Crowfoot
Band members Related acts
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line-up 1: (1965-68) as The Beau Gentry - Russell
DaShiell -- vocals, guitar, bass and keyboards - Doug Killmer (RIP 2005) -- bass - Lance Massey -- vocals, guitar
- Russell
DaShiell -- vocals, guitar, bass and keyboards
line-up 3: (1970) - Russell DaShiell -- vocals, guitar, bass and keyboards
- Rick Jaeger (RIP 2000) -- drums, percussion
line-up 4: (1971) - Russell DaShiell -- vocals, guitar, bass and keyboards NEW
- Don Francisco (RIP) -- drums, percussion, vocals
supporting musicians (1971) - Bill Meeker -- drums, percussion - Bill Sutton -- bass
line-up 5: (1971) - Russell
DaShiell -- vocals, guitar, bass and keyboards
line up 6: (1994) - Russell
DaShiell -- vocals, guitar, bass and keyboards - Doug Killmer (RIP 2005) -- bass
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- AB Skhy (Russell DaShiell, Rick Jaeger, and Sam McCue) - Atlee (Don Francisco and Sam McCue) - The Beau Gentry (Russell DaShiell and Rick Jaeger) - Russell DaShiell (solo efforts) - Don Francisco (solo efforts) - Don Harrison Band (Russell DaShiell) - Jerry Harrison Casual Gods (Rick Jaeger) - Highway Robbery (Don Francisco) - The Legends (Sam McCue) - Harvey Mandell (Russell DaShiell and Rick Jaeger) - Sam McCue (solo efforts) - Messenger (Russell DaShiell, Rick Jaeger and Doug Killmer) - The Mill Valley Bunch (Rick Jaeger) - Jeff Moretti & the Impalas (Sam McCue) - Pan (Don Francisco) - Rockin' Robbins (Rick Jaeger and Sam McCue) - The Silverados (Don Francisco) - The Sonics - Thunder and Lightening (Doug Killmer) - Wha-Koo (The Big Wha-Koo) (Don Francisco)
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Genre: rock Rating: 4 stars **** Title: Crowfoot Company: Paramount Catalog: PAS
5016 Country/State: Melbourne, Florida Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 6169 Price: $40.00
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Crowfoot traces its roots back to the Melbourne, Florida based high school band The Beau Gentry Featuring singer/guitarist Russell DaShiell, drummer Rick Jaeger, bass player Doug Killmer and singer/guitarist Lance Massey, the band started out as a covers group, slowly incorporating some of DaShiell's original material into their act. Manager Ken Adamany discovered the group, putting them on the road in 1966 and they eventually landed in Wisconsin, spending several years touring the Midwest. Their moment of glory coming with the release of a pretty, slightly lysergic-tinged ballad "Dream Girl" backed with a more upbeat garage rock tune on Adamany's small Janesville, Wisconsin based Feature Records:
- 1967's "Dream Girl" b/w "Just In Case" (Feature catalog number 202 A / B)
With Massey having dropped out of the band, by late 1968 the remaining members opted for an image change, moving to Marion County, California and morphing into Crowfoot. They found work on San Francisco's burgeoning club scene, including dates at Bill Graham's famed Fillmore West, but never attracted the attention of a record label. In order to pay their bills the various members started working sessions, providing support to A.B. Skhy on their self-titled debut, Harvey Mandel's third LP "Games Guitars Play" and Norman Greenbaum's "Spirit In the Sky". Greenbaum's success with the title track saw DaShiell join his recording and touring band for several years. The resulting connections saw DaSheill finally score a recording contract for Crowfoot with Paramount Records.
Co-produced by DaSheill and Russ Gary (best known for engineering some of the Creedence Clearwater Revival catalog), by the time Crowfoot stepped into the studio the line-up was down to DaSheill and drummer Jaeger. Given DaShiell was credited with penning all eleven tracks and handling vocals, guitar, bass and keyboards, 1970's "Crowfoot" could easily have been released as a DaShiell solo effort. In the interests of full disclosure, the first time I owned this album it didn't make much of an impression on me. After a couple of spins I sold it. And then several years later, in the wake of finding and enjoying DaShiell's 1978 solo album "Elevator" I stumbled across a cheap copy of "Crowfoot" at a yard sale and decided to give it another shot. About all I can say is my initial impressions were way off target. While this isn't a masterpiece, there are enough standout performances to make it worth hearing. The album's predominant sound favored country-rock and there were plenty of echoes alluding to the likes of America (the opener "Winter Comes"), The Buffalo Springfield ("You Won't Cry") and Poco ("Maybe I Can Learn To Live"). Witness the catchy rocker "California Rock'n Roll" and "Groove Along", DaShiell also had an ear for commercial viability. I actually found DaShiell's atypical forays into light psych and hard rock to be among the album highlights. Check out the ballad "Dry Your Eyes" and the rocking "No Don't Leave". It certainly wasn't the year's most original album, but the performances were uniformly enjoyable with DaShiell showcasing a first rate voice and overlooked talent as lead guitarist.
