Saturday, June 30, 2012

Nitty Gritty Dirt Band- Will the circle be unbroken 2

Will the circle be unbroken 2
This record is the sequel to the Nitty Gritty Dirt Band's original Will The Circle Be Unbroken triple album, the one that got me hooked on these guys. In '72, when Circle was released, the members of the Dirt Band were long-haired, progressive country-rock artists who were trying to bridge the musical and cultural gap between themselves and the veteran country artists they were recording with. When the sequel to Circle came out in '89, 17 years later, NGDB was a veteran country act who had had a lot of hits. Will The Circle Be Unbroken, Volume 2 is not the groundbreaking album its predecessor was, but this record has a lot of great songs by a talented group of artists.

I don't know where to start with the highlights--there are many. The title track features Johnny Cash, Roy Acuff, Ricky Skaggs, Levon Helm(formerly of The Band) and NGDB's Jimmy Ibbotson taking turns singing the lead, and all the musicians and singers who perform on this record join in. Acuff, who was one of the singers on the first Circle album, and country music Hall of Famer Earl Scruggs, who played banjo, make a return engagement here. Ibbotson added a fifth verse to A.P. Carter's original lyric and dedicated it to the late Mother Maybelle Carter, who was one of the key performers on the original Circle album. The first hit off this record was "You Ain't Goin' Nowhere", the classic Byrds song that was written by Bob Dylan. Although I think the Dirt Band's live version of the song on their Live Two Five album is a little more energetic than the studio version, "You Ain't Goin' Nowhere" is noteworthy because Roger McGuinn and Chris Hillman, two of the guys from the Byrds, sing lead here. "Turn Of The Century" is the Dirt Band's utopian vision of the future("There won't be no TV preachers to ask how much we gave/We won't need no TV preachers/See, by then we'll all be saved") and features Jerry Douglas on dobro, Mark O'Connor on fiddle, and NGDB's Jimmy Ibbotson, Jeff Hanna and Bob Carpenter each singing a verse. "Lost River", written by Michael Martin Murphey, has Murphey singing lead and John McEuen, who had left the Dirt Band a couple of years before, joining his old bandmates on banjo. Hanna's Cajun rocker "Bayou Jubilee", which NGDB first did on their 1975 album Dream, is redone here and is no less spirited now than it was then. "When It's Gone", with Randy Scruggs(son of Earl) on lead guitar, O'Connor on fiddle, and Jimmie Fadden on harmonica, is a toe-tapper reminiscent of NGDB's classic bluegrass and swing numbers. "And So It Goes", on which John Denver is backed up by the Dirt Band, was the first hit song in four years for the classic '70s folk-rock artist. Other songs I really like on this record are the traditional bluegrass anthem "Sittin' On Top Of The World" with lead vocals by Jimmy Martin(another singer who was on the first Circle album); the gospel numbers "Don't You Hear Jerusalem Moan", featuring the New Grass Revival, and "Little Mountain Church House", sung by Ricky Skaggs; John Prine's "Grandpa Was A Carpenter"; John Hiatt's "One Step Over The Line", with lead vocals by Hiatt and Rosanne Cash(Johnny's daughter); and the moving wartime ballad "Mary Danced With Soldiers", sung by Emmylou Harris.

Bob Dylan- Nashville Skyline

Nashville Skyline
I've always been a huge Dylan fan, in fact I have most of his albums, but this one I had always kind of held off on, thinking, "Hmm, Dylan doing a pure country album, this might be one to hold off on for a little while." I was absolutely shocked. While the lyrics might not be as profound as Bob's greatest and the music not as groundbreaking, the album is positively infectious. I heard that this was a happy album and always kinda cringed thinking on other disasters that artists had created in "happy" moments. This is far from a disaster, in fact, it is an absolute triumph. Nashville Skyline is as good as country gets and then some. The slower songs, like the haunting remake of "Girl From the North County" with Johnny Cash are touching and the more upbeat and playful songs like "Country Pie" and "Peggy Day" are fun like they should be. The musicianship is superb and Dylan's vocals are smoother than usual. Maybe not top 5 Dylan, but an excellent album, even a classic in my opinion.

Richie Furay - Dance a little light

Dance a little light
Richie took his time to craft some beautiful heartfelt intimate songs, in the tradition of the best california sound of the seventies. It leaves you with positive feelings as the voice, the rendition, the tones convey such optimism. Richie Furay's "dance a little" finds its place somewhere between John Denver and Dan Fogelberg music. If you appreciate these artists, you will enjoy this release...a release that may be forgotten today, but cherished by the happy fews.

Friday, June 22, 2012

CCR- Cosmos Factory

Cosmos Factory
This album has many popular singles on it, but that's not all. Every single song on this album is amazing and this is by far Creedence Clearwater Revival's best album. I was never really excited by any CCR album as I was excited with this one.
It combines every good quality of CCR on to one wonderful album. It has the extended/jam tracks that are essential to any southern rock album, in my opinion. "Ramble Tamble" is a 7-minute rocker that just makes want to get up and start playing air guitar. While most people dispose of "I Heard It Through the Grapevine" as excessive or filler, I find it to be one of the best songs on the album. CCR adapted the song as well as any other artist could have. Surprisingly, John Fogerty puts about a pretty damn good 7 minute guitar solo, proving that he is one of the most underrated guitar players of the seventies.
Also included on this album are the fifties covers/sounding tunes that Fogerty loves so much. "My Baby Left Me" and "Ooby Dooby" are both fifties covers, but are still both awesome. In fact I've come to like the 50's type songs CCR does as well as any of their other stuff because of the ones they do on this album. Truly great.
Of course, there are the wonderfully written and catchy pop-like southern rock (for lack of a better style name) songs that Fogerty and CCR are most famous for. For example "Travelin' Band" which is perhaps my favorite CCR song ever, "Who'll Stop the Rain" which is as catchy as any XTC song, though totally different, "Up Around the Bend" which is catchy in a way only John Fogerty can achieve, "Lookin' Out My Back Door" a tale of a Southern home in a Southern city which is of course another gem, and "Long As I Can See the Light", a good way to end this amazing album on a high, but slow, note.
I cannot stress enough how good this album is. It is up there with such amazing southern rock albums as "Allman Brothers Live At the FIllmore East" and "Pronounced Leh-nerd Skeh-nerd", and may be even more impressive than those two. No matter who you are, you have to have this album!!!!!! Though amazon.com was incorrect in simply calling it a singles album, they were completely justified in rating it an ESSENTIAL ALBUM. Buy it NOW .

Nitty Gritty Dirt band- Rare Junk

Rare junk
This 1969 album is an odd-and-ends collection of ununsed (save 'Collegiana' which was a single) tracks recorded in late 1967,early 1968. This is the Hanna-McEuen-Darrow-Barr-Fadden-Thompson lineup. This album is recommended if you want a good idea of the group changing for their jugband style to the music they would later work on. The group broke up before this album was issued, but Hanna and McEuen decided to work on a new lineup a year later, and yielded some hits.

CCR- Green River

Green River
On their third album, Creedence Clearwater Revival finally got rid of the sometimes directionless five-minute jams that weighed down their first two records.

"Green River" is probably their tightest album, and their best as well. There is virtually no filler here - the singles are magnificent, and even the album tracks are great.
It opens with the title track, a concise 2 1/2 minutes of tough, "swampy" backbeat and vivid imagery, highlighted by the pithy, intertwined guitar figures of John and Tom Fogerty, and John Fogerty's brief, melodic, less-is-more solo.

Other highlights include the classic rockabilly of "Bad Moon Rising", the melancholy "Lodi", the sinister, soulful blues "Tombstone Shadow", and the slow, mournful "Wrote A Song For Everyone".
But everything is good, really, including the brisk, semi-acoustic country-rocker "Cross-Tie Walker" and the album's only cover song, an energetic rendition of "The Night Time Is The Right Time".

