Vince Gill-Guitar Slinger

Guitar Slinger

This is essentially a contemporary country record (Not Country Rock)  with Gill in top vocal form waxing with eloquence his silky tenor over 12 songs he co-penned. In keeping with his stellar tradition of telling compelling stories, here the stories abound. Whether if he's telling the story of a homeless person ("Bread and Water") or a man contemplating suicide ("Billy Paul") or his own romantic journey ("Guitar Slinger"), Gill still has the ability to capture our imagination with his creativity and his attention paid to the stories' emotional and spiritual details. With such a galore of rich stories, it would have been better to title this disc "Story Slinger." Coming 5 years after his last release "These Days," Gill has not lost his touch of creating music that interweaves the stories of his protagonists with our own stories. Many of these cuts are fresh, engaging and above par relative to what's out there on country radio now; given the right promotion this is pregnant with hits ready to be birthed.

Album opener is an exceptional Gill barnburner: it bears all the imprints of greatness. The Jerry Lee Lewis-type piano jamming, the stately anthemic build up to the explosive chorus and the all so-romantic lyrics of how a guitar slinger found true love with that "contemporary Christian singer." And the "contemporary Christian singer" (aka wife Amy Grant) does show up on the album's sophomore single "True Love." Here Grant and Gill trade lines over this breezy ballad about the persistency of love in the midst of trails over a sturdy background of affecting strings. Grant shows up also as a co-writer on two other tracks: one of them being the lead single "Threaten Me with Heaven." This moralistic tale of not taking life for granted is a multi-layered busy number comes with a Gospel-inflected chorus that is made much more haunting when one of the co-writers Will Owsley committed suicide some time after writing this song. The question thus lingers: did Owsley ever take the lyrics of this song to heart? Grant again shows up in co-penning "When Lonely Comes Around." Given that one of Gill's album titles and hit was "When Love Comes Around," "When Lonely Comes Around" automatically calls to mind the earlier cut.

Leslie Satcher who has written Kellie Pickler's "Tough" and George Strait's "Troubadour" teams with Gill to write "Bread and Water." This is the album's richest narrative gem where both Gill and Satcher interweaves the story of a homeless person with the stories of Jesus in the Bible. Most arresting is the line "even Jesus was a homeless man." This is the type of song that really challenges our souls to think deeper about Jesus and social issues. Gill is not afraid to step out of his comfort zone when he dives into Southern R&B traditions of long lonesome electric guitar solos with the Delbert McClinton-like "When the Lady Sings the Blues." Gill goes further in the country-soul territory with "Tell Me Fool" which again sounds in tune and title like his former album cut "Tell Me Lover" (from his "High Lonesome Sound" CD). Gill takes on the Bakersfield sound with the sweepingly catchy "Billy Paul" which guises the dark plot about a murder-suicide story.

Above all, Gill is still at the best when he croons a love song. This is why a glance through Gill's hit-studded discography shows that many of his biggest hits were love songs ("Feels Like Love" and "I Still Believe in You"). Here Gill melts hearts again with "Who Wouldn't Fall in Love with You"--a sonic arrow to the heart that is compellingly sung with earnestness. On an album this good, to say that Gill is just a "guitar slinger" is a misnomer in itself. No, he still is country best crooner of story songs.

Jock Bartley

Jock Bartley

JOCK BARTLEY is known for his melodic, tasteful and fiery lead guitar style, influencing many rock and country rock guitarists.

Born in Hutchinson, Kansas, Jock moved to the mountains above Manitou Spgs., Colo. in 1959. Jock began taking guitar lessons from the jazz guitar legend, JOHNNY SMITH, in Colo. Spgs., calling that five year relationship "about the best thing that ever happened to me." He was playing Bach and Duke Ellington by the age of 12, but hearing recordings of Eric Clapton and B.B. King changed his musical focus. After graduating high school, where he'd been an Honor Roll student and top scorer on the basketball team, Jock attended the University of Colorado in Boulder as an art major. "When I had to finally decide what I was going to do with my life - art, music, writing, drama - it was a very easy decision. Playing guitar was the single best thing I did, and most enjoyable."

Leaving college to pursue music, he joined the Boulder-based band ZEPHYR, replacing Tommy Bolin as lead guitarist (who joined the James Gang and later, Deep Purple before his untimely death in 1977). Months after the "Sunset Ride" album came out, Zephyr broke up. In 1972, Jock was asked to join the touring band of GRAM PARSONS & THE FALLEN ANGELS, featuring EMMY LOU HARRIS. Gram had joined the BYRDS on the groud breaking "Sweetheart of the Radio" album, formed THE FLYING BURRITO BROS. with CHRIS HILLMAN and was a pioneer of the new musical genre, "country rock." The Fallen Angels tour made many memorable stops from Texas to Boston, including a show in Houston where Neil Young and Linda Rondstadt sat in onstage (Emmy Lou and Linda met that night and sang together for the first time). At Max's Kansas City in New York City, Jock met Boulder resident, Rick Roberts, who'd replaced Gram in the Burrito Bros. and had two solo albums out.

In 1974, Rick and Jock began jamming in Boulder with MARK ANDES, bassist from the progressive L.A. bands, SPIRIT and JO JO GUNNE. When LARRY BURNETT arrived from Washington D.C., FIREFALL was formed. A few months in, drummer MICHAEL CLARKE (formerly of the Byrds and Flying Burrito Bros.) joined the band. Rick, Mark and Jock were on tour with Chris Hillman on the east coast when Chris became ill - Larry and Michael were flown in and FIREFALL finished the engagement at the Bitter End in NYC, where Atlantic Records came to hear, soon signing them to a long-term recording contract. DAVID MUSE joined the band in rehearsals with producer, JIM MASON. Firefall recorded their first album at Criteria Studios in the winter of 1975, during which his guitar hero, ERIC CLAPTON, was in the control room while Jock played the one-take lead guitar track on 'Mexico.' "It was a good thing I didn't know he was watching, I wouldn't have been able to hold my pick or play one note." Jock has played on stage with artists including Stephen Stills, Neil Young, The Doobie Bros., Dan Folgelberg, Journey, Heart, Poco, John Mayall and many many others. He is a spokesperson for Suicide Prevention, having worked with the American Association of Suicidology and the Kristin Brooks Hope Center to put on benefit concerts to raise awareness, help fund the first national crisis line, (800) SUICIDE) and save lives. He's also involved with 'causes' including child abuse, domestic violence, burn victims camps, environmental issues and others. Jock is a record producer, travels frequently to Nashville to write songs and give seminars on creativity and songwriting for the Nashville Songwriters Ass. and the Songwriter's Guild. He endorses Paul Reed Smith Guitars and Takamine Guitars. His son Jamey, 29, is a drummer and lead vocalist in the Denver-based rock band, 'Spools of Dark Thread.' His daughter, Jessica, 20, is a college student studying to become a physicist - both are accomplished fine artists. He has produced an acclaimed instructional songwriting video called 'The Complete Guide To Songwriting - How To Write A Song."

The Band-Jericho

Jericho

It seems I've changed my mind about this album a couple times, but this time I've changed it for good.
There are many cases in rock and roll history when a principle songwriter leaves a group and assumes he's left his bandmates in the dust; the remaining members regroup and go on to continued success, but their fan base and their critics become divided as to whether they're still "the real deal" or not (the likes of Pink Floyd and Supertramp come to mind). And who knew The Band would join those ranks when they released "Jericho" in 1993, their first studio album since 1977's "Islands," and their first without former songwriter Robbie Robertson (and member Richard Manuel, who committed suicide in 1986).
Robertson's claim as to why he has not participated with his former colleagues is as follows; "We'd made a movie [The Last Waltz] about it and everything. I didn't want to say 'Just kidding!'" However, the album "Jericho" itself has not made "The Last Waltz" a lie; even Robertson says that the Waltz was meant to be an end to their touring days only, and that The Band had intentions of continuing their studio career. In fact, Band members were talking about the possibility of another studio album as late as 1980. However, the "reunion tours" of the 80s did make "The Last Waltz" a questionable event. But since the Waltz only represented the end of touring, a new studio album does not hender the original meaning of one of the greatest concert films of all time. If that was the case, "Islands" would have made The Band liars in 1977. But since that's not the case, "Jericho" is nothing more than a triumph for The Band.
Longtime members Rick Danko, Garth Hudson, and Levon Helm welcome sidemen Jim Weider, Richard Bell, and Randy Ciarlante to make one of their most sincere, honest albums. Of course, the reunited Band now has the same symptom as the reunited Pink Floyd...that is adding a slew of unnecessary sidemen and outside songwriters. But once you ignore that, "Jericho" is a moving and powerful album; 'Too Soon Gone' finds The Band mourning for their lost mate Richard Manuel, while the ghostly but lovely 'Country Boy' includes vocals by the late singer, recorded just five months before his suicide. 'The Caves of Jericho' features a great vocal performance from Helm, and 'Blind Willie McTell' is The Band's first version of a Bob Dylan song since 1971, and a rousing cover of Bruce Springsteen's overlooked 'Atlantic City' is The Band at their best.

