Manassas -Pieces

Stills should have been the American Clapton. He certainly had no fewer vices and yet his muse was a fragile thing that would come and go as he engaged in different projects or dissolute directions. His records, then, can be very hit or miss, and by the 90's were largely less than impressive. And that's the tragedy. He had talent to spare and Manassas at its peak was a force to be reckoned with. After a very strong debut, he followed with an overproduced second album, a protean live document and then the brilliant Manassas double CD. Unfortunately, that was followed by Down The Road, as low a point in Stills' canon as there is. PIECES represents sessions engaged between the first record and DTR, and it's a genuine pity that this was not the second album. All of Stills' strengths are on display and none of his weakenesses. DTR followed these sessions and somewhere along the way the songs fell flat and the musicianship got unfocused and Stills' voice sounded like he had spent the weekend yelling at people. It was a mess. This, while not quite Stills 1 or the first Manassas, is a joy start to finish. There are songs you have not heard before, songs that would find life with the Flying Burritos, songs that recapitulated earlier statements from Just Roll Tape and Stills 2, and what results is a well-disciplined band hitting on all its cylinders. This band must have been a powerhouse live, and God willing, Stills has some tape worth releasing that documents just how good both the front line and the rhythm section were in concert.

Obviously, in the overly competitive framework of CSNY, this band was a gauntlet thrown at Crazy Horse and the CN back up bands of the time. Crazy Horse was a barely competent gaggle of misfits who could somehow rise above their abilities under the direction of Young and Briggs. CN's group of crack session players had to deal with Crosby's relentless indulgences of a different crack, and over a very short time could no longer rescue him from free fall. Manassas in some ways would not be able to save Stills from himself either, but while they were on, they were mighty. And how can you lose with Chris Hillman, Al Perkins, Joe Lala, Calvin Samuels, et al?



Wilco-Being There

Wilco is probably capable of making a great album of just about any genre imaginable, but on Being There they went with a genre that is impossible to describe. Often said to 'borrow' from various great records of the late 60s and early 70s, Wilco really does sound more different than you'd get the impression they do. No song is made up simply of one influence, and influence never goes ahead of pure songwriting genius. The opening track on Being There, 'Misunderstood,' as with many other tracks on the double CD, has been compared countless times to other songs and records. However, with every reviewer thinking it sounds like one thing, it's hard to imagine Wilco ever really just went out and made any songs based on just one person's music. 'Misunderstood' is an amazing way to start off an album, but it shines not just because of the noticeable influences, but mainly because of Jeff Tweedy's lyrics and voice along plus the incredible talent of the rest of the band. If you think 'Hey that sounds like The Beatles,' or 'Hey that sounds like John Lennon' before you think 'Wow, that was an incredible song,' then there is something seriously wrong with you.
After the booming finish of the heartfelt story of a musician returning home in 'Misunderstood,' the records moves on to the somewhat more upbeat, although more mellow 'Far, Far Away,' and then on to '70s rockers' 'Monday' and 'Outta Sight (Outta Mind). While when you think about it lyrics in the latter song are not exactly happy ('Well okay, I know you don't love me but you'll still be thinking of me,') the song still seems very upbeat and certainly isn't trying to depress you.
This rock mood is soon killed by the AM-esque 'Forget the Flowers,' where Tweedy doesn't go back to his alt-country roots, but more so to older straightforward country. The essence of this song would fit on any of Wilco's albums, it obviously would have been slightly altered had it been on Wilco's only album better than Being There(to date), Summerteeth. An excellent song either way. One more sad song follows, 'Red Eyed and Blue,' which goes with a slightly less country approach than 'Forget the Flowers,' and comes out well.
From here Wilco balances the last too more depressing song with 'I got you (at the end of the century).' This and the next song 'What's the World Got in Store' have you realizing that this is definitely becoming a great first side. Then the next song, 'Hotel Arizona' completely confirms this, sounding like something Neil Young would have on a greatest hits record. The first side finishes off with 'Say You Miss Me,' another great love song, with Jeff Tweedy's own style.
The second disk opens with two songs that are similar in some ways to the first two songs on the first disk. 'Sunken Treasure' is another great drawn out piano/guitar song that let's you look at Tweedy so closely you can't help but love it. 'I got my name from rock n' roll' he sings, and you know his lyrics are a window straight into him. Similar to 'Far, Far Away,' the next song 'Someday Soon' brings a dreaming less intense song to the table, followed by an acoustic version of 'Outta Sight (Outta Mind),' which in this case goes by the name 'Outta Mind (Outta Sight).' While not as good as the original in terms of it's upbeat rock sound, it still comes off very well.
Then Jeff Tweedy goes into another song about other people's music with 'Someone Else's Song,' a song portraying the frustrated feeling of try to impress someone but just sounding no different than anything before you, which ironically does not describe Wilco, with Being There no longer sounding much like anything from Uncle Tupelo. Kingpin is a much less serious song, that seems to just be Tweedy having some fun ('I wanna be your kingpin, livin' in, Pekin'.)
From there 'Was I in Your Dreams' goes into classic Wilco, sounding happy with dark lyrics, followed by another song of this style, 'Why Would You Wanna Live,' which is so much happier sounding than the lyrics would suggest. In this type of Wilco song will either feel upbeat to you or feel really depressed depending on your mood and whether you focus on lyrics or music.
'The Lonely One' does not hide behind any happy music; it is in the same fashion as 'Forget the Flowers' a straight for sad song, even if it is somewhat less country.
The last song on the record is one of the best record finishers in a while, 'Dreamer in My Dreams.' Even if you've leaned towards the slower, sadder song on the record, this song will still be one of your favourites. It's an excited big loud song that doesn't feel like 'hard rock,' but more like a great live performance in a small place. By the time this song is over and has had it's various false endings, you can't help but be taken away by this record.
Most detractors are usually looking for country or alt-country and really don't find too much of it, but if you're looking for a great record, even if all your favourite records are alt-country, this is still one of the greatest albums released during the 90s. It may even be one of the best to come before the 'end of the century.'