The musicianship is excellent, too. Doug Clifford's stop-start drumming on "Wrote A Song" and "Sinister Purpose" is among his best and most imaginative. John Fogerty plays fiery lead guitar on "Tombstone Shadow", and he and his brother complement each other superbly on the appropriately dark blues-rocker "Sinister Purpose".

Both "Green River" and "Bad Moon Rising" made it to #2, and the album itself was a #1 record back in the autumn of 1969.
There is not a single weak moment on this magnificent fusion of rock, blues, R&B, folk and country, and "Green River" is not just Creedence Clearwater Revival's best album, it is by far the best American rock record of the 1960s.

Thursday, June 21, 2012

Nitty Gritty Dirt Band- Symphonian Drean

Symphonian Dream
The initial hit off Dream was NGDB's bluegrassy remake of the Everly Brothers' classic song "All I Have To Do Is Dream". Besides solid vocals by Jeff Hanna and Jimmy Ibbotson and great work by John McEuen on banjo and mandolin, "All I Have To Do Is Dream" has Jimmie Fadden playing some excellent harmonica parts. Hanna also gets in a guitar solo at the end of the song which is awesome. The best song here, though, is "Ripplin' Waters", Ibbotson's tale of life in the Colorado mountains. Though I like NGDB's live version of "Ripplin' Waters" on their Live Two Five album better than the studio version, I think the original version of the song, with McEuen on mandolin and Hanna on lead guitar, is still great. I think Ibbotson is NGDB's best songwriter, and "Ripplin' Waters", with its vivid imagery("Blue spruce flamin' on the grate in the evening/Takes the chill away fine"), is probably his best work. Another great Ibbotson composition on Dream is the reggae number "Joshua Come Home", with guest artist Leon Russell on piano, synthesizer and percussion. John McEuen plays banjo on "Joshua Come Home", but unless you listen closely to the song, you won't recognize the banjo in it. When John's banjo is amplified on "Joshua Come Home", it sounds just like a Jamaican steel drum. That is part of NGDB's genius; not only do the individual band members play a lot of instruments well, but they find different ways of playing them. Another fun song on Dream is Hanna's Cajun rocker "Bayou Jubilee". Hanna does a spirited singing job and once again has some fine lead guitar, and McEuen's fiddle and Ibbotson's accordion make "Bayou Jubilee" a rousing number. Pop superstar Linda Ronstadt, a friend of the members of the Dirt Band, duets with Ibbotson on NGDB's upbeat version of the Hank Williams classic "Hey Good Lookin'". Fadden, who wrote NGDB's humorous songs "Fish Song" and "GloCoat Blues", contributes "Daddy Was A Sailor" to Dream. This song is still another of Fadden's fun songs. Finally, there are great instrumental songs on Dream. The bluegrass instrumentals "Raleigh-Durham Reel", "Sally Was A Goodun" and "Gotta Travel On", along with McEuen's classical medley "Classical Banjo I/Malaguena/Classical Banjo II", feature some of the Dirt Band's best picking.

I think the Dirt Band hit their high point musically with Dream. Ibbotson left to perform solo in mid-1976, almost a year after this record's original release, and NGDB's music went in more of a pop direction. The Dirt Band's change in style in the late '70s may have helped them sell more records, but in this fan's opinion, they've always been a bluegrass/country/folk-rock band, and when they went "pop", their music lost its country element. Thankfully, Ibbotson came back in '83, and the Dirt Band rediscovered their country roots, which were so prominent on Dream. I recommend that you listen to this classic album. Even if you've heard the Dirt Band before, listening to Dream will be like rediscovering an old friend.

Tuesday, June 19, 2012

Allman Brothers Band- IdleWild South

Idlewild South
This is the second album from the Allman Brothers. It wasn't a big seller in it's day because the Allmans did not appear on many people's radar until "The Fillmore East" album, but it is loaded with songs that made the Allman Brothers great and ultimately put and kept southern rock on the map. It includes such classics as 'Revival', 'Midnight Rider', and 'In Memory of Elizabeth Reed', and the rest of the album is filled with solid southern blues/rock. A worthwhile addition to any collection.


Outlaws-Lady in Waiting

Lady In Waiting
As a sophomore effort, this album as a whole is more lyrically and musically imaginative than the eponymous first effort. Noticably missing is a top 40 single such as "There goes another love song" and the anthemic "Green Grass and High Tides". However, this album does not dissapoint. Beautiful yet powerful tunes and Eagles-esque vocal harmonies surely set this band apart from the other Southern Rock bands of its day and this album is a great example of the Outlaws vocal prowess. A great listen to loud with your car windows open driving down the boulevard on a sunny fall day. This is happy soulful music at its best.


Lynyrd Skynyrd- Second Helping

Second Helping
With staples such as "Sweet Home Alabama," "Workin' for MCA," and the J.J. Cale-penned "Call Me the Breeze," Skynyrd's second captures the Jacksonville, Florida, band at the height of its powers, coming off the success of "Free Bird" and "Gimme Three Steps" from their 1973 debut. Backed by a tight rhythm section and the mighty three-guitar attack of Allen Collins, Ed King, and Gary Rossington, singer Ronnie Van Zant (credited in the album notes for "Vocals, J&B") turns in a legendary performance on the urgent blues ballad "I Need You," the cautionary "The Needle and the Spoon," and "The Ballad of Curtis Loew," the story of a young white boy sitting at the feet of an old black Dobro master. Along with Pronounced Leh-Nerd Skin-Nerd and One More from the Road, Second Helping remains Skynyrd's finest hour.


Monday, June 18, 2012

Phase 1 Complete

Phase 1 of the Country Rock Blog is now complete. In my 2000 CD collection I have Identified 152 CD's that I would consider my Gems of Country Rock. All 152 reviews have now been posted. Phase 2 will concentrate on more country rock reviews not in my top 150, pictures and an occasional Bootleg postings will continue.


Neil Young- A treasure

A Treasure
"A Treasure" is a 12 track live album recorded during Neil Young's 1984-1985 U.S. tour. Featuring 5 previously unreleased songs, it sounds amazing. Young has some incredible guests join him onstage which contributes greatly to the performance: The late Ben Keith on steel and slide guitar, Rufus Thibodeaux on fiddle, Spooner Oldham and Hargus "Pig" Robbins on piano, and Tim Drummond and Joe Allen on bass to name a few. Recorded during a turbulent time in his career, when he was facing criticism from his record company for producing songs with a country sound, A Treasure captures Young's live sound from the mid 1980's perfectly. "Grey Riders" has some incredible guitar work by Young, and it's shocking (and awesome) to hear it explode and become the loudest thing in the room. "Nothing Perfect" is a beautiful tribute to the American Heartland. "It Might Have Been" is a cover of an obscure single from the 1950's by Joe London that is a nice change of pace. "Flying On the Ground Is Wrong" has some killer piano played by Spooner Oldham. If you're a fan of Young's you'll love how this album brings you back in time to a special period in his history. Highly recommended!!


Marshall Tucker Band-Dedicated

Dedicated
Dedicated is the much awaited first album of the Marshall Tucker band since the tragic automobile accident that took the life of Bass player and spritual leader of the band, Tommy Caldwell. Long time friend Franklin Wilkie has joined the band as the new bass player. Tommy was the brother of Toy Caldwell, who has authored the large majority of MTB songs during their Capricorn and Warner Brothers label tenures. (Toy Caldwell subsequently left the band a few years later and also passed away in 1993) Dedicated starts with Rumors are Raging. Good friend Charlie Daniels supports the band with some great fiddle playin' on this track. The song "This time I believe" was released as a single and got some airplay on radio stations. The group appeared on Solid Gold Live to perform the song. Silverado was also a popular song which was done on video also. The album is definitely worth buying. My personal favorite is the track "Ride in Peace", which was written for Tommy Caldwell. Any MTB fan should have Dedicated in their possession for this alone. Dedicated is a mixture of rock, pop, jazz, blues, country, and gospel. This is what makes MTB a great band, and they do not disappoint on Dedicated!