Gregg Allman-Laid Back

Laid Back

Webster's dictionary defines a masterpiece as "An artistic work done with consummate skill". Gregg's "Laid Back" certainly qualifies that definition. Almost as spectacular is the fact that this was his first solo effort. Blues imply melancholy and this album is loaded with it. What sets this music apart from others, is the cleansed feeling it gives you after it ends. It's as if you have been baptized in cool southern waters. "These Days", "Queen of Hearts", "Please Call Home", and "Multicolored Lady" are four of the best but don't miss the rest as this album has more "hits" than some artists collect in their entire career! After I first heard the lyric, "Please don't confront me with my failures, I'm aware of them" from "These Days", I have felt it typifies the mood Gregg was in and what blues was all about. This was released in 1973 but sounds as fresh today as it did then. This is the Gregg Allman I'll remember. Laid Back, Gregg Allman's first solo disc, seems in part an effort to gain a little more recognition. It worked, particularly given the strong radio response to its opening track, a loping remake of "Midnight Rider." Likewise, much of the album's remainder finds Allman tweaking the band's blues ("Queen of Hearts") and country sides (a cover of Jackson Browne's "These Days"); horns and gospelish backing vocals add to the personal, often mournful feel. Much more coherent than its dated cover art (an either childlike or blasted-out-of-his-gourd Gregg ignoring a blazing volcano) indicates, Laid Back is an often convincing version of the man's music. For Allman, it would get much, much worse before it would be this good again.

Gene Clark

Gene Clark

Harold Eugene "Gene" Clark (November 17, 1944 – May 24, 1991) was an American singer-songwriter, and one of the founding members of the folk-rock group The Byrds.

Gene Clark is best remembered for being The Byrds' main songwriter between 1964 and early 1966. He created a large catalogue of music in several genres but failed to achieve solo commercial success. Clark was one of the earliest exponents of psychedelic rock, baroque pop, newgrass, country rock and alternative country.

Early life

Clark was born in Tipton, Missouri, the third of thirteen children. His family soon moved to Kansas City where he began learning the guitar from his father at age nine and was soon playing Hank Williams tunes as well as material by early rockers such as Elvis Presley and the Everly Brothers. Before long he was writing his own songs and, at 13, joined a local rock and roll combo, Joe Meyers and the Sharks. Like many of his generation, Clark developed an interest in folk music because of the popularity of the Kingston Trio. Clark graduated from Bonner Springs High School in Bonner Springs, Kansas in 1962.

Formation of The Byrds

He began performing with several folk groups working out of Kansas City at the Castaways Lounge, owned by Hal Harbaum, where he was discovered by The New Christy Minstrels, in August 1963, who hired him for their ensemble and with whom he remained for six months. After hearing the Beatles, Clark quit the Christys and moved to Los Angeles where he met fellow folkie/Beatles convert Jim (later Roger) McGuinn at the Troubadour Club and in early 1964 they began to assemble a band that would become The Byrds.

Gene Clark wrote or co-wrote many of The Byrds' best-known originals, including: "I'll Feel a Whole Lot Better", "Set You Free This Time", "Here Without You", "If You're Gone", "The World Turns All Around Her", "She Don't Care About Time" and "Eight Miles High". He played harmonica for the band, too (notably on "Set You Free This Time"). Bassist Chris Hillman noted years later in various interviews remembering Gene: "People don't give enough credit to Gene Clark. He came up with the most incredible lyrics. I don't think I appreciated Gene Clark as a songwriter until the last two years. He was awesome! He was heads above us! Roger wrote some great songs then, but Gene was coming up with lyrics that were way beyond what he was. He wasn't a well-read man in that sense, but he would come up with these beautiful phrases. A very poetic man--very, very productive. He would write two or three great songs a week". "He was the songwriter. He had the "gift" that none of the rest of us had developed yet.... What deep inner part of his soul conjured up songs like "Set You Free This Time," "I'll Feel A Whole Lot Better," "I'm Feelin' Higher," "Eight Miles High"? So many great songs! We learned a lot of songwriting from him and in the process learned a little bit about ourselves. At one time, he was the power in the Byrds, not McGuinn, not Crosby—it was Gene who would burst through the stage curtain banging on a tambourine, coming on like a young Prince Valiant. A hero, our savior. Few in the audience could take their eyes off this presence."

A management decision delivered the lead vocal duties to McGuinn for their major singles and Bob Dylan songs. This disappointment, combined with Clark's dislike of traveling (including a chronic fear of flying) and resentment by other band members about the extra income he derived from his songwriting, led to internal squabbling and he left the group in early 1966. He briefly returned to Kansas City before moving back to Los Angeles to form Gene Clark & the Group with Chip Douglas, Joel Larson, and Bill Rhinehart.

Columbia Records (The Byrds' record label) signed Clark as a solo artist and, in 1967, he released his first solo LP, Gene Clark with the Gosdin Brothers, a mixture of pop, country rock and baroque-psychedelic tracks—Chris Hillman had worked with the Gosdin Brothers in the mid 1960s when he and they were members of the Southern California bluegrass band called The Hillmen. The record received favorable reviews but unfortunately for Clark, it was released almost simultaneously with the Byrds' Younger Than Yesterday, also on Columbia, and (partly due to his 18 month-long public absence) was a commercial failure.

With the future of his solo career in doubt, Clark briefly rejoined The Byrds in October 1967, as a replacement for the recently departed David Crosby, but left after only three weeks, following an anxiety attack in Minneapolis.[2] During this brief period with The Byrds, he appeared with the band on the Smothers Brothers Comedy Hour, miming to the group's current single "Goin' Back", as well as to "Mr. Spaceman".[3] Although there is some disagreement among the band's biographers, Clark is generally viewed as having contributed background vocals to the songs "Goin' Back" and "Space Odyssey" from the then forthcoming Byrds' album, The Notorious Byrd Brothers, as well as being an uncredited co-author, with Roger McGuinn, of "Get to You" from that album.[2]

In 1968, Clark signed with A&M Records and began a collaboration with banjo player Doug Dillard. With guitarist Bernie Leadon (later with The Flying Burrito Brothers and the Eagles), they produced two country rock and bluegrass-flavored albums: The Fantastic Expedition of Dillard & Clark and Through the Morning Through the Night, both of which fared poorly on the charts. Through the Morning, Through the Night was more bluegrass in character than its predecessor, used electric instrumentation and included Donna Washburn (Dillard's girlfriend) as a backing vocalist, all of which contributed to the departure of Leadon. The loss of Leadon as a co-writer meant that the album featured more covers than originals, and the change of musical direction caused Clark to lose faith in the group, which disbanded in late 1969. Today, Dillard & Clark are viewed as pioneers of country rock.

In 1970, Clark began work on a new single, recording two tracks with the original members of the Byrds (each recording his part separately). The resulting songs, "She's the Kind of Girl" and "One in a Hundred", were not released at the time due to legal problems and were included later on Roadmaster. Frustrated with the music industry, Clark bought a home at Albion near Mendocino, married, and fathered two children while living off his still substantial Byrds royalties.

In 1970 and 1971, Clark contributed vocals and two compositions ("Tried So Hard" and "Here Tonight") to albums by the Flying Burrito Brothers.
White Light

It wasn't until 1971 that a further Gene Clark solo set finally emerged. The album was titled White Light on the actual record, although the fact that the name was not included on the cover sleeve led some later reviewers to assume mistakenly that it was titled 'Gene Clark'. The record was produced by the much sought after Native American guitarist Jesse Ed Davis with whom Clark developed great rapport, partly due to their common Indian ancestry. A largely acoustic work supplemented by slide guitar work by Davis, the album contained many introspective tracks such as "With Tomorrow", "Because of You", "Where My Love Lies Asleep" and "For a Spanish Guitar" (supposedly hailed by Bob Dylan as a song he would have been proud to compose). All of the material was written by Clark, with the exception of the Dylan and Richard Manuel penned number "Tears of Rage". Launched to considerable critical acclaim, the LP failed to gain commercial success, except in the Netherlands where it was also voted album of the year by rock music critics. Once more, Clark's refusal to undertake promotional touring adversely affected sales.

