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Contents • • • • • • • • • • • • • • • • • • • History [ ] The Knowbody Else [ ] Black Oak Arkansas, originally named 'The Knowbody Else,' was formed in 1963 by some 'high school pals' living in the area around Black Oak, Arkansas. Original members included Ronnie 'Chicky Hawk' Smith (vocals), Rickie Lee (alternately 'Ricochet' or 'Risky') Reynolds (guitar), Stanley 'Goober Grin' Knight (guitar), Harvey 'Burley' Jett (guitar), Pat 'Dirty' Daugherty (bass), and Wayne 'Squeezebox' Evans (drums). At some point the band and Ronnie 'Chicky Hawk' Smith agreed that a mutual friend named James 'Jim Dandy' Mangrum would make a better front man, while Smith agreed that he himself would make a better stage production manager. The band's first was stolen from Monette High School. The group then cleaned out an old galvanized grain bin on the edge of town and began blasting out ear-piercing sounds that echoed their special blend of music that came from rock, gospel, country and blues influences.

Members of the group were subsequently charged in absentia with and sentenced to 26 years at the, a sentence that was later suspended. This led to their retreat to the hills of rural north-central Arkansas where they lived off the land and refined their musical style.

They also lived in Long Beach, Mississippi and played at the local Lobe theater/dance hall and the short-lived venue, 'The Black Rainbow.' Some of their influences during this time were and. The Knowbody Else moved to in 1969 and signed a record deal with.

Their self-titled debut album was largely ignored by the public. Fender Hot Rod Deville 410 Serial Numbers. During this time the band became interested in and which, combined with their upbringing, contributed to their sound.

Black Oak Arkansas [ ] After several trips to, in 1970, the band was signed by (whose parent label once had a partnership with Stax) and rechristened 'Black Oak Arkansas'. Their self-titled debut album was released in 1971, and is generally regarded by fans as the band's best. The record featured enduring BOA classics like 'Hot And Nasty', 'Lord Have Mercy On My Soul', 'Uncle Lijiah' (written in pseudo-tribute to Harvey Jett's real-life great uncle) and 'When Electricity Came To Arkansas', which was accused by fundamentalist religious groups of containing backward-masked 'Satanic messages' (possibly from a live performance of the song in which Mangrum utters 'dog si eh' and 'natas' three times). The band toured extensively, gaining a reputation as a premier live act throughout the early '70s all across America, and later even in Europe. Followed in 1972, featuring the manic concert staple 'Fever In My Mind'. Drummer Wayne Evans left the band and was replaced by journeyman skinsman on BOA's next release, which featured another enduring BOA concert favorite, 'Mutants Of The Monster' and expanded on the group’s eclectic musical style.

In 1973, Black Oak Arkansas released their fourth LP, and took the rather unorthodox tack of including previously unreleased new songs on their first live concert album like 'Gigolo', 'Gettin' Kinda Cocky', as well as two more BOA classics: 'Hot Rod', which features Dandy's sly double-entendre lyrics, and 'Up', which spotlights Aldridge's marathon drum solo, a portion of which he played with his bare hands. The four new songs were originally recorded and intended to be included on the follow-up studio album to If an Angel Came to See You., but when Atco Records realized the band's true strong suit was their concert act, the live album resulted.

Raunch 'N' Roll Live was re-issued in 2007 by Rhino Records as a 2-CD set containing both concerts that the original vinyl album was culled from. The band's fifth album,, also released in '73, ended up being the high point of BOA's career, peaking at number 52 on the albums chart. Vocalist (future vocalist Grey Ghost) also toured intermittently with Black Oak during this period, and her raspy voice can be heard on the group's remake of 's 1957 hit ',' which reached number 25 on the. Baker's song was recorded at the suggestion of, when he invited them to Graceland. 'Hog' also included perennial favorite 'Happy Hooker' and the instrumental 'Moonshine Sonata', as well as edgier songs like 'Red Hot Lovin' and 'Mad Man'. The band was riding high on the concert trail as well by this time, headlining large venues like Kansas City's and, and even in London, England. Black Oak Arkansas also played at the famous festival in on April 6, 1974.

