Customer Reviews

Under My Own Disguise

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Given Darrow's musical pedigree, it's a wonder his name and these two early-70s solo albums aren't better known. In the 1960s he put together the California bluegrass group, Dry City Scat Band, was a founding member of the eclectic psychedelic band Kaleidoscope, and spent a few years in the Nitty Gritty Dirt Band, toured behind Linda Ronstadt and did studio work for James Taylor, John Fahey, Leonard Cohen and others. In the early `70s he signed with United Artists and recorded this pair of albums, the self-titled Chris Darrow in 1973 and Under My Own Disguise the following year. The latter was previously reissued on CD on the Taxim label, and the pair was previously issued as a two-fer by BGO. This deluxe reissue is remastered from scratch, offering each album on individual CDs and on individual 180-gram vinyl LPs, all housed in gatefold covers and sporting a 48-page 12" x 12" photo and liner note book.

Chris Darrow models itself after the breadth of Kaleidoscope, but without the overt psychedelia. Darrow's songs cover rambling Allman Brothers styled country-rock, reggae rhythms crossed with New Orleans' fiddles, a hot-picked double mandolin instrumental, piano-based ballads, old-timey country, Celtic fiddles, close harmony and Stonesy blues. He mixes originals with traditional tunes ("Don't Let Your Deal Go Down") and selected covers (Hoagy Carmichael's "Hong Kong Blues" and Cy Coben's country bluegrass "A Good Woman's Love"). The original "Faded Love" is sung to a mandolin and flute arrangement that's distinctly Japanese, and the closing "That's What It's Like to Be Alone" is given a chamber pop arrangement replete with harpsichord. Darrow's "We're Living on $15 a week," with its upbeat depression-era optimism is sadly applicable amid the ruins of today's world economy.

Under My Own Disguise follows a similarly varied course, but more tightly bunched around country sounds, including fiddle-led Zydeco, steel guitar ballads, Allman-styled rock, dusty gospel soul, acoustic rags, blues, and the sort of pop-country-rock hybrid that Gram Parsons termed "cosmic American music." The album's featured cover is a Hot Club styled country-jazz take on the Ink Spots' "Java Jive." Darrow has an appealingly unfinished voice - tuneful, but unpolished. He's mixed especially low into the instrumentation on Under My Own Disguise, giving the impression of an introvert more comfortable as a sideman than a leader. No matter, as his melodies and musical textures carry a great deal of emotion. Thirty-five years on, these tracks sound fresh and contemporary, and offer up hidden nuggets of California country. [©2009 hyperbolium dot com]

This is a fantastic collection of Darrow's best work. There's not a weak song in the collection. However, Darrow did not found Kaleidoscope as stated. It was an offshoot of David Lindley and Solomon Feldthouse's folk effort in Berkeley, David and Solomon, the Kings of Israel. Chester Crill (aka Max Buda and Fenrus Epp) was then included, followed by John Vidican and finally Darrow. Their first effort of naming this group came up with the hilarious moniker, The Neoprene Lizards, which didn't work out. Darrow left after the 2nd album, but returned to head up the first reunion effort, along with Crill (which Lindley secretly played on as D. Paris Letante), When 'Scopes Collide on Mike Nesmith's label, recently remastered and re-released on Taxim. Later he and Chester got the guys back together for Greetings From Kartoonistan: We Ain't Dead Yet, which Lindley wanted no part of.