Lynyrd Skynyrd-Legend

Legend

Legend is a hodgepodge of outtakes from the 70's. Mr.Banker and Truck Drivin' Man are from the first record in 73. Georgia Peaches and Sweet Little Missy are a couple of swaggering honky tonkers from Street Survivors. Nothing extraordinary here, but no clunkers either. If you're like me, you wanna here anything with Ronnie singin on it. This is really a must album for serious fans of the band. It's interesting to notice the different vibe in the band on the songs with Steve Gaines. The Okie definitely gave this band a spark with his snakey strat licks. One In The Sun shows that Gaines had a fine voice as well. I'd love to hear Eric Clapton cover One in the Sun- what a great song. Damn what a shame this band got taken away so cruely. You know, there are good reasons why you still hear 70's Skynyrd songs every day on the radio- great riffs, singing and whole bunch of soul. RIP Steve Gaines, you were a gem that we barely knew. there is no doubt about it...this is one of Lynyrd Skynyrd's classic albums. My favorite song on this album is Georgia Peaches. Alot of Guitar Work In That Song. This is also one of the albums that has a variety of the skynyrd members. it has singer-ronnie van zant,guitarists-gary rossington,ed king,allen collins and steve gaines(wich also sings on this album),and drummers-artimus pyle and bob burns,and bassist Leon Wilkeson and larry junstrom and classially trained pianist billy powell.Buy this and you wont regret it.

Charlie Daniels Band-Million Mile Reflections

Million Mile Reflections

If you are one of those people who only have Charlie Daniels Greatest Hits you are missing some of his best work. Albums like Million Mile Reflections and Fire on the Mountain are solid from beginning to end. When you get past the many hits you will find some good Jams. And "Jams", is what they are. You can't call it Country or Country Rock or Jazz, although atributes of those genres are mixed in, it's just a jam. This album contains CDB's biggest hit, Devil Went Down to Georgia which may have caused other tracks on this album to be passed over. Reflections is a haunting ballad worthy of more attention. Blue Star is an outstanding song. You owe it to yourself to check out these CDB albums from the 70's and getting to know the classic talent that is Charlie Daniels Band. As is likely with other buyers of Million Mile Reflections, I was attracted to it by The Devil Went Down To Georgia.That song sounds as good as ever, however to my suprise the remainder of the album majors more on Southern Rock, with some Jazz Rock, rather than Country Rock. After a second play I have found more songs that take my interest, they are Passing Lane, Behind Your Eyes and the poignant Blind Man.
In 1969 Charlie played on Bob Dylan's Nashville Skyline, so if he is good enough for Bob, he's certainly worth getting to know.

Longbranch Pennywhistle

Longbranch Pennywhistle

 

Longbranch Pennywhistle is a pleasant yet unthrilling album of modest harmonized early country-rock. Pre-echoes of the sound of the Eagles and 1970s mellow Californian rock can be heard, and Souther would re-record one of the better songs, "Kite Woman," for his early-'70s solo debut. The album sold little and the duo broke up in mid-1970. However, Frey was soon playing in Linda Ronstadt's band and forming the nucleus of the Eagles, to whom Souther would frequently contribute as a songwriter.

You can download the entire CD at Glenn Frey's Site, Here is the Link
http://www.glennfreyonline.com/longbranch/index.htm 

Charlie Daniels Band-Full Moon

Full Moon

 This is not one of Charlie's best efforts. Apart from The Legend of Wooley Swamp, which is a CDB classic, it's hardly representative of his best work. South Sea Song has to be about the worst song he's ever recorded. It sounds like a warmed-over Jimmy Buffett track, although I doubt Jimmy would touch it. Lonesome Boy From Dixie isn't bad, but kind of cliched, as is the inferior El Toreador. No Potion For the Pain is kind of bland, and Dance Gypsy Dance is ruined by female backing harmonies that sound like Olivia Newton John. Carolina is a heartfelt track, and Money isn't bad, but In America is an example of one of Charlie's worst traits - his penchant for jingoism.  Looking back this album came out during the heyday of southern rock. It fit the bill very well sliding right in with Lynyrd Skynrd, Molly Hatchet and the rest. "Lonesome Boy From Dixie" is a very good poster child song of the era. It's a good song but also describes the times. "In America" was written in response to President Carter's ineptitude but it is still a good song. "Legend Of Wooley Swamp" is the hit on this album and it's good and worth th price if you're wondering.

Burrito Deluxe- Disciples of Truth

Disciples of Truth

Burrito Deluxe is comprised of Kleinow on pedal steel; Carlton Moody playing guitar and mandolin, as well as taking on the role of lead singer; Walter Egan, who also plays guitar along with lead and harmony vocals; Jeff "Stick" Davis plays electric and upright bass; Richard Bell (formerly of The Band) plays piano; and Bryan Owings on drums. Joining them on this disc is Mike Daly on pedal steel, lap steel, and dobro; Al Perkins on pedal steel and dobro; Cindy Cashdollar on dobro; Barry "Byrd" Burton on guitars; Craig Krampf on drums and percussion; Rick Lonow on drums and percussion; Daniel Dugmore on pedal steel and banjo; and Richard Ferreira on rhythm guitar. See all those pedal steel players? Is it any wonder why I like this disc? Unfortunately, great tragedy accompanies this fine work, as it's the last from "Sneaky" Pete Kleinow, who passed away on January 6, 2007. The Burritos contend they will remain together, and while there will never be a "replacement" for Kleinow, their stable of featured guest guitarists will carry that torch for as long as they want to record. This is good to know, because it doesn't come much better than this one for country music lovers. It's a continual source of humor for me that so much of the best country music these days is coming from classic rock artists, but that's the score - so toss in this disc and listen to some real down-home country music from some phenomenal players and great writers, and just enjoy.
I was pleased overall with the general quality of this disc - nothing actually shot out at me as the absolute WOW, but you know, you don't need that with everything. It's an extremely comforting disc in many ways - simple, solid, ordinary country music, with no bells and whistles, no "whoo!" blasting out at you, no screaming guitars - just a plain, honest sound. There's some real standout tracks, like "Encino," "Midnight at a Red Light," "Front Row Seats to Heaven," and one of my favorite songs in all the world, "Wichita," which I was introduced to by John Corbett last year; the Burritos do a bang-up version here. I've never been to that city, but judging by the quality of songs about it, it must be a very special place (think about it - Glen Campbell's "Wichita Lineman," Ty England's "Collect from Wichita," Shawn Colvin's "Wichita Skyline," heck, the list just goes on and on...). There's also the strong opening track, "Out of the Wilderness," and the rockin' title track, too, featuring some smokin' lead guitar. Heck, there's not a weak song on this disc. Like I said, solid. They don't forget their country-rockin' roots.

Manassas- Pieces-2nd Review

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?

As I mentioned, Stills' career would have erratic highs (STILLS, Illegal Stills, Stills Alone, CSN 2) and lows (everything else), but just when you'd be ready to write him off, along comes MAN ALIVE, his very best CD. He readily admits that he isn't sure if he still has it, but perhaps by reviewing his CV he'll find he can rejuvenate his strengths. As a cancer survivor and dedicated Democratic campaigner, Stills has something to say that we all could learn from. While the next CSN CD is purported to be a Richard Rubin covers set, I'd rather have Stills head to the woodshed.

