Pros: Power and energy, performed by top rate musicians
Cons: Not enough previously unreleased material
The Bottom Line: Cactus is one band that many performers would like to forget....why?? Because these guys blew many big name performers off the stage!!
mistermeaner's Full Review: Cactology: The Cactus Collection by Cactus (Rock)
Cactus.......I’m curious to know just how many people out there have actually listened to this band, or have even heard of them. They are truly unbelievable! I have never heard such a powerful & energetic blues rock band that could display the amount of intensity and fire that Cactus exhibited during their brief career.
During the years 1970-1971, the original lineup of Cactus managed to record 3 amazing albums. During this span, these guys were heavier and more powerful than Led Zeppelin, Deep Purple, Grand Funk Railroad and Black Sabbath. They contained the hardest hitting caliber of musicianship in all of rock during that span. NOBODY wanted to share the stage with these guys. The high energy whiskey driven blues metal grunge acid rock style is as unique as it is magnificently superb.
So, you may be asking, if they were really that good, then why did they not attain the success level of many of their counterparts from that era? Well, these guys were truly bad boys in every sense of the word. Getting busted, fighting and their mutinous attitudes were customary behavior traits. Critics hated them because of their arrogant and over-confident posture. But whatever brand of self-assurance they presented to the public, they backed it up 110% on stage. Ted Nugent himself was quoted saying that Cactus was the greatest live rock band he’s ever seen. They got kicked off many tours with many big name groups due to the fact that they were blowing people off the stage. They toured with many bands that are also on the Atlantic (ATCO) label, and it was no secret that nobody wanted to tour with this tribe. People would often get up and boogie at their shows, which often resulted in fights with security people, riots and jail time for band members, and that type of behavior was just not acceptable with police and other weighty figures with authority. These are certainly not the types of attributes that make such a rebellious band commercially successful, but they were indeed doing the same things the Stones, Jimi Hendrix, Beatles, Lou Reed, Pink Floyd and Jefferson Airplane were doing, except for the fact that Cactus was not trying to hide their true insurgent colors, and they were not into making commercial music.
HISTORY
The 2 guys that were mainly responsible for the designing of Cactus were New York natives and former backbone of Vanilla Fudge, Carmine Appice and Tim Bogert. Carmine can easily and definitely be acclaimed as one the greatest drummers in the history of rock & pop music. His drumming is heard on records by Vanilla Fudge, Jeff Beck, Rod Stewart, Les Dudek, Stanley Clarke, Ted Nugent, Ozzy Osbourne, Paul Stanley, Bo Diddley, Marty Friedman, Blue Murder and many others. His style is strong, rhythmical, hard hitting and precise. In my honest opinion, the best drumming of Carmine’s entire 35 plus years of recording and performing is captured with Cactus. His use of cymbals, high-hats, triplets, quads, double bass and brilliant off beat rhythms are amazing. With Cactus, Carmine rarely played a basic drum beat. There is something exciting and highly inspiring about his playing technique during this span. The level of creativity and energy that he exerts on these tracks is equally as impressive as John Bonham, or anyone else of the era.
His partner in crime is Tim Bogert, currently a highly regarded instructor at B.I.T. (Bass Institute of Technology). His bass playing is far away from the course of the normal bass patterns than you would normally expect a blues bassist to play. This style works great with a drummer like Carmine. His playing relies heavily on chord structure and even has the tenancy to sound like a rhythm guitar. It’s Tim’s bass playing that helped provide a the full bottom sound needed to give this band it’s raunchy and powerful foundation. His bass lines are quite unique, yet clever and a bit in the unorthodox neighborhood.
During the later years of Vanilla Fudge, Carmine & Tim wanted to rock harder, become more aggressive and capture a bit more of the overtones that were common in the British blues-wave, but it was quite obvious that Mark Stein and Vince Martell were not the two accompanying members that would help round out such a powerful energetic hard rock outfit that they were seeking. They had met Jeff Beck during a tour. Beck expressed interest in getting a band together with Tim & Carmine, but as soon as that blueprint was drawn up, Jeff Beck was injured in a motorcycle accident, so an alternate plan was mapped out and the Beck, Bogert, Appice (BBA) project was put on hold.
