Gary Higgins - Red Hash (1973)

After something gets so hyped up, it’s not surprising to be let down after gaining entrance. In this particular case, that thing is Red Hash by Gary Higgins.

Apart from the fact that psych folk is a horrendous genre name, it doesn’t really aptly describe the music that Higgins and company worked out back in ’73. Surely, there are some acoustic instruments, but there’s also a full band performing at times. Red Hash isn’t one thing. But perhaps that’s what defines the nonsensical genre.

Beginning in a psych band during the ‘60s Higgins and his crew, that at one time included Simeon who would go on to found of Silver Apples a few years on, worked the northeast to good effect and received a bit of fame. As a result the group made a move to New York City in an attempt to capitalize on its popularity. It didn’t work out too well with folks moving back north not too soon after arriving in the big city. Simeon staid and we all know what happened to that guy…

Anyway, Higgins and company returned to its home ground and continued playing. In 1972, Higgins got popped by the police for selling weed and was set to head off to the slammer for just over a year. It was at this point that the songwriter assembled his compatriots to record a spate of songs that he’d collected.

What resulted was an album with a singular bent: a specific approach to rock and folk. But with very limited numbers of the record being pressed, little to no distribution and the fact that Higgins was being sent up river disallowed the disc from gaining any sort of traction.

It following years, after his release from prison, Higgins led a pretty normal life. Completely unbeknownst to the singer, his lone record had a cult spring up around it. I’m not sure why.

With folks covering his songs and Drag City actively searching him out, Higgins eventually was able to re-issue the disc via the Chicago imprint a few years ago. What resulted is a collection of even keeled tracks that feature any number of variations on instrumentation and approach to folk and rock stuffs.

“I Can't Sleep At Night” sports a bit of tabla in its relaxed setting which contrasts with the lyrical content describing the horrors of not finding sleep. It’s not an unpleasant song, but without the addition of mandolin and strings, it’d be a loser.

Much can be said for most of the rest of the disc. Nothing here should really grab listeners. In an odd departure from his stylistic concreteness, Higgins affects a harsh hillbilly voice for “Down on the Farm.” The momentary rest from what sounds like lily-white folk singing is welcomed. The only problem is that the change only makes the song sound like an updated blues: and no one needs more of that.

Regardless of my own opinion on the disc, it’s down well. And Higgins has recently recorded a follow up for Drag City – Seconds. But really, save your cash.