Elvin Bishop- Let it flow

Let it Flow
his good time, upbeat, southern rock ablum brings the best of those early '70's Capricorn session players together in Elvin's best record ever, IMO. with guests like Toy Caldwell, Charlie Daniels, Steve Miller, and Richard Betts, there is no gamble here. n You have to like this album just for the sense of fun and light-hearted good times. Let It Flow is exactly what you do with album. Going Fishing, Stealin Watermelons, Travelin shoes, Bourbon Street........ I just never get tired of this album.

Little Feat- Kickin' it at the Barn

Kickin' it at the barn
Maybe More Jazz than Country rock, But you should try it out.

Kickin' It At The Barn shows Little Feat continuing to expand their musical horizons. While their musicianship continues to be impressive and the performances here are first rate, the songwriting is somewhat inconsistent with most of the best songs comprising the album's first half.
The album starts out strong with "Night On The Town" and "Heaven Foresaken." Paul Barrere's lead vocals on these tracks are as smooth as ever and Bill Payne's piano work on the former continues to be first rate. The female backing vocals add a nice touch to these tracks. In another time when radio emphasized music over image, "Heaven Foresaken" would have been a hit. "I'd Be Lyin" is a blues shuffle which spotlights Shaun Murphy's soaring lead vocals. The band continue to add to their musical stew with the Mexican sounds of "Corazones y Sombras" which is one of the best tracks here. The true standout on the album is the instrumental "Stomp", a killer 9-minute fusion jam which features great solos from Barrere, Payne, and a relentless pace provided by drummer Richie Hayward, bassist Kenny Gradney, and percussionist Sam Clayton that never lets up. The remaining tracks such as "Why Don't It Look Like The Way It Talk", "Walking As Two", and "Fighting The Mosquito Wars" are decent songs but are very laid back and with their long track lengths could numb you to sleep. Songs like "I Do What The Telephone Tells Me To Do" and "A Night Like This" don't stand out. The album ends with "Bill's River Blues" which although very mellow is a pretty sweet tune along par with the great slower songs that Lowell George once penned for the band. All told, a solid and very well performed album that would have been stronger if a few of the more laid back tunes weren't included.

Gene Clark- Two sides to every story

Two Sides to Every Story
With full approval of the Gene Clark estate, this album was scheduled for re-release on CD by High Moon Records in early June. There was even a launch party in late April in which the Kai Clark Band performed the album in its entirety. The original Gene Clark Band (Chip Douglas, Bill Rhinehart, & Joel Larson) also performed. Unexpected delays have pushed back the release date to August 30.
The album is a collection of songs which are intended to represent a cross-section of the various musical styles (bluegrass, country, country-rock, folk, folk-rock, rock and roll, pop, etc.) that Clark had mastered through his career. The superb sessions band consists of Jerry McGee (the Ventures) and Skunk Baxter (Steely Dan & The Doobie Brothers) on guitars, Jim Fielder (Blood, Sweat & Tears) on bass, Sammy Creeson (Tony Joe White) on drums, and Michael Utley (Jimmy Buffet) on keyboards. Superb backing vocals are provided by Emmylou Harris, John Hartford, Daniel and Mathew Moore, Pepper Watkins, and others. In addition, there are terrific cameos by former Clark collaborators, banjo virtuoso Douglas Dillard (the Dillards, Dillard & Clark) and fiddle virtuoso Byron Berline (the Dillards, Dillard & Clark, the Flying Burrito Brothers, Country Gazette, etc.), as well as steel guitarist Al Perkins (the Flying Burrito Brothers, Manassas). Produced by Thomas Jefferson Kaye.
"Home Run King" is an excellent fusion of bluegrass-rock which allows Dillard a chance to show off his banjo picking. "Lonely Saturday" is a honky-tonk weeper featuring Al Perkins on steel guitar. "In the Pines" is pure traditional bluegrass perfection with Dillard burning on banjo and Berline sizzling on fiddle - absolutely terrific. "Kansas City Southern" was originally recorded by Dillard & Clark as a bluegrass rock number. It is rearranged here as an effective CCR style rocker. "Give My Love to Marie" is a slow, somber folk tear-jerker. "Sister Moon" is a slow, melancholy, ethereal pop ballad. "Marylou" is a roots rocker which, for some reason, doesn't really work - not bad, just fairly dull. The last three songs on the album all appeared on the Flying High compilation and represent the best of the original songs. "Hear the Wind" is a sensitive country ballad. "Past Addresses" and "Silent Crusade" are melancholy slices of biography.
Overall, this album is among Clark's least coherent and least consistent albums. But otherwise, it's a great listen.

Jimmy Buffett-Living and dying in 3/4 time

Living and dying in 3/4 time
It's still great, and maybe his best work -- although I think A-1-A is a cut better. The great part about this album was the great mix of tunes and like I've mentioned in other reviews, you really couldn't figure out this guy's music other than it was great! Was it country? Well, hell, you could say so -- with all those great Nashville studio musicians backing him up, complete with steel guitar. Not only that, there wasn't any Key West in this album. After the guerrilla beach bum first album, this element was absent -- instead we get some tunes with some Montana or western references("Ringling," Livingston's Gone to Texas," and "Brahama Fear.").
There's that great uptempo tune "The Wino and I Know," about his busking days in New Orleans. "Saxophones," is another uptempo number with some Memphis/Muscle Shoals-style horns. Then there was the real Nashville-flavored stuff -- "Come Monday," which was a minor hit and "West Nashville Grand Ballroom Gown," about a girl Jimmy picked up hitchhiking escaping her past and the spoof "Brand New Country Star." The last two tunes, "Ballad of Spider John" and Lord Buckley's "God's Own Drunk," (a concert staple in the early days until legal action by Buckley's estate prevented him from performing it), didn't seem to fit into the general album concept, but they worked really well -- because at the time, his music was all over the map. "Spider John," is a real sleeper. I don't think he ever plays it anymore, but it's one of the reasons why this album is so damned good. Finally, the opening tune "Pencil Thin Mustache," is a nostalgic look back at his growing up years in the 50s.
In short, Buffett was more than living up to the promise that "White Sport Coat," had shown and his songwriting, while still laced with humor and irony, also showed that he had a serious, pensive side. Perfect for a balladeer, no?
I started listening to Buffett in the real early days and was fortunate to see him perform live in those years. He was lean and hungry and ambitious and was a damned good entertainer. He added the Coral Reefer band and the rest is history. If you're new to Jimmy Buffett, buy all the 70s albums -- get 'em in vinyl if you're into that sort of thing because the album artwork is phenomenal -- especially on this album, A-1-A, Changes in Latitudes and Havana Daydreamin'.


Sunday, June 17, 2012

Poco- Live 1976

Live 1976


Poco's "Live" was released in March, 1976 to complete a contractual commitment the group had to Epic Records after the group had signed with MCA/ABC. Poco, the quintessential high harmonizing, good timin' quintet who first mined the fields of pure country-rock, was down to a 4-piece band for this live compilation(original co-founder Richie Furay had left the group a year or so earlier)which contains selections from November, 1974 gigs in Milwaukee, St. Louis and at Yale University. While the group had settled into a comfortable groove as a quartet, the record doesn't quite capture the raucous excitement of a bonafide Poco concert---but not for lack of quality material. The songs of "Live", will get you up and buzzing, although none of the Poco tunesmiths included (Timothy B. Schmit, Rusty Young and Paul Cotton) had hit the full stride as songwriters that future years would hold for all three. Cotton's "Ride the Country", "Bad Weather" and "Blue Water", coupled with Schmit's "Restrain" are typically excellent. The instrumental skill of pedal steel guitarist extraordinaire Young is well demonstrated on "Fool's Gold" and "Rocky Mountain Breakdown" while his "High and Dry" gives the record some rocker zip. Schmit also does a superb cover of Furay's "Good Feelin' to Know" to close out the LP, tying together the newer Poco songs with one of the best Poco tunes ever. An added benefit is being able to hear drummer George Grantham singing several impressive high harmony parts, which were much more subdued when the band was a quintet. Nonetheless, Poco "Live" is a group in transition, and at the time the band was upset that Epic chose to release a concert set to complete its obligation, feeling that they had left a myriad of other studio tracks in the can from which Epic could have compiled a quality Poco recording. This was one of the last Poco recordings to be released on CD, (11/00) and contains only 9 tracks (3 of which are in a medley). Still, it is essential to anyone who prefers the upbeat, tight harmony country rock that was Poco's trademark.