In the spring of 1971, Clark was commissioned by Dennis Hopper to contribute the tracks "American Dreamer" and "Outlaw Song" to Hopper's film project American Dreamer.

A re-recorded, longer version of the song "American Dreamer" was later used in the 1977 film The Farmer, along with an instrumental version of the same song plus "Outside the Law (The Outlaw)" (a re-recording of "Outlaw Song").

In 1972, Clark assembled a backing group consisting of highly accomplished country rock musicians to accompany him on a further album with A&M. Progress was slow and expensive and the project was terminated before completion by A&M. The resulting eight tracks, together with those recorded with The Byrds in 1970/71 and another with The Flying Burrito Brothers ("Here Tonight"), were belatedly released as Roadmaster in the Netherlands only.

In 1972, the Dillard & Clark song "Through The Morning Through The Night" was used in Quincy Jones's soundtrack of the Sam Peckinpah movie The Getaway. This song, along with "Polly" (both from the second Dillard and Clark album), was also recently covered by Robert Plant and Alison Krauss on their album "Raising Sand".
Byrds

Clark then left A&M to join the reunion of the original five Byrds and cut the album Byrds (released in 1973) which charted well (US # 20). Clark's compositions "Full Circle" and "Changing Heart" plus the Neil Young covers on which he did the lead vocal work ("See the Sky About to Rain" and "Cowgirl in the Sand") were widely regarded as the standout tracks on a record which received some negative critical response. Disheartened by the bad reviews and unhappy with David Crosby's performance as the record's producer, the group members chose to dissolve The Byrds. Clark briefly joined McGuinn's solo group, with which he premiered "Silver Raven", arguably his most celebrated post-Byrds song.
No Other

On the basis of the quality of Clark's Byrds contributions, David Geffen signed him to Asylum Records in early 1974. Asylum was the home of the most prominent exponents of the singer-songwriter movement of the era and carried the kind of hip cachet that Clark hadn't experienced since his days with The Byrds. He retired to Mendocino and spent long periods at the picture window of his friend (and future co-writer and drummer) Andy Kandanes' cliff-top home with a notebook and acoustic guitar in hand, staring at the Pacific Ocean. Deeply affected by his visions, he composed numerous songs which would serve as the basis for his only Asylum LP, the aptly titled No Other. Produced by Thomas Jefferson Kaye with a vast array of session musicians and backing singers, the album was an amalgam of country rock, folk, gospel, soul and choral music with poetic, mystical lyrics. The fact that No Other wasn't a conventional pop/rock opus meant that its chances of success were greatly minimised by Clark's relative obscurity. Furthermore, its production costs of $100,000 which yielded only eight tracks prompted Geffen to berate Clark and Kaye. The album then stalled in the charts at No. 144. On a more personal note, the singer's return to Los Angeles and his reversion to a drug/drinking lifestyle resulted in the disintegration of his marriage. In spite of these setbacks, he mounted his first solo tour (by road), playing colleges and clubs with backing group, the Silverados.

The Band-High on the Hog

High on the hog

Inviting listeners to "shake yourselves / like I shake mine." Suitable for evenings around the hearth or long distance roadtrippin'. As hard to lose as a tattoo. Released in 1996 with the high-end assistance of Professor Louie, and bringing in some instrumental help from the bullpen -- Jim Weider on six string, Randy Ciarlante on skins, Richard Bell on keys -- it has a thoroughly contemporary sound. Levon and Rick are in fine form vocally, swapping whole tracks like they once swapped lines, even crafting a bit of a duet on #3. Richard is resurrected to carry one song home, "She Knows," as only he could. Garth doesn't disappoint; as all fans would expect, his talented presence adds a most welcome dimension to the music. Each song boogies! A well-crafted gift to us mortals from the gentlemen of rock & soul.  The Band is a great band, and still has a small amount of magic back. Some tracks shines more than others, but there are to many tracks who dissapoints. Track 1 Stand Up, in it`s "walkalong" tempo glimmers right trough. It shows creativity and has flair. Track 2 Back to Memphis is a letdown, sorry to say. It`s too slow, and a weird vocaljob that sounds like Bob Dylan on a bad day, doesn`t help either.

Track 3 Where I should always be, has more power as a nice ballad, with a very "airy and open" soundpicture all trough. Track 4 Free your mind, is a more uptempo song, with a "bigband beat" that has a certain "sting". It delivers, but nothing special . But hey, on Track 5 Forever Young we are back in "god ole Band mood". This has the trademarks of a The Band. It`s written by Bob Dylan, and it`s a tribute to Jerry Garcia. Garth Hudson`s organ play sneak`s in to your`e soul, as on every "great" Band song`s. Track 6 The High Prize of Love, is a little let down, once again. It`s very "muddy" and to distorted to have a great listen too. Track 7 Crazy Mama, is a different cup of tea. As a blues rocker this one delivers, with a good strong backbeat that pushes the song forward in the right direction to the end. Track 8 I must love you to much, is a fast rocker, that has a enough tempo and beat to make you put on your`e rock and roll shoes.

Track 9 She knows, is a traditonal ballad, which delivers in a slow jazzy mood, but it`s not up there. It`s anyway nice to

listen to as a "late night gem" but nothing special. Track 10 Rumble Jungel, is a "musical rumble to the jungle" and sounds like it, with a weird vocal to carry it trough. Track 11 Young Blood, is a Leiber/ Stoller Classic. The Band does it in a "slow up tempo beat" . Quite okei. Anyway. This is The band, with`too many up`s and downs on a variable CD.

Emmylou Harris-Pieces of the Sky

Pieces of the sky

There was a unique sound that hit the ground running here, with a perfect album in which every song was a solid winner.

This isn't today's "alt-country", and indeed it may well be more country than some of Emmylou's 21st-century fans are comfortable with. Back in the day, the hippie sorts had nothing to do with official country music, and the official world of country music would have nothing to do with Emmylou. She was nowhere near to moving to Nashville yet, and was played on the same FM stations that played rock music. Her music was a continuation of music we then put in the country-rock genre, which was considered every bit as cool as any other sort of rock in the early 70's. In a rock historian's book, maybe the driving force was Gram Parsons joining the Byrds and helping create their "Sweetheart of the Rodeo" album. But out in the real world, no one had heard of Gram Parsons, was unlikely to have heard more than a song or two from that album, and what brought country-rock into our worlds were later incarnations of the Byrds, Bob Dylan doing "Nashville Skyline", and lesser bands like New Riders of the Purple Sage or Commander Cody. Those are the sounds that primed us for the far more enduring music of Emmylou Harris.

Without denying Gram Parsons his due, he is known today largely because of the work Emmylou Harris started so brilliantly here. Some have said below that her covers of other people's songs were often superior to the originals, and I agree. I'll go a step farther and say that it's her covers of music that Parsons wrote or loved that not only put it on the map, but that made it sound good enough for it to acquire what eventually became a huge audience. I don't think that detracts from his talents, but it speaks to the beauty of her voice and the arrangements and production on this album and those that followed.

Listening to this CD, it is striking how country it is, and hard to remember how easily they accepted this music in the rock world way back when. It's nearly as hard to imagine why her work wasn't accepted at the time by the country audience. And nowadays, when her voice is an entirely different sort of instrument, it's impossible to imagine why reviewers at the time thought her voice wasn't strong enough for a solo artist, and that she was better suited to being a backup singer. Though I was a huge fan, I felt there was some truth to the criticisms, and what drew me in were her soft, unspeakably sweet, angelic interpretations of slower songs. Tastes were just so different then. Compared to all the lovely and popular, but much-weaker, girlish voices of today's alt-country world, the Emmylou of the 70's belted songs out with a voice whose strength I had nearly forgotten. It is stunning to listen to today, after years of spending much more time with Wrecking Ball. Emmylou really rocked country long before "crossover" was invented.

This is probably an essential Emmylou album for anyone who is a fan of her 70's and 80's work. If you're browsing because you have a love affair with Wrecking Ball or later work, this may not be your cup of tea. To those of us who were there, this is the voice we loved doing the music we loved, and represents Emmylou at her peak - or, rather, one of her many peaks.

Sneaky Pete Klienow

Sneaky Pete Klienow

Peter E. "Sneaky Pete" Kleinow (August 20, 1934 – January 6, 2007) was an American country-rock musician, songwriter, and a motion picture special effects artist. He is best known as a member of the band the Flying Burrito Brothers and as a session musician for such artists as Joan Baez, Jackson Browne, The Byrds, Joe Cocker, Rita Coolidge, The Eagles, The Everly Brothers, George Harrison, The Steve Miller Band, Joni Mitchell, The Rolling Stones, Stevie Wonder, Spencer Davis, Linda Ronstadt and many others.