Loggins and Messina -Sittin' In

Sittin' In

Jimmy Messina was a recording engineer and producer for the Buffalo Springfield. When their bass player, Bruce Palmer was arrested for drug possession and deported (twice) Jim Messina stepped in to play bass as a permanent member of the group. Neil Young was also threatening to, and eventually did, leave the group and Messina was also an accomplished electric and acoustic guitar player, so his requirements in the band were often stretched. Eventually the group, comprised of all 5 type-A personalities folded for good on completion of the 3rd and last album, Stills and Young moved on to their super-group and solo careers, and Richie Furay and Jim Messina went on to form Poco. Poco itself was a band of type-A's including Rusty Young and future Eagle, Randy Meisner. Again after 3 albums there was a group shake-up and Jim abandoned the group (as well as others). Once again a producer and engineer, Jim came across a talented young songwriter, Kenny Loggins, trying to become a performer. They began recording in Messina's living room and with Jimmy actually "sitting in" but what began as a producer assisting a new artist in releasing a debut album, turned into the launching of a new group:
Loggins & Messina.

SITTIN IN was not an instant commercial success but over the next year '71-'72, us college kids (and the more adventurous high schoolers) got our hands on it through word of mouth and by L&M engaging in a lot of campus touring. The personnel line up which Jimmy assembled, originally for Loggins studio and touring efforts, were some of the best unknown talent he could find. These musicians would propel Loggins & Messina through all of three critically praised albums and through most of three more studio and one live album. SITTIN IN is the beginnings of another super-group story which recently (2005) toured again to sell-out crowds.

This album is a powerhouse of simple yet complex, acoustic yet electric, country-folk yet rock with a splash of jazz, lyrical yet instrumental-jam, songs and ballads. SITTIN IN, like the follow-up LOGGINS & MESSINA, and FULL SAIL after that, have no clunkers, no weak tracks, no filler, no poor efforts. Every song gives us 100% of pure unadulterated talent and hours of listening pleasure. If you like gentle acoustic love songs, and post-psychedelic lead-exchanging music jam sessions, and thoughtful introspective lyrics, and grass-roots feel-good music, and even a little protest-music, then this album is for you. Ditto for the two follow-on albums. SITTIN IN was a pioneer in the early 70's period as a pioneer of the burgeoning progressive rock, album oriented rock, and all-encompassing classic rock genres. Don't miss this one!
Undoubtedly "Sittin' In" was one of the seminal albums for the singer-songwriter genre of the 1970s, and was also highly typical (and yet influential) of the growing California sound. Kenny Loggins's pairing with Jim Messina was one of those magical happenstances you look back on years later with wonder, like Crosby & Nash inviting Stills over one afternoon.

Although the achingly beautiful "Danny's Song" (with which Anne Murray had a big hit later) is worth the entire purchase price of the CD, there are other standouts as well, including the popular "House at Pooh Corner," "Back to Georgia," and the trilogy of "Lovin' Me," "To Make a Woman Feel Wanted," and "Peace of Mind."

Though their other albums together may not have been as strong, "Sittin' In" is a clear and enjoyable demonstration of the potential they had and the songwriting gifts they both possessed

38 Special- Special Delivery

Special Delivery

On SPECIAL DELIVERY, their second album, .38 Special sound like a more pop-oriented version of the Outlaws, just as they did on their self-titled debut. This album is unjustly underrated, as very few, if any, of its songs are played at the band's concerts any more. However, that shouldn't dissuade you from searching it out, as it is a great piece of Southern rock at its best. This is now out of print.

38 Special -1st

38 Special

This a pure, no holds barred, balls to the wall Southern Rock record. If you are only a fan of their arena rock songs, than you may not like this, but listen to it anyway because you will probably be convinced that this rocks. Don't get me wrong, I like their arena rock sound so much that I just saw them in concert last week. But this is Skynyrd roots southern boogie rock n roll at its finest. Donnie Van Zant sings this album like it is his birthright(which it is). Don Barnes does not sing a single song, only harmonies. For people not as familiar with the band, Don Barnes sang the hits "Hold on Loosely", and "Caught Up In You". It wasn't until the 1979 album "Rockin' Into The Night" that Donnie and Don started sharing the vocal duties. This cd picks up where Skynyrd left off, pure and simple. There is not a bad tune on it. On this album, the group sounds like a cross between the Allman Brothers Band circa BROTHERS AND SISTERS and the music on the Outlaws' BEST OF THE OUTLAWS: GREEN GRASS AND HIGH TIDES, pointing the way to the band's future fusion of Lynyrd Skynyrd and the Outlaws. The best songs here are "Long Time Gone", "Gypsy Belle", "Four Wheels", "Tell Everybody", and "I Just Wanna Rock And Roll." If you love Skynyrd, Blackfoot, Molly Hatchet, or the Outlaws, you'll really enjoy this CD.

Pure Prairie League-Cant Hold Back

Cant hold back

Pure Prairie League released this CD in 1979 after going through yet another band re-organization. This is not a great CD by any means, and not one of PPL's best, but is noteworthy in that it is the first time the general public had the opportunity to hear an amazing singer and guitar player named Vince Gill, who of course went on to become one of country music's most celebrated entertainers. The song selection on Can't Hold Back is it's primary weakness, although there are a few gems ("White Line," "Misery Train"). But the playing and singing are great, and this CD was followed by two much more solid efforts ("Firin' Up" and "Something In The Night"). If you are a Pure Prairie League fan, you may or may not like this CD because PPL went off in a more rock/pop direction with Vince Gill leading the way. But if you are a Vince Gill fan, you will surely enjoy hearing Vince as a teen-aged rock-n-roller on this CD. PPL's first release with a very young Vince Gill showcases his vocal prowess. While a valiant effort was made to retain some of the classic prairie sound, it was very obvious that the band was moving to a slicker more radio friendly sound starting with this album. Actually Pure Prairie League had become stale without Craig Fuller and was overdue for a fresh invigoration.

