Haggis was itching to make some music again, but not with Frank C. Starr. When the original Horsemen split in 1992, Haggis cut off contact with Starr, and the two never spoke again. Instead Haggis hooked up with a singer and harmonica player named Tim Beattie, who did some mouth organ on “Homesick Blues” from the first LP. Tim could sing too, with a slight southern drawl as a contrast to Starr’s AC/DC shred. Guitarist Dave Lizmi and bassist Ben Pape were not interested in rejoining the band, so Haggis brought in two new members: Rick McGhee handled the guitar leads, and Duane D. Young held down the bottom end. Dimwit Montgomery flew down from Canada to complete the lineup.
It wasn’t to last long. Even without the explosive Starr, the volatile band began to melt down shortly after writing a batch of new, soulful rock tunes. Rick McGhee quit. Dimwit too; Les Warner ex-of The Cult came down to record the drums. Even Dave Lizmi came back briefly, but left after recording an album’s worth of demos. Lizmi was replaced by a new guitarist named Mike Valentine before it all hit the wall again.
The album that became Daylight Again was recorded in 1994 (with Lizmi) and shelved. According to Haggis, the fate of the band was “an inevitable outcome. We had evolved to the point of being unrecognizable from the group that had been signed five years previously. We started out as card-carrying members of the Bon Scott fan club, and ended up sounding like the house band at an Arkansas chicken ranch.” The label lost patience and dropped them. Haggis quit music completely, while up in Toronto, Lizmi decided to give the Horsemen one more try….
Daylight Again wasn’t intended for release as-is. These are cassette and DAT recordings, cleaned up as much as possible for CD. Hiss and noise are part of the deal, so buyer beware, this is not the gloss of a Rick Rubin production. You can taste the rawness; not even blue-rare, just pure raw blues unfettered by mixing consoles. The sound is modified by banjos and pedal steel. The location is somewhere in the deep south. You can feel the humidity in the rehearsal space and sense the hot tube amps humming away. Somewhere in between the Allmans and Skynyrd, the Horsemen found some inspiration from old grooves.
You can even find a little funk (“Trailer Park Boogie”) among the blues, soul, folk and rock influences. These traditions are given a boost with a touch of gospel. Nowhere is this more obvious than the closer, an 11 minute jam on “Amazing Grace”. Each Horsemen album ended with a long, emotional song of epic quality. It was “I Need a Thrill/Somethin’ Good” on the first LP, and “What the Hell Went Wrong” on Gettin’ Pretty Good…at Barely Gettin’ By. “Amazing Grace” trumps both in the emotion and time categories. It’s also Beattie’s best performance on the album. The guitar melodies are just sublime.
Daylight Again is an incredible, albeit unfinished album. Some arrangements sound fluid and not quite there yet; it’s a flawed gem of a recording. The thing about the blues is that it has a timeless quality. You can’t nail this album down to a specific period because the blues are eternal. Whether it’s Beattie blowing away on some harmonica jams, or Lizmi’s pure feel, there are loads of tradition to dig into on this album.
As discussed in a previous instalment of this series, Dave Lizmi formed a new Horsemen lineup himself shortly after the Haggis/Beattie version disintegrated for good. With Frank C. Starr back in the saddle, Lizmi’s Horsemen released the “official” second LP, Gettin’ Pretty Good…at Barely Gettin’ By. However, Daylight Again pre-dates those recordings by almost two years and showcases a “lost” period in Horsemen history. The 2009 reissue does a great service by finally bringing this lost LP to light.