JD Souther-Black Rose

Black Rose

 

 

Clearly Souther's best and most dense album, it also illustrates why Souther never became a full member of the Eagles and that insiders' assumptions about Souther 'just not being a group person' were widely justified at the time. He presents himself at the peak of his writing ability and, supported by Peter Asher's sensitive production, also in full creative control. In spite of numerous cameo appearences (by Andrew Gold, David Crosby and the Eagles) the album failed commercially like on most other instances Souther decided against the role of the man in the background. Many of the songs feature re-recorded (and better) versions of songs he had previously recorded with Linda Ronstadt, others (like the irresistable Doors Swing Open) are clearly meant for his own use, so unapplicable are they to the Eagles' or Ronstadt's patterns. There is a commodity of patience and density here which gives the album the taste of a burried treasure, a yet largely undiscovered classic. The recent re-issue on CD might enhance that reading of his work, even though other notable attempts (such as his last full-scale album Home By Dawn, which was only re-released in Japan, and is not available elsewhere, not even on Amazon) seemed to be denied this kind of slow appreciation. Highly recommendable

Toy Caldwell- Son of the south

Son of the South

 

 

I have never heard this album, here is a review from the producer

 

Son of the South is the rerelease of, Toy Caldwell (1992 Cabin Fever), Toys only solo studio recording. Can't You See (1998 Pet Rock), is the only live solo release by Toy. Both records are very impressive and showcase Toys varried songwriting and unusual guitar style. I highly recommend these recordings and are a must to any southern rock enthusiasts collection. Oh by the way, I was the executive producer for both releases. -Gary F Montgomery.

 



John York

John York

 

 

John Foley York (born August 3, 1946 in White Plains, New York) is an American bassist and guitarist. He is best known for his work with The Byrds, who he joined in September 1968 as a replacement for the band's original bass player Chris Hillman. He remained with the group until September 1969, when he was fired by the other three members of the band and replaced by Skip Battin. Despite only being with The Byrds for a year, his bass playing and singing appear on two of the group's studio albums, Dr. Byrds & Mr. Hyde and Ballad of Easy Rider, as well as on the non-album single "Lay Lady Lay". York also wrote the song "Fido", which appears on Ballad of Easy Rider, and co-wrote the song "Candy", which is included on Dr. Byrds & Mr. Hyde. He also appears on the Columbia/Legacy Byrds' live album Live at the Fillmore - February 1969.

Prior to joining The Byrds, York was a member of the The Bees and the Sir Douglas Quintet, and also worked as a session musician for The Mamas & the Papas and Johnny Rivers. He was also the bassist in ex-Byrd Gene Clark's touring band. Following his dismissal from The Byrds, York again worked with Clark during the mid-1980s, along with Pat Robinson, in the group CRY. York has maintained a lengthy career as a guitarist and bass player, and since the 1980s has worked with artists including Chris Darrow, Katie Trickett, Steven T., and Nick Binkley among others. In 1988, he recorded a number of songs with fellow ex-Byrds bass player Skip Battin, and these recordings were issued as the Family Tree album in 2001. York has released three solo albums titled Sacred Path Songs (1991), Claremont Dragon (1998), and Arigatou Baby (2006), and has also recorded the albums Clan Mother Songs with Jamie Sams, and Koto with Yukiko Matsuyama. In 2008, York teamed-up with singer-songwriter Barry McGuire for a live tour entitled Trippin' the 60's.


 

 

Randt Meisner Live 1981

Randy Meisner-Live 1981

 

Not much on this rare release.
2009 archive live release from the former member of The Eagles and Poco. Along with Glenn Frey, Bernie Leadon and Don Henley, Randy and The Eagles achieved great success and Meisner was not only known for his bass playing and backing vocals but also for writing/co-writing songs on all five of the Eagles first albums. After The Eagles, Meisner had a successful solo career with albums released in 1978, 1980 and 1982. He also went on to support other big names such as Joe Walsh, Dan Fogelberg, Bob Welch and Richard Marx. This album shows Meisner at his best. 12 tracks.



Poco-Standing Room Only

Standing Room Only

This collection seems to be an offshoot of some of the acoustic concerts Poco has been doing as of late. The sound quality here is amazing and comes truly highlights the raw sound of the band. The song selection is flawless. The brilliance of both Paul Cotton and Rusty Young is evidenced early on and continues throughout. The mixing and mastering makes for an almost seemless presentation. These could be some of the best versions of these songs ever recorded. My only complaint is that there could be more music here. The disc is only about 40 minutes long. POCO (SRO) volume II would be a great idea!   This has probably been around for awhile but it was a real pleasure to find it recently. As with most Poco recordings I rarely find fault with anything they do so I am somewhat biased. Their longevity alone says what a great group they still are, even without Richie Furay most of the time. As always Paul Cotton is always in fine form. It's also always nice to hear them live as the songs always change according to their mood and lineup. I've always thought that live versions of any group is better if you really want to know if a group is still good or should hang up their hats and retire gracefully. Dear Poco... Never give it up! This recording is just fine and a wonderful addition toany music collection.   I dont own this one, as I have ever Poco CD.

George Strait-Chill of an Early Fall

Chill of an Early Fall

 

 

Pure Country this time..

