Vernon Wray – Wasted

(Arizona)
A stunning ultra-indie release from Vernon (Aubrey) Wray (1924-1979), the older brother of rock guitar pioneer Link Wray. With Link and the other younger brother, Doug, Ray formed several rockabilly groups (the last of which were the Ray Men) in the 1950s in the Portsmouth and Norfolk, Virginia. Of Shawnee ancestry, they were an early example of indigenous rock ‘n’ roll. In the early 1970s, Vernon Wray dropped out for a while and moved to Tucson, Arizona, where he recorded and self-released two intense and deeply personal albums. The first record, “Wasted” (1972), was originally only pressed in a few hundred copies, which he sold at local gigs. The second, “Superstar at my House” (1973) was released on 8-track only and is even more rare with only a few copies known to exist. “Wasted” is a remarkable album, and a real find for hardcore fans of hippie-era country, with Wray (backed by his brothers) churning through mournful, contemplative, moody folk and tough, rugged country gems -- it's a real outsider-art album, and a compelling, cohesive statement by an artist with a truly singular vision. There's little of the brash, post-rockabilly proto-grunge of the Raymen recordings, though the same level of intensity is there, just in a seemingly quieter mode. Coming on the heels of Link Wray’s much-revered (and not rare) self titled album on Polydor (1971), it explores depths of human emotion only touched upon by Link.

“Wasted”, is rare in more ways than just its limited availability. As a lost classic it’s pure gold. Laced throughout with the sparkling guitar work of his brother Link, the tasteful drumming of his other brother Doug, Vernon’s understated piano and a host of interesting stereo production effects, the album has a lot to offer musically. Of all the obscure and great private label country albums known to me, this one belongs to my very favorites.

More countrified in its spirit and laid-back in tone than his earlier work with his brother at the front, “Wasted” is lyrically lonely and heartfelt while managing to not become mired in depression.  On songs like “Facing All the Same Tomorrows” and “Prison Song” Vernon’s smooth honey voice is balm to the world weariness that he speaks to. The heavy themes Vernon sings about are at the same time personal and universal as exemplified by the cut “Faces in the Crowd” in which Vernon confronts the isolation that he must have felt in the cities of the East coast and offers the hope of a salvation tendered by “Mother Nature out West”, as embodied by the lively flute playing in the background.

Even though there is a common thread of world weariness throughout, not all of it is expressed in a heavy musical manner. Vernon romps through the swampy floor stomper “Tailpipe” in which he likens the effect of his latest romance on his person to a dilapidated car – you can decipher the analogy in the title. The relatively upbeat country bar-room “tear in my beer” vibe of “When I Start Drinking” has just the right amount of twangy drunken camaraderie to make you smile. Highly recommended!!

For those who don't want to spend mega bucks on the original LP, the album has been reissued on CD and vinyl, although all are out of print and by now quite expensive as well. The CDs came out on Vivid Sound (Japan), Big Pink (South Korea), and Fat Possum (US). The vinyl reissue was released in 2011 on the Sebastian Speaks label, with remastered sound and facsimile cover and insert with notes on one side and a replica of an old promo sheet on the other side. Very attractive but now also quite pricey.

(Thanks to Thom Klepach of “The Rising Storm” website for input on this text.)

A bit of a long shot, but I have a stunningly clean disc without a cover, so if anyone happens to have a cover on it’s own or with a rough disc, cash is waiting!!