Jerry Garcia Acoustic Band-Ragged But Right



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Approximately 66 minutes of music. The digitally edited sound is crisp and clean, yet has a warmth to it which is essential for this type of music. The disc is slipped inside a pocket in the billfold style cardboard holder. Inside the holder is a color photo of the band onstage, personnel listing, song titles, lengths, and composer (s). The booklet tells the history of the band, and has several very small photos of the band members. Curiously, if you purchase the first album "Almost Acoustic", there's notes on each song for both albums.

This is the second album by the JERRY GARCIA ACOUSTIC BAND, that was scheduled to be released a number of years ago, but circumstances delayed that release until now. In a nutshell-if you liked the first album, you'll like this one. The tracks for "Ragged But Right" come from the same series of concerts from 1987, recorded at the Lund-Fontane Theater in New York City, (11 tracks + band introductions),the Wilturn Theater in Los Angeles, and the Warfield Theater in San Fransisco (3 tracks). For those who don't know, the players are-Jerry Garcia-guitar/vocals, David Nelson (who played with the great NEW RIDERS OF THE PURPLE SAGE)-guitar/vocals, Sandy Rothman-mandolin/dobro/banjo/vocals, John Kahn-string bass, Kenny Kosek-fiddle/bass vocals, and David Kemper (Bob Dylan's drummer)-snare drum. Sometimes people new to this music hear the name Jerry Garcia, the "Garcia/psychedelic" factor can overshadow the other musicians, but one listen and you realize you're hearing a band of equals. They play this music simply because they love the sound they make, the straightforward lyrics tell a (sometimes) true story, and that purity of purpose shines all through these tunes.

The songs range from traditional (the title track, "Short Life of Trouble", "Deep Elem Blues", "Roas Lee McFall", "Two Soldiers", "If I Lose", "Bright Morning Star", and "Turtle Dove"), to songs by Mel Tillis ("I Ain't Never"), Richard Jones ("Trouble In Mind"), Reno and Smiley ("Drifting With the Tide") Huddie Ledbetter ("Goodnight Irene"), Don Wayne ("It's a Long, Long Way to the Top"), and Charles Moody ("Drifting Too Far From Shore").

The music on this album forms some of the cornerstones of American music. The players are all steeped in country, western, folk, blues, gospel, and bluegrass music. The band's vocal harmonies are like the title of the album-ragged but right. Garcia has a number of lead vocals, with Nelson and the others stepping up to take a turn occasionally. The music itself is based on any, or a combination of the above genres. Kemper's snare drum is the perfect foundation for the music-never calling attention to the rhythm, but always pushing the music along perfectly. Rothman's multi-instrument playing is one of the highlights of this set. And with both Garcia and Nelson on guitars, the sound is full and at times, swinging. Mention should also go to Kosek's fiddle work, which complements the other players perfectly.