The massive concert attracted over 200,000 fans, and BOA appeared alongside 1970s rock giants,,,,, and, and portions of the show were telecast on Television in the US, exposing the band to a wider audience. The follow-up to High On The Hog, 1974's, Street Party (featuring 'Son Of A Gun', 'Hey Ya'll' and 'Dixie', as well as a cover of the Motown classic 'Dancing In The Street'), may have failed to maintain the momentum, but another 1974 release entitled Early Times, a shelved Stax recording by The Knowbody Else (now released on the back of their success and under the BOA banner), made up for lost time. Guitarist Harvey Jett left the band after Street Party and was replaced by 'Little' Jimmy Henderson in 1975 and he debuted on the band's final studio album for Atco Records, Ain't Life Grand. Grand included a snarly remake of 's Beatles classic ', as well as new originals like 'Fancy Nancy', 'Rebel', 'Good Stuff', 'Cryin' Shame' and 'Let Life Be Good To You'.

The band signed a contract with MCA and promptly released X-Rated later in 1975, which marked the beginning of Black Oak Arkansas' decline. In 1976 they released two fairly nondescript and unsuccessful albums for MCA, and 10 Yr Overnight Success, the latter of which as a five-piece band with the departure of Rickie Reynolds, who was more or less replaced on tour by keyboardist Marius Penczner during this period. Also in '76, Atco released a final BOA contractual obligation album, the poorly-recorded, but high-spirited Live Mutha, recorded on Mother's Day, 1975 in Long Beach, CA. Black Oak [ ] Following continued diminishing returns of the band's record sales (yet while still remaining a consistent concert draw), Mangrum dropped 'Arkansas' from the group's name (in an attempt to downplay their Southern-ness) and replaced everyone except Henderson and even altering his own vocal style in an attempt to sound more mainstream (and ostensibly impress music critics in the process. The other members of the 'Black Oak' lineup were Greg Reding (guitar and keyboards), Jack Holder (guitar), Andy Tanas (bass), and Joel Williams (drums). Black Oak released two albums on the struggling Capricorn Records, Race with the Devil in 1977 and I'd Rather Be Sailing the following year. Neither album sold well.

In 1978, guitarist joined the band at age 14 and toured with the band for four years. Post-Capricorn [ ] In the early '80's, Jim Dandy temporarily left the band for health reasons, but Rickie Lee Reynolds kept the band going with former Zorro bassist Jack Brumby, AW Zeugner, and Lester John. Bob Simpson took on lead vocals at first, but was later replaced by Randy Ruff for almost three years, until Mangrum's return. In 1984, the band released. Though the name 'Black Oak Arkansas' was on the album cover, 'Jim Dandy' appeared above it in larger type, almost as if it were a solo effort.

Ready as Hell featured a sound with and keyboards featured throughout. The album was also Rickie Lee Reynolds's first recording with Mangrum since the MCA years. In 1986, continued the heavy style of the previous album and featured the particularly adventurous track 'I Want A Woman With Big Titties'. Again, 'Jim Dandy' received top billing on the album cover (though 'BOA'—the band's initials—did appear above the frontman's name). Like its predecessor, Black Attack made no commercial headway. In 1992, the band released Rebound, this time under the band's aegis, with similar results.

Things changed little with 1999's The Wild Bunch, which was released under the name 'Jim Dandy's Black Oak Arkansas.' James Mangrum has continued recording and touring with a series of different Black Oak lineups, up to the present day. Black Oak Arkansas currently enjoys a loyal fan following. However, the later lineups have yet to duplicate the level of album sales that the original lineup generated in the early-mid 1970s.

