Friday, March 30, 2012

New Riders of the Purple Sage 1976

New Riders of the Purple Sage 1976
One of the best all around works by the kings of Country Rock, this CD is the New Riders of the Purple Sage at their musical pinnacle. Early bassist David Torbert had left the band to form Kingfish with Bob Weir and Matthew Kelly, and former Byrd and soon to be Flying Burrito Brother Skip Battin had taken his place. Most of the songs on this CD are covers and they are done wonderfully. David Nelson does a rousing job on Jack Tempchin's "15 Days Under the Hood" and his cover of the Rolling Stones' "Dead Flowers" remained the NRPS' signature encore throughout their long history. Buddy Cage's screaming pedal steel made their rendition much better than the Stones's. Nelson also shines on Otis Redding's "Hard To Handle",and again his guitar interplay with Cage's steal lines are fascinating. John Dawson does a nice job with the songs he sings on this disc, including "Annie Mae" and Louden Wainwright lll's humorous "Swimming Song". And who can ever forget Skip Battin's classic "She's Looking Better Every Beer"? You'll never get bored listening to this CD.

Stephen Stills- 1st Solo

Stephen Stills
Although if compared to his feuding amigos I would not rate Stephen Still first solo recording the best of all four, there's nothing here that could not be considered absolutely impeccable.
Furthermore, as musical breadth goes, this album show unequivocally Stills' capacity and deep understanding of what Rock was becoming and practically every well it drunk from.
And everything it's realized perfectly, the soaring chorus and sweeping organ of "Love The One You're With;" the Gospel beauty of "Church" and "To A Flame;" "Old Times Good Times," where Stills trades licks with Hendrix himself; the horns launching "Cherokee" into its own outer space, the sensuous cadence of "Sit Yourself Down;" the tequila-soaked blues of "Black Queen;" the quiet folk of wisdom of "We Are Not Helpless" ...
Well, you definitely get the picture. This is Stills' solo masterpiece, a work of such greatness that made his follow-up solo recordings -very good albums indeed- impossible to match it. Perhaps Manassas' debut is the only other album Stills put out -then as a band leader again- that can be compared to this one.
This is an album that belongs in any serious Rock worshipper's CD collection, not because of its possible historical significance nor any prior sentimental attachment to those times, but exclusively on the strength of its musical content, as relevant and soulful today as thirty-odd years ago.

Thursday, March 29, 2012

Marshall Tucker Band -Tenth

Tenth
The ten tracks compiled on the 1980 release entitled "Tenth" compare favorably with any offering in the MTB catalog. My initial impression upon hearing "Tenth" was similar to what I felt after my first listen to the band's final Capricorn release "Together Forever" in 1978: Is this real or am I dreaming? Every track is so well written and is performed in that inimitable Marshall Tucker style that one can't help but be reminded of what a special and unique group of musicians the original Marshall Tucker Band was.

For fans of Toy Caldwell's tasty guitar licks, there are plenty of fine examples spread across the ten tracks in this collection. Toy even collaborates with George McCorkle on a short instrumental tribute to Jimi Hendrix appropriately entitled "Jimi" that is tastefully done. Yet, for me, the stand out artist on "Tenth" is Paul Riddle. Never one to go over the top to draw attention to his performance, Mr. Riddle's drumming truly shines through here. The steady intensity he displays on the standout cooker "Cattle Drive" is most impressive.

Randy Meisner 1978

Randy Meisner 1978
This is Randy Meisner's first recordings after leaving the Eagles in 1978. Previously, it was only released in Japan and available in the USA by bidding... For some reason, this release was overlooked, but now it is available here ... at a reasonable price and is well worth checking out if you are a fan of Randy's. It was the first time he was the lead vocalist on all of the tracks and his first experience at picking all the material to record. He did a new rendition of "Take It To The Limit" with guitar, piano and vocals and another song that was in the Eagle's vein, "Every Other Day". "Bad Man", written by J.D. Souther and Glen Frey, is a real rocker. There are some great players - John Hobbs, Victor Feldman, Ernie Watts, Byron Berline, Steve Edwards and background singers like David Cassidy and J.D. Souther. This is the best version of "Lonesome Cowgirl" I've heard and it really cooks. There are a couple of nice ballads and his versions of a few oldies. This cd shows Randy in transition to becoming a hit artist on his own. The production is good and I recommend it. 


Wednesday, March 28, 2012

Poco-Seven

Seven
This band could've faltered when founding member Ritchie Furay followed co-founder Jim Messina out the door in 1973, right on the heels of one of Poco's best albums, CRAZY EYES. And some Poco fans were also disappointed with this album because the shift away from the "pickin' and grinnin' music that made you smile" style of their first few albums is pretty well complete by this one. But the group clearly shows that it was always much more than just it's founders. SEVEN has it all; chugging rockers ("Drivin' Wheel," "Skatin'"), bluegrass ("Rocky Mountain Breakdown"), ballads ("Krikkit's Song") and even a "Crazy Eyes" type of epic ("You've Got Your Reasons"). Everyone here does a top-notch job, with Rusty Young particularly shining on pedal steel. All in all, SEVEN boasts an energy and power that is damn near majestic at times; it's definetely one of the best albums in the "country-rock" catagory and certainly one of the best albums, period, from the Seventies.

Poco-Cantamos

Cantamos

 Canatamos means "We Sing".
In terms of the Country Rock genre, you simply need this album. The singing and playing on Cantamos makes all of Poco's previous albums, and future, pale into comparison, except perhaps "Seven." The major highlight is Rusty Young`s emergence as a song writer. His efforts are some of the strongest, on what is a very even, high quality album. "Sagebrush Serenade" which effectively marries, Bluegrass, High Harmonies and Country Rock together and High and Dry which is straight Country Rock, sung by Tim Schmit will leave you wanting more. Paul Cotton has major highlights, "Western Waterloo", Another Time Around, are lyrical improvements and really rock out. Tim Schmit has Bitter Blue which continues his growth as a songwriter and has the more commercial singalong "Whatever Happened to your smile?" The strongest song on the album is "All the Ways" which is quite simply a classic. Realistically this is as strong an album as Poco ever did and one which I would strongly recommend to all Eagles, JD Souther, James Taylor fans as an example of how good Country Rock did get in the early mid `70`s.