Kleinow was born in South Bend, Indiana. Before his musical career, he originally worked as a special effects artist and stop motion animator for movies and television, including the Gumby, Outer Limits, and Davey and Goliath series, as well as movies such as 7 Faces of Dr. Lao (starring Tony Randall and Barbara Eden) and The Wonderful World of the Brothers Grimm.

At night, Kleinow would frequently sit in with Bakersfield Sound-oriented combos and early country-rock aggregations playing the pedal steel guitar. Through this scene he became acquainted with Chris Hillman and Gram Parsons of The Byrds, helping the group to replicate their newly country-oriented sound onstage with banjoist Doug Dillard.[1] He lived in Albuquerque for a brief period of time.

After leaving the Byrds, in 1968, Parsons and Hillman invited Kleinow to join their new band, the Flying Burrito Brothers.[1] Subsequently, Kleinow left behind his career in visual effects and spent the next thirteen years as a professional musician.

One of the first pedal steel players to work in a rock context, Kleinow incorporated liberal use of electronic innovations like the fuzzbox and backwards recording techniques. As such, his style of playing was immediately influential upon second-generation players such as Jerry Garcia, Buddy Cage of the New Riders of the Purple Sage and sessionman Al Perkins.

Finding session work to be more lucrative, he left the Flying Burrito Brothers in 1971 and played for an eclectic range of artists, including Joe Cocker (Joe Cocker!, 1969), Delaney, Bonnie and Friends (To Bonnie from Delaney, 1970) and Little Feat (many albums including Sailin' Shoes, 1972).[1]

He also added steel guitar to records by Frank Zappa (Waka/Jawaka, 1972). 

After two more Burritos LPs -- 1976's Airborne and 1978's Live in Tokyo -- Kleinow cut his first solo record, Sneaky Pete, in 1978. Following one final Burritos album, 1981's Hearts on the Line, he gradually withdrew from the music industry to focus on creating special effects; the films he worked on included The Empire Strikes Back, The Right Stuff, Gremlins, and both Terminator features. Nevertheless, he occasionally returned to music, performing with diverse artists like Leonard Cohen, Medicine, and the Golden Palominos. In 1994, he released the solo effort The Legend and the Legacy and led a new Burritos lineup on a tour of Europe.

Sneaky Pete with his Dinosaur Shirt that he used to wear all the time

Paul Cotton- When the coast is clear

When the coast is clear

Paul Cotton could be described as a poor man's Stephen Stills. And that analogy would be appropriate since Cotton's existence in Poco was based largely on the absence of a ringer who could play guitar and write good songs. Some 30 years later, Paul Cotton's voice is as steady and identifiable as any in rock music. "Coast" is a brilliant collection that spans the horizon and finds Paul in excellent form. "I absolutely dare you to listen to this CD without a lump in your throat or longing for the beach, high tide, and your sails in the air..." From another reviewer on Paul's site. And I must agree! This CD is a breath of pure ocean wind. A major departure from the country-rock formula of Poco, and into something much more emotive and earthy. These are songs that explore Paul's playing like nothing else thus far. And Cotton is no spring chicken. At 65, he may be the world's oldest underappreciated gutiar player. And what's awesome, is that Paul's voice and playing skills have only gotten BETTER over time. Pick any song, and you will find a treasure trove of pop, rock and even a hint of jazz. But check out the production values and the ageless voice of a man who should be in the rock and roll hall of fame with the rest of his comrades in Poco. This is as good as rock music gets!

Eagle Promotional Photo

Good one of the country rockers, from the On the border era

Son Volt-Trace

Trace

This is the one of the greatest alt-country/Americana record ever made. The songs on this album constitute the pinnacle of what this genre of music has to offer. Jay Farrar is an American treasure up there with John Fogerty and Neil Young. Long live Son Volt. Somehow, as sometimes happens, great artists pass you by and when you discover them years later, you cannot understand how you missed them (Tangerine dream and Quick Silver messenger Service are good examples for me) Such is also the case with Son Volt, and the whole Jeff Tweedy/Jay Farrar thing. I was at work a month or two back and listening to a music streaming site and on came 'Windfall'. Now this is a song that makes you sit up and listen, and listen again, and again. I caught some of the reviews of the album and went ahead and bought it. No regrets at all, this is one of THE great alt-country albums with a whole slew of great songs - the aforementioned 'Windfall', 'Tear-stained Eye', 'Drown', 'Out of the picture'. Not a duff track on the whole CD, great for driving along with, wonderful band support and Jay Farrar's world weary voice. Now I'll be exploring the others, but selectively, cos this reaches a standard that others may not be able to achieve. An absolute must for your collection. Buy now, especially if , like me, these guys have passed you by.

Craig Fuller

Craig Fuller

Craig Fuller is an American musician and songwriter. Co-founder of Pure Prairie League, along with John David Call and George Ed Powell. Fuller departed in 1973 after their second album, Bustin' Out, due to draft board problems. He returned to the music business in 1976 for two LPs with American Flyer. After American Flyer dissolved, Fuller returned to record one LP with former Flyer member Eric Kaz.

In 1987 Fuller was hired by Little Feat to front the band, who had long ago noticed an uncanny resemblance in his voice to their late frontman and founder, Lowell George. Fuller's first LP with the band was Let It Roll, although he left the band in 1993. He made a guest appearance on their 1996 live album Live From Neon Park. He is one of several guest artists on Little Feat's 2008 album Join the Band duetting with percussionist Sam Clayton on the Lowell George classic "Spanish Moon".

Fuller reformed Pure Prairie League in 1998.Craig Fuller opened for and sat in with Little Feat on New Year's Eve 2011 at the Fillmore in Silver Spring, MD when the band performed their classic album Waiting For Columbus.

Albums

with Pure Prairie League

    Pure Prairie League (1972)
    Bustin' Out (1972)
    Mementos 1987
    All In Good Time (2005)

with American Flyer

    American Flyer (1976)
    Spirit Of A Woman (1977)

with Fuller and Kaz

    Craig Fuller and Eric Kaz (1978)

with Little Feat

    Let It Roll (1988)
    Representing The Mambo (1990)
    Shake Me Up (1991)

Craig Fuller is a powerhouse musician and one of the most admired singer, guitar player, song writers of this generation. His music is fueled by merging country with rock & roll to create Country Rock. His songs like “Amie,” “Fallin’ In and Out Of Love” and “Let Me Love You Tonight” are forever stamped on the consciousness of a generation. Their distinctive harmony and combination of instruments makes them instantly identifiable.

Stephen Stills-Man Alive

Man Alive

Stephen Stills aficionados will certainly have to give 'Man Alive' some time to settle in, ,the early returns lay kudos all over this one, and I pretty much intend to do the same. While this review may one day demand a rewrite, let's give it a once over.

It's been fourteen long years since Stephen gave us a solo release, and 1991's 'Stills Alone' was certainly restrained in production and investment relative to 'Man Alive'. 'Man Alive' sounds lovingly, painstakingly nurtured. You really have to go back to 1984's 'Right By You' and Stephen's 1970's solo discs to find a comparable work. Nevertheless, 'Man Alive' does offer songs that are reminiscient of 'Stills Alone' ('Hearts Gate', in particular, sounds like it could be an outtake from those sessions, as does 'Piece of Me'), 'Right By You' (the steady rocker 'Wounded World' being a kissing cousin of 'No Problem'), and Booker T's 'Ole Man Trouble', a staple on recent tours, sounding like a knock off of 'Myth of Sisyphus' from 1975's 'Stills' early on.

Then there are those numbers that sound better than you hoped they would ('Spanish Suite'), or just like you always imagined they could ('Round the Bend'). A live performance of 'Spanish Suite' from the Greek Theatre in Berkeley has circulated as a bootleg since 1978 (must be where I heard it), but this stunning studio version featuring Herbie Hancock's virtuoso jazz piano adds a perfect complement to a truly classic Stills acoustic track. 'Round the Bend', on the other hand, finally captures Stephen and Neil Young jamming together on a studio track on a level comparable to their exchanges on 'Carry On' and 'Southern Man' from the 'Four Way Street' discs.