Tim Bogert remembered hanging around at Jimi Hendrix’s Electric Lady Studios in New York, and it was there that he ran into a guitarist that he longed admired, named Jim McCarty. McCarty’s stints with Mitch Ryder & the Detroit Wheels and with Buddy Miles sparked Hendrix’s attention and interest, so the two often jammed together during some late night hours at Jimi’s studio. Some of those jams can be heard on Jimi Hendrix’s post death release, “Nine to the Universe”, which was only released on vinyl and cassette in the late 70's. McCarty’s style is impeccable. He had the perfect tonality and playing style that made Cactus a respectable and feared contender. He mainly used a 1959 cherry sunburst Les Paul and a 1954 Fender Stratocaster. You guitar players out there, dig into this guy, he’s quite a gifted player and carries an amazing bag of cool licks and tricks. Cactus definitely nets Jim McCarty’s playing at his all-time best.
Upon their meeting, McCarty decided to join and team up with Tim Bogert and Carmine Appice, and highly recommended a singer that he knew in his hometown of Detroit, Rusty Day. Rusty’s rebellious demeanor, which is reflected strongly in his image and vocal style, earned him high regard in the motor city rock scene. He sang on the Amboy Dukes record, Migration and added a terrific sound to Ted’s dukes. But that stint didn’t last too long. Ted Nugent was notorious for kicking guys out of his band if he detected them using drugs, and Rusty Day was one hardcore party animal. He lived the rock star life and not even Ted Nugent could put a harness on this wild man. Rusty’s voice is quite harsh, but not as harsh as Jim Dandy from Black Oak Arkansas, not as scratchy as Dan McCafferty of Nazareth, and not as edgy as Axl Rose of Guns & Roses. He truly has a voice that has been tailor made by whiskey, cigarettes and a lot of gut drenching activities. This guy would belt out his lyrics to the top of his lungs. But Rusty has more to offer than just screaming and slashing out his larynx. His harmonica playing is brilliant and very moving and rhythmical, which can be attributed to the fact that he was also a very good drummer. He maintains a firm grip on every song he sings and plays. Sadly, most of the criticism that would continuously strike this band down was aimed directly at Rusty Day. Many critics, and moreso, CEO’s at Atlantic, felt that another singer would have allowed this band to reach higher grounds on the charts. But without a doubt, Rusty’s nasty boozing vocals and rebel antics are a big part of this bands unique image and sound. He was the ultimate peace & love hippy that rebelled against social laws and war. They wouldn’t be the same without him, as evidenced by their later recordings. When Bon Scott of AC/DC died, Rusty Day was highly considered to replace him. Sadly, shortly after Bon Scott’s tragic death, Rusty Day, born Russell Edward Davidson, died as a victim to gunshots from a result of a drug deal gone bad. His time, energy, voice, lyric patterns & creativity provide a profound melodious philanthropy for the sound & musical direction that gave Cactus the edge over all others in the league that they were placed in.
I hope you will forgive me for the length of this review, and hopefully you are still with me on this venture. Seriously, this band deserves very much recognition and respect for the inappreciable mark that they have left in rock music history, and I am taking my time in making sure that I do this band some sort of justice. This band had a tremendous impact on me as a musician, and as a listener. It’s just so hard to believe, and pathetic, that they are not mentioned in the mainstream music media. These guys are the real deal !!!
THE MUSIC
So now that you have been given the brief Cactus rundown and biography, let’s talk about Cactology, The Cactus Collection. With over 76 minutes of music, this CD definitely delivers the power punch that hard blues rockers will absolutely love. Most of the tunes on here are from the first 3 records, contains one song from their 4th record, and 2 previously unreleased tunes.
The Cactology songlist is as follows :
1. Evil
2. Parchman Farm
3. You Can't Judge A Book By The Cover
4. One Way...Or Another
5. Alaska
6. Long Tall Sally
7. Let Me Swim
8. Bro. Bill
9. Rock N' Roll Children
10. Song For Aries
11. Restrictions
12. Oleo
13. Feel So Good
14. Rumblin' Man - (previously unreleased)
15. Bad Stuff
16. Parchman Farm - (live, previously unreleased)
The Cactus discography is as follows :
Cactus, their debut effort released on July 1, 1970. Recorded at Ultra-Sonic Studios in New York and engineered by Bill Stahl. The sound on this record is very raw. The energy is captured very well and fully illustrates the hard boogie form of this band’s live showcase.