Tuesday, March 27, 2012

Good Feeling to Know- Poco

Good feeling to Know
On this 1972 release of eight originals and one cover tune (an arguably superior version of the Buffalo Springfield's "Go and Say Goodye" written by Stephen Stills), Poco put together one of its best albums. Band members Richie Furay, Paul Cotton and Timothy B Schmit each contribute excellent songs. Highlights include Cotton's lovely "Ride the Country" and Schmit's achingly beautiful "I Can See Everything." But it's still Furay who steals the show with the rollicking "And Settlin' Down," the gorgeous "Sweet Lovin'" and what should have been a monster hit, "A Good Feelin' to Know." Why Poco never had the kind of commercial success of the Eagles (whose debut was released just months before A Good Feelin' to Know) is a mystery. Fans of country-rock will want to add this to their collection. HIGHLY RECOMMENDED

Gypsy Cowboys-New Riders of the Purple Sage

Gypsy Cowboy
I consider this one of the bext country rock CD's out there, The Title track is simply beautiful pedal steel guitar work.  The CD reissue of this album from the Grateful Dead spin-off group, featuring four bonus tracks. Originally released in 1972, Gypsy Cowboy reached #85 on the Billboard Pop Albums chart and features John Dawson, David Nelson and former Jefferson Airplane member Spencer Dryden. Wounded Bird. 2007.

Sunday, March 25, 2012

Linda Ronstadt 1974 Self Titled

Linda Ronstadt 1974
This album was the last of Linda's early country-folk-rock music before she began the transition to the mainstream pop-rock artist of the seventies that made her famous. The music is still fairly simple and raw, unlike the slicker music that came later, but the song selection gives clues about the future. The backing musicians became the Eagles soon after this album was recorded. Linda followed this album by recording Don't cry now, a fine country-rock album, then by the hugely successful Heart like a wheel.

The songs are mostly (perhaps entirely) covers. I fall to pieces (Patsy Cline), Crazy arms (Ray Price) and I still miss someone (Johnny Cash) are proof of Linda's enthusiasm for country music. They sit comfortably among the other songs here, including Rock me on the water (Jackson Browne), In my reply (Livingston Taylor), Rambling round (Woody Guthrie), Birds (Neil Young) and Rescue me (Fontella Bass).

If you like Linda's other early albums (Hand sown home grown and Silk purse), you will surely enjoy this one also. There really isn't much to choose between the three of them on quality.
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Eagles- Long road out of Eden

Long road out of Eden
28 years after their last studio album, four remaining Eagles release a new album. Long Road out of Eden features 2 discs and 20 new tracks. Disc 1 is described as being a re-introduction to the band with the opening track a post nuclear vision of Seven Bridges Rd, followed by a song they forgot to record 35 years ago "How Long" by long time friend JD Souther. This stamps Eagles all over it and just gets better each time you hear it. Harmonies and all the little things which most bands would overlook, make this a classic already in the Take it Easy, Already Gone genre. Next up is Busy Being Fabulous which is an update of Those Shoes with a killer chorus and typically cynical Henley lyric. Has the Eagles sound. Next is a weepie with a countrified Frey vocal. Quite nice, Walsh steps up next with Guilyy of the Crime, whilst being pleasant is a little removed from the other material on this disc. Next up is the first of Tim Schmit's spots with a brilliant (single written all over it)I Don't want to Hear Anymore, is simply brilliant. Won't fit on contemporary radio but anyone reading this won't care anyway. Disc 1's highlight follows with Waiting in the Weeds. How to describe this song? It starts of as an acoustic, black, Henley vocal and shifts into an epic from 1st Chorus/Bridge on when Schmit/Frey's harmonies kick in. Its low fi, acoustic guitars and mandolin, but segues into something much more, the lyrics tell so many stories with multi dimensions and layers. By the end of the 7 minutes its a totally different beast, with an undeniable stamp of class. This track makes the 28 year wait all worth it.

After Weeds, all the other would seem insubstantial but in true Eagles tradition the material all stands up. No More Cloudy Days will have its fans, followed by Henley doing his best Bee Gee's impression on Fast Company. This has a killer chorus and will grow on you. Next up is a piece of Schmit brilliance with Do Something, more like his Poco work & Frey closes with another highlight You Are Not Alone.

If that wasn't enough we still have another whole disc, with the title track starting it off. This track will need some play to make it accessible but already the biting lyrics, killer Walsh guitar and atmospherics make it a dramatic, masterful tune. Long time collaborater, Jack Tempchin pitches in with a Frey lead vocal, Somebody which is a foot stomper. Henley next with Frail Grasp of the Big Picture, very Inside Job-like. Walsh with a JD Souther assist comes up with the Steely Dan like Last Good Time in Town. Frey with I like to watch a Woman Dance, is low-fi and voyeuristic, but pleasant, Three songs left, all good especially Centre of the Universe which is a modern update of the whole sound. I'm still trying to decide what the lyrics mean but I'm sure George W Bush won't download it. Business as Usual is another which could be a Henley single but has the superb Eagles harmony support. Slightly rocky, confrontational, another winner. Then the closer which if its the last song ever from the Eagles then its a fitting epitaph, lets hope its not, as this album has proved that the Eagles biggest fear is unfounded and that they are still important, vibrant, and quite simply America's greatest ever rock band.

Poco-Legend

Legend
Simply put, this was the right album at the right time for me. We all have those- albums or songs that came out at just the right time where we heard them loud and clear. Their songs practically spoke to us. Though Poco had put out a slew of records before "Legend," none matched it for impact. By the time this CD was released in 78 there were few California Sound bands still putting out strong music. Though Poco never matched The Eagles (who swiped Timothy B. Schmidt right before Poco recorded this CD) for number of hit songs (much less radio play), as this CD proves, they were capable of putting out powerful, catchy radio worthy music. I'll admit this CD has a strong sentimental value to me. "Crazy Love" hit me like a brick when it came out. Judging by how high the song charted, I'm sure I wasn't the only one. Who can't relate to the simple, efficient lyrics that say so much, so beautifully. To me this song is flawless from beginning to end and is one of my all time favorite songs, period. But other spellbinding songs are, "Spellbound" and "Love Comes, Love Goes" both equally potent in delivering heartfelt emotions. "Heart of the Night" and "Little Darlin" are well produced tunes that caught radio play, as this was Poco's most polished sounding recording, if only in sound quality. You'll get debates over whether the material was also as polished, but also like the Eagles, Poco had evolved since their beginnings, culminating in a more pop sounding product that many early fans felt was a sell out (that's how I felt about the Eagles.) Endless numbers of bands have their fan base whose favorite musiic is either the old stuff or the new. Poco's "Legend" falls into that type of debate. They do offer a mere trickle of songs bearing some, albeit a sliver, of resemblence to their previous recordings. "Legend" and "Barbados" are songs where that influence is present. But that wasn't the point of this record. Poco, like the Eagles started to become more the balladeers in their more appealing offerings, as did any surviving remnants of the California sound. This is one of my favorite CDs of the 70s with some of my favorite songs of all time.