Then there are the moments that are new, even for a veteran like Stephen. 'Around Us' makes use of a trio of female backing vocalists that lend a sound to the track that Stills hasn't approached since his first solo disc in 1970 applied the wall of sound concept to 'Love the One You're With' and 'Sit Yourself Down'. Stills' is in smoother voice on this disc than he has been in years, but his gruff delivery stands in stern contrast to these breathy, feminine background voices. It's a great new sound for Stephen. Aside from 'Round the Bend', Neil Young is most prominent on a duet with Stephen titled 'Different Man', sounding a bit like the Soggy Bottom Boys belting out 'Man of Constant Sorrow'. 'Acadienne' draws on Creole influences, and while 'Beaucoup Yumbo' from 1978's 'Thoroughfare Gap' may have been Stills' first Cajun diversion, I'm venturing a guess that the lively 'Acadienne' is the first Stills tune to feature an accordion! 'Feed the People' advances the gospel of peace and Third World concern through an engaging style of chant.

Another exceptional tune from the disc is the opener 'Ain't It Always', which is broken from the same mold as the opener from 'Stills Alone', 'Isn't It So', being every bit as engaging, and twice as vibrant. 'Isn't It So' was catchy enough to be adopted as the theme song for the 'Second Noah' television series, and 'Ain't It Always' possesses similar pop sensibilities. 'I Don't Get It' rounds out the twelve tracks and 58 minute running time of the disc, a standard Stills blues shuffle with a gritty edge, focused on relational confusion and miscommunication.

The personnel is all over the board for this set. Stephen draws from his past studio and road bands for bassist George 'Chocolate' Perry, journeyman guitarist George Terry, Joe Vitale and Russ Kunkel on percussion, and Mike Finnigan on keyboards and vocals. Gerald Johnson, whose bass work I've been enjoying on Steve Miller's 1970's releases, is featured on four tracks. In addition to Neil Young and Herbie Hancock, Graham Nash contributes vocals on 3 tracks. Stephen "Many Hands" is busy on everything from keys to piano to bass to lead guitar to backing vocals for his own lead vocals in a spirit going back to his first album with Crosby and Nash.

Overall, 'Man Alive' has a blues-lite feel to it, but it's far too diverse to be pigeonholed. This disc has considerable potential to grow on a person, and may outdo some of Stephen's late-1970's releases such as 'Illegal Stills' and 'Thoroughfare Gap'. The only suggestions I would have had for Stephen in looking at the final product would be including the lyrics in the liner notes, and finding some outlets for his long-neglected wah-pedal guitar skills. Nevertheless, this CD is a must for Stephen's fans. It will be interesting to see if it generates significant interest from critics and those outside of Stills' base. It's deserving.

Hopefully, with 'Man Alive' completed, Stephen might find time to revisit his archives as Neil Young did in creating a box set for Buffalo Springfield. There is a compelling audio and video recording of the first Manassas concert that many, including the band's steel guitarist Al Perkins, would like to see released, as well as video and audio tracks of Stephen's legendary 1979 performances in Cuba. There is a thirst for such nuggets that Stills will hopefully be addressing soon. In the meantime, thanks for this one, Stephen.

Molly Hatchet- Kingdom of XII

Kingdom of XII

This third offering from the "new" Molly Hatchet is an excellent addition to their growing discography, and any fan (old or new) should definitely add it their collection.

Every song is another worthy entry in their canon, but personal favorites on this disc include - "White Lightning," "Kickstart To Freedom," and their cover of the Rolling Stones tune "Tumbling Dice." Another acoustic number, this time out consisting of "Edge Of Sundown" (found either on The Danny Joe Brown Band 1981 LP or Molly Hatchet's own 1985 Double Trouble - Live) closes the set.

However, not all is calm for me on this release. Drummer Mac Crawford has left the band, and has been replaced by Sean Shannon. Though Shannon's work is very competent, I must admit to missing Crawford. I viewed him as the best drummer the band had ever employed, and wish him well in his endeavors. Charlie Daniels has been brought aboard to add fiddle fire to two tracks ("Gypsy Trail" and "Angel In Dixie"), and for some reason, though I'm a fan of Daniels work, wish he had been left off the final release. Finally, before I really start nitpicking (lol), I want to throw a barb at vocalist Phil McCormack. I've been very pleased with his work up and through this album, but finally began to notice some cracks in the foundation. A dead-ringer for original vocalist Danny Joe Brown, McCormack initially started off as just one helluva replacement (see 1996's "Devil's Canyon"); but on this album sounds to me as if he's actually attempting to sound like Brown. Either way, I'm really cutting my complaints to the bone because, let's face it, there really isn't much to complain about concerning "Kingdom Of XII." You'll see once you give it a listen.

New Riders of the Purple Sage..Best of..

Best of..

Like many people I checked this group out knowing that Jerry Garcia and a few other Dead alumni played with this band in the early days. It pretty much sounded as I expected. Solid country rock. Kind of a cross between early Grateful Dead, Byrds and Gram Parsons. Nothing too deep, just light country rock with a bit of humor thrown in. Any fan of Flying Burrito Brothers or Buffalo Springfield might like this. There's no doubt the album cover sold a few extra copies. I framed my vinyl. Maybe they could have called this "The Breast Of" or "Greatest T*ts". Roots-music reverence helped this Grateful Dead offshoot become one of the West Coast's key country-rock groups; here's their 1976 "best-of" plus five rare bonus cuts! Their 1972 hit I Don't Need No Doctor joins I Don't Know You; Glendale Train; Hello Mary Lou; Panama Red; Henry; Groupie (live), and eight more!

Rusty Young

Rusty Young

Rusty Young (born Norman Russell Young on February 23, 1946, in Long Beach, California) is an American guitarist, vocalist and songwriter best known as one of the frontmen in the seminal country rock band Poco.

A virtuoso on pedal steel guitar, he is celebrated for the ability to get a Hammond B3 organ sound out of the instrument by playing it through a Leslie speaker cabinet.
Rusty was raised in Colorado. He began playing lap steel guitar at age 6, and taught guitar and steel guitar lessons during his high school years. During that time, he also played country music in late night bars. Rusty played in a well known Denver psychedelic rock band "Boenzee Cryque"

he started to play the pedal steel guitar.  This was probably due to the lingering popularity of Hawaiian music after the second World War, but as far as Young's parents were concerned, playing country music was the goal for their son. He started gigging in bars in Colorado when he was only 12, sticking to Sunday afternoon gigs, still playing steel. By 16 or 17, he was keeping a schedule that would have left adult professionals panting. He taught lessons in a guitar studio in the afternoons and then played country music in bars until the wee hours of the morning. Then he would pack up and head to jam sessions, catching a few hours of sleep before it was time to go to high school. In 1966, he was surprised to get a call from a local rock band, the Boenzee Cryque. "Are you sure you want him?" Young's mother apparently asked, "He's in a country band you know." Boenzee Cryque was about the most popular Denver rock band at that point and had done fairly well with several locally produced singles that had been picked up by the psychedelic-obsessed Uni label. He worked with this band for two years, incorporating the pedal steel and utilizing some of his strange effects for the first time. In the meantime, a former student who had become road manager for Buffalo Springfield brought Young in contact with the hit group when the members were looking for a pedal steel track for their song "Kind Woman," and didn't want to hire any of the Los Angeles session men. Young was flown out to L.A. to do the session. After he hit it off particularly well with Messina and Furay, it was only natural that Young would become part of a new band that formed in the aftermath of the Springfield collapse.

Originally, the band was to be called Pogo and even used pictures of a similarly-named cartoon character in early promotion. The author of the Pogo strip, Walt Kelly, promptly sued. One letter was changed and Poco was born. Young wrote more than a dozen of the group's most well-known songs. The band was active until the end of the '80s, but seemed to make less and less use of Young's instrumental talents as the years went on.

Although based out of Nashville, Young avoids the recording session work that is the bread and butter of most pedal steel players in that area, due to the lack of space for experimentation. He can sometimes be heard playing solo at that city's Bluebird Cafe. His main venture since the late '90s has been a trio with John Cowan and Bill Lloyd, called Sky Kings.

Bernie Leadon-Natural progressions

Natural Progressions

Bernie Leadon was the most experienced Eagle having been around the scene longer than both Frey and Henley. He worked extensively with Dillard & Clark, Hearts & Flowers and the Flying Burrito Bros, before joining Linda Ronstadt for the 2nd time as her backing band with Frey, Henley & Meisner. Although initially being the Band`s spokesman the power struggle that tore the Eagles apart offered up Bernie as the first casualty.

Two years after exiting the Band comes his collaboration with Michael Georgiades, (who?, He was Bernies Best Friend) Don`t be like that as Mikey actually offers some of the best moments on this acoustic dominated and mellow Country Rock offering. "Callin` for your love" is one such moment.

Leadon does well with "How can you live without love" and most of the rest is cruisy, laid back and enjoyable. Although the last song I just don`t get "Glass Off" perhaps its an Americanism that didn`t make it to our fair shores, but really I don`t get it. An album which highlights Leadon`s formidable talent and shows why he no longer could be an Eagle.