Bob Dylan- Bootleg Series #5

Bootleg Series #5- Rolling Thunder Revue
This fifth entry in Dylan's much hailed Bootleg Series chronicles the his legendary carnival like 1975 tour, the Rolling Thunder Revue. Legend says that Dylan wanted to do something fresh so he got together a new group of people, some new and some old, and set out to re-invent himself with new energy and purpose. This set, which was taken from shows in the early parts of the tour, displays Dylan at some of his most free and open, feeding off his assembled band.
Once of Dylan's best qualities is the fact that no matter how old, new, bland, or ballsy a song of his is, he has the power to change it to be whatever he wants it to be. He can re-invent everything from the mood to lyrics without making the song any less powerful. Anyone who has seen him on tour lately can attest to that and it's just as obvious here.

Featuring some, at that time, new material the tour had to be a treat for fans because I can't imagine the songs can sound anymore passionate than they do on the record. A good bunch of songs that ended up on the 'Desire' record (which I do not yet have) are quite spectacular. Many thanks to the splendid violin work of Scarlett Rivera, which adds some extra flavor to already great songs. "Isis" is Dylan at his most passionate, "Sara" at his most open, and "Hurricane" at his most political.

Songs like "It's All Over Now, Baby Blue" and "Love Minus Zero/No Limit" are that much more touching with Dylan injecting spirit into them with his voice being in top form. "Tangled Up in Blue" can stand side by side with it's studio counterpart, this time Dylan's coming across even more personally part of the song. "Knockin' on Heaven's Door" is even more tense and dramatic here than the original with Roger McGuinn of Byrds fame lending a hand.

Folk singer Joan Baez contributes vocals to a couple of tunes and her vocal performance is the perfect compliment to Dylan's rough voice. Being an old friend of Dylan, she fits naturally into songs from his early career like the classic "Blowing in the Wind" and one of his more well known unofficially released tracks "Mama, You Been on My Mind".

Although bootlegged many times over, this will easily stand as the definitive issue from the legendary Rolling Thunder Revue. A treat for Dylan's newest fans and longtime fanatics alike, it captures the freewheeling, loose feeling that the tour was supposed to be all about. One only can hope Columbia keeps pushing these Bootleg Series releases out as they've been nothing but universally hailed as worthy releases (a sixth one is already slated for next year). The 2 video and one audio bonus DVD adds that much more to the set, allowing the viewer to grasp the collective feel the tour was about as well as getting a glimpse of Dylan in one of his more unique looks with his mysterious white face paint.

Neil Young- Sugar Mountain – Live at Canterbury House 1968

Sugar Mountain – Live at Canterbury House 1968
The sweet sounds of Neil Young.

I am blown away by this cd. Neil's songs are always so deeply personal and this recording is no different. It's just Neil and a guitar singing from the heart and playing so soulfully. This is so well engineered and produced that I can imagine myself there in the audience in an intimate setting with Neil and a few friends.

The recording was made after the breakup of The Buffalo Springfield. There is some Springfield stuff here as well as some songs that would make it on to his first solo album like Last trip to Tulsa. The last trip to Tulsa is every bit as good live here as the studio recording. The acoustic Mr. Soul has a very different feel here. Expecting to fly is also every bit as beautiful and pleasing to listen to as the Buffalo Springfield studio version.

There is some funny and interesting banter between the songs along with Neil making some anecdotal comments about the songs. At one point he takes requests from the audience. With the CD you get to hear the entire show from beginning to end.

The DVD is only so-so. It does contain the entire audio track of the CD but other then that It's mostly just short clips and an advertisement for his upcoming anthology (archives). I too wish the DVD concert footage, that was part of my expectation when I bought the CD\DVD but the reality is that this concert probably wasn't video taped.

The sound is very good for 1968. While it is a live recording there is very little crowd noise. There is also a little hiss but it doesn't distract from the listening pleasure.

The time is a little more then 70 minutes........... but it's easy to lose track of time while listening to the CD because it totally immerses the listener in the beauty of Neil's voice, song writing and performance. Find the one you love, put on the cd, turn the lights down low and have an introspective, romantic evening courtesy of Neil Young.

Dillard and Clark- The fantastic expedition of..

The fantastic expedition of Dillard and Clark
Gene's career remained in limbo until teaming up with banjo player extraordinaire Doug Dillard.
What emerged from a series of informal jam sessions in and around Laurel Canyon was a loose-knit group of pickers seeking to break bluegrass music out of its traditional confines and redefine it in a contemporary country-rock context. The Fantastic Expedition of Dillard & Clark is a groundbreaking album that helped define country-rock and set the template not only for that genre but the entire alt.country, Americana and Roots Rock movements of the '90s. Together with future Eagle Bernie Leadon, who co-wrote "Train Leaves Here This Morning" with Gene (featured both on the Fantastic Expedition album and later on the Eagles' debut release), the Dillard & Clark merger represents a high-water mark in Gene Clark's impressive canon of recordings and one of the most satisfying periods in his often troubled career.

The Fantastic Expedition of Dillard & Clark ranks among a handful of seminal 1960s country-rock experiments. "I think we made our mark in country rock," muses Doug Dillard. "We didn't make the charts but we sure influenced a lot of people." To insure that their influence carries on, Sundazed proudly presents this newly mastered edition, sourced from the original A&M analog tapes, available on resonant vinyl and compact disc and packaged in a vibrant recreation of the original cover artwork. CD includes extra photos and new liner notes by Gene Clark biographer John Einarson. It's an expedition you'll want to take time and time again!

Poco 1976 New York City


Poco - 1975-07-30 - Central Park, NY



Poco
1975-07-30
Central Park, Wollman Skating Rink,
New York, NY
Audience recording, good quality
mp3 @ 256 kbps


More Poco from this middle period of their career. The SEVEN / CANTAMOS album tour featuring among others, Tim Schmit's superb harmony anthem 'Keep On Tryin'.





Tracklist:
01. Keep On Tryin'
02. Sagebrush Serenade
03. Blue Water ->
04. Fools Gold
05. Bad Weather
06. Hoedown
07. Ride The Country
08. Makin' Love
09. Georgia Bind My Ties
10. Restrain
11. Railroad Days
12. Siitin' On a Fence
13. High and Dry
14. Good Feelin' To Know
15. A Right Along

Band Members:
Paul Cotton – guitars, vocals
Rusty Young – pedal steel guitar, banjo, Dobro, guitar, mandolin, vocals
Timothy B. Schmit – bass, harmonica, vocals
George Grantham – drums, vocals

LINK HERE
https://hotfile.com/dl/159358834/6b56bd1/Poco_1975-07-30_-_NYC.rar.html

Saturday, June 16, 2012

Flying Burrito Brothers- Last of the red hot burritos

Last of the red hot burritos
Last of the Red Hot Burritos was intended to be their final album. By this point, Chris Hillman was the band's de facto leader (he was the only member of the group who had appeared on the Burritos' classic debut album) and Last of the Red Hot Burritos reflects Hillman's passion for bluegrass, with a three-song acoustic mini-set appearing alongside tunes from the band's studio albums, as well as including a few songs that the group had never recorded prior to this concert. 