Loggins and Messina- Full Sail

Full Sail

"Full Sail", the third album by Loggins and Messina, is my second favorite by this talented duo, behind only their fourth album, "Mother Lode". On the first two albums they played primarily light pop music, with enticing bits of country and calypso thrown in to the mix to keep it interesting. On "Full Sail" they begin to stretch out with lengthier instrumental passages that have hints of country-jazz fusion. They would carry this to it's furthest extreme on the next album, "Mother Lode", before retreating back to a more pop sound on their final albums. "Full Sail" features probably the best song of their career, "Watching The River Run", as well as other noteworthy songs such as "You Need A Man/Coming To You" and "Didn't I Know You When". Unfortunately their artistic growth and adventurousness seemed to lead to a decline in their commercial fortunes, so they did not continue to pursue the interesting directions their music had been heading past the fourth album. FULL SAIL, as with the first two L&M albums, deals out a terrific hand of cross-genre styles, island music that would make Jimmy Buffett blush, intense instrumental jams that stuck pistols into the back of Traffic, and endearing ballads to rival Jim Croce at his own game in his own year. The album popped up even higher than LOGGINS & MESSINA and peaked on the charts in the top 10. Again, our college radio stations and FM giants had a ton of meat to eat off of. FULL SAIL even sported 1950's retro pop for the adult contemporary listener of the day. Not that that was a bad thing, nothing L&M penned now was "bad" and even their weakest songwriting put to test their contemporaries of the day. For a third time, Loggins & Messina showed themselves up with a whole album that could stand the test of time and today it is as entertaining and involving as the day it hit the streets. Kenny and Jimmy had full careers ahead of them, they are still active now and have a trail of hits and money-makers behind them both together and alone. They recently reunited (2005) for sellout crowds, and everyone knows that Kenny was the hit-man of the 80's and 90's, scoring top singles and movie soundtracks. Jimmy has been behind so many legends of the 80's and 90's you would be surprised to read about it all. None the less, after this album they would garner some positive critical and commercial praise for an exemplary live album and three more solid studio efforts; but this album, FULL SAIL is a third send up in a trilogy of 5-star perfect works of art. No one should miss adding these to their collection and depending on your own leanings, this one might be the best of three. Each of the first three albums had a slight slant in one slight different direction but the overall arc of the music is one stupendous body of work. LOGGINS & MESSINA was grounded on terra firma, FULL SAIL is light and breezy, and SITTIN IN held to a place somewhere in between. For my money, on a sunny day, if you are anywhere near water, or just want to be, pop this one into the car stereo and just cruise.

Marshall Tucker Band-Just Us

Just Us

JUST US was Marshall Tucker's illustrious followup to the miserable TUCKERIZED, but, unfortunately, its last great album until 2004. This time the band produced itself, and blind keyboardist Ronnie Godfrey, now fully integrated into the band, proved that his blindness was no handicap, contributing greatly to the writing here. You would think that Godfrey would spur the band on to further masterpieces, but unfortunately, the group hit a slide immediately afterwards from which it would not recover until the astonishing BEYOND THE HORIZON, a problem caused by the departure of all but two of the band's members. Nevertheless, you shouldn't pass this CD up.

Just Us is an excellent album with Toy Caldwell showing just how the guitar should be played, Doug Gray's strong lead vocals, Paul Riddle 'Mr. Automatic' on the drums, Jerry Eubanks on horns and George McCorkle on acoustic guitar. Unfortunately, Toy's brother Tommy had recently died and was replaced on bass, but the album is still an excellent effort and worth the purchase. If you happen to be a Tuckerhead, you won't be disapointed.

Not quite as good as Tenth or Where We All Belong (the fabulous and somewhat rare MTB live album from 74), but Just Us is a must buy.

Timothy B. Schmit-Tell Me the Truth

Tell Me the Truth

What a Hidden Gem this album is for sure. I had always known Timothy B. Schmit for his other works with the Eagles & Poco. Upon hearing this Solo Album of his, my appreciation of the depths of his talent grew immensely. The lyrics to the songs found on here are so sincere. The song Tell Me The Truth in itself just speaks volumes. I cried the first time I heard this, such a beautiful song. I love the whole complete package brought together in these songs ~~ Timothy's voice, his music and Lyrics all perfectly knit together to make these songs touch you deep inside. I would recommend this album highly, it is a treasured keepsake for sure! I hope to hear more coming from Timothy! Thanks for all of these great songs! Timothy B. Schmit is by far one of the most talented artists around today. His pure, sweet voice and the great licks on the bass guitar are what makes him so special. It was nice to hear that he has always had his trademark sound, and even sounds better today. This album from almost 20 years ago stands up to anything anyone is doing now, and is a nice reminder of how songs sounded in the 80's, and yet has a contemporary feel to it. It would be a good choice to add to others by him, especially if you are a big fan.

Crosby Nash-Whistle Down the Wire

Whistle Down the Wire

This was their third album together and, with it, Crosby and Nash proved that the wealth of excellent songwriting they showed in their first two albums was far from exhausted.
Although I couldn't say that the sound here is a departure from the brand of musical beauty they had listeners already accustomed to -although I can't imagine anyone not gasping in wonder at their harmonies, even if he or she were anxiously expecting them -and the core band remains close to prior albums, this is not quite the same than its predecessors.
The mood of "Whistling Down the Wire" is different, there's a certain melancholy to it which I did not think as present before and, particularly in Nash's tunes, a somber tone than in prior compositions. "Marguerita" and "Broken Bird" are gorgeous examples of Graham's depth of feeling, proving that his "sweet" or "tender" spirit does not mean that the man is a "light" composer.
Crosby, it's worth saying, sings two songs of his own fitting with the emotional urgency of Nash's offerings, and clearly belonging to the list of his most powerful compositions. "Time After Time" and, perhaps even more, "Foolish Man" will leave you speechless, and justifiably comparing them with some of his prior classics.
All in all, this album is a must and a testament to one of the most significant and long-lasting musical pairs in popular music, for the last thirty years.
Released in 1976, "Whistling Down The Wire" is the third proper album from the duo pairing of David Crosby and Graham Nash--it's very much of a piece with 1975's "Wind On The Water"--and you can't go wrong with it if you love these guys. The album-opening "Spotlight" is a wonderfully joyful song about playing live and sharing experiences through music. Nash contributes two of his all-time great solo compositions--the somewhat funky "Mutiny" is hauntingly powerful, ultra-melodic with great chorus hooks, and has blistering layers of electric guitars on the fade (incredible leads from David Lindley and Danny Kortchmar); and the strangely sorrowful, waltzing ballad "Marguerita" is gorgeously melodic and understated. Crosby gets in a spellbinding solo composition of his own with the dynamic, bluesy, supremely soulful confessional "Foolish Man"--it features dreamily wistful verses that work their way up to cathartic climaxes. Crosby also supplies "Dancer", a compelling wordless harmony-fest, matching peacefully innocent-sounding verses with amusingly frustrated-sounding grunting on the choruses; and the super-slow, sighing ballad "Time After Time" which is very pretty and touching--it really gets under your skin.

"Taken At All" is quite pretty also, although it's a little on the sugary-sweet side. The Crosby and Nash-penned "Broken Bird" is a soothing ballad that sounds like a cross between the aformentioned "Marguerita" and "Foolish Man".

A couple of the songs are forgettable. The reggae-fied "J.B.'s Blues" is pleasant enough, but dull. And the album-closing orchestrated ballad "Out Of The Darkness" is a bloated, overproduced attempt at a peace-and-love anthem.

Overall, "Whistling Down The Wire" is a fine album from these two legends, and if you're turntable-ready, I recommend being on the lookout for a vinyl copy. The 2000 CD release, which I believe is the first and only time the full album has ever been officially issued on CD, is hard to come by without forking over some serious money, which is curious since the similarly remastered/ reissued "Wind On The Water" remains in print; it's also regrettable since it's excellently remastered and has informative, if disappointingly brief, liner notes. Another possible choice is the in print 2002 "The ABC Years" CD--it does contain 7 of "Whistling Down The Wire"'s 10 tracks, but it unfortunately omits "Dancer" and "Marguerita".