Anyway good stuff from an ex-Eagle and we shouldn`t forget Mike`s efforts either. Probably essential for Eagles fanatics.  Stellar production from Glyn Johns and fine songs from both Leadon and Michael Georgiades (who doesn't even rate a billing on the CD, and the back cover. Thanks, Wounded Bird) make this a sonic treat. Some of the best drum sounds ever, masterfully delivered by David Kemper. Everybody shines, as Georgiades delivers 6 out of the 10 songs, but Bernie comes through with "How Can You Live Without Love?" and "The Sparrow", telling of how he survived The Eagles. Great stuff!

Crazy Horse- Loose

Loose

Beautiful country-rock songs with a slightly wistful edge, an underrated album by the mighty Crazy Horse. Similar to country rock bands like Poco, all the songs are melodic and have pretty melodies. A consistently pleasing album. Is more smooth and low-key than the first Crazy Horse album, but shares a similarity in it's high quality songwriting. Especially good are the songs Move, Hit and Run, We Are All Alone Now, and I Don't Believe It, but all the songs go together very well. The lyrics are also very good, mostly about romance, and the different emotions involved with it. Special mention to George Whitsell, who writes the majority of the songs, the guitaring of Greg Leroy, the keyboarding of John Blanton and the heartfelt vocal harmonizing. The different songwriters all blend together seamlessly. And the unbeatable rhythm section of Billy Talbot and Ralph Molina is always excellent.

Linda Romstadt - Simple Dreams

Simple Dreams

This is a classic Ronstadt album, recorded when she was really in her prime, busy cranking out the volume of hits and those seemingly effortless and sometimes facile interpretations of other people's songs, showing just how original an artist she was. Like the legendary Johnny Rivers, who always seemed to have a magical touch for turning other people's work into brilliant covers and best-selling albums, Ronstadt here does a star turn with other people's songs. She shows here just how versatile and eclectic her approach to some interesting material could be. From a raucous hit song like "It's So Easy" to a sweet and soulful interpretation of the plaintive "Simple man, Simple Dream", Linda pulls out all of the stops, and although the album was panned critically, it was also yet another of a string of hers to go platinum. Well, so much for them pesky critic fellas!

Her fans knew what they liked, and they sure seemed to like this terrific collection of so many different genres gathered under a single tent. The single best effort is likely the reinterpreted Roy Orbison song, "blue Bayou" in which Ronstadt simply soars with a voice that echoes the heartache of someone really longing for home, and which was a number one hit as well. "Carmelita" is a haunting, powerfully performed song. Then too, the Rolling Stones' "Tumbling Dice" proves to be a perfect showcase for Linda's bluesy interpretation of it. With a well-arranged version of the traditional "I Will Never Marry", she give a nice turn at a folk interpretation, and her nice rendition of "Sorrow Lives Here" is done with a country style that is almost bluegrass in its tones and approach. My personal favorite here is the title song, "Simple Man, Simple Dreams", and of course, "Blue Bayou". The title song is, of course quite reminiscent of a number of the songs from her previous albums such as "Hasten Down the Wind", "Prisoner In Disguise" and Long, Long. Time". All in all, this is a terrific album and one that is really a showcase for Linda at her very best. Enjoy!

Bernie Leadon

Bernie Leadon

Bernard Mathew "Bernie" Leadon, III (born July 19, 1947, in Minneapolis, Minnesota), is an American musician and songwriter, best known as a founding member of the Eagles. Prior to the Eagles, he was a member of two pioneering and highly influential country rock bands, Dillard & Clark and the Flying Burrito Brothers. He is a multi-instrumentalist (guitar, banjo, mandolin, steel guitar, dobro) coming from a bluegrass background. He introduced elements of this music to a mainstream audience during his tenure with the Eagles.

Leadon's music career since leaving the Eagles has been decidedly low-key, resulting in merely two solo albums with a gap of 27 years in between. Leadon is, however, a noted session musician who has appeared as a guest on many other artists' records.eadon was the last member to join the Eagles, a band initially formed by guitarist/singer Glenn Frey, drummer/singer Don Henley, and former Poco bassist/singer Randy Meisner. Leadon is often credited with helping shape the band's early country-rock sound, bringing his strong sense of harmony as well as his country, bluegrass and acoustic sensibilities to the group.

Upon the release of their debut album, Eagles, the group met with near instantaneous success, due largely to the strength of their hit singles, "Take It Easy", "Peaceful Easy Feeling" and "Witchy Woman" (co-written by Leadon and Henley), all of which highlighted Leadon's multi-instrumental talent on electric guitar, B-Bender, banjo, and harmony vocals. Their follow-up, Desperado, was another strong country-rock venture highlighted by the classics "Tequila Sunrise" and the title track, but was met by surprisingly lukewarm reviews and lackluster sales. As a result, the band attempted to distance itself from the "country rock" label for their third album On the Border. In doing so, Leadon encouraged the group to recruit his old friend, guitarist Don Felder, to the band. The result was the guitar-heavy top ten hit "Already Gone". The album also included "My Man", Leadon's touching tribute to his old bandmate and friend, Gram Parsons, who had died of a drug overdose the year prior at Joshua Tree National Park in southeastern California.

With the wild success of On the Border and its follow-up smash, One of These Nights, tension within the band grew, as Leadon grew increasingly frustrated by the band's direction away from his beloved country and bluegrass and toward AOR stadium rock. He famously quit the band in 1975 by pouring a beer over Glenn Frey's head.[1] He later cited a need to get healthy and break the vicious cycle of touring, recording and heavy drug use that was rampant within the band.

Upon his departure, Asylum Records released Their Greatest Hits (1971–1975), which highlighted the band's Leadon years and went on to become the biggest-selling greatest hits album of all time, selling over 42 million units. He was replaced by former James Gang guitarist/singer, Joe Walsh.

Leadon was a huge force in the early sound of the Eagles. He played lead guitar, acoustic, banjo, and pedal steel guitar, among other things. He also wrote/co-wrote many Eagles songs such as "Earlybird", "Train Leaves Here This Morning", "Bitter Creek", "My Man", "Journey of the Sorcerer", "Witchy Woman", "On the Border" and others...some with his brother Tom Leadon.

While the only hit with Leadon as a writer was "Witchy Woman", he was nonetheless a very important part of the band's sound. However, conflicts about the band's direction as well as personality clashes led to Leadon leaving the band in December 1975 after completing and touring for the Eagles' fourth studio album, One of These Nights. He was replaced by Joe Walsh as the band moved towards a harder rock sound.

Afterwards, Leadon went on towards a more country sound. His first post-Eagles album was Natural Progressions (1977), done with his best friend Michael Georgiades. After this album, Leadon largely stayed behind the scenes, contributing to other's albums or taking a lower profile role in other bands. He played a stint with the Nitty Gritty Dirt Band, produced bands such as Restless Heart and their hit "I'll Still Be Loving You", and in the nineties formed a group called Run C&W that spoofed "modern" music by rercording it with a country/bluegrass sound.

In 1998, Leadon temporarily reunited with all the members past and present of the Eagles in New York City for the Rock'n'Roll Hall of Fame. They performed two songs: "Take It Easy" and "Hotel California" (although Leadon was not in the Eagles when the latter was released).

Leadon released his second solo album Mirror in 2004, 27 years after the release of his first. He continues to perform, mostly at corporate events and private shows.


http://bernieleadononline.com/

38 Special-Rockin into the night

Rocking into the night

No fancy recording tricks, very little guitar effects. What you hear is the real thing, not some doctored up record although it may sound like it. These guys are some of the best!! Southern melodic pop rocker f38 Specialfs third album in 1979 features the title track that became their first smash hit. ROCKINf INTO THE NIGHT is also the first successful hit since 70s for Jim Peterik, co-founder of Survivor. It is said that this song was originally prepared for Survivorfs debut. 38 Special guys loved it and used this for their album. Some of the tracks in this album such as Stone Cold Believer and You Got The Deal are really rocking hard sounding closer to Foreigner. Yet this album also has good old southern rock vibe as seen in Money Honey. This album might have been a turning point not only for 38 Special but also for Survivor that made their music more melodic and hard as shown in Premonition. ROCKIN' INTO THE NIGHT is the second-best album by the great .38 Special. The title track is great, as is almost everything else, but by far the best song here is the keep-your-head-and-health number, "You're The Captain", which today's kids could learn a bundle from. A couple of cuts are second-rate, but this album gets 5 stars for all the rest.

