Although he's considerably less esteemed than the celebrated Gram Parsons, fellow Byrds alumnus DOUGLAS DILLARD'S contribution to American cosmic roots music is every bit as substantial.
I'd urge you to seek out his two DILLARD & CLARK albums with the late, great Gene Clark for starters, but while you're at it, make a point of snapping up "The Banjo Album" as well.
Recorded on the back of Dillard's live work with The Byrds on their Gram-assisted 1968 European tour, "The Banjo Album" is a classic example of a late '60s "supergroup" session, with the band also featuring Gene Clark on harmonica, future Burrito/ Eagle Bernie Leadon on acoustic guitar, and ex-Hearts And Flowers man David Jackson among others.
Although produced by Jim Dickson and released on another Byrds deskman's label, Gary Usher's Together Records, "The Banjo Album" was viewed as something of a curio at the time, with its' entirely instrumental attack and a (then) curious mish-mash of styles, with bluegrass picking and rock'n'roll attitude going hand in hand.
Of course, the recent resurgence in all things rootsy and homegrown American has reminded us that the banjo is a cool instument after all, with artists with essential cred from Uncle Tupelo to the Handsome Family all working it into their rich tapestries. However, in 1968, the banjo was not seen as a serious musical contender, ensuring that Dillard's vision now seems way ahead of its' time.
The original album featured 11 (mostly) lightning fast, dexterity-fuelled tracks, with Dillard often going head-to-head with Andy Belling's harpsichord. If that sounds unlikely, then it'll probably amaze you when I say both of them play with an intensity that Johnny and Dee Dee Ramone would have approved of.
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Virtually everything succeeds beautifully, although pride of place would have to go to the catchy, percussive "Clinch Mountain Back Step", the chromatic punkathon of "Bully Of The Town" and the wonderfully evocative "Train 4500", where the Appalachian picking is crystal clear and decorated with bells, whistles and John Hartford's descriptive fiddle.
Rev-Ola's typically detailed re-issue also has the good grace to include bonus tune "Runaway Country", which Dillard and co scored for the Primal Scream favourite celluloid "Vanishing Point" and will be familiar to anyone who's revelled in Kowalski's harem-scarem cross-country car scrapes. It was recorded at a seperate session, but retains the breakneck intensity.
Douglas Dillard has quietly cast a long shadow over bluegrass music, but his work with the Byrds and Gene Clark hes ensured he's rightly regarded in roots rock circles too. "The Banjo Album" is a remarkable point of entry which makes it abundantly clear that the immortal "Duelling Banjos" from 'Deliverance' is only the tip of a far more substantial cultural iceberg.
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