Bob Wier- Ace

Ace

The album says Bob Weir, but this album is purely Grateful Dead! All of the songs (except for the underrated coulda-shoulda-woulda been counterculture anthem "Walk In The Sunshine") on this album go on to become staples the Dead's live shows. But just like "Workingman's Dead" and "American Beauty", "Ace" provides a snapshot into what these great tunes sound like in the studio.

The horn section on "Black Throated Wind", "Mexicali Blues", and "One More Saturday Night" really add a new dimension to the Dead sound that unfortunately would not be explored much furthur (yes I mean to spell it that way).

This album isn't lacking in jams either, this studio version of "Playing In The Band" (which improves greatly over the short version on the "Skull and Roses" album) includes a middle jam section that is just as satisfying as every other live version released.

If you liked the "Garcia" and "Rolling Thunder" albums, you'll be especially pleased by this set. For Dead studio completists, this provides a perfect bridge between their sound on "American Beauty" and what they would sound like on "Wake Of The Flood".

Dylan and the Dead

Dylan and the Dead

Dylan and The Dead is not the place to start your collection of either artist; b) There are better commercially available live albums of each artist individually; and c) keeping those caveats in perspective, this is a ragged, free-wheeling, and ultimately satisfying performance that I will go back to from time to time, because I seek out this type of music for the feel and inspiration it gives me.

Contrary to what I have read, Dylan's vocals are acceptable, and they are intriguing for what he chooses to include and leave out given the generally accepted crossroads he was at in his career. The Dead's sound is unmistakable, and provides an interesting filter to standard and not so standard selections within Dylan's substantial song catalog.

Finally, I find this unique album (it will never happen again with all the same key players present) every bit as listenable as any of the countless live Dave Matthews/Phish/String Cheese Incident/You Name It albums out there that I have heard bits and pieces of but would never be motivated to purchase based on their meandering sound and lack of songcraft.

All and all, a worthy album that you will be surprised by if you are a fan of either artist, given the amount of negative reviews associated with it. Yes it's brief, but no stoned out 60's re-work, here; by and large, well planned, rehearsed, and executed. The set has several things going for it. First, the eclectic selection is an interesting cross section of BD's compositions; second, the musicianship is solid intelligently arranged play to the strengths of both BD and the GD; third, sound quality is very good and well balanced across all the artists. As both a long standing collector of high quality, masterpiece, BD and GD material, I was way too skeptical of the overriding negative reviews; very glad I thought for myself. Vintage, but with style. Uncork and enjoy!!

38 Special-Wild Eyed Southern Boys

Wild Eyed Southern Boys

After the commercial success of "Rockin' Into The Night" courtesy of a collaboration with Survivor's Jim Peterik, 38 Special continued to move in a more commercial direction while keeping their sourthern roots with Wild Eyed Southern Boys. The title track is a an excellent example of some catchy cross-over. It should have been a hit. Overall the album veers between a strong pop sensibility ("Fantasy Girl")and more typical southern rock. "Hold On Loosely" cound be described as the cookie cutter for some of the later hits by this excellent band and is among their best tracks. Out of the box on "Hold On Loosely". A monster power chord masterpiece with hooks that have long since dissapeared from the rock scene. 38 Special was at best a southern rock hybrid. Don Barnes has one of those all time great AOR voices. Deep and masculine enough to exude the power and bravado needed to make this a cool band for guys and hot southern rock chics. Jeff Carlisi invents a new way to play basic chords. His method is quick and precise. Check out the pop-rock guitar jam of "Hittin' and Runnin'"- a lost AOR classic with all the guts and glory of "Loosely". This collection still has plenty of street cred with the southern rockers. "Wild Eyed" melds both Don and Donnie in an authentic southern rock anthem. The song epitomizes all of the crossover appeal of a band that was soon to shoot for the top 40. But "Southern Boys" is flawless in it's production. "Fantasy Girl" could have easily been the lead single. Barnes is rubber stamped as THE vocalist. Carlisi becomes the artful hookmaster. Donnie's tunes are all southern raves that have even Skynyrd fans cheering.

Linda Ronstadt- Living in the USA

Living in the USA

LIVING IN THE USA takes on more rock 'n' roll than country material, and presents us with fantastic reneditions of classic rock hits. The opening track Chuck Berry's "Back In The USA" comes complete with an electric guitar intro, a rollicking piano part, and Linda's rock flavored vocals. "Just One Look" another major hit uses the piano part, harmonized vocals and gives us 3:20 of pure delight. The albums opening single, an interpetation of the Motown classic "Ooh Baby Baby" is a rival of her version of "Tracks Of My Tears". Where the album reaches it's most touching point is it's finale. Her tribute to Elvis Presley "Love Me Tender" features only a guitar, organ, Linda, and harmony vocals from Waddy Wachtel. Contemporay numbers are alos featured. Elvis Costello's "Alison", J.D. Souther's "White Rythym And Blues", and Eric Kaz's "Blowing Away" are pieces that show Linda's ability as a vocalist. Warren Zevon's "Mohammed's Radio" deliever gripping vocal performances in her rock flavoring. The unforgettable percussion and harmony intro on "All That You Dream" is the song signature. Her ability to handle pre-rock standards is delievered on "When I Grow Too Old To Dream". While the album is not as consistent as SIMPLE DREAMS, it is equally as enjoyable, and an exellent addition to any collection.

Doobie Brothers- Stampede

Stampede

Stampede is a semi-concept album from The Doobie Brothers. There isn't a running theme to the album, but most of the songs conjure up the feeling of life on the open range. The album also marks the first appearance of the indominantable Jeff "Skunk" Baxter as a full-time member and the band's founder, Tom Johnston's last full effort. Although he would appear on the follow-up, Takin' It To The Streets, Stampede was Mr. Johnston's finest effort with the band. The songs on the album are all first rate including a rollicking version of the Motown standard, "Take Me In Your Arms". "Slat Key Soquel Rag" and "Precis" are strong instrumentals while "I Cheat The Hangman" has a tense, jittering sound. "Sweet Maxine", "Texas Lullaby", "Music Man" and "Neal's Fandango" are all excellent cuts. Despite no big hits from the album, it became the band's highest charting album to date, peaking at number 4 in 1975. Stampede" runs seamlessly through the "pre-McDonald" Doobie Brother tapestry--as surely as do "The Doobie Brothers," "The Captain and Me," and "Toulouse Street." The album paces from tortoise-to-hare; from light-to-sentimental. (Caveat: Don't listen to Neal's Fandango while driving, lest a speeding ticket be in your future.)

Poco Original Lineup

The original Poco lineup (L->R)

George Granthem, Randy Meisner (sitting), Jim Messina, Richie Furay (laying), Rusty Young

Allman Brother Band-A&R Recording Studios

A&R Recording Studios

Well no i do not think this is as good as fillmore east. i do however think it is a first class recording of the band. kinda like being front row and catching it all. you can hear dickie has a bit of a problem w/ his guitar on"hot lanta" and comes in a little late. also the bass line on that song is not like the fillmore version (one of my all time favorite live bass runs). no way am i knocking it. if fillmore east did not exist, this might be the one to step up and take its place.  I did want to make people aware that there is a bootleg version of this recording in existence, but with fewer tracks. The bootleg states that it is a performance from April, not August. That is wrong. You can tell it's the same performance as this release because they pay tribute to King Curtis, who was murdered in August. Beware... This is an excellent concert. It is readily available through trader circles. It should not be sold unless or until the Allman Brothers themselves release it.

