LOST CLASSICS
A Taste of Potliquor At 61 years of age, I always find it a thrill
when friends turn me onto music that I didn’t know about, or bands I had simply not given their due. Like Black Stone Cherry, which my friend Scott Greene came off of the Southern Rock Cruise raving about, or the Steel Woods, the new favorite band of my buddy Dave Peck, I am al- ways amazed by these newer bands. Of course, there are also many old-school bands that some- how slipped under my radar. One of these is a band called Potliquor. I had heard their name but never their music, until a friend gifted me with their entire four LP discography. After listening to the tracks a few times, I came to the somewhat startling realization that I had truly missed out on something very special. Of course, as they say, better late than never! Potliquor was formed in Baton Rouge,
Louisiana in 1969 by George Ratzlaff and Guy Schaeffer after the breakup of a successful cover band named the Basement Wall. The band played a mix of country, blues and southern rock, and did it very well. They released three excellent al- bums between 1970 and 1973 and one more in 1979 before breaking up. Much like fellow South- ern rockers Eric Quincy Tate, Potliquor never got the recognition they deserved. Their debut album, First Taste was pro-
duced by the band’s manager, Jim Brown and came out in 1970. It’s a tight collection that in- cludes a rocking “You’re No Good” (yes, the same song that Linda Rondstadt had a hit with), along with pure New Orleans vibes of “Down the River Boogie,” and “Riverboat.” “Toballby” is a real drum workout, and I found myself cranking the volume and pretty near dancing in my seat. Killer stuff.
Potliquor’s sophomore effort, Levee Blues
was released in December 1971 and is considered their best album by many. It’s a tight set for sure, starting with “Cheer” with its Bo Diddley beat,
and moving into the piano-heavy “The Train,” a serious rocker. The title track, “Levee Blues” is a truly great jam, and in an interesting move, the band does another version of “You’re No Good,” rocking it up even more, before dishing up a nice cover of the Beatles “Lady Madonna.” “When God Dips His Love in My Heart” is a 58 second tease that works well to lead into “Beyond the River of Jordan.” Louisiana Rock and Roll came in 1973. By
now they were dishing out a Molly Hatchet style of heavy boogie, and had some fine tracks like “Waiting for Me at the River,” the classic rock and roll hit “Rip it Up,” and the title track “Louisiana Rock and Roll,” but somehow, they never caught on nationally, and were considered regional fa- vorites
In 1974, the band took a break until origi-
nal bass player Guy Schaeffer and drummer Jerry Amoroso put the band back together by adding Steve Sather and Mike McQuaig to guitars. They released one more self-titled album through Capi- tol Records, but fans found their new, more radio friendly approach lacking the southern groove of previous albums. The band broke up soon after that.
-Michael Buffalo Smith 37
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