This great band lasted only through a couple of dozen or so shows, opening for Garcia's fully electric band. This is the music that captured Garcia's imagination in the beginning, and made him want to play music for the rest of his life. Influenced by "Folkways Anthology of American Music" (if you haven't heard this collection you need to), Garcia credits that set as his first major influence on his own music. Way back when I was in college in Palo Alto, I frequented Kepler's Books, an old style bookstore with large old tables where you could sit and read-all day if you wanted. Occasionally some "strange" people would be playing this funny sounding music-old timey stuff, and they seemed to be enjoying themselves. Soon, I too, was drawn into this odd sounding (to someone who was into r&r) but strangely satisfying music. I never forgot the impression that music and those players (one of them Garcia before he had a beard-just sideburns and sometimes a funny looking cap) had on my narrow range of music. Eventually, much later the NEW RIDERS OF THE PURPLE SAGE (David Nelson's and Marmaduke's band) became one of my favorite groups, with Garcia playing his peddle steel and singing in his plaintive style, (along with HOT TUNA-playing acoustic country blues during JEFFERSON AIRPLANE shows), before the Dead at concerts. But that aside, this album is chock full of that same good time feeling that these plain, straightforward songs, played by great musicians can only provide. It puts a smile on your face and sets your toe to tapping. It's nice to know this style of music is still alive, still very worthwhile. This music just rolls along with an honesty that's very refreshing. Listen to this and you'll hear why this music is so good, and still has a place in the present.

New Riders of the Purple Sage- Oh what a Mighty Time

At the time that this recording was released, it received HORRENDOUS reviews from the critics and is listed as the "worst" release that the band had done to that point and maybe ever. I personally don't see it. I have been a NRPS fan from near the beginning and I love this album! I have been looking for this CD ever since I made the transition from vinyl to CD's.I had pretty much given up ever seeing this in CD. It has fun and joy that characterized the band. The songs are wonderful. I particularly love the musicianship in "Take A Letter Maria" It's my favorite track even though I would have liked to have it mixed so that the second verse was fully audible. Other personal favorites are Strangers on a Train and Farewell, Angelina. Give it a listen; you may be pleasantly surprised!

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I'd have to agree with the previous reviewer - a much derided release that has all the joy of the mid-life Riders (Up against the Wall, Redneck' a particular favourite, the gospel fand Sly Stone brew of the title track). The musicianship is excellent as it always was when Buddy Cage was on the pedal steel and Dawson and Nelson were up front. Skip Battin brought his (ill-fitting) Byrds like contributions co-written with Kim Fowley but after they dominated Brujo, Stranger on a Train was their only offering before he became the next to jump ship and Mike Love (I think) took over bass (and some song-writing) duties for 'Who are Those Guys' which, I must admit, is not anywhere near as fine as this album (so why did it get a CD release on Wounded Bird?)I have to note this is not the first CD release of the album. The excellent Cactus Juice combines Brujo, Oh, What a Mighty Time and Home, Home on the Road as a 2-CD package with a couple of bonus tracks and is well worth the coinage - that's where my (CD) version of this album is located.





Bob Dylan- John Wesley Harding



When this record came out a lot of Dylan's fans were upset, because that singer of songs so complex with images that stayed with you long after the song had end, seemed to have gone country. But it didn't long before they realized that the complexity was still here, even thought the backing musicians had changed. The stories, those incredible stories were still here. Just give a listen to "The Ballad of Frankie Lee and Judas Priest" and you'll see what I mean. And the word weaver is still doing his magic here as well, again listen to "Frankie & Judas."

Yes, gone are the rock musicians, replaced by country guys, Charlie McCoy on bass, Kenny Buttrey on drums and they help Dylan deliver a kind of haunting sound that has lasted through the years, making this record sort timeless, holding up as well now as it did way back then.

My personal favorite on this masterpiece of music is "As I Went Out One Morning." To me it seems like Dylan is singing about America and how Tom Paine would be so disappointed if he were alive today. And what would Rock have been like had Jimi not been able to cover the excellent "All Along the Watchtower." Then there is that landlord, that wicked messenger, that lonesome hobo and that escaping drifter. Mr. Dylan conjures images with words the way Van Gogh did with a brush. This album, though a change, is one of the best.