Thursday, March 22, 2012

Byrds- Dr. Byrds and Mr. Hyde

Dr. Byrds and Mr. Hyde
This album that is supossed to show the dual peronality of the byrds both as the rocking space astronauts (preivously on noturius byrd brothers) and their country flow all in one album makes this such an exiting album, such a thrill! it may seem strange at first but it's truley briliant.

1969 version of byrds with only one of the original members left since the bands forming 1964 with fellow clearance white who had previously helped them out on albums like younger than yesterday sweetheart of the rodeo and notorious byrd brothers. and new drummer gene parson and new byrd fellow bassist john york had failed to get to be known to a larger public and did not only record catchy poppy tunes that would hit the chart... but listen again to this album as a whole it has some very strong moments including King Apathy III a rocking track who fastly gets a change in to their double personality of wild west villain Mr.hide! as well as the also heavy metal inspiring track this wheels on fire that is followed by the country swing of old blue. also check out child of the universe it has a swinging guitar and a feeling in the singing. the byrds had desired just to let Roger Mcgiunn sing lead on this album, they did right it really would have been much confusing to many fans.
Even if he sounds shaking at times it only adds to the schizophrenic feel of the album.
Really only the name is so cool that the name alone "dr byrds and mr hyde" is worth five stars!!

Poco- Deliverin'

Deliverin'
This excellent concert CD is from the Jim Messina version of the band and it rocks mightily. Amazingly pristine sounding for a live album, it was done with no overdubs, so what you're hearing is five superb singers and players blending their not inconsiderable talents effortlessly. My favorites ; the boppin' "C'mon",featuring unsung MVP Rusty Young's snarling Hammond organ-like steel guitar(I can't describe the steel guitar sound here. You've got to hear it to believe it!). I love Richie Furay's achingly beautiful "Kind Woman" and Jim Messina's high-octane "You Better Think Twice" too. Timmy Schmidt and George Grantham are an underrated powerhouse of a rhythm section and excellent singers to boot. What's not to love? Well, I've used a lotta adjectives and superlatives to extol the charms of this CD, and this band, and yet I havn't come close to describing just how good they were. So, c'mon',why not get this CD and get out your thesauras and help me out. And help yourselves to a little fun while you're doin' it.

Wednesday, March 21, 2012

Dickey Betts- Highway Call

Highway Call
This is a glorious fusion of country, rock, bluegrass, swing, jazz, and everything in between -- done by a bunch of master musicians, smiling and groovin' as they make themselves and everyone around them feel good.

It is a mystery why this record is little-known and unheralded -- Dickie's fluid, sophisticated guitar runs are sublime, the bass is rollicking and in the pocket, the piano superior -- and it is wrapped by fiddles, background singers, and -- occasionally -- good time rock 'n roll.

You cannot go wrong with this one, whether you are an ABB fan or not. 

Dickey Betts and the Great Southern- Instant Live-Cleveland Ohio

Instant Live- Odeon, Cleveland OH, 2004

The "Instant Live" albums are spare in packaging and lacking in liner notes, but that's not really the point...if you're checking out live Dickey Betts, you probably know what you're in for.
Betts' vocals sound a bit rusty, but his playing, and that of co-lead guitarist Dan Toler, is top-notch, and the sound is terrific, clear and crisp.

The 18 tracks take up three discs, and while it would have been nice to hear a couple more songs from Betts' solo albums, you really can't complain about what is here. Robert Johnson covers, Allman Brothers classics, and an excellent new song only available on this album ("Girl With The Deep Blue Eyes", complete with some terrific instrumental breaks).
Betts shares lead vocals with keyboardist Michael Kach, whose voice is good if slightly inferior to Gregg Allman's, and one can't help but think that now and then Great Southern sound more like the Allman Brothers Band of old than the current version of ABB. But hey - all the better, right? Now we have two great "Allman Brothers Bands"...

This 3 CD Instant Live release was recorded at The Odeon, in Cleveland, OH, on 3/9/04. Dickey is on the road with the newer version of Great Southern, including drummer Frankie Lombardi, virtuoso bass player Brother Dave, and Dan Toler providing intricate harmony parts and soaring leads. The show kicked off with "Little Martha" and "Steady Rolling Man" and then into crowd favorite "Blue Sky". "Ramblin Man" was one of the biggest crowd pleasers of the evening, along with "Nobody Knows" and "Elizabeth Reed".

This is one terrific find for guitar lovers (and ABB lovers as well). Perfect for a long drive along the highway, windows down. Or up. Whatever.

Tuesday, March 20, 2012

Comes a time -Neil Young

Comes a Time
Don't get me wrong. I get a kick from hearing Neil rock, and appreciate "Cowgirl in the Sand" and "Like a Hurricane" as much as anyone. But for some reason, I always find myself coming back to this country/acoustic-flavored gem, and probably listen to it more than to any other of Young's numerous fine offerings. Maybe it's because I'm about the same age as he was when he recorded this, or maybe I'm just getting to appreciate the quieter side of life now that I have a young child. Either way, I find songs like "Going Back," "Comes A Time," and "Human Highway" just perfect. They bring me back to the late 70's, when I was a kid, even though I never heard these songs until I was an adult, and remind me of how simple and peaceful life seemed back then. Other standouts are "Look Out For My Love," "Already One" - which can bring tears to my eyes even though I've never been through a divorce - and Neil's terrific cover of "Four Strong Winds." This is Neil's best acoustic album, ahead of Harvest Moon and Harvest.