It's always been a mystery to me, but I've always wondered why Joel Isowitz's back cover woodcutting illustration reflected four people when the recording line-up was DaSheille and Jaeger. I'm sure someone out there will have the answer.
1.) Winter Comes (Russell DaShiell) - 3:38 rating: **** stars Opening up with some blazing DaShiell guitar, "Winter Comes" then shifted into a decent slice of country-rock. I'm sure it'll leave many people puzzled, but imagine the original version of the trio America deciding they wanted to play a rock song. DaShiell had a likeable voice and anyone into country-rock (particularly early America) with an emphasis on the rock component was liable to enjoy this one. DaSheill's second solo was even better. 2.) Love Is Everywhere (Russell DaShiell) - 2:33 rating: *** stars "Love
Is Everywhere" was a pretty, jazz-tinged ballad that again showcased
DaSheill's sweet, Double tracked voice and effects-treated lead guitar. As a big Buffalo Springfield fans, the highly melodic "You Won't Cry" immediately struck a chord with me. Great folk-rock melody; awesome acoustic guitar solo and the harmony vocals are to-die-for gorgeous. Very Springfield-ish ... Hard to imagine why Paramount didn't tap this one as the single. 4.) Lady Fair (Russell DaShiell) - 1:14 rating: *** stars "Lady Fair" was a pretty acoustic ballad that exhibited a distinctive English folk edge to it - kind of a Donovan, Nick Drake vibe here with a cool DaShiell jazzy guitar solo too boot. Perhaps a touch too precious for some listeners, but I liked it. 5.) Maybe I Can Learn To Live (Russell DaShiell) - 2:45 Another nice example of the group's country-rock orientation, but this time around the song paid tribute to the Poco school of country-rock with the emphasis on a sweet vocal and a more country-oriented melody. Another potential single, though Paramount relegated it to the "B" side of the "California Rock'n Roll" single.
(side 2) 1.) California Rock'n Roll (Russell DaShiell) - 1:56 rating: **** stars The album's most commercial and radio-friendly pop tune, "California Rock'n Roll" had one of those bubbly, summer-ready melodies and a raging guitar solo that was almost worth the price of admission.. DaShiell's vocal twang has always reminded me a touch of Neil Young at his most commercial (yeah, that's a mind teaser). In fact the only thing wrong with this one was it was too short. Released as a single, it's a shame this one didn't attract airplay.
-1970s "California Rock'n Roll" b/w "Maybe I Can Learn To Live" (Paramount catalog C006 91939) 2.)
Dry Your Eyes (Russell
DaShiell) - 3:03 rating:
**** stars
"Dry Your Eyes" was actually a remake of a track DaShiell had written for Harvey Mandel's 1969 "Games Guitar Play" LP. DaShiell handled vocals on the original and the two arrangements are very similar. Perhaps not quite as acid-tinged as the Mandel version, the Crowfoot version has a smoother, more polished feel. Regardless with a flowing, lysergic edge, a great melody and some sweet harmonies, it was my favorite performance. This was another one where my only complaint was the song was too short, fading out just as DaShiell's guitar solo was starting to pick up speed.
3.) A Falling Leaf (Russell DaShiell) - 3:48 rating: *** stars Shifting into a higher register, the fragile ballad "A Falling Leaf" was another track that had an early America flavor. Love the ragged guitar solo on this one. It also gave drummer Jaeger an opportunity to showcase his chops. 4.) No Don't Leave (Russell DaShiell) - 3:38 rating: **** stars The album's heaviest number, "No Don't Leave" demonstrated DaShiell could easily handle hard rock. Love the tone on his guitar and the slight echo on his vocals. Awesome tune that could have been an FM hit. 5.)
Dancing Lady (Russell
DaShiell) - 2:38
rating: *** stars 6.) Groove Along (Russell DaShiell) - 3:52 rating: **** stars "Groove Along" opened up with some needless in-studio goofiness and then shifted to a Jaeger solo section. Things were not looking good. And then the song's commercial melody burst through. Another catchy melody, great refrain, radio-friendly vocals and one of DaShiell's best solos ... Paramount actually released the song as a promotional 45:
- 1970's "Groove Along" (mono) b/w "Groove Along" (stereo) (Paramount catalog number PPA 0074)
© Scott R. Blackerby June 2024
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Genre: rock Rating: 4 stars **** Title: Find the Sun Company: ABC Catalog: ABCS
745 Country/State: Melbourne, Florida Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: -- Price: $40.00
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While Crowfoot's
1970 debut album attracted favorable reviews from the critics, it wasn't
much of a seller. Regardless, with a line-up featuring singer/guitarist
Russell DaShiell, former The Legends singer/bassist Sam McCue and drummer
Don Francisco (replacing Rick Jaeger), the group went into San Francisco's
Wally Heider Studios to record their second album. Signing with ABC's
Dunhill subsidiary, 1971's "Find the Sun" was again
co-produced by
Once again the album failed to attract much of an audience and the band called it quits; the members scattering to a myriad of outside projects including a 1978 DaShiell solo project: "Elevator" (Epic catalog number JE 35074).