Flying Burrito Brothers Authorized Bootleg-2011 Release



This "Authorized Bootleg" by the famed and historic Flying Burrito Brothers is one hot tamale!
In the short but storied lifespan of the original FBB, the Los Angeles-based band was one of the musical building blocks upon which an entire country-rock genre was built. Formed by Chris Hillman and Gram Parsons when they left The Byrds, the Burritos quickly became known for their great songwriting, heartfelt vocals, spangled Nudie suits, and a parade of personnel changes.
 
The Flying Burrito Brothers on this wonderful concert disc could essentially be called Version 2. Parsons and original bassist Chris Ethridge had left and were replaced by singer-songwriter Rick Roberts and future Eagle Bernie Leadon. Former Byrd Michael Clarke is on drums, and famed session steel player "Sneaky" Pete Kleinow is on pedal steel.
 
Fans and critics have said that this was the best Burritos live band ever, and the performances here back that up. Combining rock drive and a distinctly country feel, the band romps through a set consisting of originals drawn the Burritos' two albums to date, The Byrds, a Mick Jagger-Keith Richards composition ("Wild Horses"), a classic R&B mover ("Willie And the Hand Jive"), and a great C&W road song ("Six Days On The Road"). This is country-rock at its infancy, but also at its best.
 
For this release, Chris Hillman has written a brief note and personally picked mastering engineer and approved his work. Recorded two years before their famed live album, "Last Of The Red Hot Burritos," this may not be the last recording by the group but is among the hottest.

Buffalo Springfield planning a tour



David Crosby has revealed that Buffalo Springfield will embark on a reunion tour later this year. Crosby said that the ’60s folk-rockers, which include Neil Young, Stephen Stills and Richie Furay, will perform some dates in the Fall. It will be the band’s first tour since 1968.

The three surviving Buffalo Springfield members reunited last fall for performances at Young’s Bridge School Benefit. Crosby said his Crosby, Stills and Nash bandmate is definitely up for doing more.

“I think he is excited,” Crosby says of Stills. “And I’ve got to tell you, I didn’t get to see them live, but I watched clips and Richie [Furay] – I got to tell you, man, he is so happy onstage and is such a joyful energy.”

According to Crosby it was Furay who made the reunion happen.

“He really sparked that thing, and I think it was a very pleasant experience for Neil and Stephen both,” Crosby said. “I know they’re going to go out for at least some dates in the fall. Personally, I’d like to go watch. They’re one of my favorite bands.”

Furay’s manager confirmed that the group is making plans to tour. Crosby said he wishes the tour could be even more special and include a Byrds reunion, too.

“I wish I could throw it in with the Byrds,” he said, referring to his pre-CSN band. “That would be my dream, because everybody and their uncle would come to see the Byrds and Buffalo Springfield. But that’s not going to happen. Roger [McGuinn] is pretty adamant about that. He’s very happy about being a folksinger; he likes it, and wants it that way.”

Gregg Allman- Low Country Blues

In the liner notes for "Low country blues", Robert Gordon writes "A river runs through the blues, and Gregg Allman continues to navigate it. This album deposits Gregg at a fresh place on the bank. He's a traveler, sometimes riding with the current, swimming upstream when he prefers".
This new release is proof of the success of Gregg's journey. When I received my copy of "Low country", I sat uninterrupted through all twelve tracks. Twice. Some musical projects are memorable for well written songs, thoughtful sequencing and great instrumentation. Others are so complete, so satisfying that you just don't want to listen to anything else for a while. "Low country" falls into the latter category.
Ace producer T-bone Burnett is also responsible for B.B. King's latest, the wonderful "One kind favor".That disc kicks off with a very dark version of Blind Lemon Jefferson's "See that my grave is kept clean". The opener for this disc, Sleepy John Estes' "Floating Bridge" is a song similar in format, but where "Favor" is a plea, "Bridge" is a bitter recollection. Both songs, and on both cds, the presence of Dr. John's masterful piano is as important as that of the stars.
"Little by little" is a Junior Wells staple that starts off with a funky B-3 intro by Gregg, then features more of the good Doctor with great guitar fills by Doyle Bramhall II. "Devil got my woman" shows Burnett's greatest strength as a roots music producer- the ability to take a Skip James song from the 1930's and remake it in 2011-without sacrificing any integrity. Gregg's vocals are almost ethereal, with dual guitar interplay between Bramhall and Colin Linden on Dobro.
"I can't be satisfied" is one of Muddy Waters' most beloved compositions, and Gregg and company do this song justice while showcasing the groove created by drummer Jay Belrose and bassist Dennis Crouch.
"Blind man" is the first appearance on the disc of trumpeter Darrell Leonard's horn section. Leonard has been recording for years with tenor sax player Joe Sublett as the Texacali Horns. Here they're augmented by Lester Lovitt and Daniel Fornero on trumpet with Thomas Peterson and Jim Thompson on baritone and tenor sax. The horns appear on five other tracks giving the disc a powerful classic r&b punch, especially on B.B. King's "Please accept my love".
The sole original on the disc, "Just another rider" was co-written with Gregg's partner in the Allman Brothers, guitar master Warren Haynes. Very reminiscent of another Allman/Haynes collaboration, "The high cost of low living"(from the Brothers' 2003 "Hittin' the note"), the song seems to address the same protagonist as the earlier track. On "High cost", Gregg admonishes "using up all your good friends" and on "Rider", you can almost see him shake his head as he sighs "seems like a long time- since you had any peace of mind".
"I believe I'll go back home" is an old public domain number with Mike Compton adding mandolin to the mix, while Magic Sam's "My love is your love"is enhanced by the beautiful female chorus arranged by Bill Maxwell. The closing traditional, "Rolling Stone" is one of the many highlights, again featuring Colin Linden's Dobro in a soft acoustic jam.
This fine recording belongs to T-bone as much as it does to Gregg. Production is excellent and choice of musicians couldn't be better. Gregg set out to make a recording he could be proud of. With "Low country blues", he just may have made the album of his life.