Monday, March 19, 2012

Feed the Fire- Timothy B. Schmit

Feed the fire
This TBS solo work really shines in the category of quality music. To put it summarily: FTF is a body of work that showcases his musical genius and unique style. The vocals are, as usual, very strong, melodic, and expressive. The bass lines are innovative and very catchy, and he also plays some very good guitar on several songs. The covers - Make You Feel My Love and You are Everything - are very well done; his versions may well be the paragon for these songs. He has infused these covers with a musical flavor that is 100% his own (read: quality and excellence), thus his takes on these songs totally warrant outstanding remakes of these classic tunes. The acapella song - Top Of The Stairs - is creative and engrossing in its elaborateness. Song For Owen is an extremely expressive and beautiful piece. It really does justice to the idea of a musical expression of a loving parent-child relationship. The Shadow (one of the songs on which TBS plays guitar) has some hauntingly beautiful guitar lines and a powerful, inspirational message. The other songs on this album are, similarly, masterpieces. Each one is so extremely intricate in composition that after months of listening to this album on a regular basis I am still finding new reasons to appreciate it. Positively recommended!!!

Sunday, March 18, 2012

Ghost Town- Poco

Ghost Town
"Ghost Town" was the first Poco album for Atlantic Records. Known for their AOR prowess, Atlantic was the perfect label for a band that had their beefiest lineup, and most AOR friendly material to date. This album is nothing short of a masterpiece. From start to finish, you sense a Poco meets Hotel California moment. The album's haunting opening title cut, featuring both Paul Cotton and Randy Young on lead vocals is a testimony to the creative power of this duo, who should be recognized for pioneering the marriage between country and rock well before Glenn Frey and Don Henley made it fashionable. And even though the Eagles had packed up and called it quits when this record hit the shelves, the boys in Poco soldiered on without Tim Schmidt who made his mark on "The Long Run". After the epic opening track, the band rocks out on the made for AOR "How Will You Feel Tonight?" with Paul Cotton stradling the line between country rock and polished pop. "Shoot For The Moon" is "Crazy Love" part II, a great soft rock tune that would have done better if it were still 1978. But trends were rapidly shifting in 1982, and "Ghost Town" was largely underpromoted by Atlantic. The song peaked somewhere in the top 50. "The Midnight Rodeo", "Cry No More", "Break of Hearts" and "Special Care" are all great slices of country tinged pop rock with big hooks and sensitive lyrics. Paul Cotton and Randy Young shine on this album and the band is smooth, tight and creative. One of the most interesting pieces on "Ghost Town" is "High Sierra", an incredible country-rock instrumental that could have made any Urban Cowboy era movie a whole lot more interesting. You can sense the old west, the cowboy element and a band hitting on all cylinders. This is a special collection. It captures the revamped Poco at a creative apex. If you don't own a Poco CD, buy this one first. Every song is a winner

Younger Than Yesterday - Byrds

Younger Than Yesterday
With their first two albums, "Mr. Tambourine Man" (June, 1965) and "Turn! Turn! Turn" (December, 1965), the Byrds introduced the world to the new hybrid of folk and rock. Their following album, "Fifth Dimension" (1966), saw the Byrds continue with folk-rock but also experiment with new musical styles including jazz-rock, raga-rock, country-rock, and psychedelic-rock. "Fifth Dimension" was a bit of a discordant mess but proved to be a necessary step in the Byrds exploration of alternative musical genres. The next three Byrds albums are considered among the finest albums ever recorded by a rock band.

Jim McGuinn (lead guitar), David Crosby (rhythm guitar), Chris Hillman (bass), and Michael Clark (drums) entered Columbia's Hollywood studios on November 28, 1966 to begin work on their fourth album, "Younger Than Yesterday." Gary Usher was brought in as producer after working on Gene Clark's solo debut, "Gene Clark with the Gosdin Brothers." Recording sessions for the new album concluded on December 8.

"Younger Than Yesterday" explored many of the same musical styles of "Fifth Dimension," but the songwriting and performances are much more accomplished. The album is distinguished by Crosby's emergence as the dominant artistic force in the band. Also, Chris Hillman contributes songs for the first time including two country-influenced numbers that presage country-rock. McGuinn, such a force on the first three albums, takes a noticeable back seat to Crosby and Hillman on this album. Producer Usher used several recording techniques associated with psychedelic-rock including reverse tape effects.

"Younger Than Yesterday" was released on February 6, 1967 and peaked at #24 on the LP chart. The single, "So You Want To Be A Rock And Roll Star"/"Everybody's Been Burned" was released on January 9, 1967 and peaked at #29. "My Back Pages"/"Renaissance Fair" was released March 13 and peaked at #30. "Have You Seen Her Face"/"Don't Make Waves" was released May 22 and peaked at #74.

Critical and popular reception of "Younger Than Yesterday" at the time of its release was only lukewarm. Many rock listeners equated the Byrds with the passé folk-rock sound of "Mr. Tambourine Man." But "Younger Than Yesterday" has gained increasing recognition over the years as one of the very best rock albums of the 1960s. Rolling Stone selected it as #124 on its 500 Greatest Albums of All Time list published in 2003. In 2007, USA Today included "Younger Than Yesterday" as one of the 20 albums that defined 1967's "Summer of Love."

Neil Young -1st Album

Neil Young - Neil Young
Neil's first solo outing after his three records with the Buffalo Springfield, The Loner is the only track that has proven to be immortalized, which is unfortunate as it is only one of many strong songs on here. The most consistent thing about this album is the strength of the melodies-- not one of them is a clunker and the majority is likely among Neil's strongest ever:

The first track, The Emperor of Wyoming, is a pleasant country-tinged instrumental that grows rapidly on the listener. It is a catchy melody and one of the most upbeat and completely happy-sounding things Neil has ever penned. Not so much a gem as it is an unjustly neglected trinket, Emperor gives gives the album a characteristic quirky edge right off the bat, being absolutely nothing like what follows.

