Yesterday's Children: Croces in Connecticut

Yesterday's Children: Croces in Connecticut

Connecticut isn’t known for its wealth of musical contributions to the Western World. That’s not slated to change even as Mr. Magic should soon be getting his due as a rap purveyor of the highest quality. Back in the sixties and seventies, though, the state just north of New York spit out a handful of acceptable, if not overly creative, rock and psych acts. Yesterday’s Children might be one of the more transcendent, but that’s relative. NGC-4594 may well have been a more subtle and talented band, weaving country and folk music into its take on the psych stuff then so popular. But Yesterday’s Children were a harbinger of things to come, not a group of dudes looking back and wondering whether it’d be alright to wear cowboy hats.

The group, as helmed by singer Denis Croce, took an aggressive stance towards rock stuff. A handful of early singles were apparently a bit more sixties’ garage psych, but by the time collected players got around to recording its eponymous long player, there didn’t seem to be much difference between these folks and Led Zeppelin or whoever else you care to toss in there. Of course, even those bloated Brits had their moments. But after eschewing the blues and embracing fifteen minute songs it was all a ways.

Yesterday’s Children are somewhere in the middle of that. The seven minute “She’s Easy” might sport a slower tempo than most other efforts here, but there’s nothing present other than a ridiculous amount of guitar wanking – adept, surely, but unnecessary. What makes that something of a disappointment is, there’s not any sort of inventive approach to the soloing. It’s just blues based tedium. Following that seven minute track is another about the same length, coming off like a boring Black Crowes’ track.

When the band’s most successful, Yesterday’s Children are still just aping someone else’s style. But the brand of boogie disseminated by “Providence Bummer” rates up there with Canned Heat. So, no. It’s still not original, but that galloping drum work should get at you pretty quickly. Turning in a bit of that dual-guitar soloing actually works here, perhaps because of the confines of a four minute blues.

It’s too bad hippies weren’t of the opinion that judicious editing might lead to a stronger end product. If that was the case, people might have actually heard Yesterday’s Children. That’s how it goes, though. I’m sure they’re happy as accountants or whatever it is they do.