One Way....Or Another, released on February 24, 1971. Recorded at Electric Lady Studios, engineered by Jimi Hendrix’s former producer, Eddie Kramer. Simply the best Cactus record ever made, and ranks high on my top ten list of the all-time greatest rock albums ever made. There is not a weak moment on this record. The recording quality is above average.
Restrictions is their 3rd release, and the final record containing Jim McCarty and Rusty Day. Released on October 18, 1971, recorded at Electric Lady Studios and engineered by Eddie Kramer. This is a very polished recording. It’s not as energetic and radical as the 2 previous outings, but nonetheless, there are some very exciting moments within. It is somewhat obvious by this time that the group was about to split up.
’Ot ‘N’ Sweaty, released on August 28, 1972, recorded at Electric Lady Studios and engineered by Mike DeLugg. Minus Jim McCarty and Rusty Day, this record is a big disappointment. Werner Fritschings on guitar, Duane Hitchings on keyboards and Vinnie Crane’s Atomic Rooster partner, Peter French on vocals.
There are 6 songs from the Cactus record on this CD.
Song # 2, Parchman Farm. Immediately you are sucked into the whirlpool of high energy and speed. The pace is incredibly fast and displays every ounce of cojones that these guys have. Hold on because this one will leave a blister on your face. This song, originally written by Mose Allison, has been covered a multitude of times by various players, but it has never been done quite like this. The guitar work is astonishing, filled with speed licks and riffs that would make any current rocker scratch his head with disbelief. The bass playing is everywhere on this one and Carmine’s drumming is tops. The vocals on this could never be done by anyone else but Rusty Day. He gives it everything he’s got on this number and his harmonica playing is simply exciting.
put me down here in a ball in chain, oh lord their about to drive my mind insane......bust them rocks baby of course, that is Rusty’s Day own line thrown in there, and right after that line McCarty takes off on a 2nd lead that is fast and executed with all marbles on the table.
Song #3 is You Can’t Judge a Book by it’s Cover written by blues guru, Willie Dixon. This sounds like something that should have been on the first Led Zeppelin record. The bass starts this one off with a offtime riff, joined in with acoustic guitar. This is a rare make of acoustical guitar by Gibson which was given to Jim McCarty by Jimi Hendrix. This song has everything, power, force, dynamics, breaks, accents, melody, metal, blues, grunge and many fantastic solos on guitars and harmonica. This tune demonstrates that this band can keep up with anyone on any stage.
Song #7 is Let Me Swim is based on the underlying rock n’ roll chord progression with a twist of tempo on the turnaround. The congas, played by Rusty Day, add a very nice touch to the background during the chorus. The guitar solos are striking and very melodic. This song stays concrete within its root source & structure. It’s very raw and has the features of a great garage band on a great night.
Song # 8, Bro. Bill is an extraordinary composition and maintains a tricky, yet moving tempo that makes you want to play, sing and dance. There is a strong mix of electric and acoustical guitar that makes this tune a winner. The harmonica playing is in the pocket and adds the perfect redolence to the overall atmosphere. some people said it was cocaine, some people claim it was gin, but I knew the girl and the dwell house man that done my brother in, they put the last clean shave, on my poor brother bill....only Rusty Day could think of something so insalubrious. But however unwholesome his lyrics may appear, he delivered his point with undiluted passion and the message behind his voice is like an added instrument in this format.
Oleo is song # 12. It starts off with a bit of the traditional Elmore James type riff, then kicks in full force and the next thing you know, you are moving and swinging. “she’s my greased down baby that I call, Oleo. This number is once again based on the rudimental 12-bar blues progression. The great thing about the version on this CD is that you can hear the 2nd guitar turned up on the remix. It makes a huge difference, and the guitar playing by McCarty deserves high praise. About 2 and a half minutes into the song, Tim Bogert throws a bass solo which is backed by a strong drum beat. It’s the same feel and idea that they were implementing in during the later Vanilla Fudge live shows. The solo lasts a little under 2 minutes and the song resumes into the 12-bar progression.