Gene Clark

Gene Clark-Live at Ebbots Field 1975



Eagles 1st Album

Contrary to the last reviewer, I recommend this one as THE introductory Eagles album. It has a diverse and genuine feel that ranks up there with the Flying Burrito Bros. groundbreakers and The Byds' Sweetheart of the Rodeo. After Bernie Leadon left, this band was reduced to an over-produced, slick, formulaic clone of itself. This record is legendary - it is responsible for much of the country music you are hearing today. 



Souther Hillman Furay Band

The Souther-Hillman-Furay Band
1974-07-07
Memorial Coliseum, Fort Wayne, INFM Broadcast?, very good quality recording

mp3 @ 192 kbps

Speaking of great, all-but-forgotten, short-lived 'supergroups', I just found this show from the wonderful Souther-Hillman-Furay Band (thanks to Romeo Delight on the G101 Forum - Much Thanks!). I always really liked these guys and spent many hours listening to their 2 albums back in the mid-70's. I had looked for live shows by them previously, but never found any, until now, so this is a real rarity. For those that don't know or remember, SHF Band was a country-rock 'supergoup' that combined the talents of singer-songwriter J.D Souther (solo, the Eagles), Chris Hillman (The Byrds, Flying Burrito Brothers, Manassas), and Ritchie Furay (Buffalo Springfield, Poco), and backed up by other former Manassas and FBB alums, Paul Harris and Al Perkins, and superstar drummer Jim Gordon. They formed in 1973 at the suggestion of David Geffen at Asylum records specifically for the purpose of creating a country-rock supergroup. They only made two albums (Souther Hillman Furay Band-1974, Trouble in Paradise-1975) before going their separate ways due to internal tension and personal differences within the group, and lackluster record sales, but I always thought they were a great combination of artists, made a bunch of excellent songs, and were one of the best bands of their kind in their day. Unfortunately, although they may have made a great combo musically and stylistically, personally there were problems from the beginning, and they never really bonded as a group (all of the songs were written by each individually, with no collaborations among them at all), and since they were not all that successful commercially, they disbanded by 1976. This recording is from their first tour in 1974, and catches the group while they still seem happy to be performing together. It's a fun and lively set, and it's a special treat and a real hoot to hear them play Souther's 'How Long' as a closer here. This same song (in an almost identical arrangement BTW) became the huge comeback hit for the Eagles almost 35 years later, in 2007 (although this was not a SHF song, few people seem to know that the song was originally on Souther's 1972 debut album). So, once again, please enjoy this unique glimpse of the legendary, but short-lived, SHF band. 

Lineup:
JD Souther
Chris Hillman
Richie Furay
Al Perkins
Paul Harris
Jim Gordon

01 Safe At Home
02 Border Town
03 Let’s Dance Tonight
04 The Heartbreaker
05 Believe Me
06 Rise And Fall
07 Long Gone
08 Trouble In Paradise
09 Fallin’ In Love
10 How Long


DOWNLOAD LINK HERE
http://www.megaupload.com/?d=8MNMBNI2