
Bunky, an attractive black woman from Brooklyn, and Jake, an aspiring white male Bohemian, met between brushstrokes at New York's School of Visual Arts in 1962. In high school, they both had sung on street corners with a cappella groups--Bunky with the Mello-Larks, Jake with Claude and the Emeralds. Eventually they began to be influenced by the folk music coming from the coffeehouses of Greenwich Village. Bunky and Jake, who had first met to rap about the old vocal groups they adored, put an act together and played the folk clubs, singing of being hip in New York City.
Like a good-natured jam, the duo's second album, L.A.M.F., is an eclectic blend of music influences, a record that's funkier and more rooted in traditional rock than the average folk record of the period. Their first album for Mercury, Bunky and Jake, though pleasant enough, was too pop, marred by corny string arrangements.
In contrast, L.A.M.F. sounds like music made on a sunny rooftop among neighborhood friends. Bunky and Jake are backed by a competent bassist and drummer, and their sound is filled out by various instruments: organ, vibes, clarinet, piano, conga, and sighs. The overall feel is of being amiably zonked.
"Songs of lament," Al Jacobs (Jake), in an interview, once labeled the tunes on L.A.M.F., and most of the songs do refer to other times, other places, other artists.

This footage very well may be the evidence why I am... the way I am. My parents had impeccable taste in music. A FB friend [the ridiculously talented Marc Campbell of Nails fame] posted this song and immediately I remembered how much my dad loved it and all of Billy Lee Riley's stuff... I liked to dance with my Grandmother to this. Bless!
A man of the south, Billy Lee Riley was the son of a sharecropper and learned to play the guitar from folks [read: poorly treated black folks] working on the farm. He headed to Memphis, where he recorded with Sun, however... not unlike many of the best of the best, was poorly represented so sales were slow. In the music business, naturally, that means zip, nada, zero promotion.

The late 1960’s was America’s revolution of peace that flourished and spread through the rest of the world, even though we were trapped in a grueling war. The children of the revolution were commonly known as hippies, a term many say now with a lick of disdain. It was happy, free, rebellious, and any other term with positive meaning behind it. For myself, being too young, I did not get to experience this era.
And quite oddly enough, the idea I associate most with the love, peace, freedom movement is Donovan--the boy that everyone accused to be a Dylan imitator, and later, to the British government, a leading figure in drug use. But in most households today, as I’ve observed, Donovan is a forgotten legend.

When I first discovered Donovan (my interest spiked after I saw 200 Motels where they mentioned him and associated him with the hippies), my dad regarded my interest as dumb since Donovan was a man of few hits. How could you aspire to make it in music if your idol was barely successful in music himself?
My dad made the bold mistake of reducing the man to a no-name (such as The Starfires, who mysteriously fell off of the Earth after a 45 that everyone searches and pays large sums of money for). In reality, though, Donovan has made hundreds of great songs, has had his run with the best of the bests, and can probably be given partial credit to bringing Led Zeppelin together [Page, Jonesy, and Bonzo played together on “Hurdy Gurdy Man.” Later Plant would appear on “Barabajagal” with the Jeff Beck Group, but this didn’t happen until 2 years after the formation of Zeppelin.]

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