Feel So Good is song #13. This is another masterpiece arrangement. The breaks and guitar fills are amazing. The verses are strong, the bridge is great and the chorus fits so perfectly in this tune. There is a drum solo at around the 2:00 minute mark. He displays some pretty frantic double bass work with some double crossovers. Kind of makes me think that this would sound like John Bonham playing a double bass kit. Carmine played some pretty big bass drums back in the day, as a footnote, during a tour that billed Vanilla Fudge and Led Zeppelin, it was Carmine that inspired Bonham to use a 28 inch bass drum during the early years. The great thing about this drum solo happens towards the end. He plays homage to Gene Krupa by playing a part of Krupa’s solo that is featured on “Drum Boogie” and in the movie, “The Gene Krupa Story”. He’s joined in with some strutting on the guitar and a little percussion help from Rusty Day. The tune then resumes into the bridge and then ends on a blues turnaround break.
The original record contains 8 songs. Only 2 tunes on the original record are not featured on this CD. My Lady From South Of Detroit which could have fit easily on a Crosby, Stills, Nash and Young songlist. Great melodic tune, but does not have the fire and blaze that these guys were known for. No Need To Worry is a hardcore blues tune that is played smoothly and with lots of feeling. Overall this record is a high 4.5 on a 5 scale. All the best tunes on this record are contained on the Cactology collection, but if you’re a true fan, then this record is worth the price paid for the 2 tunes that aren’t included.
Off the One Way Or Another record, there are only 4 songs contained on this collection.
Song # 4 is the title cut, One Way Or Another and I can’t begin to tell you how great this song is. Keep in mind, this is early 1971, so if you put it next to ANY rock recording done in that year, you will hear just how great this band is. This is not a bluesy tune, it’s more of a heavy progressive rock tune with a marvelous vamp in the middle. This is a musician’s paradise of a song, done in the classic rock vein which allows it to appeal to the mainstream as well. It sounds somewhat modern, except for the fact that they tuned all their instruments to 440, opposed to the sub-430 down tuning done now by virtually every band on the planet. By the panning done on production, it is quite evident that Eddie Kramer was really getting into this one. The drumming is Carmine at his best. He plays all sorts of fills and keeps the energetic hitch steady. The guitar work is also top notch. McCarty’s solo is one of his best of all time. It works great, especially during the coda. There are a few variables in this tune, so don’t expect to dance from start to finish, but it’s great for playing air drums, air guitar and any air thing you want to play.
Song #6 is Long Tall Sally, the famous tune done by Little Richard, The Beatles, Elvis and others, is covered shrewdly by this unit. They slowed it down to a bluesy grunge kind of tempo and breaks into a 4/4 shuffle pattern during the choruses. Although everything stands tall on this tune, there are others on the One Way Or Another record that should have taken the shotgun seat before this one, but with that being said, the solos are perfect and everything feels great within this tune.
Song # 9 is Rock N’ Roll Children. This is another amazing tune with a lot to offer to the avid music fan. The musicianship is right on the money on this one. The arrangement is clever and exemplifies the writing and performing chemistry that they had during this time. This song is one of their best tunes ever. The lyrical content deals with the bad influence that rock n’ roll music has had on a generation. we’re all rock n’ roll children, grown into something that the man can’t handle at all. The lyrics are sung with the dogmatic reality of the message being delivered. The guitar solo vamp movement is one of the best that I have ever heard in the 1000 plus albums that I have listened to. It has it all, speed, melody, finesse, brilliance, dynamics, thrills, chills and spins. Carmine plays some nice cymbal counters off the main beat.
Song for an Aries is a beautiful acoustical instrumental piece that is fills the waves with hippy aroma from start to finish. Once again, using Jimi’s old Gibson acoustic guitar, the rhythmic melody captivates your attention with eagerness. It slowly builds up with the accompanying of light percussion and a distant electric guitar expressing some wah-wah thoughts. It then transforms into a bit of a hippy-grunge rock feel. The drumming is rock solid and played flawlessly. This is one to play over and over. GREAT tune!