The Loner is by far the most well known song on the album and one of Neil's strongest rockers, with a driving melody and some of his most intense and brilliant lyrics ever, centered on themes of isolation and loneliness. I've loved this song since I first heard it and am delighted that it now sounds better than ever, the awesomely powerful rhythm section rocking harder than a sailboat caught in a storm at sea while Neil's guitar bursts through the melee with new crispness. (Needless to say, the people behind the restoration did a good job.) Continuing one of Neil's most effective album sequences, we segue into If I Could Have Her Tonight. Once again, the remastering job has done wonders-- I've always thought that musically it's near-perfect pop but for the first time, I'm aware of just how underrated this short song is. It's a direct and emotional story of romantic yearning, told in the eminently relatable manner it seems only Neil can effect-- the listener is completely convinced that everything being sung is real, that's it's based on true events. I've Been Waiting for You is even better, an absolute work of art by an artist in a determined search for the love. While the rhythm section (highlighted by George Grantham's excellent drumming) propels this second heavy rocker, a swirling mist of keyboards and guitars wraps itself around the listener, steadily building through the verses as the desire is expounded upon, building to a crescendo at the chorus as the artist's fantasy of meeting his greatest love is envisaged. Young's guitar soars once again during the instrumental break with an epic passionate solo.

Ending out a superb side one is The Old Laughing Lady, a rambling song about vice. Musically, it is a deceptively gentle, lulling ballad. Lyrically, it is as restless, conflicted, and mournful as most of the songs on here. Verses one, two, and four are especially excellent, particularly with the line "you can't have a cupboard if there ain't no wall", whereas verse three ("see the drunkard of the village') states the theme almost too literally and directly as compared to the subtlety and poeticism of those around it. The song has one of the album's more complex arrangements, with intricate string sections by co-producer Jack Nitzche (who also produced Neil's Expecting to Fly on Buffalo Springfield Again) and backing vocals from several female soul singers, apparently signifying the titular character. The number ends with a hypnotic repetition of notes as the Old Laughing Lady does her thing...

The String Quartet from Whiskey Boot Hill and Here We are in the Years act as a sort of suite. String Quartet was written by Nitzche. In another context, I think I'd really enjoy this but here, it's the least interesting track in sight. Still, with its quaintness and tranquil tone, it leads well into Here we Are in the Years-- which has really grown on me over the years that I've listened to it. Them most interesting thing about it is that it features almost no repetition of melody. It coasts from tune to tune at mid-tempo carried by atmospheric piano as Neil atmospherically describes the beauties of the countryside and laments the fact that it seems that some are working to destroy it, one bit at a time. One of my favorite Neil Young lyrics can be found here: "Time itself is bought and sold. Spreading fear of growing old contains a thousand foolish games that we play"--so completely true and so well-stated.

The next two songs also seem to go together: What Did You Do to My Life? and I've Loved Her So long. The former, another mid-tempo, also seems connected to I've Been Waiting for You, showing the flip side of that scenario with an equally infectious melody and unique, electronically-based arrangement. The lyrics again are brilliant. I quote one of my favorites, from the chorus, in my title: "I don't care if all of the mountains turn to dust in the air", with a buzzing synthesizer portending this disaster. Neil's vocal as he demands, "What did you do to my life?" behind these words is equally haunting. I've Loved Her So Long, by contrast, is an impassioned slow balled for a lost partner--not haunting so much as melancholy. Melody and lyrics are uniformly strong, with Jim Messina providing a particularly strong bass line and the refrain especially memorable. The song's one possible weakness is a slightly overwrought reappearance of the choir from Old Laughing Lady, effective in the background of the verses but just a little to close to wailing at some spots in the chorus, Nitzche apparently trying to turn it into a '50s soul record, which works to some degree but not entirely. There is an acoustic performance of this song which is just as good, if not better, on Live at the River Boat from Archives 1. In both cases Neil's passion for the song and for his lover--even though she has left him--come through.

The final track, The Last Trip to Tulsa, is nine and 1/2 minute opus that could itself be the subject of an entire review. It is unique among Neil's other long numbers in that it features only he and and he accompanies himself on only the acoustic guitar. The result is a unique, great-sounding song, especially with the great remastering job here. The melody remains the same, but varies compellingly throughout from a serenely relaxed, almost meditative tempo to desperate agitation, with Neil hitting the strings so hard at some points, you're surprised not to hear one snap off. The lyrics are completely bizarre: great imagery but nonsensical for the most part. The narrative is semi-coherent, moving between waking and sleeping, as well a dead and living, states throughout. During the sleeping portions, the songs seems like a collection of a night's worth of dreams-- brief and not at all related to one and other. There are some interesting passages that one suspects may just hold deeper meaning. For one, I wonder whether the "Two men eating pennies" mightn't be Charles Green and Brian Stone, the managers of the Springfield, with whom Neil did not get on very well. They are apparently strong businessmen if nothing else. This fits in with the autobiographical nature of some of the other verses: "I used to be a folk singer..."

There is also the priest who, in the absence of his congregation, would rather not "play the fool", a clear blow at hypocrisy and the lack of integrity all-too-often present in leaders.

Then there is the "death section": the narrator dies after being shot through the nose with an arrow by a Native American and then somehow comes back to life at some point during or just after examination by an apparently friendly coroner. Some have read racial meanings into the manner of death. Most likely, however, Neil, who has for years been fascinated by Native American culture, was examining the duality he often found in himself. He may also have been bemoaning racial disharmony of the day. The connection isn't all that improbable when one considers this was the age of Martin Luther King Jr., and the African-American equality movement.

Whatever the case may be, after some further bizarre but captivating ramblings about, among other things, a brilliantly nightmarish filling station with yellow servicemen and green fuel and opening up a person's mind (with the great line, "if you guarantee the postage, I'll mail you back the key"), Neil summarizes the whole thing by saying all of this happened on "my last trip to Tulsa, just before the snow." This is just a guess, and it certainly doesn't explain why he chose Tulsa, OK, but when talking about this particular place the narrator apparently goes to regularly, Neil may have been speaking of the mental state that forces an artist to create, that part of their mind all creative people have that feeds them ideas and from whence all of these vignettes were conjured. That would certainly explain where all the bizarre images come from.

The song, and album, end on one of Neil's more memorable verses, as insant karma is exercised when a friend won't help chop down a palm tree the narrator's been working on "for 87 years" and the tree lands on his back when finally cut down, presumably killing him. It's cold; sardonic; ironic; and completely Neil, and also a great, if random, note to end the album on.

Thursday, March 15, 2012

Firefall -1st Album

Firefall
Firefall's debut album established the group's reputation of soaring harmonies, excellent lyrics and melodies, and expert musicianship. They followed this with four equally impressive albums: "Luna Sea", "Elan," "Undertow," and "Clouds Across the Sun".