Pure Prairie League- Two Lane Highway

Two Lane Highway
In 1975 , the country rock movement was at something of a crossroads. The Eagles soared with One Of These Nights, but later in the year would drastically change their sound and personnel.The New Riders Of The Purple Sage were, in essence, finished.The Byrds had already disbanded.The Flying Burrito Brothers had again reorganized and were clearly on the downside of their career.Poco again was dealing with personnel changes and was struggling to recapture what they had established in the early 70's.

Pure Prairie League was also at a crossroads. Craig Fuller had been gone for a few years, the band's first two LP's, despite some terrific music, failed to generate the enthusiasm it so richly deserved.RCA did a miserable effort promoting them and dropped them when Fuller left.The band, just resigned by RCA, had toured for two years without a contract and built up a strong fan base. New lead guitarist ,singer/songwriter Larry Goshorn was added to the band joining George Ed Powell , John David Call, Mike Reilly ,Mike Connor and Billy Hinds, all of whom had been together for years and were well aware of Goshorn ,who had the reputation of being the premier guitarist in Cincinnati and surrounding areas. He previously recorded with THE SACRED MUSHROOM.

On TWO LANE HIGHWAY , the band draws heavily on it's diversified musical roots: rock ,country, bluegrass and the blues,all superbly fused into one exciting and invigorating sound. PPL's tight , rich harmonies are always present. The musicianship is exceptional on all levels.In addition to Goshorn , George Ed Powell emerges here as a extremely crafty and gifted singer/songwriter after being in Fuller's shadow the first two LP's. Reilly lays down some strong ,imaginative bass lines and also establishes himself as a vocalist , while Hinds shows a versatility and professionalism on the drums that all to often is taken for granted , given the exceptional music here. Connor adds a creative touch on the piano, a forceful rock approach when called upon or seamlessly blending in at times with a much more eloquent touch. He can do it all-and he does it here. Call serves notice , for those who were still unaware after the debut LP, that he is the premier pedal steel man in country rock. Simply amazing, he can almost single handedly turn any song into something truly special.His "twin leads " with Goshorn became a PPL trademark as they scorched their way to success. At times , they almost blended into one ,an approach above and beyond their country rock peers.

Gene Clark- Silverado

Silverado
"Silverado '75 ~ Live & Unreleased" is an honest testament to one of the finest American singer/songwriter and performers of American popular music, well...ever. This is Gene, {on a good night} standing before a happy bunch playing some Byrd chestnuts: {"Here Without You","Set You Free This Time"} some good ol' traditional gems: {"Long Black Veil", "In The Pines'} and stipped-down versions of a few of his greatest compositions: {"Train Leaves Here This Morning", "She Darked The Sun"}.

With only two other players as support: Roger White -Guitars & Harmony Vocals and Duke Bardwell -Bass & Acoustic Guitars and Harmonies}. This is Gene's music performed without all the over-production that marred some of his studio recordings. Gene was a GREAT performer,and now we get to listen in and hear him at his very best: {listen for his great 'hillbilly' vocal tricks} and having heaps of fun. {Using a 'Dylan' voice between songs}.

To say that Gene Clark is about the most underrated of American music greats is in it's self an understatement. Here are twelve fantasic songs, and they are sung and played like no others can. Gene Clark, is presented here in all his wonder and glory...This is timeless music that shines like a mountian stream at dawn. Just give this one a listen, you won't be Sorry.

This is the Gene Clark that I remember from a stage in Norfolk, Va way back in 1985. He was amazing to watch and hear on that night, and on: "Silverado 75" all of the magic that I remember is presented all over again. This one is essential. Don't think of this as rock, folk of even country music. This is American storytelling by one of the finest we have ever had. Gene, didn't gain the notice that deserved him while he was alive. Here is another chance to enjoy nim, don't pass him by.
FIVE STARS!!!

Friday, June 15, 2012

Gene Clark - Echoes

Echoes
Essentially this is a collection of some of Gene Clark's best work from the first two Byrds albums, his first (and best) solo album (Gene Clark And The Gosdin Brothers), plus a couple of previously unreleased songs and an acoustic demo version of "So You Say You Lost Your Baby." As such, this is essential listening for fans of the Gene Clark-era Byrds.
Of the first two tracks taken from the album Preflyte, "Boston" is a fairly pedestrian pop/rock song, but "For Me Again" is typical of the terrific mid-tempo songs Clark wrote for the Byrds. Also included are a pair of songs from Mr. Tambourine Man and Turn! Turn! Turn! [The glaring omission of "I'll Feel a Whole Lot Better" is forgivable in that most fans will already have the Byrds first two albums anyway.]
Tracks 7 through 17 comprise Clark's 1966 debut which included the Byrds' rhythm section of Chris Hillman and Michael Clarke. Standout tracks include the country-rock sound of "Tried So Hard" and songs like "The Same One," "Keep On Pushin'" and "Think I'm Gonna Feel Better." Of the previously unreleased tracks, "The French Girl" is not up to the standards of the other songs, but "Only Columbe" would have fit in nicely.
When Gene Clark died in 1991, most fans--if they remembered him at all--only remembered him as a one-time member of the Byrds. Echoes proves that he was more than that. RECOMMENDED

Poco - Rose of Cimarron

Rose of Cimarron
This may be one of the best Poco albums produced after the departure of founder Richie Furay. Rusty Young's songwriting had really come along by this point, and his title track is one of the definitive country-rock songs. Tim Schmit's "Starin' at the Sky" should have been a #1 single and the album showcases his vocal abilities throughout. Paul Cotten's "Too Many Nights Too Long" is another classic. One novelty about this album is the appearance of former Loggins & Messina sideman Al Garth in sax and violin. Garth was a member of Poco for a very short time and his presence gave this album a dimension that is unique among the Poco library.
Rose of Cimarron stands as one of the best works created during the middle period of Poco's career - after the departure of Furay but before the loss of Schmit. This album really showcases the band as the tight unit that they were with unique contributions from each member. If you want to get into Poco, this is a great place to start. 

Gene Clark & Carla Olson - So rebellious a lover

So Rebellious A Lover
"So Rebellious a Lover" is an album that comes along only a few times in a lifetime. It represents a true moment of inspiration for Gene Clark and Carla Olson. Clark was a founding member of The Byrds, whose career had been on the skids for several years when his manager suggested he team up with Olson, a little-known singer/musician/songwriter from the Textones. The resulting collaboration, "So Rebellious a Lover", is considered by some to be the genesis of the alt-country movement (along with Gram Parsons' two studio albums). If true, I can certainly understand the interest that this movement generated.
Clark and Olson's voices seem to merge and weave as if they've sung together together for a lifetime. Instrumental accompaniment is wisely kept to a minimum, allowing the voices and songs to shine.
And what songs they are. Highlights of this gem include: "Gypsy Rider", a slow, country-folk number, with a haunting Parsons vocal; "Fair & Tender Ladies", a traditional folk song turned inside-out, resulting in a light country number, with gorgeous harmonies from Olson; and "Deportee", a Woody Guthrie song, sung primarily by Olson, with Parsons shining on harmonies.
"So Rebellious a Lover" manages to avoid the pitfalls of many country-folk CDs. The album never sounds too traditional or too modern; rather, it occupies a comfortable middle-ground, allowing its quality and the chemistry between Gene Clark and Carla Olson to shine through.

