Jesse Colin Young's voice resonates far beyond the sunny harmonies of “Get Together,” the iconic anthem of peace and togetherness made famous by his band, the Youngbloods. His legacy extends into the heart of music's more eccentric side through his post-Youngbloods venture—Raccoon Records. Established in 1970, the label became a crucible for the weird, the avant-garde, and the outright bizarre, capturing the spirit of an era eager to rebel against traditional forms of entertainment. The chaotic beauty of Raccoon Records reminds us of a time when artists dared to break the mold—and in doings so, they paved a road toward greater creative autonomy in the music industry.
In the wake of the 1960s musical revolution, artists began to examine the constraints of major record labels, leading to the emergence of independent labels that prioritized artistic expression over commercial viability. Young and the Youngbloods, after finding success with the unexpected rise of “Get Together,” seized the moment to launch Raccoon Records as a platform for nonconventional sounds. This transition from mainstream success to creative independence aligned with the zeitgeist of the late 1960s.
The concept for Raccoon Records raised eyebrows; its whimsical name and aesthetic strayed from the corporate image commonly associated with record labels. Wearing this newfound identity, Young and his bandmates selected collaborators who shared a penchant for oddities, further embracing the exploratory nature of music that was becoming increasingly popular.
Launched in 1970 under the Warner Bros. umbrella, Raccoon Records' inaugural release was the Youngbloods' live album, "Rock Festival." Instead of conventional cover art, fans were greeted with an image of pebbles—a tongue-in-cheek nod to the band's creative defiance. The album showcased a dynamic blend of long instrumentals and revamped traditional tunes, marking the label's commitment to artistic exploration.
This initial success stimulated a flurry of experimental projects. Raccoon Records featured albums ranging from the progressive sounds of "Ride the Wind"—a sprawling jam incorporating elements of free jazz—to transformations of iconic songs like “Okie from Muskogee,” which was humorously retitled “Hippie from Olema” for the Youngbloods' album "Good and Dusty."
From its outset, Raccoon Records carved its niche through an eclectic array of artists and styles—an implicit acknowledgment that the label was not content with convention. Youngbloods' bassist, Lowell “Banana” Levinger, exemplified this ethos with his solo album, "Mid-Mountain Ranch," which captured his fascination with both bluegrass and power rock.
Raccoon signed projects that embodied the label's whimsy. The comedy album "Crab Tunes," credited to Hart's Noggins (a supergroup of sorts featuring Levinger, drummer Joe Bauer, and bassist Michael Kane), epitomized absurdity with its lengthy improvisational soundscapes—surrealist works that blurred the lines between music and free-form chaos.
Moreover, Michael Hurley, a singer-songwriter telling tales of American folklore and friendship, found a home at Raccoon. His unique style, often described as “acid folk,” stood in stark contrast to the soft sounds prevalent on mainstream radio. Hurley's poignant track “Werewolf” gained devotion from artists like Cat Power years later, solidifying his quirky narratives as a cult classic.
Though Raccoon Records ceased operations in the mid-1970s—succumbing like its contemporaries to a combination of commercial realities and shifting music trends—it left an indelible mark on the music industry landscape. Raccoon became a template for subsequent generations, laying the groundwork for artists like Jack White and Eminem to launch their own labels and assert their creative visions.
Youngbloods' decision to prioritize creative projects over commercial success created an essential dialogue around artist ownership in an industry long dominated by corporate giants. By enabling artists to explore unconventional genres, Raccoon's legacy served as an emblem of the rebellious spirit that characterized a generation of musicians.
Raccoon Records existed at the intersection of musical experimentation and social change. The releases from this label can be understood within the greater movement of the 1960s and 70s—an era where artists and audiences began to question norms and explore identity through sound. In many ways, Raccoon's output served as a reflection of its time, propelling forward notions of freedom and self-expression that still resonate in today's music landscape.
Even as streaming services dominate, the ascendancy of indie labels stands as testament to the success of Raccoon's innovative spirit. Artists today often credit the freedom to explore their craft without corporate gatekeeping to the trailblazing efforts of those who ventured before them. Raccoon’s approach to artist selection and album conception resonates, and its legacy imbues contemporary music with a sense of independent possibility.
As music continues to evolve, Jesse Colin Young's foray into Raccoon Records serves as a reminder that creativity knows no boundaries. The whimsical, sometimes bewildering releases may have defined a brief period in music history, but their influence continues to ripple outward. Raccoon's catalog represents a celebration of artistic freedom—a willingness to embrace the wild, the weird, and the unorthodox in a world all too eager to conform.
Raccoon Records was established to provide a platform for artists to express their creativity without the conventional constraints imposed by major record labels. It sought to promote eccentric, innovative sounds that diverged from mainstream expectations.
Notable artists included Jesse Colin Young himself, along with Michael Hurley, Lowell “Banana” Levinger, and various other eclectic musicians who pushed the envelope of musical creativity during the late 1960s and 70s.
The label set a precedent for musicians starting their own independent labels—providing creative freedom and the possibility of a unique artistic identity. This approach is reflected in today's indie music scene, where many artists produce and distribute their work outside traditional corporate structures.
Like many independent labels of the time, Raccoon Records faced challenges related to changing musical trends and the pressures of the commercial market. Its unique vision did not align with the growing demands for marketability, leading to its closure.
Most of Raccoon Records' catalog is not available on mainstream streaming platforms, although some of the artists from the label, such as Youngbloods and Michael Hurley, have had their works reissued under different labels in recent years.
Raccoon Records serves as a symbol of artistic bravery and the pursuit of creative autonomy, inspiring future generations of musicians to explore and express themselves freely, fostering a rich environment for innovation in sound and style.