One Way Or Another contains a total of 8 songs, all of which could have been included on this collection. Songs that are not included are Rockout Whatever You Feel Like, a get and boogie number that is sung by Tim Bogert, the voice that would later carry the Beck, Bogert, Appice project. His voice works well on this tune, but it’s the soloing and instrumentation that sets this tune apart on its own. Big Mama Boogie, Parts I & II, OK, well if there one tune that NEEDS to be on this collection, it’s this dual-tune, which showcases Rusty Day & Jim McCarty doing their acoustical thing during the Part I segment, and an instrumental fury that will make any metal band bow down with envy during the Part II segment. I need to catch my breath after listening to this one. Feel So Bad is the old Elvis Presley tune that is covered here with a grunge feel. It keeps a smooth pace and texture throughout. Hometown Bust is another hippy protest anthem dealing with the arresting of every long haired love dove. It has a slow and heavy blues feel and keeps the grinding in hard tact. This is a great record, but I just don’t understand how it has become so obsolete and obscure. I doubt that you would find this one in a used record store because I could not imagine anyone getting rid of this jewel.
This record gets a 6.0 on a 5 scale ! The band's writing and performing chemistry was at it's peak.
Songs from the Restrictions record contained on this CD collection are :
Song #1, the Willie Dixon classic, Evil. Right away, you are kicked in the teeth with the power guitar riff and thunderous drum fill on the break; you’re a long way from home....can't sleep at night...... grab your telephone........ something ain't right........... that's evil........., evil is going on ....... I’m just warning you brother........you better watch your happy home. It’s a basic 12 bar blues riff played with a break on the turnaround. There is a lot of power in this number and the drumming is amazing. The guitar tone is crunchy and the lead is played with sustained feedback. The vocals, as always, are harsh and fueled by power and guts. This was recorded during their troubled times and honestly, it doesn’t really sound like Jim McCarty was into these sessions with a full head. Although the record is filled with great guitar work, it just appears that his approach on some of the material on this record was a bit spontaneous, rather than mapped out as on previous recordings.
Song # 5, Alaska. This is a very cool laid back blues grooving piece that exhibits the mellower side of this clan. The vocals & drums have some sort phase shifter effect that ride on the overtones, but it works ok. The harmonica playing is superb and carries a hypnotic melodic flow. Carmine plays brushes on this one and really throws some nice single stroke rolls. McCarty’s lead is played with a wah-wah and his rhythm chordal progressions are brilliant. A very refreshing tune played by some very talented lads.
Song #11 is the title cut, Restrictions. This is a great tune and encompasses the hippy era and the changing times. “Use you manners, clean your teeth off, wipe the grease off of your nose, learn the letters, learn of betters, learn to hide the part that shows, if you’re a man of if you’re a lady someone still thinks you’re the one, who started giving all those bad ideas their wicked son” Those words are actually very true to life for Rusty Day, a bad influence in the eyes of many. The rest of the lyrics are fantastic. Dynamics play a huge role in this tune, and at times it weaves through the air like a lost happy bird in Zion. The song runs a little over 6 minutes and the time is used well. The lead guitar solo is not one of Jim McCarty’s better efforts, but nonetheless it delivers a nice touch to the composition.
The other tunes not contained on this CD that are from the Restrictions record that deserve mention. Token Chokin’, a bluesy country fried number that cooks up with a some great guitar work by slide-guitarist, Ron LeeJack. It’s very catchy and worth listening to. Guiltless Glider is a true form peace & love tune that should have been included in the Cactology CD. The only pitfall is the drum solo in the middle. It’s a cool solo, but it breaks up the original groove pattern which I could have listened to for days. Sweet Sixteen is probably the weakest tune in the entire existence of the original Cactus lineup. It has a vast amount of energy, but the bottom falls out and desperately needs some overdubbing on guitar. McCarty’s solo falls short of his usual antics. Bag Drag is a great war protesting song that also could have been included on this best of collection. Rusty sings about the poor choices made by politicians and generals that end up putting his own brothers in body bags. Mean Night in Cleveland is an instrumental acoustic number that reflects their time in jail after getting busted in Cleveland.
Overall this record gets a 4.5 on a five scale. The production is great, the sound is full at times, it only lacks more of the total group composing environment, rather than songs written by them as individuals. But in all fairness, it’s hard to top their previous album.
This is about the time that Jim McCarty and Tim Bogert clashed heads over musical differences, and the original line-up disbands. This would lead to the dismissal of Rusty Day and the demise of one of the greatest bands to ever be born in America.