Monday, June 11, 2012

Neil Young- On the Beach

On the Beach
Neil Young's 1974 release On The Beach is considered one of his classic albums, but for some reason the album was never released on compact disk. Finally, the album has made its way to the digital age and Mr. Young's fans can enjoy one of his most blisteringly savage albums. After his record label rejected his eulogy to two lost friends, Tonight's The Night, Mr. Young came up with the ragged edged On The Beach. The album opens with "Walk On", Mr. Young's rebuttal to Lynyrd Skynyrd's rebuttal of him as well as a rebuking of the press who criticized him during his 1973 tour. "See The Sky About To Rain" confronts a similar environmental topic as "After The Gold Rush" and has an eerie organ and a haunting steel guitar played evocatively by long time cohort Ben Keith. "Revolution Blues" is a dark and disturbing song about a cult and the terror they may inflict on the wealthy residents of the Laurel Canyon that is clearly inspired by the Manson family. The song's music belies the dark tone of the lyrics with shimmering guitars that undercut the subject matter. It is very good song, but Mr. Young would go onto to perform the song acoustically on the subsequent tour that would better capture the stark nature of the song. "For The Turnstiles" is a brilliant song that is driven by a stuttering, bluegrass banjo and was inspired by the stadium tour he had just completed with Crosby, Stills & Nash. Mr. Young was clearly disturbed by the fact that big business was starting to take over rock and roll and art was suffering for commerce. The song foretells of the selling out of musicians and the forming of corporate rock. "Vampire Blues" is a stinging commentary about the oil business. Both the title track and "Motion Pictures" are self-reflective songs, the former about sacrifices for a career and the latter about his relationship with actress Carrie Snodgrass. The album's final track, "Ambulance Blues" is one of Mr. Young's masterpieces. Clocking in at almost nine minutes long, the song tackles numerous subjects including some recurring themes of Mr. Young's music like the pillaging of the land and its native people, dirty politicians, depression and his childhood. The song is sparse and mostly acoustic. It is a loose tribute to a hero of Mr. Young's, an English folkie, Bert Jansch. The song actually clips its beat from a Mr. Jansch song. On The Beach has the mournful qualities of Tonight's The Night, but unlike its predecessor that offered only bleakness, this album finds Mr. Young beginning to find some light.

Poco- Keeping the legend alive

Keeping the Legend Alive
This CD/DVD combo captures the sincerity and the joy that is Poco. It is pure magic when the recent line up of Rusty Young, Paul Cotton, George Grantham (get well George) and Jack Sundrud includes founding father Richie Furay to join the mix. These guys really seemed to be having a great time mixing in Poco highlights from the various lineups. Timothy Schmit and Jim Messina even get nods as each has a song included in the set. The only thing missing are Timmy and Jimmy themselves. My highlight has to be "Let's Dance" which features a rocking vocal by Richie and the band, some great leads traded by Paul and Rusty and some stellar drumming by George. A real departure from the mellow Poco we have come to know as of late. The current lineup of Poco continues the legend of the true pioneers of country rock. This is a great companion to Richie's "Heartbeat of Love" and Poco's "Bareback at Big Sky".

David Crosby- If I could only remember my name

If I could Only remember my name
This is a longtime favorite of mine, and nothing is likely to dislodge it.
If every speck of weed were to disappear from the planet tomorrow, it would still be possible to get stoned just from this CD. (Strictly speaking, you wouldn't even have to listen to it; you could pick up a contact high just from holding it in your hand.)
But contrary to the previous beliefs of some of my generation, it's not actually necessary to use chemical aids to achieve this sort of high. The high Crosby achieves on this album is the real thing: hauntingly beautiful artistry that includes but transcends his own individual contribution, producing a whole that is greater than the sum of its parts. This is some of Crosby's best music, and it's not an accident that so many other names appear in the liner notes.
For this album reads like a Who's-Who of the late '60s/early '70s California music scene: Graham Nash, Neil Young, Joni Mitchell, and an array of other contributors we might as well call the Grateful Airplane. And everybody pitches in _something_ without which the album wouldn't be what it is.
But the center of it all is Crosby and his own unique musical vision. And when he's at his best -- as he is here -- his songwriting is so good he sometimes doesn't need to bother with words at all (as, e.g., on "Song With No Words (Tree With No Leaves)"). If the first thirty seconds of "Tamalpais High (At About Three)" doesn't leave you stunned and transfixed, then you and I aren't from the same home planet -- and I don't especially want to visit yours.
(The stuff _with_ words is still timely as well -- unfortunately, because some of it was recorded in the hope of making itself irrelevant and unnecessary. "I wonder who they are / The men who really run this land / And I wonder why they run it / With such a thoughtless hand . . . " At the time, this stuff was a call to action and a cry for change. Now, thirty years on, you may find yourself shaking your head and wondering whether anything has changed after all.)
Longtime Crosby fans probably already have this CD; if not, let me just mention that the CD was remastered from the original analog recordings by the original engineer, Stephen Barncard, who did it right both times. And you'll probably remember all the cool photos (many of them by Henry Diltz); they're included.
New listeners: if you like CPR, you'll probably like this stuff too. Crosby's keen musical intelligence is sometimes less than obvious because of his understated approach, but don't underestimate it; there are few who can do it better. Terms like "groovy" and "far out" are easy to ridicule owing to their overuse, but this album is what they're supposed to mean.


Saturday, June 9, 2012

Eagles- One of these Nights

One of these nights
The Eagles' fourth album One Of These Nights was released in June of 1975.
Like its predecessor, was produced by Bill Szymczyk and has the same band lineup as the previous album.
The opening title track, which was a #1 hit for the band, is a rock song with a funk/soul feel which was described as disco-like but it's not a disco number and featured a dynamic vocal from Don Henley whom sang normal in the first two verses and at the end goes into Barry Gibb mode with the falsetto at the end of the track. Next is bass player Randy Meisner's "Too Many Hands", written by himself along with guitarist Don Felder (a bit of an odd couple, but it's a superb mid-tempo rocker with killer guitar solos from Felder and guitarist/keyboardist Glenn Frey). The countryish "Hollywood Waltz", which was the only song written by Frey, Henley and guitarist Bernie Leadon and was, bless them, a real waltz. Don's vocal was great and has more superb falsetto work from Henley at the end of the track and the song was the first Eagles track to have a synthesizer. The first half ends with Bernie's first of two contributions, the wild but stately 7-minute instrumental "Journey Of The Sorcerer" which was a superb piece of music.
The second half of the album starts with the second single "Lyin' Eyes", which was one of Glenn's best songs and one of few 6 minute tracks to top the charts and is a great country-rocker. Next was "Take It To The Limit", a grand and melodious stop-and-go ballad, sung by Meisner whom gave his best vocal performance on this track. The album's hardest rock song "Visions" had guitarist Felder's sole lead vocal which was co-written with Henley. Next, was "After the Thrill is Gone" which was sung by Frey and Henley and was a superb ballad about breaking up. The album closes with Leadon's second of two contributions, the ballad "I Wish You Peace", which ironically was his last song with the band as he would leave in late 1975.
This album was the band's first #1 album here in the States.

Highly recommended!

