Dick Campbell ‎– Sings Where It's At

Mercury ‎– MG 21060, Mercury ‎– SR 61060
Vinyl, LP


Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
MG-21060, MG 21060 Dick Campbell Sings Where It's At (LP, Album, Mono) Mercury, Mercury MG-21060, MG 21060 US 1965 Sell This Version
10-355 Dick Campbell Sings Where It's At(4-Trk, Album) Mercury 10-355 US 1965 Sell This Version
MG 21060 Dick Campbell Sings Where It's At(LP, Album, Promo) Mercury MG 21060 US 1965 Sell This Version


Reviews Show All 2 Reviews

Add Review



October 8, 2015
Dick Campbell was a low-level music veteran in 1965, when he penned a couple of songs modeled on Bob Dylan’s genre-bending electric conversion. Mercury Records (smelling a new trend) liked what they heard, enough to commission more anyway, and in two weeks Campbell came back with this set of songs, hired Dylan cohort Mike Bloomfield, Paul Butterfield (with members of his Blues Band, drummer Sam Lay & organist Mark Naftalin) and bassist Peter Cetera
(later of Chicago) to record this tribute/homage/parody/cash-in, clearly designed to ride the electric folk wave Dylan was currently cresting on. There have been plenty of artists over the years saddled by the press with the albatross title, “The New Dylan,” but Dick Campbell was actively courting the connection in 1965 (same year Bob Dylan’s Bringing It All Back Home and Highway 61 Revisted were released). Though… in Dick’s defense, many a well-traveled road’s been paved with early 60s singers/songwriters looking for a way – any way – into the music business. The merits of Sings Where It’s At will be strictly in the ear of the beholder… or among rabid Dylanologists, 60s fetishists, David Blues, P.F. Sloan and Paul Butterfield affecionados.


September 5, 2015
Mercury put out a bunch of under-promoted, awkward commercial folk and early folk-rock LPs in the mid-'60s, but this one really takes the cake for sheer ill-conceived weirdness. Campbell was the most blatant early-electric-period Dylan imitator this side of David Blue, except he was notably inferior as a singer and songwriter even to Blue. It really is difficult to tell whether this was intended as a Dylan satire or a Dylan homage, particularly when the lyrics contain such gems as "Well, the girls all love me, I have to beat 'em away with a club" and "Hey Mr. Unrefined, lower class hoodlum kind, trying to beat my head 'cause he don't like how I act, well, don't do it." They're all delivered with Dylan's sing-speak vocal style, of course. Campbell is not a good singer, though, and a contrived songwriter, though it's sometimes evident he's trying to match Dylan's internal rhyming schemes. It gets even more curious when a couple of songs bear the influence of groups like the Four Seasons in the vocal harmonies. For all that, the instrumental backing has its appeal for those who like the early Dylanesque folk-rock sound, particularly in Mark Naftalin's organ and Mike Bloomfield's 12-string guitar.