Don Henley-Building the perfect beast

Building the perfect beast

The Eagles are obviously considered a classic band. That said, Don Henley is the brightest, most original member of that band as a solo artist. He has only released three studio cds since 1982, and all of them are excellent recordings. His latest, Otherwise, is due in about a month, and I, like other fans, have waited 11 long years for this. Building the Perfect Beast (BTPB), is, I think, his best recording to date. Why? Well, aside from the hits "Boys of Summer", "All She Wants To Do Is Dance", "Not Enough Love In The World", "Driving With Your Eyes Closed" and "Sunset Grill" it has great album tracks like "Man With A Mission", "A Month of Sundays", "Land Of The Living", "Building The Perfect Beast" and "You're Not Drinking Enough." All the eleven tracks come together to form a classic cd. The recording quality and choice of instruments is excellent. It still sounds fresh 16 years later. The lyrics and music work together to form a more cohesive cd than 1982's I Can't Stand Still. While 1989's The End of the Innocence is probably more mature and refined than BTPB, BTPB has more edge to it, and possibly a fresher sound overall. I think any rock collector should not only have The Eagles, but should also have all three Henley (soon to be four) cds. However, if you only have money for one, Building the Perfect Beast is the one to own. Although I Can't Stand Still is a more introspective collection it weighs heavier with Country cliches and seems much like an amateur Eagles set, with several themes seeming to fit Glenn Frey's stronger Country influence. Building the Perfect Beast showed the world that Don had his own style and themes that were clearly distinct and at times more sophisticated than Frey's or the Eagles' collective artistry.

CCR-Boxed Set

Boxed Set

Maybe you're looking at this boxed set of CCR CDs, wondering if you should buy it or instead focus on the "greatest hits" CDs. Or maybe you're thinking of purchasing all of the individual albums in the form of the remastered CDs that were released in 2000 (or if you're like me, you already did.) I'll make the decision easy for you: buy this box. You'll end up a lot happier in the long run.

Here's why:
Creedence Clearwater Revival officially released 7 studio albums and 2 live albums. Of those 9 albums, 8 are exceptional: 8 classic albums that rock, rattle and roll. 8 albums that have no filler. 8 albums that you'll enjoy listening to repeatedly if you're a rock and roll enthusiast. (The ninth album, Mardi Gras, was the last CCR studio album and is neither up to the standards set by the other 8 albums nor is it the worst album ever released by a major band, as originally reviewed by Rolling Stone magazine; the worst I can say about it is that it's average.)

Don't bother with the "greatest hits" CDs. There's too much good stuff left out. For example: `Ramble Tamble' off of Cosmo's Factory and `Effigy' from Willy and the Poor Boys are only two of the classic CCR tracks that don't appear on the compilation CDs. They're just as good as Proud Mary, Bad Moon Rising or any of the other hit singles (the first time I heard `Ramble Tamble,' I couldn't believe my ears.) Even though CCR is considered a singles band, their albums are amazingly cohesive; listening to each album in its entirety and in the original order makes for a more pleasurable experience.

You could buy all of the remastered albums on CD, but that's a bad choice for a few reasons.
1. Live in Europe has yet to be released in remastered form on CD (as of November 2001) and the original CD sounds horrible. You'll get a remastered version only in this boxed set.
2. The rarities: All of disc 1 of this boxed set is devoted to tracks from The Golliwogs and Tommy Fogerty and The Blue Velvets. While not all of these tracks are up to the quality of the later CCR stuff, most of it's great rock and roll. Also you won't get parts 1 and 2 of 45 Revolutions Per Minute outside of this set.
3. The price: Even though this boxed set is a bit pricey, you'll still save over buying the complete set of remastered CDs.

So what's so great about this set? First, you're getting everything (and I do mean everything) in order on 6 CDs. The Pre-Creedence stuff comes first, then all of the albums in their original order, and all of the tracks come just as they did on the original albums. Everything's remastered and sounds terrific. The two live sets are full of energy. The booklet contains many great essays and many great pictures. Honestly, even without the unreleased stuff, this set is exceptional. Just having "everything Creedence" in one spot, sounding so crisp and full, is worth the price of admission.

Bottom line: If you don't have a complete CCR collection already, and can spare the money, BUY THIS SET. You'll end up wanting it in the long run, so you might as well make things easy on yourself and just start here.

Charlie Daniels Band- High Lonesome

High Lonesome

No filler, no weak tracks - a classic that bridges that gap between country and southern rock. While all of Charlie's albums contain at least one or two great songs, he hasn't yet managed to match this album's depth. The two slow songs ("High Lonesome" and "Slow Song") are very evocative, and Roll Mississippi is rollicking. This is the album that turned me on to the CDB and I have to admit I was disappointed the other albums didn't sound this good. That's not a comment on the quality of his other work, though; it's high praise for High Lonesome. If you're a fan of Skynyrd, the Allmans or the Outlaws, you need this in your collection. This album isn extremely underated. This album is chocked full of great southern/country rock songs with some fine picking. If you enjoy southern rock guitar playing do not hesitate to pick up this album. In addition you might want to pick up other CDB classics such as Fire on the Mountain, Nightrider, and Saddle tramp, which came before the band went commercial. 

Black Oak Arkansas- If angels came to see you...

If angels came to see you...

The cover illustrates a man being attacked by demons of chaos.The only way that he can maintain his sanity in this chaos is to love his angel which he keeps in his personal protective sphere.The album opens with "Gravel Roads"an analogy that compares the way you live your life to how you may drive a new pickup truck on a gravel road.BRILLIANT!"Fertile Woman"is a breathtaking lesson in Biology.Also included here is the original version of the hippie-environmental classic,"Mutants of the Monster",which portrays mankind as "an animal gone mad".Even if you dont agree with the entire message of this album,it's a musical masterpiece.There's not a single boogie-dance number.What you will hear is a musical exploration into the meanings of life and the universe.The melodies are quite complex and interesting.
Album opener, Gravel Roads, is a country number with some rockin' undertones and compares driving a new pick up truck down rough gravel backroads to how we should pass through this life. Rural metaphors abound in this band's songs. Second track, Fertile Woman, is quite possibly the most beautiful ballad, musically and lyrically, BOA would ever record. Gorgeous back pedal steel guitar from Stanley "Goober" Knight gives this a dreamy quality that takes you on a mental journey to the rural landscape that spawned these talented hillbilly hippies. Spring Vacation is pretty typical of this band's brand of southern rock, and is just about enjoying life. Next up, it's We Help Each Other. This is the first album with Tommy Alderidge alias "Dork Jackson" on drums, and he's already making his presence felt. Good lyrics proclaiming that we best help our selves by helping others. Nice bass from Patrick "Dirty" Daugherty. Full Moon Ride closes out side one. It's a number about vigilantes riding out to protect "our land and protect our kin" and in a historical context refers to the years after the War Between the States when Arkansas was occupied by Federal troops for the "sin" of exerting her right to self determination. Far from keeping order, this ruthless, immoral occupational force along with yankee carpetbaggers ushered in a time of chaos and lawlessness giving them "further justification" to plunder and steal from the weak and helpless. The full moon riders go out "to set things right" as Bloody Bill Anderson says in The Outlaw Josey Wales. Musically this rocks along at a gallop matching the horses of the story's protagonists. Nice twangy country leads add to the atmosphere.
This is a stand alone BOA classic.I highly recommend it.