Byrds- Sweetheart of the Radio- Legacy Edition

Sweetheart of the radio- Legacy Edition
Sweetheart of the Rodeo gets expanded one more time with this 2 cd release. Disc 1 starts off with the album as it originaly came out in 1968 remastered and even cleaner than the 1998 addition. The bonus tracks begin with All I Have Are Memories first heard as an instrumental on the '98 reissue this time with vocals by drummer Kevin Kelly sounding like a Buck Owens tune this should have been on the original album.The rest of disc 1 has the bonus tracks from the '98 reissue.Disc 2 starts off with Gram Parsons previous band The International Submarine Band with three tracks from very rare singles that show a huge debt to the Beatles.Following those are three tracks from The International Submarine Bands sole lp Safe At Home.The rest of disc 2 are outtakes and rehersals of songs that made it on to the original lp. These offer valuable insights to the Byrds inthe studio.This is an excellant set that any Byrds fan should not be without

Flying Burrito Brothers - Gilded Palace of Sin

Gilded Palace of Sin
Alot has been said about the importance and impact that this record gave upon the future of popular music, and the cross-lateralization or pollination of country music and R&B/Rock, which came, in hindsight, at the appropriate point in time. Chris Hillman and Gram Parsons were involved previously with the Byrds' Sweetheart of the Rodeo set(influenced by Parsons), which actually threw caution to the wind and saw the group completely alter their musical style in favor of a more roots oriented authentic country sounding album. The uncertainty of this direction caused major upheavels amongst the listening public, critics and the band themselves, causing a major breakdown and leaving Roger McGuinn as the sole leader of future Byrds related projects. Hillman joined Parsons to start a new band and after hooking up with local musicians Sneeky Pete Kleinow(pedal steel) and bassist Chris Etheridge, the Flying Burrito Bros. were born. The band hadn't secured a proper drummer as of yet and so 4 different drummers adorn the credits of the record; featuring mostly Jon Corneal and Popeye Phillips on the majority of the tracks, after the release, another ex-Byrd Michael Clarke, would be the Burritos main man behind the kit.

Opening with Christine's Tune(aka Devil in Disguise), the Burritos are off and runnin' with a finely established blend of Bakersfield-style West Coast Country and the force of rock and roll style chord progressions, coupled with the Everly Bros.-like harmonizing from Hillman and Parsons, making this track a very positive, strong and breathtaking opener. Sin City follows and is more of a deep-rooted country number with the inimitable vocalizing and harmony of the Hillman/Pasons duo which is the main strength of the sound of the band, not to mention Sneeky Pete's unorthodox pedal steel playing. The songwriting duo of Parsons/Hillman is paramount throughout this recording and the album boasts only two covers in Do Right Woman(recorded previously by Aretha Franklin) and James Carr's Dark End of the Street, which are wildly different versions as these songs were originally rendered in an R&B flavor; the Burritos twist and bend these songs into a more country tinged direction, and ultimately, make them their own.

My Uncle has elements of bluegrass with some fine mandolin playing courtesy of Chris Hillman and makes for a bouncy upbeat number about dodging the draft. Wheels is a laidback tune about the love of motorcycles which has a nice arrangement interlaid with Sneeky's lazy pedal steel and tinkling piano lines. Juanita is another lazy shuffle which is very countrified in its lyrical voicings and ensemble interpretations, coupled again, with the signature Hillman/Parsons extraordinary vocal harmonies. Chris Etheridge and Gram Parsons collaborate on two numbers known as Hot Burrito #1 & 2; the first being a softer styled ballad that features Parsons' dynamic heartfelt vocal performance which really cuts through the listener compellingly, and the latter which is more R&B flavored with a slight gospel tinge in its organ and vocal harmonies. Do You Know How It Feels is a Parsons original from one of his earlier bands and is a track that has a great feel and showcases Parsons' talents for writing quality songs that pay special homage to country music ala in George Jones and Merle Haggard fashion. Gilded Palace closes with Hippie Boy which melds Peace in the Valley at its end, featuring Hillman speaking the lyrics of the number and telling the tale of the "little Hippie Boy on his way to town". The purpose of the Burritos back then, was to meld the Country music lovers with the Rock crowd and it was above all, Parsons' grand vision and quest to accomplish this. For the time period, Gilded Palace was not very popular and no one knew quite what to make of it; but in later years, hindsight has been kind to this first efort of the Burritos and this release belongs right up there with Sweetheart of the Rodeo, the first Crazy Horse album and Little Feat's Debut as groundbreaking releases which tick off the possibilities of melding different styles of music and coming off with an exciting and new hybrid of interpretation and style. Parsons and Hillman create an unknowing masterpiece here, and it should always be regarded as such. 5 Legendary Stars

Friday, June 8, 2012

Poco- Pickin' up the pieces

Pickin' Up the Pieces
On this album Richie Furay and Jim Messina literally pick up the pieces of their former band Buffalo Springfield and create a landmark in the history of music. Furay and Messina rounded out their band with pedal steel guitar great Rusty Young (whose great steel solo on Kind Woman, the finale of the last Springfield album, helped set the direction for what would later become Poco), the great Randy Meisner (who would later become famous to a generation of country-rock fans as the high harmony voice of the Eagles), and George Grantham, whose steady drumming and fantastic harmonies were a perfect fit for what would become a very tight band. The term "soaring harmonies" never fit as well as with Furay/Meisner/Grantham on this album. For fans of great guitar and steel guitar, the interplay that developed between Young and Messina on this album will truly amaze you. On this album, perhaps more than any other Poco album that was to come, Furay took center stage as the #1 songwriter, contributing to almost all of the tunes on this set. He truly set the stage for Poco's trademark upbeat music.

If there is a downside to this album it may be the fact that it actually could have been even better. A rift developed between Meisner and the band during the completion of the album and his lead vocals and some of his other contributions were erased from the final product. Messina was also never particularly happy with the fact that his hands were somewhat tied from a production/engineering perspective. There is also a noteworthy lack of anything even remotely resembling a candidate for hit status on AM radio, a fact that would haunt the band for years. There are also a couple of weaker tracks, but the power and energy of the title track, Calico Lady, Consequently So Long, What a Day, Make Me a Smile, and Rusty Young's instrumental Grand Junction more than make up for them.

This album is also interesting from the standpoint that nobody had ever really created a full-length album of rock music infused with the elements of country music prior to this album's release. The Byrds's Sweetheart of the Rodeo and the International Submarine Band's Safe at Home came close, but they both lacked the down home rock foundation of this album. Poco spent months perfecting the sound that you will hear on this work, and it stands out as a true milestone in the history of music.

Richie Furay- Alive

Alive
Richie Furay is the Heart & Soul of what has come to be known as Country-Rock music. His contagious, joyful energy adds an effervescent quality to whatever he does. In this album, Alive, he sings and talks his musical history in a way that you know he was glad to be there. The renditions of his songs from the Buffalo Springfield, Poco, the SHF Band and his solo career, both gospel and secular, are fresh and filled with the vitality that surrounds Richie. I get chills listening to this inspired album. It is a must have for anyone that considers themselves a fan of Country-Rock Music. Thank you, Richie . . .


Richie Furay - Heartbeat of Love

Heartbeat of Love
The album opens with a fresh new track called Forever With You Loaded with hooks and harmonic melodies, this tune gives the listener a welcome back feeling when they hear the wonderful voice of Richie Furay with a little help from his friends like Jeff Hanna from the Nitty Gritty Dirt Band.
Timothy B. Schmidt lends a hand on My Heart Is Cryin' Tonight. One of those rich ballads that Richie is famous for, with lyrics that match the emotion of the vocal artistry of both singers "I know a love that is strong, will somehow carry on, But My Heart Is Cryin' Tonight."
Neil Young and Kenny Loggins chime in on the Buffalo Springfield/ Poco revisit of Kind Woman. After a recent tour with Linda Rondstadt, this song was truly one of the biggest crowd pleasers. This 2007 treatment has all of the qualities you would expect from this classic and more.
Another strong track, Callin' Out Your Name features Stephen Stills and Richie's daughter Jesse Furay. This is classic Furay. No matter which way you look at it, a hook-laden song, masterful harmonies and number one musicianship. This will be one of your favorite go to songs once you add this album to your collection.
The Heartbeat Of Love is Richie's first rock album in almost two decades. This is a definitive "worth waiting for" album, and it shows full circle his career in song with some of his most notable and famous friends from the past four decades. Enjoy! 

