP whimsically with Talton’s gently swaying maternal
opus, “She Carries a Child,” and the foundation for the record is mortared.
Innocent waves of pedal steel and stitched acoustic harmonies are the
standouts, as the poignant track introduces the album in the same way and to
the same effect as “Tears of Rage” opened the Band’s 1968 debut,Music From Big Pink.
“Hey There Babe” brings the barn dancers out of their seats
sounding quite like the groups contemporaries, the aforementioned Poco. Deep
brisk mountain water runs through the embracing acoustic guitars, with sweet
songwriting the order of the day.
The
slightly foreboding and descending introduction of the title track, “5’ll Getcha
Ten” exhibits in a gently undulating groove that spins the melodic weathervane
slowly into country dusk. The song is comprised of conjoined movements
organically moving into one another, the pedal steel weeps in rich hearty drops
over top. The band sings beautifully and harmonizes the ‘5’ll Getcha Ten’
mantra as the song drops over the horizon.
‘The Wonder’ follows and is the only song on the LP not composed
by the group. The track is a pacifist anthem, delicately performed by the band
and highlighted by guitarist Pete Kowalke’s vibrato lines.
The
first side ofthe record concludes with
the lacy sunshine groove of “Shoestrings” and the cool let down of “Lookin for
You.” George Clark lays a warm island bass line down under the chugging
acoustics of “Showstrings,” turning it into a sneaky hip swinger. Chuck Leavell’s
playing is again a highlight, his talent unable to be contained and his piano
additions essential. Duane Allman then makes a low key appearance offering just
the right amount of understated guitar to the diffused and sparkling
arrangement of “Looking for You.”
The second side of the album opens with the aptly titled ‘Seven Four Tune,’ which
subscribes to that description appropriately. The song stumbles through
swinging doors and opens the second half with a boozy waltz to get toes a
tapping and glasses clinking.
Scott Boyer’s ‘Right on Friend’ keeps the mood light and moving
with a tight hand in glove groove. This song quite possibly contains the most
detectable Alllman’s influence to these ears, especially occurring during the
guitar breaks. The track elicits a celebratory vibe and the groove of a
simmering soul review.
Moving
from one friend to multiple pals, ‘All My Friends’ follows, and is a heavy
ballad making up the second song in a pair of Boyer penned tracks. The lacy
arrangement features a stunning fiddle break followed by a Leavell recitation
that ups the musical ante. ‘Innocence Song’ fades in covered in a gently finger
picked crystalline veil. A clean sheet on the line, a breeze blows through the
percussionless arrangement. The song does not reach two minutes, gone as
quickly as it appeared but leaves a pure impression.
The most popular song on the record with fans and contemporaries follows in the
next to closing spot. Scott Boyer’s ‘Please Be With Me’ was not only chosen by
Eric Clapton to cover on his 1974 album461
Ocean Boulevard, the song also spotlights Duane Allman on
profoundly stunning dobro guitar. One of rock music’s beautiful lost classics,
the song begs for companionship in a simple and unadorned arrangement. The definition
of ‘deep cut’ both versions of the song deserve your undivided attention. The
original though, featured here, is indeed most poignant.
5’ll Getcha Tencould have closed with ‘Please
Be with Me,’ but the band follows perfectly with ‘What I Want Is You’, a song
that would not sound out of place on a Crosby Stills and Nash album. It’s
fitting that the recording ends as it began, with an intimate acoustic sway
colored by spiritual and detailed glimpses of life illustrated through pastoral
compositional ideals.
Cowboy’s5’ll Getcha Tenis a
record your fingers deserve to fall on while flipping through your collection
or the crates in for favorite shop. The record still sounds as relevant as the
day of its creation. Fantastic songwriting and honest musicianship can never be
passé as this fine collection of music by the band Cowboy illustrates.