Blackfoot- Medicine Man

Medicine Man

Rick Medlock

This is a very strong effort from Rick Medlocke and his hired guns to me the best song on here is soldier blue you can feel the indian blood and sweat and influence in the music itself going back to his roots and the songwriting all in all it puts chill bumps on my skin everytime i hear this song , theres not a bad song on here ,doin my job the opening song talkin bout payin his dues as a rocker,guitar slingers song and dance is a long power ballad and aired on radio, good song ,this recording is out of print i only recorded from cassete to cdr but its not the greatest recording but it will have to do till it gets reissued. if you like blackfoot and find this you better hop on it its an underrated gem.... The production on this is the best that Rickey ever had. The songs kick-butt, and it's all hard-rockin' stuff with a more modern sound. Not cheesy and commercial,just much better production all around. It's not the old band,but it's all Medlocke and you hear some of it on the Rattlesnake Rocker compilation.

Allman Brothers Band-Seven Turns

Seven Turns

The Allman Brothers Band released their comeback album, Seven Turns, in 1990. The band was riding a wave of momentum as old fans were reminded of the band's powers with the release of their 4-CD box set retrospective, Dreams. In addition, a new whole audience discovered the band's greatness on their 1989 tour. Original members Gregg Allman, Dickey Betts, Butch Trucks, and Jaimoe were joined by guitarist Warren Haynes, keyboardist Johnny Neel, and bassist Allen Woody. The inclusion of both Haynes and Neel indicate an attempt to not only recreate the magic of the two-guitar lineup of Betts and Duane Allman but to also relive their popular Brothers and Sisters album in which Chuck Leavell's piano added another weapon to the band's impressive arsenal. The infusion of new blood is very apparent as the performances on Seven Turns show a classic band regaining their hunger. Allman certainly was feeling the vibe as his vocals on this album are arguably the best of his career. Whether it's on the smoking rocker "Good Clean Fun" or on the bluesy tracks "Low Down Dirty Mean" and "Gambler's Roll", Allman sounds reborn. "Let Me Ride" is a cool country rocker from Dickey Betts while "Shine It On" is a driving slice of southern rock. "True Gravity" is another strong jazz inflicted instrumental to add to their collection and is highlighted by Neel's impressive piano solo. The title track is a modern classic in the country rock vein with a memorable chorus and some cool slide guitar during the outro. The remaining tracks "It Ain't Over Yet" and "Loaded Dice" are also very good. All told, while Seven Turns is not on par with their best work, it's a very strong comeback and easily their best album since Brothers and Sisters.

Charlie Daniels Band- Simple Man

Simple Man

"Simple Man", is a good old Southern country rocking song from Charlie, as is the toe-tapping song "Oh Atlanta", where Charlie showcases some of his fine fiddle work. The bluesy concluding number "It's My Life" is also a strong song. Furthermore, Charlie is a strong ballad singer. "Was It 26", "Midnight Wind", "Saturday Night Down South", "Old Rock 'N Roller", and "Mr. DJ" are all great ballads by Charlie and his CDB bandmates. If there's a weak link on Simple Man, I think it's "Play Me Some Fiddle". "Play Me Some Fiddle" is an OK song, but I don't think it's as good as Charlie's other fiddle anthems--"Texas", "The South's Gonna Do It", "Ragin' Cajun" and the aforementioned "The Devil Went Down To Georgia". "Play Me Some Fiddle" is too long(almost five minutes) and the story line--a bar patron gets into a fight which the cops break up--has literally been done to death in other songs. Even "Oh Atlanta", this record's other fiddle tune, is better than "Play Me Some Fiddle", at least in my opinion. Still, I think Charlie put together one solid album in Simple Man. I like this record, and I think anybody who likes the Charlie Daniels Band should have Simple Man in his collection. Not as good as Charlie's southern rock cd's but still a great album. Simple Man(a classic) and Oh Atlanta are my favorite songs. A Few More Rednecks, Was it 26, Saturday Night down South, Old Rock N Roller, and Mr. DJ are also good songs. Play me some Fiddle was the weakest song on the album. It would normally be considered good, but it is not on Par with Charlie's other fiddle songs.

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

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! 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.

Elvin Bishop-Hog Heaven

Hog Heaven

On the front, Elvin is feeding his hog Budweiser and on the back, there are red hearts floating into the air symbolizing the hog to be rather high. There are a couple of songs that are influenced by Bill Haley styled rockabilly, with one being "Oh Babe" and the other "Right Now Is The Hour". My favorite two songs are "Arkansas" and "Southern Dreams". The last song on the CD, "Midnight Creeper" has a touch of humor dealing with references to the side effects of drugs and Elvin saying that he prefers a 50 or 60 year OD on Budweiser. Since the release of "Hog Heaven" in 1978, Elvin has give up alcohol and is, as far as I know, still clean and sober. Elvin is an excellent Blues Rock guitarist. If you can find this album, I recommend it to be added to your collection as I have once again. I don't believe you would be disappointed. Capricorn Records, having switched distribution from Warner Brothers to Phondisc, was on its way out by the time it released this, its sixth Elvin Bishop album, which may help explain why, only two years after he was in the Top 10 with "Fooled Around And Fell In Love," he didn't even reach the charts with this album. It's also true that lead singer Mickey Thomas had decamped to join Jefferson Starship, leaving Bishop to reestablish his country blues boy persona. But Maria Muldaur had signed on (she sings lead on "True Love"), and with two years between studio albums, Bishop had found the time to write some good vehicles for his guitar work and Southern rock backup band.

Burrito Deluxe-Georgia Peach

Georgia Peach

A Rare find, if you get your hands on this CD

Even if you're an adherent of the old Chris and Gram Burritos.

In fact, listening to this album has caused me to revise my thinking about Sneaky's refried Burrito. While I still think this FBB offshoot should be well left alone, I would be the first to acknowledge that Carlton Moody is a heck of a great singer - even if he is a tad too country and not enough rock compared to Gram, Chris or even John Beland. His version of "Streets of Baltimore" and his own "Feels Like A Heartache" prove that Pete has picked a fine singer who does respect the FBB tradition.