Song # 15 is Bad Stuff. It’s the only post McCarty/Day tune worth listening to. It features Wener Fritschings on guitar, Duane Hitchings on organ and Peter French on vocals. But even with this lineups best effort, it is still short of the original lineup’s can of whoopa*s. For nostalgic purposes, it’s nice to hear Peter French outside of Atomic Rooster. As for the rest of the 'Ot N' Sweaty album, avoid it.
The two previously unreleased tracks contained on this disc are :
Song #14, Rumblin’ Man, a purposely aimed rip off of the Link Wray classic, “Rumble”. It was recorded during their debut album sessions. It’s very raw, heavy, grungy, angry and sounds like a combination of Skinny Puppy, Sex Pistols and early Soundgarden.
The last tune on the CD is a live version of Parchman Farm, and if there is any doubt to this bands ability to pull off their fastest tune live, then listen to this one, and weep. WOW !!! Make that a double-WOW. Take what I wrote about the studio version and multiply that times 10. I would hate to be the band that has to come out and play after this tune. This song is impossible for anyone to follow. The solos are gutsy, heavy, speedy and very melodiously entertaining. This tune serves as good enough reason alone to buy this CD.
OVERVIEW
Rhino Records once again comes through in style with this lambent 16-song collection of blazing tunes by this remarkable band, and also includes an outstanding 20 page booklet filled with great pictures and many interesting facts. Some of the material that I have included in this review is referenced from that very same booklet, as well as from old Circus & Creem Magazines from 1970 and 1971, a couple of old rock books, but mainly from the vaulted shaded memory that I have from when I was 9 years old and how I remember this band being so great. I listened to this band more than I listened to my parents and teachers.
Today’s Classic Rock was just everyday household music when I was growing up. Since I had the benefit of having brothers & sisters that we way older than I, Cactus was a household name just as much as Led Zeppelin, James Brown, Rolling Stones and The Doors were. But the always dependable manipulative tactics worked up by the corporate jerks of the music business managed to dim the limelight on this fine band back then, and is managing to keep them out of the current “classic rock” radio format now. The fact that Classic Rock stations usually play the same 4 songs from Deep Purple, the same 4 songs from Black Sabbath, the same 4 songs from Grand Funk Railroad and the same 5 songs from Jimi Hendrix, and etc., over and over is sad enough, but for a band like Cactus, to not be played at all, to never be mentioned and never recognized, well, that is a total brutal shame. There simply is no excuse. This band is a very talented quartet with an energetic force that needs to be respected for their abilities, uniqueness and talent.
If I were asked to compile a list of the 10 most underrated bands in the history of music, Cactus would be the top name on that list. I can think of dozens of highly underrated artists, but none that can top this act. I am serious music junkie with over a thousand cds, records and tapes from all genres and styles, and from all eras beginning in the early 1900's, to the current. That doesn’t necessarily qualify me as a bona fide expert, but along with being a musician, it does give me the sense of certainty when it comes to putting an artist, band or performer under a microscope. These guys pass the test. They are a musician’s band, no doubt. The average ear that likes top 40, mainstream commercial, MTV and electronic music probably won’t like this band. These guys are not posers in any way, shape or form. They are as real as any band that has ever existed, before or since. A forewarning for the average ear, Rusty Day’s vocals take some getting used to and strong adjustments in the equalizer in your head must be made to fully enjoy what these guys have in store. Like most of their contemporaries during that era, they are predominately blues based in most of their compositions, but Cactus had something more to offer than anyone else.
IN CLOSING
I would like to sincerely thank those of you that are still reading and thanks for staying with me on this adventure of a forgotten and disregarded band. Everyone that I know that has heard this band speaks of them highly and with ultimate applause. Those friends that have never heard them and that I have played them for, simply cannot believe that they had never heard them before. Many of those friends have become ravenous fans since then. If this kind of music is what you like, then by all means, go out and get this recording. If you are a drummer, guitar player, bassist or harpman, you must add this to your collection.
Cactus has their own brand of soul that brandishes their abilities to jam and to be creative. They display power and fury in every song they perform, and they do so with dexterity and excitement. If you could put the power of Led Zeppelin, the guts and image of early Guns & Roses, the musicianship of Deep Purple and the energy of early Grand Funk Railroad, mixed with an extra dash of blues, and throw all of that into one big bag, then you would have Cactus.
Final words........
This is American hard boogie rock at it’s best.
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