Released in 1969,
Tim Dawe's
Penrod was one of the few entries on
Frank Zappa's ironically monikered Straight Records label -- where it was nestled between
Jeff Simmons' Naked Angels original motion picture soundtrack and
Tim Buckley's
Blue Afternoon, both of which were also issued that year. It has been suggested that
Penrod was a pseudonym for the name of the assembled musicians. However,
Penrod is in fact the fictional Penrod Schofield, a preteen whose misadventures were anthologized in a collection of humorous drawings by Pulitzer Prize-winning author Booth Tarkington. He is portrayed on the outer LP jacket in two cover illustrations hand-drawn by Gordon Grant. For this recording
Dawe (acoustic guitar and vocals) is joined by Arnie Goodman (keyboards), Chris Kebeck (guitar), Claude Mathis (drums), and Don Parrish (bass), and the ten-track project was realized under the supervision of producer and arranger
Jerry Yester, who also scored light orchestrations for several of
Dawe's originals. The midtempo opener, "Scarlet Woman," builds upon a folk-rock feel punctuated by Goodman's rollicking keys. It also demonstrates
Dawe's penchant for reeling off memorable melodies. Somewhat darker is the psychedelic and bluesy "Nite Train Home," with
Dawe adopting a huskier tone harking back to
Fred Neil's trademark pipes. The discernible vibrato in his voice is complemented by Goodman's shimmering Farfisa. Kebeck gets in on the action, asserting his sneering -- practically punkish -- electric leads. The charming "Nothing at All" recalls
the Velvet Underground and
Nico's seminal "Femme Fatale," as
Yester's lithe strings and woodwinds unite the verse with an effective and timeless pop quality during the middle-eight instrumental section. While on the subject of catchy tunes, the upbeat and playful "Little Boy Blue" bears an unfettered, rural feel. Again, Goodman stands out on the tack piano, giving the number an authentic vintage resonance -- especially against the antiquated synthesizer.
Dawe retells the tale of "Junkie John," clocking in at over seven minutes, with a languid methodology. It sonically parallels the jazz-filled and substance-addled demise of Greenwich Village, center of N.Y.C.'s formerly hip bohemian lifestyle. "Sometimes Alone" is one of
Penrod's heavier sides, stirred up by Kebeck's electric and slightly acidic fretwork. Comparatively mellower is the narrative of
Dawe's "No Exit (Café & Gallery)," as it seamlessly unites an unhurried pastoral melody with his unassuming vocals. The funky and groovy "I'm Comin'" reveals another facet to the artist's interminable talents.
Dawe's heartfelt and upbeat ballad "Some Other Time" is swaddled in a crystalline harpsichord that -- much like "Nothing at All" -- takes on the gentle mantle of a crisp, unaffected baroque ballad. "Didn't We Love" brings the platter to a conclusion with a final bout of folk-based psychedelia, perfectly encapsulating the era as well as the all too short-lived output of the
Tim Dawe-led band. In 2007, Collectors' Choice Music issued
Penrod on CD, making it considerably more affordable for North American consumers than the previously available import version. ~ Lindsay Planer