Poco- Head Over Heels

Head Over Heels
This is when pedal steel guitarist RUSTY YOUNG makes his debut lead vocal (unless he actually sang on their previous albums) on the mandolin (played by RUSTY)/acoustic ballad US that also features the pipe organ, piano, and harmony vocal by bass guitarist TIM SCHMIT who wrote and sang the quiet acoustical ballad KEEP ON TRYIN'. Why RUSTY did not sing more songs that he wrote on this album and on the earlier POCO albums is a mystery to me because his song would have sound so much better; then again he might have too. Plus, I feel the more singers in a band, the better. The next song LOVIN' ARMS features excellent harmony vocals, drums, violin, banjo, acoustic, dobro, and pedal steel guitar playing. LET ME TURN BACK TO YOU that is written and sung by PAUL COTTON is a great song with his lead guitar playing and RUSTY'S mandolin and pedal steel guitar playing. MAKIN' LOVE is an excellent rock song with the harmony vocals, TIM'S bass guitar playing, GEORGE GRANTHAM'S drumming, PAUL'S guitar playing, RUSTY'S steel guitar playing, and THE BAND'S GARTH HUDSON playing the high-pitch piano, but SITTIN' ON A FENCE that features excellent harmony vocals, RUSTY'S steel guitar riffs, PAUL COTTON'S lead guitar riffs, GEORGE'S drumming, TIM'S bass guitar playing is better. Plus, the whatever type of percusion by VICTOR FELDMAN at the beginning of the song that comes after the excellent sounding bass guitar intro made me think is was either a CARIBBEAN or JAMAICAN song. PAUL'S DOWN BY THE RIVER is a good slow song with the orchestra, (a mellotron would have been better), harmony vocals, lead and pedal steel guitar riffs, and his guitar rockin' GEORGIA BIND MY TIES with the drum playing, bass guitar, harmony vocals, leslie steel and clean lead guitar riffs is excellent. Plus, DOWN BY THE RIVER reminds me of FAITH HILL'S PEARL HARBOR THEME "THERE YOU'LL BE." TIM'S FLYIN' SOLO is good, but I do not understand why RUSTY does not play pedal steel guitar or anything on this song. The STEELY DAN written DALLAS that is sung by PAUL is excellent with the harmony vocals, the orchestra, the pedal steel guitar riffs, the drums, and the bass guitar. TIM'S I'LL BE BACK AGAIN is great with the harmony vocals, drums, guitar and bass guitar riffs, although RUSTY should have played more of the pedal steel guitar on this song too. Overall, this is definitely a must for all POCO FANS, especially all country lovin' music fans. More importantly, POCO had a whole lot more country sound to offer than THE EAGLES.


Gene Clark - White Light

White Light
If you want my consumer advice, get this before it reaches the "limited availablity" status of NO OTHER. Though more laid back in terms of production, WHITE LIGHT remains one of Gene Clark's most signifigant releases. If you're into Graham Parsons, Townes Van Zandt or Neil Young, Gene Clark's right up your alley. As his work with the Byrds goes to show, he had the uncanny ability to write a great pop melody, off-set by an inescapable sense of longing and melancholy. In a way, he's a bit like a country-fied Nick Drake. Much like Drake and the very early Tom Waits, he seems to have strived to establish a particular mood in his solo work. A kind of opiate feel, complimented by a set of baroquely reflective lyrics. The end result is an album of slow burning intensity. "Spanish Guitar" is a prime example, a song Dylan professed a great admiration for. Another gem is "With Tomorrow" with the haunting opening line, "it was more like a dream than reality"---a phrase that perfectly captures the tone of this album.
The bonus tracks are a real plus. "Opening Day" is particularly notable and one couldn't ask for a better closer with, "Winter In". Like so many songs on this album, it's guilty of infectiously lazy hooks and baffling, evocative verse.
Though released at the height of the Hippie Era, Clark was a shade or two darker than his contemporaries. All of which may account for his lack of commercial appeal. Sure, he should have been huge, but in the end what can you do but write a good review some 30 years later? Fortunately, the music's still around and currently gaining rapid cult status thanks to a roster of fickle critics, and a few hard working musicians who took the time out to drop his name.
Still it's a shame NO OTHER is available only on import while Clark's last full-length solo album languishes out of print. In lieu of the compilation FLYING HIGH and the tribute, FULL CIRCLE, I would heartily recommend WHITE LIGHT and THE FANTASTIC EXPEDITION OF DILLARD & CLARK instead. Not to mention the desperately epic, NO OTHER. That should be enough to make you cross your fingers for the eventual reissue of this album I keep hearing about. I'm not sure of the title, but I think it's called,TWO SIDES TO EVERY STORY.



Poco -Legacy

Legacy
This is the album that diehard Poco fans love to hate. Like most reunion albums, this one does not turn out to be what you would expect. When the original five members of Poco (Richie Furay, Jim Messina, Randy Meisner, Rusty Young, and George Grantham) reunited for the first time since the recording sessions for their debut album (Pickin' Up the Pieces), most hardcore Poco fans hoped and expected that they would again "pick up the pieces" and start right where they left off 20 years before. Legacy doesn't - it is a continuation of the individual careers of the members, and the music shows how they had each progressed in the 20 years since they last played together. The other thing that disappoints fans is that this album is not an equal mix of the five band members. Singing drummer George Grantham appears very sparingly, as he was not available for the majority of the recording sessions. His role was limited to providing backing vocals, while his place behind the drum set was filled by session men. In addition, founding father Riche Furay was held to two cuts and also appears very little on the rest of the album. Legacy was pretty much a collaboration between Meisner, Young, and Messina.
Once I got over the disappointment of not hearing "Pickin' Up the Pieces - Part 2" and the limited role of Grantham and Furay and gave this album a chance, it really grew on me. It opens with Furay's great Poco autobiography "When it all Began". The next cut, Rusty Young's "Call it Love", rightfully put Poco back on the commercial radar for the first time in many years. Young's "What Do People Know", another Poco autobiography, is another highlight. Jim Messina's "Follow Your Dreams" is one of the best songs he ever wrote and is simply amazing. Randy Meisner's incredible vocal work is all over this album and is another highlight, as is Rusty Young's lap steel guitar.
The reunion turned out to be a one-off effort and the lineup did not even survive the supporting tour, as Furay found his dual role of Calvary Chapel minister and rock performer to be too incompatible. But Legacy stands out as a great record that features great legends of the country-rock era and I think stands up well against other works by band members during their days with Poco, Buffalo Springfield, Loggins & Messina, and the Eagles. 


Buffalo Springfield - Again

Again
The Byrds gave us chiming guitars and then, with the addition of Gram Parsons, a pure Country sound that was better than 90% of what Nashville was then cranking out. Buffalo Springfield gave us a rock 'n' roll band that grew from the folk circuit, from Stills, who brought Country and the oldest, most traditional folk, from the South, meeting with Furay, who brought a mild Country sensibility. Richie had met Neil Young, who had been part of the Canadian folk scene, briefly in New York. The Country roots origin of Buffalo Springfield were completed with Dewey Martin, who'd played with The Dillards. Along with Neil's friend Bruce Palmer, this quintet was a rock band simply trying to make the best music, which meant it must avoid teeny bop pop and Tin Pan Alley cliches, musically and lyrically, and that had them reworking Country and folk sources with a rock 'n' roll heart and attitude.
This is the best Buffalo Springfield album, and its importance merits 5 stars. My down ranking to 4 stars is because this should be a remastered version with at least one added cut: the 9 minute jam version of 'Bluebird' that apparently is not available anywhere today. Yes, all things considered, I prefer the 4 minute, originally released version and rank it a Classic, but the 9 minute version is perhaps more important to rock history, for it was an indispensable source for especially Southern rock bands as they forged long, jamming epics such as 'Free Bird' and 'High Tides and Green Grass.'
Beyond that, this album is loaded. In addition to 'Bluebird,' 'Mr. Soul' is an all-time Classic, and 'Broken Arrow, 'Rock 'N' Roll Woman,' and 'Expecting to Fly' are all brilliant. Richie's 'A Child's Claim to Fame' is nearly as good. No song is a throwawy.