Frontmen Rick Roberts and Larry Burnett share writing and vocals on this excellent album.
Opening with the melodic IT DOESN'T MATTER, co-written with Stephen Stills, the album glides along with noteworthy tracks: Burnett's folksy mid-tempo LOVE ISN'T ALL; Roberts' driving LIVIN AIN'T LIVIN, a precursor to SO LONG; the infectious rocking NO WAY OUT; the lovely and poignant DOLPHIN'S LULLABY; the elegant and lyrical CINDERELLA; Burnett's SAD OLD LOVE SONGS; the group's biggest hit YOU ARE THE WOMAN; the energetic MEXICO (one of my personal faves); and the bluesy DO WHAT YOU WANT.

This is an excellent debut album and highly recommended.

Wednesday, March 14, 2012

No Other - Gene Clark

No Other
"No Other" is often referred to as Gene Clark's finest album; and indeed - it is hard to disagree.

Started off with two catchy country-rockers "Life's Greatest" and "Silver Raven" the "new" listener probably will expect the album to be in the the same vein as Gram Parson's solo-albums. But with the title-track the record opens towards a broader musical approach. A little like the Doors on "L.A. Woman".

"Strength of Strings" is a slightly weird track, that can hardly be called country - but after a long intro, the song is actually quite catchy.

"From a Silver Phial" is a gorgeous ballad, and the outstanding track on the album - I can never get tired of this song. Weird lyrics and an arrangement quite similar to Badfinger's "Name of the Game" - another sadly overlooked ballad. A fine alternate version is included among the bonus-tracks.

"Some Misunderstanding" is a long slow ballad - a fine song, but a little long-winded for my taste in the long run.

Clark is back on the country-tracks with "The True One" - great song that deserves to become a classic.

"Lady of the North" - the original closing track - is a ballad leaving space to musical experiments.

"Train Leaves Here" is the only "new" bonus-track - another fine country rock-song.

The other six bonus-tracks are all alternate versions of songs on the original album; all fine and release worthy, but not markedly different from the originally released versions.

All songs were written by Clark ( two in collaboration ) and show him as a versatile and gifted songwriter.

Musically Clark is helped by a long list of friends like Chris Hillman, Timothy B. Schmit, Jerry McGee, Richard Greene, Joe Lala, Butch Trucks and Lee Sklar.

Tuesday, March 13, 2012

A New Life - Marshall Tucker Band

A New Life

The album cover perfectly sums up what to expect. A horse walking down a path on a high mountaintop and looking down at a few small homes in the fields, with a beautiful and colorful image of distant mountains in the background. It's not only a fantastic cover to analyze, but there may actually be a few ways to interpret it, too.

Such as... maybe the horse riding high in the mountains is an indication of the bands quick rise to stardom? Or maybe I'm thinking about it too hard and the album cover simply illustrates the beauty and colorful creativity that can be heard in the music.

A New Life is a minor masterpiece and REALLY shows just how much further the Marshall Tucker Band were willing to push the boundaries as far as how far the southern rock formula can go. This album is a drastic step forward from their self-titled debut in terms of songwriting and instrumental variety.

"You Ain't Foolin' Me" has a very good verse melody and chorus, but that's not *quite* what makes this song stand out so drastically. It's shortly after the 2 minute mark when the song REALLY takes off and confirms (to me, at least) that the Marshall Tucker Band are the real deal. The saxophone solo is incredibly melodic and perhaps this is a total coincidence, but the first few lines of the sax solo totally remind me of a Roxy Music song from their debut released back in 1972. From here, well, images of the album cover noticeably come to mind as the saxophone takes a sudden departure and a dreamy guitar solo elevates the greatness of the song to even higher heights. This instrumental middle section resembles *no* other southern rock band. Not the Allman Brothers Band or Lynyrd Skynyrd. It's completely unique.

If you enjoy the instrumental creativity in "You Ain't Foolin' Me" be prepared to have your socks totally knocked off upon experiencing "Southern Woman". What starts off as a highly memorable vocal melody suddenly (eventually- 3 minutes later) sends me into total, unexpected shock as a straight up saxophone solo makes a VERY surprising appearance. Unlike in the song I mention above, this particular sax jam actually *jams* for a minute or so, and it sounds completely different from anything any other southern band had ever attempted, before or since. It's flat out awesome. Perhaps it's inspired by Van Morrison's "Moondance" a little bit, but it's certainly no ripoff or anything.

The title song brings me to tears, seriously. I actually cried the first time I heard it... alright make that the second time (because I wasn't paying attention to it the first time, for some clueless reason on my part!) The verse melody is another quality piece of writing, the lyrics are touching and meaningful, but it's the flute jam and the gradual morph into an electric guitar jam that BLOWS MY EMOTIONS COMPLETELY AWAY! There's quite a few moments of this song that move me emotionally, but the jam takes the cake.

"24 Hours at a Time" is *another* fantastic highlight. I can't exactly explain why, though. It's a fairly fast-paced country rocker, but... there's something special about it that makes it stand apart from the crowd. I think it's the line "Woman you're always on my mind, 24 hours at a time, somehow woman I'm hoping you feel the same" that really makes it attractive. Or perhaps the tasteful guitar jam at the end which immediately makes me think of a happy place is the reason for its ability to give me especially strong positive felings, I don't know.

"Fly Eagle Fly" ends the album on a fairly quiet note with a softly written track. It contains innocent lyrics and an attractive vocal melody, and not much else. Honestly it doesn't *need* anything else.

I really hope you pick up what I consider a masterpiece in southern rock. I've had people tell over the years how much they dislike the southern rock genre. It's honestly nearly impossible to hate THIS album, in my opinion. The arrangements are constantly beautiful and always played tastefully, and the amount of sincerity in both the vocal melodies and the lyrics is simply hard to ignore. Find a way to hear this album.

Long May You Run- Stills Young Band

Long May You Run
This collection boasts one classic tune, the title track, which rivals any of Young's best compositions. Another exceptional contribution from Neil is 'Fontainebleau', which is cast from the same mold as 'Cortez the Killer' with its loping beat and trademark guitar squelch and distortion. 'Midnight On the Bay', 'Ocean Girl' and 'Let It Shine' are pleasant-sounding, but unchallenging tracks by Young's standards.

