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Not only is this ablum cover amusing; not only does it feature original album sleeve and insert; not only is it in very good to excellent condition; but the artists featured on this album are music legends. 

THE SINGER

Dwain Story left the tranquil bluegrass hills of Kentucky to enter the raging halls of academia in 1960 when he entered Oberlin College to study philosophy. It was during this time he played in his first band THE PLUM CREEK BOYS. By 1962 he had established a body of original tunes and together with banjo player Erik Jacobson and Pete Childs playing guitar and dobro became THE KNOB LICK UPPER 10,000. Their big break came as an offer to play The Bitter End coffee house in New York City. It was there that Albert Grossman, producer at Mercury Records signed them to a record contract and produced "Introducing The Knob Lick Upper 10,000" (1962), and "Work Out" (1963). "Wendigo" was written in 1962 and has been recorded by Doc Watson, Jim Post, Peter Paul and Mary, and Mary McCasland. That same year The Knob Lick Boys were among the first folk and bluegrass artists to play Carnagie Hall. In 1965 Peter Paul and Mary recorded "The Cuckoo" on their LP, "A Song Will Rise".

On October 25, 2001, Dwain Story was inducted into the Folk Singer Hall Of Fame in New York City for his outstanding contribution to folk music as a performer and songwriter. He was also granted an Honorary Doctorate degree in Ethnology and Lyrics. Two weeks later, excited and rejuvenated from his victorious trip to New York, "Doc" Story gave back to folk music a flawless and vintage performance captured in his live recording at The Circle Inn with the bluegrass/traditional/old time duo of HOME KOOKIN' with a guest appearance by Darrell Jethro on bass fiddle.

Erik Jacobsen

From Wikipedia, the free encyclopedia

Erik Jacobsen is an American record producer, best known for his work in the 1960s with Tim Hardin, The Lovin' Spoonful, The Charlatans and Norman Greenbaum, and later with Tazmanian Devils and Chris Isaak.

In 1962 Jacobsen was the banjo player in bluegrass band, The Knob Lick Upper 10,000, with Dwain Story and Pete Childs. They performed at The Bitter End coffee house in New York City, where they were signed by manager Albert Grossman. They recorded two albums for Mercury Records, Introducing The Knob Lick Upper 10,000 (1962), and Work Out (1963), and were among the first folk and bluegrass artists to play Carnegie Hall.[1]

In 1964, after hearing The Beatles, Jacobsen quit the group, intending to form a new band which combined folk music with electric instruments. Returning to New York, he soon met John Sebastian, who had similar ideas, and they began jamming with other musicians, including Jerry Yester, Zal Yanovsky, Jesse Colin Young, Cass Elliott and Denny Doherty. Jacobsen produced various demos for different combinations of these musicians, prototypes of the folk rock style, some of which were issued on the 1966 Elektra album What's Shakin', and others on a 1999 compilation The Magic Circle. Jacobsen was also introduced to singer-songwriter Tim Hardin, began working as his manager, and produced his demos for Columbia Records.[2]

The Lovin' Spoonful formed early in 1965, and Jacobsen won them a recording contract with Kama Sutra Records. Jacobsen produced all their early hits, including "Do You Believe In Magic", "Daydream" and "Summer in the City". The record company also expanded its search for talent into California, and Jacobsen worked there with the label's signings, The Charlatans and Sopwith Camel. In 1968, he worked as producer with Norman Greenbaum, producing his first album and worldwide hit "Spirit in the Sky". In 1980-1984 he produced two albums with the Tazmanian Devils on Warner Brothers records and in 1985 he produced the first album by Chris Isaak. He went on to produce all Isaak's subsequent albums up to 1998.

Guitar and DOBRO: Pete Childs.

BACK COVER: Like the legendary Wabash Cannonball, the word 'hootenanny' now rumbles across America at a rate of speed that guarantees it will soon be out of sight. Yes, Virginia, the hucksters have hooted the nanny into a t-shirt, a television show, a questionable concert and, least likely of all, a shoe. Just as they had beaten the tranquil bossa nova, forcing a hasty return to South Americ where, by the way, it lives on in quiet dignity. But 'hootenanny' after all (and all else) is simply a folk music circumstance. And folk music is at least as American as jingles and slogans. Its very nature precludes exodus. Should it need to turn somewhere, it can only refer to the rich and thoughtful soil, whence it came and where it already has deep-running roots. In the face of jingle and slogan adversities, however, the real essence of the folk music movement continues to both enlighten and poetically describe the likes of Jack Dringo, the loves of Pollies and other nameless girls we've known and loved and known not how to love. Yes, folk music has to do with life, and very often in a much more meaningful way than shoes. For this reason the movement will not only survive its detractors, but shows every sign of a continuing distillation and artistic refinement within its own terms.

And its own terms have become fairy exacting. Case in point, The Knob Lick Upper 10,000 which, outrageous rumors to the contrary, consists simply of three young voices and six smart hands playing four insruments. Dwain Story, Peter Childs, and Erik "Jake" Jacobsen found their separate ways to Oberlin College. They left it together, however, with a common purpose and commitment to folk music that they have honored tirelessly to this day, and which can best be demonstrated here by referring you to performances like Ashville Junction and Two Little Boys on this record. Dwain, Pete and Jake are serious about what they're doing; they did not meet at a fraternity party and suddenly see theselves as something they weren't. Their interest in folk music is substantially older than the medium's current popularity, beginning in the archives of mountain music and what is now called 'country and western'. Their style is less Bluegrass than it is an amalgam of some of the most pleasing aspects of Bluegrass and country and western: intricate instrumental voicings combined with simly, naturally evolved vocal harmonies. Nothing short of constant effort and many a genuine "workout" could have brought them where they are today. And where they would seem to be exactly in deep in the realization that, as is true for all real artists, they can only find your enjoyment through their own.

In any event, and like the Rocky Mountain Water, the Knob Lick sound is fresh and fine. As was true for other reasons in the Days of '49, today's mountain of folk popularity is perhaps attracting more miners than there is ore. The ensuing confusion has begun to play itself out, and it now rests with our ears to decide just who is delivering that ore. Be we bonafide miners or simply Wayfaring Strangers, there is comfort in the fact that a good number of worthwhile musical friends (like the Knob Licks) are saying, in their way, Stand By Me Stranger. - John Court

Knob Lick Upper 10,000 - Workout!!!

Tracklist

Credits