Jim Dandy is credited with inspiring Van Halen frontman David Lee Roth's image and onstage persona as well. In addition, in the 1980s former once 'opened' for them as a member of the. Singer Ruby Starr succumbed to cancer on January 14, 1995. Original Black Oak Arkansas guitarist Stanley Knight died on February 16, 2013, just four days after his 64th birthday following a brief battle with cancer. The return to Atlantic Records [ ] The band released a new album for / on October 15, 2013 titled 'Back Thar N' Over Yonder'. The album contains 5 newly recorded songs and 10 previously unreleased 1970's tracks which were produced.

The new songs feature a line-up of original and current members. Reunited originals Jim 'Dandy' Mangrum, Rickie Lee 'Risky' Reynolds, Pat 'Dirty' Daughtery, and Jimmy 'Soybean' Henderson, were joined by current drummer Johnnie Bolin, bassist George Hughen, lead guitarist Hal McCormack and guitarist Buddy Church. The first single off the record 'Plugged In And Wired' was released August 26, 2013. The band is currently touring to support the album.

List of band members [ ] • James L.

'2012 was a powerful year for me. I released my second LP; I played nearly 180 shows in 360 days; I made the move back home from Brooklyn, NY to Detroit, MI; a six-year relationship of mine came to an end and I made it 30 years on the planet.' The music of Zach Saginaw, aka Shigeto, has always been deeply rooted in his personal history. His debut EPs Semi-Circle and What We Held Onto explored his grandmother’s experience from a US internment camp through ambient, beat driven tracks, nostalgic melodies and spliced vocal samples, including his grandmother’s vocals. His debut album Full Circle became a culmination of these EPs and further refinement of obsessive field recording and meticulous percussion, creating lush, sumptuous instrumental hip-hop. 2012’s sophomore album Lineage was a musical journey through his heritage combined with the sounds of jazz, hip-hop, funk and folk. The cover of his great grandfather's house in Hiroshima even adorned the Lineage artwork.

For all that Saginaw reveres his connections to his past, however, his new album seems very much about the idea of living in the moment. The signs of this idea are all over No Better Time Than Now — from the obvious connotations of the album title, through song titles that seem harbingers of change and immediacy ('First Saturn Return,' 'Soul Searching') to the music itself. It's an album that reflects a pivotal year in the life of its creator. This sense of the restless vigor that change can bring is palpable throughout No Better Time Than Now.

Fans of Shigeto's previous work will find all the hallmarks of his sound here — the warm, inviting washes of liquid synth sounds, the intricate production, the jazz-influenced arrangements. Now, however, they're imbued with a subtle energy — 'Detroit Part 1,' for instance, features a surprisingly pounding hip hop beat, while 'Ringleader' is propelled by an insistent hi-hat pattern that sits slightly ahead of the beat, giving the track a driving mood that belies its tempo. Even the quieter tracks retain a certain sense of urgency — the aforementioned 'Soul Searching,' for instance, is a track that sounds just as reflective as its name might suggest, but it's kept from drifting too far into introspection by a powerful, echo-laden beat.

The title track starts out in a similarly pensive vein, but builds slowly into a storm of fuzzy synth sounds and clattering drums. Even the penultimate 'Silver Lining,' a quietly beautiful mixture of Shigeto’s evocative vocals and tinkling electric piano, features one of the punchier kickdrum sounds you'll ever hear. Despite its origins in change and unrest, No Better Time Than Now is ultimately a positive work: 'The last year was definitely a significant turning point in my life both musically and personally,' Saginaw says, 'but life has its way of working things out in the strangest of ways. I spent most of the year traveling and that gave me a lot of time to think.

I got to know myself a lot better and that helped me be more honest with myself that helped me write more honest music and gave me inspiration and excitement for the future.' This sense of internal reflection and confidence imbues every moment of this record. As Saginaw says, 'I feel when things change so much so fast, you are forced to look at what is right in front of you [to] look at what's happening in the moment, [which] sometimes helps you embrace that moment. These songs are that for me. Don't sleep on a feeling. If it feels right it is. We say life is 'short,' but [we] know it feels 'long,' so when you have a chance to be honest with yourself, take it — there is no better time than now.'

No better time, indeed.