Still's offers four tracks to Neil's five, but more total minutes on the disc. His best offerings are the blatantly seductive ode to one-night stands, 'Make Love To You' (with a tempo reminisient of Still's first hit, 'For What It's Worth'), and the bouncy, spiritual closer, 'Guardian Angel'. 'Black Coral' features it's own spiritual bent, as well as an intriguing melody. '12/8 Blues' is perhaps the weakest song on the disc, but like 'Black Coral' has an interesting, unusual musical structure, and together with 'Fontainebleau' adds some needed grit to the mix.

This album was recorded in Miami and the song selection suggests Stills and Young were hinting at a nautical theme for the disc. Obvious selections such as 'Midnight On the Bay', 'Ocean Girl' and 'Black Coral' wash together with lyrics from 'Long May You Run' ("Rollin' down that empty ocean road, get into the surf on time") and 'Fontainebleau' (...where the surfer works, till the break of day, cause it takes a shark, to catch a wave...) to carry the impression, inadvertent or not.

So despite the heavy critiques and unfortunate circumstances this reunion disc generated, I'm pleased two of my favorite artists, the dual backbones of Buffalo Springfield and Crosby, Stills, Nash and Young, saw fit to give this a shot. I consider it one of the most unique collaborations of their careers, and the music a tribute to their talents.

Monday, March 12, 2012

Gram Parsons-Sleepless Nights

Flying Burrito Bros-Sleepless Nights

This is one of the first Gram Parsons Country Rock Albums that I heard, when I first discovered Country Rock. My first impression was this is just pure country and too Twangy for my tastes. As years gone by and I listened to other country rock, like Poco, New Riders, Gene Clark....etc. I learned to appreciate this CD.

I Don't understand why this collection has been overlooked to such an extent through the years. Because GP wasn't around to approve? The time-space between the 9 Burritos recordings and 3 GP/E.Harris recordings was only a couple of years. The result is that the tracks fuse with no difficulty. One aspect of this album is the perfect sequencing. Somebody put thought into that--for which we should be grateful. Otherwise, as others have said, the three GP-EH are breathtaking. (Opening, closing, and smack in the middle of the album) The Burritos tracks are solid, with better bass parts than the two previous Burritos albums. Serious country. Perhaps one reason that folks don't get more excited by this collection is the absence of a GP original song. No matter...it is what it is...top-shelf country with Gram's genius for singing.

Friday, March 9, 2012

Manassas- Down the Road

Down the road

..for Most Unfairly Maligned Recording of 1973... Stephen Stills and Manassas, 'Down The Road'!!! This is a solid album by SS and the boys... no need to call it anything less than fine. In fact, many of the songs on 'Down The Road' have counterparts on the predecessor to this album, the highly regarded 'Manassas' double-LP. 'So Many Times' readily brings to mind 'Hide It So Deep'; 'Remember the Americans' is reminiscient of 'Fallen Eagle', both being fiddle-fied side two openers; 'Business On the Street' resembles 'Don't Look At My Shadow', both being country-fied side closers; and 'Pensamiento' is a bouncy Latin number ala 'Cuban Bluegrass'. Both albums open with hard-rocking protest numbers. Perhaps people perceive the 'mimicking' as a conscious attempt to (less than successfully) clone the formula for the original Manassas LP's, but I think Stills was too far along as a musician at this point to need that. Besides, Stills' clones are more obvious, such as transplanting 'Questions' to 'Carry On' on the 'Deja Vu' LP, or revisiting 'Bluebird' via 'Bluebird Revisited'. Maybe this is just their style...?
If you want to measure 'Down The Road' against 'Manassas', and many people do, there is an upside for each. The upside for 'Down The Road' is that it rocks harder than the first Manassas double-LP. 'Isn't It About Time' lashes out first, really cracking the whip. 'Down The Road', 'City Junkies' (aka "When I Was a Young Man" Part One and Part Two), 'Rolling My Stone' and 'Lies' continue the scourge. The upside for 'Manassas' are the three classic love ballads that 'Down The Road' has no answer for: 'Both Of Us', 'So Begins the Task', and 'It Doesn't Matter'. Stills offers two Latin-influenced numbers in their stead, 'Pensamiento' and 'Guaguanco de Vero'. 'Pensamiento' is the better of the two songs, and though lyrics are included, you'll be needing an interpreter.
True to the era, there is plenty 'anti-ism' to be had on 'Down The Road'. 'Isn't It About Time' puts war-mongers in their place every bit as well as 'Song of Love' put down war itself on the first Manassas album. 'Down The Road', 'City Junkies', and 'Rollin' My Stone' indict drug and alcohol abuse, while at the same time implicitly acknowledging their allure (kind of like a more sincere Bill Clinton saying, "I inhaled, a lot, but wish I hadn't..."). Be sure to check out the comical partied-out background singers on 'Down the Road', and the driving slide guitar. Stills is given credit for a slide in the liner notes, and I'm betting this is it (although Joe Walsh is also credited with playing slide somewhere on the CD). And Chris Hillman's 'Lies' is a robust swipe at superficial love.

Thursday, March 8, 2012

Poco -Oranges

Poco- Self Titled "Oranges"


Sometimes called "ORANGES"  On this, their sophomore effort, the band rocks out harder than on their debut, especially on the opening track "Hurry Up." Furay wrote or co-wrote all of the songs except for "Honky Tonk Downstairs," a song that showed that the band hadn't completely abandoned its country leanings. All of the band's trademarks are here: tight harmony singing, soulful vocals, Messina's economic lead guitar work, and Rusty Young's pedal steel as organ.

This is the only studio album that this configuration of the band released and it's one of the strongest albums of their career. Even the 15-minute-plus instrumental "El Tonto de Nadie, Regresa" is an amazing example of the band's instrumental prowess. [Unlike many of the mindless jams found on other albums of that era. I have on CD all Poco albums ever released. HIGHLY RECOMMENDED

Wednesday, March 7, 2012

Pure Prairie League-Bustin' Out

Bustin' Out
In mid 1972, `Pure Prairie League' busted out with an impossibly likable song called, "Amie", which shot up the charts. The album soon became a classic country-rock favorite. With breezy acoustic ballads and gentle harmonies, Pure Prairie League was on its way to pop stardom. The opener, "Jazzman" glides along with slide guitar and ample guitar hooks. "Early Morning Riser" and "Amie" are simple upbeat melodic tunes that beg repeated listens. The ballads, `Falling In And Out Of Love", Boulder Skies" and "Call Me, Tell Me" are incredibly imotive with sparse strings that carry that emotional sentiment right to the end of the last song. If anything, this set is too short, but it's sweetly short and an instant classic.