The real surprise here, though, is Willie Watson of "Old Crow Medicine Show"...No, there will never be another Gram Parsons, but young Willie sure gives it a grand try. While the version of "Wheels" here is pretty lame - and honestly could have been recorded with more spirit, Mr. Watson does a credible "Hickory Wind" - but the real gem of this album is Watson's rendition of George Jones' "She Once Lived Here" or "Town without Memories" - a staple of the original Gram-Chris-Sneaky-Michael Clarke Burritos. He sings it loud and achingly enough as if the spirit of Gram had taken possession of his soul. I recently obtained a copy of an FBB live recording of Gram singing this same song, and young Willie sounds more like the real deal than the late Mr. Parsons himself.

Even Gib Guilbeau is on board, singing a heartfelt "Louisiana" - which he co-wrote with John Beland.

About the only bad penny here is Tommy Spurlock - not a bad singer but too atypical for my eclectic Burrito tastes. His "GP" glorifies Gram a bit too much - and since Waycross, Georgia also gave us Larry Murray and Ozzie Davis, it certainly wasn't a town nobody ever heard of. And yes, Tommy, there was another gifted singer-songwriter in that original Burritos whether the Grampires like it or not.

Mind you, I still have issues with Pete trying to continue the Burritos after Chris disbanded DRB and Beland the last band with the FBB moniker; it does say something that Willie Watson decided not to tour with Burrito Deluxe nor sing on the "Whole Enchilada" - no doubt he chose career longevity and OCMS over being caught in the shadow of a dead man - I'll still give Carlton Moody and his whiskey meets honey vocals the benefit of the doubt this time around.

Desert Rose Band-Running

Running

This is certainly a good representation of the work the Desert Rose Band did in their prime and a project that remains a favorite. With some solid songwriting by Chris Hillman and a cover of Buck Owens' "Hello Trouble," this second release is a definitive work. With hits like "I Still Believe in You," "Summer Wind," and John Hiatt's "She Don't Love Nobody," there is nothing lacking in either performance, production, or material. Like their first release, 1987's Desert Rose Band, Running was based upon the experience of the bandmembers as musicians, songwriters, and singers who were (and continue to be) an important part of the Bakersfield-Los Angeles music community. Both Hillman and Herb Pedersen have impressive resumés that include working with the Byrds, Gram Parsons, Buck Owens, and Emmylou Harris. As for Steve Duncan, Bill Bryson, Jay Dee Maness, and John Jorgenson, each had equally brilliant backgrounds as California musicians and were recognized as such. Be it Bakersfield honky tonk, love songs, or bluegrass, the Desert Rose Band delivered. This release was followed by Pages of Love in 1989 and a greatest-hits package in 1990, A Dozen Roses/Greatest Hits. By 1992, members started leaving the band and the last American release was issued in 1993 on Curb, Life Goes On. Still, Running is the work that listeners will remember with the most affection and longing.

Illinois Speed Press-Duet

ISP/Duet

Originally known as "The Rovin Kind," ISP toured the country from 1966 to 1971 playing with such prolific musicians and bands as Jimi Hendrix, Janis Joplin, The Byrds, The Grateful Dead, Chicago and many more. Though much of the personnel changed over the years, Paul Cotton (of Poco fame) and Kal David remained as the driving force. Though the
This is a limited edition remaster of Illinois Speed Press' two releases: "Illinois Speed Press" released in 1969, and "Duet" released in 1970. Bonus tracks, including singles, have been added to the first disc. Flash files providing band information, reviews, timelines, liner notes, have been added to the second disc. The remaster captures the music as the band meant for it to be heard. NOTE TO PURCHASERS: the original source tapes were close to unusable. As result, Futuredge was faced with the dilemma as to whether to cut out certain horrible sections or clean them as best as it could to preserve the integrity of the original music. Futuredge opted for the latter. You may hear in one or two songs a short digital glitch. There is nothing wrong with your CD player. Futuredge is continuing to use additional technologies to see if we can restore those few seconds to a more perfect quality.Also note that there were no source materials available for the bonus tracks. As a result, while Futuredge has made every attempt to "clean" these tracks, some noise will be heard. This is a very strong album with some different styles of music that totally work well. You had Kal David (Guitar & Vocals) his style is more bluesy. Check out Hard Luck Story & Free Ride and then there is future Poco singer and guitarist Paul Cotton who plays more of a Country Rock style check out Here Today & Pns When You Come Around. Another band from Chicago signed to Columbia Records and produced by James William Guercio. What is with all the complaining about the sound quality it sounds fine to me what i cant get over is the price of this cd $195 are you kidding take the 5 off and you got a deal. Who should be ashamed is Columbia Records why this wasnt issued on cd by them 20 years ago or so is beyond me. Apparently another Chicago band from that era called Aorta-1969 didnt get their albums released on cd either. Both Aorta and the first Illinois Speed Press album are two of the best rock related albums to come out of Chicago at any time along with Chicago Transit Authority. Listen to the song Pay The Price that is some dirty sounding guitar, Terry Kath of Chicago and Kal David have a similar guitar tone and style as well as the vocals.Im surprised no one has mentioned the similarities between the two. Side note For all of You Horn haters there is no brass on this album. Enjoy

Byrds-Byrds play Dylan

Byrds Play Dylan

"Byrds Play Dylan" was put together by going through the Byrds records and pulling every song written by Dylan that they covered starting with "Mr. Tambourine Man" the hit that brought the group national recognition and helped popularize Dylan as well. The result is of interest to Dylan fans, who have learned to appreciate his musical genius in a new way by hearing it sung by artists who can really sing (this is not meant as a slight, because hearing Dylan sung by Peter, Paul & Mary was what proved that his music was as strong as his lyrics). "Chimes of Freedom" and "My Back Pages" are the ones that really stand out in this collection. This is as fine a collection of Dylan covers as you are going to find, but do not mistake it as an adequate introduction to the Byrds because it accounts for neither their original compositions nor their covers of other artists. The Bryds were one of the most influential groups of the Sixties, making folk-rock immensly popular by taking the lyricism of contemporary folk music with the energy of the British Invasion. Singing songs written by Bob Dylan was only part of their magic.
As a historical document, this record is priceless. Just as some parents are wont to gauge their children's development by posing them yearly with a department-store Santa Clause, fans can witness both the development of this seminal Southern California band and the evolution of what was to become called folk rock by listening to them tackle the various stages and permutations of Bob Dylan--sometimes even, as with "Mr. Tambourine Man," before Dylan released the songs himself. Urged originally by their then manager and producer Jim Dickson to interpret the folk bard's work, the Byrds never seemed to grow weary of the exercise, even recording the rather simplistic and anachronistic "Paths of Glory" when they reunited briefly in 1990. However, the bulk of the recording was done between 1965 and 1971, and not only shows the Roger McGuinn-led band arching toward psychedelia on their dark and gothic rendition of Dylan and Rick Danko's "This Wheel's on Fire," but also documents the apex of their flirtation with country music during Gram Parson's tenure with the band in 1968. Both their choice Dylan covers--"Nothing Was Delivered," and "You Ain't Goin' Nowhere"--and the buttons, bows, and leather chaps that they dressed the songs up in during Parsons time with the band is a revealing snapshot of the Byrds in transition. After all is said and done, the debate is still running on who got more out of this synergistic relationship. After listening to this collection, one is tempted to believe Dylan did. Were it not for the Byrds taking their fey and poppy version of "Mr. Tambourine Man" to the top of the charts in 1965, the man some of us refer to as Mr. Jones would have not come to the public's attention quite so soon. But the Byrds did much more than merely interpret Bob Dylan songs. Really, the band soared much higher performing their own material, and whether they melded jazz, raga, country, or psychedelic rock, they showed a fearlessness, an agility, inventiveness, and purpose that belied the constant personnel shifts.