New Riders of the purple sage- Brujo/Home home on the road

Brujo/Home, Home on the road

In the early 70's, two of the best live LP's were Commander Cody's "Live From Deep In the Heart of Texas" and the New Riders' "Home, Home On the Road." While the Cody LP has been on CD for years, it is only recently that the New Riders LP was converted to CD. A few years ago while waiting for him to perform, I had a conversation with Buddy Cage, steel player for the New Riders, and I asked him why "Home, Home On the Road" had never been converted to CD. He said he was surpirsed himself, especially since the LP's producer Jerry Garcia had spent countless hours going through nine months of live tapes from a New Riders tour. He told me Jerry had picked the absolute best recordings from that tour.

So if you like the New Riders, get this CD. Don't waste your money on the other live New Riders CD's. This one is by far the best. The Brujo section is from a studio album that is fair, but the live section is more than worth the price of the collection. It's in the same category as Commander Cody's live recordings. You'll see why these two bands had some of the best live shows going in the 70's. The New Riders released their fifth and first live album Home, Home On The Road in April 1974. The album is produced by Jerry Garcia while bassist/vocalist/songwriter Dave Torbert having left the band by the time the album was released. The album starts with John Dawson's fun Hi, Hello, How Are You making it's first appearance on record. David Nelson gets a stunning run on She's No Angel and is followed by a rockin' version of Dave Torbert's Groupie. John gives us another first on record with his fine Sunday Susie. Dave is ramped up for Hunter's Kick In The Head and it's nice to see Truck Drivin' Man turn up having been part of the band's set lists for years. Hello Mary Lou is strong but Sutter's Mill is even better. David and the band absolutely rip up the Stones' Dead Flowers. Henry is a nice chugging version and School Days features Commander Cody and His Lost Planet Airmen's Andy Stein on sax. A fantastic album worthy of 5 stars!

The New Riders sixth album Brujo was released in November 1974 and is produced by Ed Freeman. It was the first to feature former Byrds member Skip Battin as Dave Torbert had left to join Kingfish. The album opens with John Dawson's great and sweetly sung Old Man Noll. David Nelson and the band do a great job delivering the country classic Ashes Of Love. The band then delivers a fantastic cover of Bob Dylan's You Angel You with John singing lead. John's Instant Armadillo Blues is a fun romp while David and the rest turn in a beautiful version of Workingman's Woman. The next three songs On The Amazon, Big Wheels and Singing Cowboy, give newest member Skip the spotlight. David Nelson and Robert Hunter contribute a great song called Crooked Judge. John's somber Parson Brown is fantastic. The album ends with Skip's Neon Rose. All in all, a pretty great 4 star album. A nice booklet is included.

JD Souther

JD Souther

John David Souther (commonly abbreviated as JD Souther) is an American musician, singer-songwriter, and actor. He has written and co-written numerous hits songs recorded by artists such as Linda Ronstadt and Glenn Frey of the Eagles. The artist, according to his Facebook page, stated that the proper abbreviation of his name is JD, not J.D.


Souther was born in Detroit, Michigan, and raised in Amarillo, Texas. As a musician and songwriter, he was greatly influenced in his formative years by fellow Texas rock and roll icon, Roy Orbison. After moving to Los Angeles, California, in the late 1960s, he met Detroit musician and songwriter, Glenn Frey, and the two became roommates and musical collaborators; their downstairs neighbor was Jackson Browne with whom both Souther and Frey would collaborate on numerous projects.

Shortly after meeting, Souther and Frey formed a folk duo called Longbranch Pennywhistle. Their lone album, released in 1970 on Jimmy Bowen's Amos Records, featured significant contributions from guitarists James Burton and Ry Cooder, fiddler Doug Kershaw, drummer Jim Gordon, pianist Larry Knechtel and bassist Joe Osborn.

After recording an eponymous solo album in 1972, persuaded by David Geffen, Souther teamed up with Chris Hillman and Richie Furay to form the Souther Hillman Furay Band The group released two albums, but creative tensions and lack of record sales (not to mention Furay's discomfort with playing secular music following his conversion to Christianity) led to the band's demise.

Souther is probably best known for his well-honed songwriting abilities, especially in the field of country rock. He co-wrote some of the biggest hits for the Eagles, including "Best of My Love", "Victim of Love", "Heartache Tonight", and "New Kid in Town". "How Long", which appears on the Eagles' Long Road Out of Eden, was written by Souther and originally recorded on his first solo album in 1972. He also produced Linda Ronstadt's Don't Cry Now album, and wrote songs for several of Ronstadt's multi-platinum albums, including "Faithless Love" from Heart Like a Wheel and "White Rhythm and Blues" included in her Living in the USA album. He also recorded several notable duets with Ronstadt, including "Hasten Down the Wind," "Prisoner in Disguise," and "Sometimes You Can't Win." He wrote "Run Like a Thief," which appeared on Home Plate by Bonnie Raitt.

Souther has also contributed as a singer in works written by other artists, including backing vocals with Don Henley in "The Light Is On" by Christopher Cross on his eponymous debut album, on the songs "False Faces" and "Loose Ends" on Dan Fogelberg's 1976 LP "Nether Lands" and in the duo (with Fogelberg) called the Hot Damn Brothers on Fogelberg's 1975 LP "Captured Angel".

His biggest hit as a solo artist was his 1979 song "You're Only Lonely" from the album of the same name, which reached number 7 on the Billboard charts. A collaboration with James Taylor called "Her Town Too" from Taylor's Dad Loves His Work album reached number 11 on the Billboard Pop Singles chart.

He was a contributor, performer and vocal arranger on the Roy Orbison and Friends, A Black and White Night 1987 concert and video, sang The Platters' "Smoke Gets In Your Eyes" in Steven Spielberg's 1989 movie Always, and wrote the theme song to the 1989-1992 sitcom Anything But Love.

On October 14, 2008 Souther released If the World Was You, his first new release in 25 years. In the fall of 2009, Souther released a follow up live CD entitled Rain - Live at the Belcourt Theatre, featuring a blend of old and new material. In 2011, Souther released "Natural History", a release that features new versions of many of the songs other artists made into hits. The CD features Chris Walters on piano and continues Souther's foray into jazz-influenced music.


http://www.jdsouther.net

Uncle Tupelo- Anodyne

Anodyne

By now it should be apparent that, irrespective of genre, two brilliant songwriters can coexist within the same band for only so long. Such collaborations may last but a few months, as in the case of the early incarnation of Metallica that featured both James Hetfield and Dave Mustaine, or as long as several years in the cases of the dynamic duos that fronted the Beatles (ok, George Harrison made them a dynamic trio of songwriters) and Uncle Tupelo. Ultimately, however, a band with more than one ingenious songwriter is destined to fission.

Luckily, in the case of Uncle Tupelo, childhood friends Jay Farrar and Jeff Tweedy were able to work together long enough to produce four excellent studio albums, the last of which, Anodyne, represents their most remarkable artistic achievement as a songwriting team.

The proceedings start out well enough with the mournful "Slate" and hoedown worthy "Acuff-Rose". However, the meat of the album starts on the third track, "The Long Cut", which is the first in what seems like an endless stream of classics to come. "Give Back the Key to My Heart" manages to be sweet, funny, and heartbreaking all at once. As perhaps the finest and most rocking song UT ever recorded, "Chickamauga" features a several minute blistering guitar solo outro that soars to the rarified heights achieved before by only a handful of bands such as Pearl Jam on "Alive" and Pink Floyd on "Comfortably Numb". After the frenzied glory of "Chickamauga", the laid-back country pickin' on "New Madrid" comes almost as a relief. "We've Been Had" snags the riff from Springsteen's "Crush on You" and does great things with it. "Steal the Crumbs" is a wonderfully mellow closer.

It's a shame Farrar and Tweedy could no longer work together after Anodyne, yet you've got to admit they've both acquitted themselves quite well on their own since then. Maybe sometime I'll take the time to compare their post-Tupelo output and throw my two cents in on the Farrar vs. Tweedy debate. For now, I suggest that you pull out your copy of Anodyne, grab a bottle of IBC, and enjoy. But this disc is truly special. While all of Uncle Tupelo's previous works hinted at their amazing potential, it all came together here. Whether you're a fan of country, rock, or alternative, you will love this album. They incorporate country, folk, blues, rock, punk into one of the great demonstrations of purely American music. If this sounds like a die hard UT fan going overboard, that's understandable, but I really believe this is a phenomenal CD, worthy of anyone's attention. Its amazing to think of what they could have accomplished if they hadn't broken up after this album. Maybe they knew it would be nearly impossible to match.

