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High on the Hog 1973 Album

High on the Hog High on the Hog
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Item description
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Length
33m 50s
Country
United States
Release Dates
1973-09-23
Description
High on the Hog is the most commercially successful album by the southern rock band Black Oak Arkansas. It is mainly known for its cover of the LaVern Baker song "Jim Dandy", which reached number 25 on the Billboard Hot 100. The album prominently featured southern electric guitar licks and James Mangrum's scratchy, hillbilly vocals.
artist
producer
label
Other Roles
Ruby Starr
Ruby Starr
Backing Vocals on "Jim Dandy"
Ed Barton
Ed Barton
Engineer on the Other Tracks
Ron & Howie Albert
Ron & Howie Albert
Engineers on Tracks 3, 9 & 10
Harvey Jett
Harvey Jett
Guitars
Tracklist
1. Swimmin' in Quicksand 3m 20s
2. Back to the Land 2m 55s
3. Movin' 3m 15s
4. Happy Hooker 5m 27s
5. Red Hot Lovin' 2m 45s
6. Jim Dandy 2m 38s
7. Moonshine Sonata 5m 26s
8. Why Shouldn't I Smile 2m 21s
9. High 'n' Dry 2m 25s
10. Madman 3m 50s

Reviews

All Reviews
Despite the ridiculous cover, this is easily their best studio record since the debut. One of the things I like about it is, the songs – by and large – are short and to the point - unlike the two previous studio albums, where they often got lost in a bunch of stoned, hippie, redneck-isms. Think Grand Funk in their pop phase but with a very pronounced and eclectic Southern/country vibe. “Jim Dandy” introduced Ruby Starr – her burly, blues-derived pipes perfectly compliment Mangrum’s un-tethered growl – while the rest of the group barrels forth full-speed ahead with nary a hitch in their groove. IMHO, easily the group’s catchiest, most involved, and inventive tune. Starr is conspicuously absent for the rest of the album, which is a bit of a shame – with sexed-up titles like “Red Hot Lovin” and “Happy Hooker”, one would have thought she could have ably spiced up those lusty affairs as well, but it was not to be….But the good thing is, the band is in a less serious mood than on the two previous studio efforts – they even include an instrumental, of all things: a quirky track called “Moonshine Sonata”, which proved the band had not lost their sense of humor. The ending “Mad Man” is another relative tour-de-force – not blow-you-away great, but enough technical prowess, moody paranoia, and related drama from Jim Dandy to warrant repeated listens.
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