Pure Prairie League- All in Good Time

All in good time

The 1st 2 albums were so remarkably good that many people I knew had one or both even though the rock world was dubious about most country oriented music. Unfortunately, band leader Craig Fuller's departure was a real letdown. Although the post Fuller albums and various lineups had their supporters, the departure of the main singer, songwriter, and guitarist --ironically coinciding with the radio breakout of "Amie"-- could not help but drastically change the flavor.
Recently when the first lp was finally re-released (on a single import cd paired with the 2nd album, Bustin' Out) I read about this brand new studio release with Craig returning to the lineup. Trust me, All in Good Time is just like 34 years never happened-- an excellent followup to the first two classics. Having listened to All in Good Time several times over the last few weeks I will just say this: it has exceeded my expectations. I enjoy a number of different styles of rock, jazz, folk, etc. and, frankly, country has been relatively low on my list; so for those who don't always love country, if you like Gram Parsons, Poco, the Dead's more country work, Jayhawks, Son Volt, or Wilco, you'll like this. Just buy it and get the first 2 while you're at it!
And finally, for the skeptical, it does not have that awful overproduced shellacked sound emanating these days from country radio or CMT. Fans of country rock rejoice because this is your Disc! A must own to anyone whos been through the old eight tracks then scratched your old records only to go buy their music on CD! This band may sound better than ever and Craig Fuller and Curtis Wrights vocals shine through on every track. Its beyond me why this has not hit mainstream Country charts because its better than anything out there! A must add to your collection if you call yourself a country-rock fan.

Eagles-Hell Freezes Over

Hell Freezes Over

"For the record, we never broke up..." those seven words by Glenn Frey start out the concert portion of this album and from the music, it's almost believeable. One of the 1970's most famed rock groups, who broke up over disputes and promised not to reunite until Hell Froze Over, have come back together for their reunion concert and it's amazing. It's a stripped down, more intimate show than their first live album, but that's one thing that makes it so amazing. They have nothing but their instruments to make them sound good. And they sound awesome.

The standouts on the album include "The Last Resort," which is possibly the best song, "Life In the Fast Lane," and a chilling version of "Desperado." But let's not forget the most famous song from the album...a stripped down and amazing version of "Hotel California," which far surpasses the original.

The four songs at the beginning, which are new studio recordings(but are shown live on the video version) should be satisfying enough for anyone. They range from hard rocking to original Eagles country-rock.

Overall, this is THE must have CD for any Eagles fan...heck, for ANY MUSIC fan.

Gram Parsons -GP/Grevious Angel

GP/Grevoius Angel

At the time these two albums were released, there was little interest in them. Neither country fans nor rock fans appreciated Gram's attempts to create a hybrid country-rock music back then. Yet, within a few short years, Gram became a revered figure - a status he still retains. The extent of his influence is hard to assess, but he made an important contribution via one album with the Byrds (Sweethearts of the rodeo), two albums with the Flying Burrito brothers (Gilded palace of sin, Burrito deluxe) and the two solo albums that make up this set. All five albums are better appreciated now than they were when first released. It helps that these albums provided the breakthrough for Emmylou Harris, who lends vocal support on several songs. Emmylou helped the legacy of Gram by covering several of his songs including Ooh Las Vegas, Hickory wind and She (all featured here) as well as some of his earlier songs from his time with the Flying Burrito brothers.

The other thing that strikes me, listening to these albums now, is that they sound much nearer to traditional country than rock music. This may in part be due to the changes in country music over the thirty years since. Several instruments used on these albums would find a hard time getting on a contemporary country album - in particular, steel guitars are a rarity these days where once they were standard. Of course, if you compare this to a truly traditional country album, you'll hear the difference easily enough - but then listen to a rock album or a contemporary country album and you'll hear a much bigger difference.

The songs here are a mix of originals and covers. Hickory wind is both - it was written by Gram but first recorded for the Byrds album, Sweethearts of the rodeo, so the version here is a cover. Cash on the barrelhead is a cover of a Louvin Brothers song. This very song was later covered by Dolly Parton and appeared on her classic album, Grass is blue, while Emmylou was clearly impressed - she later covered several Louvin songs. Other covers include I can't dance (Tom T Hall), Streets of Baltimore (Tompall and the Glaser brothers), That's all it took (George Jones), Love hurts (originally recorded by the Everly brothers, it provided Jim Capaldi with a British top five hit in 1975) and Cry one more time (J Geils band). The final track, In my hour of darkness, features Linda Ronstadt as well as Emmylou, so this is the first time they recorded together.

So, what is Gram's legacy, apart from his own recordings? He helped Emmylou into the big time and also introduced her to Linda. He introduced Emmylou to the music of the Louvin Brothers. He was an influence on the Eagles, Dwight Yoakam and what is now known as the alt-country movement. All of these are important, but some might have happened anyway. Some accord Gram a God-like status, while others dismiss him as a no-hit irrelevance. The truth lies somewhere in between. In any case, the two albums paired on this CD are worth listening to in their own right, regardless of their historical significance.

Neil Young -Harvest

Harvest

Few artists can match Neil Young in musical artistry, creative versatility, and artistic/personal intergrity - Dylan, Lennon, Hendrix, Stipe, Young - the list does not go much beyond that. Young's *Harvest* is further reminder that we are dealing with a legendary composer and performer, one who defies categorization while still remaining relevant to so many categorized styles. Not many artists can lay claim to that(see the short list above and maybe add three or four more).

Harvest ranges from the understated, pensive mood of songs like "Out on the Country," "Harvest," and "Old Man" to the sheer desperation of "A Man Needs a Maid," and "Words" to the acoustic heartbreak of "Needle and the Damage Done," to the Moody Blues-style optimism of "There's A World," to the dark country rock of "Are You Ready for the Country," all the way down to the proto-grunge social criticism in "Alabama" (Made famous on the top 40 thanks to Lynard Skynard). With the possible exception of "There's a World," (which, a la Moody Blues, rather lays the London Symphony on a bit too thick - it works on "A Man Needs a Maid owing to the sheer drama of the song, but goes over the top on "There's a World), each track is a masterful cut, demonstrating Young's ability to conquer and mix numerous genres. Lyrically Neil is at his best, capturing mood and evoking emotion in ways that few composers can even touch. Young's singing, in spite of criticisms of the alleged "thin quality" in his voice, is superb - skillfully phrasing his lyrics so that they play well off of the Stray Gators heavier sound. You have to go pretty far to find a better Neil Young album - *Everybody Knows This is Nowhere* and *After the Gold Rush* are superior, but not by much, and after that there isn't much from the Young catalogue that beats it. Indeed, there aren't many albums from anyone that surpass *Harvest*. I've been playing it since 1972 - and I still find it fresh and meaningful. Highly recommended.