Molly Hatchet -ReGrinding the Axes

ReGrinding the Axes

On Regrinding the Axes, Molly Hatchet revisits some of their favorite songs originally made famous by other legendary rock bands, covering well-known anthems from the repertoire of Lynyrd Skynyrd, The Allman Brothers, Rolling Stones, ZZ Top, George Thorogood, Thin Lizzy, and Leslie West s Mountain. The album also features three lengthy live tracks, recorded during one of their mind-blowing concerts. Combining loud hard rock boogie with guitar jam-oriented southern rock,
Molly Hatchet has become the definitive southern rock band and an icon of rock music in general.
Formed in Jacksonville in 1975, Molly Hatchet took their band name from a legendary prostitute who allegedly mutilated and decapitated her clients. Their self-titled debut album, recorded in 1978, quickly went platinum; the follow-up, Flirtin with Disaster, was even a bigger success, ultimately
selling well over two million copies. I dont know what this band is... but it ain't Molly Hatchet. Molly Hatchet WAS Danny Joe Brown. Even Jimmy Farrar's time with the band was still classic... and still Molly Hatchet. To Jimmy Farrar's credit he did not attempt to sound like DJB. He did his own thing, and it paid off. Phil McCormack is an impersonator, and not a very good one. He's the Rich Little of rock-n-roll. Nothing "Molly Hatchet" (so-called) has done since the late 90's can stack up against the real Molly Hatchet. This reincarnation of Hatchet is nothing more than a really pathetic cover band that you would pay $1 to see in some bar somewhere on Saturday night where no one is really paying any attention at all to the band, and everyone is watching the game on the big screen TV or playing darts. In other words... they suck. Everyone knows it. It's amazing they dont know it... or maybe they do, which makes what they are doing even more pathetic. And then to re-record and re-issue songs that were cover tunes to begin with... what? Why? Oh, I know... TOTAL LACK OF CREATIVITY. Posers calling yourselves "Molly Hatchet"... please, stop what you are doing. Phil, stop immitating DJB! Get some confidence and sing like yourself. I am quite certain the world has never heard your real voice. The world might like it, you never know unless you try. Band... get a new name. Try, like all other successful bands, to do something original! Keep it southern, keep it rockin'... but stop posing. Goodness, we cant take it anymore out here! You've become a parody of the original, and an embarrassment to southern rock in general. At least the boys in Skynyrd are trying to something original and not trying to mimick. Hatchet is a joke.

01 – Bad To The Bone
02 – Mississippi Queen
03 – Free Bird
04 – Back In The U.S.S.R.
05 – Sharp Dressed Man
06 – The Boys Are Back In Town
07 – Tumbling Dice
08 – Dreams I’ll Never See
09 – Melissa
10 – Wild Horses
11 – Tequila Sunrise
12 – Yesterday
13 – Get In The Game [Live] (bonus track)
14 – Layla / Guitar Solo [Live] (bonus track)
15 – Dreams I’ll Never See [Live] (bonus track)

Paul Cotton

Paul Cotton

Born in Alabama and raised on the south side of Chicago, the soulful influences of his roots can still be heard in the music of Norman Paul Cotton. He took up the guitar in his early teens and followed this passion through to the place he finds himself today, 'a legend in his own write'. The unmatched talent, artistry and staying power of Paul Cotton is an inspiration to so many of us.

Touring and recording with various bands in the late 50s, and well into the 60's, including; the Capitols, Mus-twangs, Gentrys and Rovin' Kind, he then formed The Illinois Speed Press*, where Paul was discovered while performing, landing a major recording contract for his new band. After two albums for Columbia Records, Paul was asked to join the critically acclaimed, Country Rock band POCO, where he spent the better part of four decades as it's dominant songwriter, lead vocalist and lead guitarist.

Poco was formed from Buffalo Springfield Rock Legends: Jim Messina (Loggins and Messina), and Richie Furay (Buffalo Springfield) when Neil Young and Steven Stills departed. --- Additions to the newly formed band included Rusty Young and drummer George Grantham from Colorado (Boenzee Cryque), Timothy B. Schmit(Eagles). and Paul Cotton (Illinois Speed Press) who replaced Messina early in 1970.

Paul Cotton is globally known for his famous hits: 'Heart of The Night' 'Bad Weather' 'Indian Summer' 'Barbados' and numerous others. He has authored countless hits for Poco's best selling albums, and has been awarded a number of Certified GOLD & PLATINUM RECORDS including Asylum record "NO NUKES". Recognized in The Alabama Hall of Fame ,the Humanitarian Award and the countless charitable contributions and unmatched talent are but some of his tributes.

Still waters run deep, and this quiet man always comes to the table filled with the promise of a new and better time, whether writing songs about love and longing or painting pictures with his brilliant story telling. He was environmentally conscious or 'green' before it was fashionable composing 'Blue Water' 1972- Crazy Eyes. Being a prolific writer, Paul seldom relies on other's material, but he brought life back into J J Cale's Magnolia and Cajun Moon, making them 'like his own'. During breaks in past touring schedules, Paul Cotton recorded three solo CDs, and is currently recording a fourth Solo CD with his acclaimed Paul Cotton Band. To his credit, boatloads of accolades continue to pour in for these works: Changing Horses, Firebird and the most recent being When The Coast Is Clear, a top winner- selling out whenever & wherever it is offered.

Having shared the stage and performances with other Legends - Eric Clapton, the Eagles, the Doobie Brothers, Willie Nelson, Jefferson Airplane, Beach Boys, Procol Harum, Moody Blues, ZZ Top, America, Loggins and Messina, Allman Brothers, Marshall Tucker, Outlaws, Charlie Daniels, Steppenwolf, Yes, America and many more, Paul Cotton thrills audiences around the world with his unique 'tone' and master of the strings.

Having retired from the big shows he headlined at Carnegie Hall, Hollywood Bowl, Shea Stadium, Central Park, Madison Square Gardens and Fillmore East and West and at an age that most men would opt to retire, Paul has not stopped and continues to perform to everyone's delight.

Choosing to go forward, this truly gifted artist is currently writing songs, recording and bringing his brand of live music to fans around the world. His Band performs on an annual Cruise with private concerts and personal meet and greet gatherings. Paul Cotton Paul plays and tours today with the Paul Cotton Band - rockin' every venue they play. He recently organized the Illinois Speed Press' very successful 'reunion cruise', where he and former partner Kal David rocked the deep blue sea on a Caribbean Cruise . Dubbed "King Cotton" by George Harrison of the Beatles ,this is a truly "don't miss" performance, and fans continue to rave about the caliber of this man's genius talent.

http://www.paulcotton.com

Molly Hatchet-Justice

Justice

Molly Hatchet's latest album, JUSTICE, is the band's newest addition to the Southern rock lexicon.  The first two straight ahead rockers that lead off the album are “Been to Heaven, Been to Hell” and “Safe in My Skin.”  Lamenting the fact that they've been through heaven and hell, the best place for them is back in Jacksonville!  And the best way to get there is in a souped-up Silverado.  Watch out playing these first two songs while driving out on the highway.  May induce excessive speed!  The third track is “Deep Water.”  This song would seem very at home in 1985.  The beginning synth-keyboard, syncopated drums, and lead guitar riff is something I would expect if I took a trip in my DeLorean and turned on MTV.  Or maybe on the Scorpions farewell tour, at the very least.  Another song that reminds me of the retro eighties is “Vengeance.”  Now that I think of it, a lot of these tunes would work on MTV, if they still played music on that channel.  Another great tune, “American Pride” makes the band's patriotic statement with “Got that American pride with that Southern style, born and bred something deep inside.”

One of the most heartfelt tracks on this album is “Fly on the Wings of Angels (Somer's Song).”  The band has dedicated this song to Somer Thompson, a seven year old Florida girl who was assaulted and murdered.  The band played a charity concert in her honor to raise money and inform the public about what had happened.  Fittingly, the band rounds out this disc with “Justice.”  Phil preaches, “We need some justice to make the wrong right” and then, the band proceeds to make an eight and a half minute epic reminiscent of the glorious 70's.

The sound quality of JUSTICE is due in part, to the tracks being recorded on an analog mixing board.  The warmth of analog cannot be beat.  My only criticism is that sometimes I can't understand Phil's vocals.  If you've listened to any of the previous CD featuring Phil's singing, that seems to be a running theme.  He just gets muddied up when added to the modern guitar sounds of Bobby Ingram.  On second listening, my ears have gotten used to it but I really have to work at picking out lyrics here and there.  Other than that minor flaw, the music on this album rocks.  This band isn't going anywhere for a long time.  So, yeah, my friend, Molly Hatchet is still alive and kickin'!  Hell yeah!!