Tuesday, March 6, 2012

George Strait- Strait Country

Strait Country


This album combines two sure-fire winners: Dean Dillon's formittable songwriting and Mr. Strait, country music's purest voice. Most of the songs on the album can even be appreciated by folks who generally don't care for country. If you fall into this catagory, you'll do well to check out Blame It On Mexico, I Get Along With You, Friday Night Fever, and If You're Thinking You Want A Stranger. These songs could almost be catagorized as soft rock/easy listening. However, songs such as Down And Out, She's Playing Hell.., and Unwound round out the album with their more conventional beer-drinkin' honky tonk sound. Also, the production quality is crisp, clear and tight. For under seven bucks, you'll own the best country album ever recorded. Lastly if your a POCO fan, George covers "Honly Tonk Downstairs" which is on the Poco "Oranges" Album

Chris Hillman and Friends


Chris Hillman and Friends
1975-05-08
Ebbets Field, Denver, CO

FM Broadcast (KDPI) recording, Very Good Quality
mp3 @ 320 kbps

Here's another fine show from what I refer to as Chris's 'Firefallin' Burrito Brothers' tour. This was a quite early show on this tour, which took place immediately after the Souther-Hillman-Furay Band called it quits. Chris called up friend and former FBB alum Rick Roberts, who had recently formed a new band, called Firefall, which was practicing and playing together but did not yet have a record deal or made public performances yet. So, Roberts, along with his Firefall mates guitarist Jock Bartley (who also earlier played with Gram Parsons), bassist Mark Andes (formerly of Spirit), and ex-Byrd-Burrito Michael Clarke joined Chris to form the temporary and hastily put together band later dubbed the Chris Hillman Band, but here only referred to as Chris Hillman and Friends, for this series of concert dates in the Spring-Summer of 1975. These shows became most famous, however, for being the launchpad for Firefall, as towards the end of these show dates, Chris became ill and couldn't perform, so Firefall just took over the full show, and were 'discovered and signed' by Atlantic record execs on the spot (more about that coming later). But in this show, earlier in the tour, Chris was definitely in charge, playing a mixture of tunes from his various bands, from the Byrds, Burritos, Manassas, and SHF Bands. This is a fairly short set (probably edited for the radio broadcast), but is of very good quality.

tracklist
01 - Intro
02 - Safe At Home
03 - Down In The Churchyard
04 - Time Between
05 - High Fashion Queen
06 - Colorado
07 - Fallen Eagle
08 - Christine's Tune
09 - Follow Me Through
10 - Blue Morning
11 - Six Days On The Road
12 - Move Me Real Slow
13 - So You Want To Be A Rock 'N' Roll Star

Chris Hillman - guitar, mandolin, lead vocals
Rick Roberts - rhythm guitar, vocals
Jock Bartley - lead guitar
Mark Andes - bass
Michael Clarke - drums

http://www.mediafire.com/?yjsdbda6dmc3loq

Nitty Gritty Dirt Band-Uncle Charlie and his dog Teddy

Uncle Charlie and His dog Teddy


For me, this album defines the Dirt Band and defies category. It's country and bluegrass and rock and the blend works perfectly. There are are only a couple original tunes: Jeff Hanna's rollicking "The Cure" and Jimmie Fadden's harmonica showpiece "Uncle Charlie." They cover a couple of ex-Monkee Mike Nesmith's best songs: "Some of Shelly's Blues" and "Propinquity." They also do four songs by a then relatively unknown songwriter, Kenny Loggins: "Prodigal's Return," "Yukon Railroad" (both co-written with Dann Lottermoser), "Santa Rosa" and "House at Pooh Corner." And then of course, there is their signature song, Jerry Jeff Walker's "Mr. Bojangles," which became their first (and only) top ten pop hit.
Then there are all the wonderful instrumental interludes, like Les Thompson's mandolin workout on "Billy in the Low Ground," Fadden's wonderful harmonica on "Swanee River," and John McEuen's banjo pyrotechnics on "Randy Lynn Rag." [In the liner notes, composer Earl Scruggs is quoted as saying McEuen's version is the way he always intended to do it.]

Ozark Mountain Daredevils- Men from earth

Men from earth
A must have for all OMD fans. Long awaited and well over due, this is the second release in a series of four from New Era Productions. These four albums have never been available in CD format until now. Digitally remastered from the original studio master tapes, the sound quality is unsurpassed. From the smooth and mellow "You Know Like I Know", "Watermill", and "It's How You Think", to the more upbeat and foot stompin' "Homemade Wine" and "Fly Away Home", you will not be disappointed. In my opinion this is one of their best albums. Also included are three bonus tracks never released on any album. "Better Days" was only released on the B side of the "Jackie Blue" 45. "Roscoe's Rules" and "A Dollar's Worth Of Regular" saw very limited release on a thin red vinyl record. For all of you wanting to replace all of your worn out tapes and vinyl, this is your chance. No more tape hiss or annoying pops and cracks. Next to be released from New Era will be "It's Alive" (Spring 2003), followed by "Don't Look Down" (Fall 2003}.

Monday, March 5, 2012

Stephen Stills-Alone

Stephen Stills -Alone
I discovered this album almost by accident, I had heard "Treetop Flyer" and was intrigued enough to want to find out more about it. I was familiar with Stills' material from the CSNY days, but hadn't heard much of his work beyond that. I must admit I was pleasantly surprised by this album.

"Stills Alone" is just that. Simply Stills on vocals and guitar. A collection of well written songs featuring Stills' skillful guitar work, along with a few covers.

That being said, the production is not perfect. And Stills's voice sounds strained on some of the higher notes on a couple tracks. But I think these slight imperfections actually give the album character, as if you were listing to a live performance.

Some purists may scoff at Stills' guitar tone on this album. It is unusual for an acoustic sound...but in my opinion it gives the album a unique, if sometimes even "eerie" sound.

My only complaint is that the album is pretty short.

My personal favorites are "The Right Girl", "Treetop Flyer", and the outstanding "Blind Fiddler Medley". But this is the sort of album that you feel compelled to listen to from start to finish every time you take it out.

Since this has been out of print for so long, they are expensive. It was alot to pay for a CD, but I wanted one that badly. I am very glad to add this rare gem to my collection.