"Find the
Sun" track listing: 1.) Travel In Time (Russell DaShiell) - 2:50 rating: **** stars "Travel In Time" opened the album with an energetic, radio friendly slice of boogie rock. Showcasing McCue's commercial voice (reminding me a touch of John Fogerty), the track readily displayed DaShiell's knack for coming up with interesting song structures and guitar hooks. Shame the song was so short. The song was released as the album's lone single:
- 1971's "Travel In Time" b/w "We're Doin' It Wrong" (ABC catalog number ABC 11315) 2.) Hollywood (Russell DaShiell) - 2:20 rating: *** stars I've always liked the sound of a Hammond B-3 and it sounded particularly good on the pseudo-Gospel-ish "Hollywood". Not the album's standout performance, but so what? 3.) Sailing Girl (Russell DaShiell) - 3:02 rating: *** stars "Sailing Girl" was a breezy ballad; the highlight coming from DaShiell's slide guitar and a lovely guitar solo. The song also provided the album's closest brush to psych, reminding me a touch of something Merrell Fankhauser and Mu might have recorded. 4.) Run For Cover (Russell DaShiell) - 3:30 rating: **** stars With a bouncy, highly commercial melody and some tasty DaShiell lead vocals, the rockin' "Run for Cover" served as a showcase for DaShiell and McCue's intertwined lead guitars. Almost a boilerplate for Steve Miller's forthcoming string of mid-'70s radio hits, I would have released this one as a single. 5.) Find The Sun (Russell DaShiell) - 3:14 rating: *** stars The title track was a decent enough country-rock-ish number, but I have to admit it sounded like it had been stitched together from countless other songs. The "pieces" were good enough, but other than another nice DaShiell solo there wasn't anything particularly original or enjoyable here.
(side 2) 1.) Got To Fly (Russell DaShiell) - 3:17 rating: **** stars Another of the album's more commercial efforts, "Got To Fly" was a good example of the band's mash-up of eclectic melodies with pop and rock moves. Kind of a James Gang vibe in DaShiell's solo. 2.) Summer's Gone (Russell DaShiell) - 3:40 rating: **** stars Propelled by some tasty acoustic guitars and showcasing the trio's exceptional harmony vocals, the ballad "Summer's Gone" featured a Crosby, Still, Nash and Young flavor. 3.) Sometimes Loving You (Russell DaShiell) - 4:17 rating: **** stars The album's most conventional rocker, driven by a catchy melody and some nice Latin percussion, "Sometimes Loving You" would have made a dandy AOR single. 4.) We're Doin' It Wrong (Russell DaShiell) - 2:22 rating: **** stars I've always been a fan of backwards guitar so the ominous "We're Doin' It Wrong" immediately caught my attention. With it's social commentary lyrics this was another track with a CSN&Y flavor. Again it was unfortunate this one was so short. The song also appeared as the "B" side of their "Travel In Time" single. 5.) Feel The Flow (Russell DaShiell) - 3:20 rating: **** stars Anyone wondering about the band's pop capabilities only needed to listen to the bouncy "Feel the Flow". Bouncy harmonies and awesome drumming from Francisco.
I've never seen a copy or heard it, but in 1994 DaShiell, Jaeger and Killmer apparently reunited to release "Messenger" (Aerial View catalog number ).
© Scott R. Blackerby May 2026
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DaShiell
and Russ Gary. As on the debut, the sophomore album might as well have
been another DaShiell solo effort.
DaShiell served as the album's creative mainstay credited with penning all
ten tracks along with handling the bulk of vocals, guitar, bass and
keyboards. Musically the LP wasn't a massive change from
the debut. Material like the single "Travel
In Time",
the title track and "Got To Fly" found the band treading the line
between country-rock, AOR and a more pop-oriented feel. To the trio's
credit there really wasn't a bad performance in these grooves and it was one
of those albums that was fun to play spot-the-influences with. My ears
picked up everyone from Crosby, Still, Nash & Young to Poco and even a
touch of Santana. The main problem was that amidst the glut of early-'70s
rockers, nothing here really separated the trio from their
contemporaries. It's an album where I found myself thinking "I
really like that song" time after time, but when the album's finished I
was hard pressed to remember any specific tunes. In spite of those
misgivings, it's an album that's worth searching out - even more so given
you can still find affordable copies. 