 

This album is by far the best to date by George Strait. There is not a song on this album that isn't flat out terrific. Strait's "Ace in the Hole Band" is featured on a few tunes: a cover of Hank Williams "Lovesick Blues" and my all-time favorite Strait tune, the un-released "Milk Cow Blues." The musical talents of his band are evident on the latter, and listening to the steel guitar (not to mention a sort of duel between the lead guitar and the piano) will give you chills.

Other great songs: "Home in San Antone," "Chill of an Early Fall," and "If I Know Me" (the latter two will definitely bring a tear to the eye of anyone with the least bit of sentimentality).

A marvelous album. A beautiful blend of swing and traditional influences are a treat to the ear. For Strait fans, this compilation is merely confirmation of what we already know--this man is awesome. If you are not yet a Strait fan, this one will definitely convert you! Ten out of ten! 



Mother Maybelle Carter

Mother Maybelle Carter

"Mother" Maybelle Carter (May 10, 1909 – October 23, 1978) was an American country musician. She is best known as a member of the historic Carter Family act in the 1920s and 1930s and also as a member of Mother Maybelle and the Carter Sisters.
Maybelle Carter was born Maybelle Addington on May 10, 1909 in Nickelsville, Virginia, the daughter of Hugh Jackson Addington and Margaret S. Kilgore. According to family lore, the Addington family of Virginia is descended from former British prime minister Henry Addington, 1st Viscount Sidmouth.[

On March 13, 1926, Maybelle married Ezra J. Carter. They had three daughters, Helen, Valerie June (better known in later life as June Carter Cash), and Anita.

She was a member of the original Carter Family, which was formed in 1927 by her brother-in-law, A. P. Carter, who was married to her cousin, Sara, also a part of the trio. The Carter Family was one of the first commercial rural country music groups. Maybelle, who played autoharp and banjo as well as being the group's guitarist, created a unique sound for the group with her innovative 'scratch' style of guitar playing, where she used her thumb to play melody on the bass and middle strings, and her index finger to fill out the rhythm. Although Maybelle herself had first picked up this technique from the guitarist Lesley Riddle, it became widely known as Carter Family picking, an indication of the group's pivotal role in popularizing the style.
Perhaps the most remarkable of Maybelle's many talents was her skill as a guitarist. She revolutionized the instrument's role by developing a style in which she played melody lines on the bass strings with her thumb while rhythmically strumming with her fingers. Her innovative technique, to this day known as the Carter Scratch, influenced the guitar's shift from rhythm to lead instrument.

She was widely respected and loved by the Grand Ole Opry community of the early 1950s, and was popularly known as "Mother Maybelle" and a matriarchal figure in country music circles although only in her forties at the time. Maybelle and her daughters toured during the 1950s and 1960s as "Mother Maybelle and the Carter Sisters" but after the death of A. P. Carter in 1960 the group revived the name "The Carter Family", frequently touring with Johnny Cash (her son-in-law from 1968 on); the group were regular performers on Cash's weekly network variety show from 1969-71. Maybelle briefly reunited with former Carter Family member, Sara Carter, during the 1960s folk music craze, with Sara singing lead and Maybelle providing harmony as before.

Maybelle Carter made occasional solo recordings during the 1960s and 1970s, usually full-length albums. Her final such work, a two-record set released on Columbia Records, placed on Billboard's best-selling country albums chart in 1973 when she was 64. Maybelle was also featured on The Nitty Gritty Dirt Band's 1972 recording Will the Circle Be Unbroken.

Maybelle Carter died in 1978 after a few years of poor health, and was interred next to her husband, Ezra, in Hendersonville Memory Gardens, Hendersonville, Tennessee. All three of their daughters, "The Carter Sisters" - Helen, June, and Anita - are buried nearby in the same cemetery.

Herb Pederson

Herb Pederson

Herb Pedersen (born April 27, 1944 in Berkeley, California) is an American musician, guitarist, banjo player, and singer-songwriter who has played a variety of musical styles over the past forty years including country, bluegrass, progressive bluegrass, folk, folk rock, country rock, and has worked with numerous musicians in many different bands.

Pedersen often performs with Chris Hillman, and both were once members of the Desert Rose Band. Pedersen also fronted his own band called the Laurel Canyon Ramblers. Besides this, Pedersen has also worked with the following musicians and groups: Pine Valley Boys,[1]Michael Martin Murphey, Earl Scruggs, The Dillards, Smokey Grass Boys, Old and in the Way, David Grisman, Peter Rowan, Vassar Clements, Gram Parsons, Emmylou Harris, Tony Rice, Dan Fogelberg, Stephen Stills, Linda Ronstadt, Kris Kristofferson, John Prine, Jackson Browne, John Denver, John Jorgenson, and Leland Sklar, among others.

 The child of a policeman, he was introduced to country music at numerous Bay Area folk festivals, finding kindred spirits in fellow aspiring musicians like Jerry Garcia (who went on to form the Grateful Dead) and David Nelson (later of the New Riders of the Purple Sage). In his mid-teens, Pedersen formed his first bluegrass band, the Pine Valley Boys.

JD Souther-Bordertown-The very best of...

Bordertown, the Very Best of JD Souther

JD Souther has long been known to afficionados of West Coast music as the writer of a string of hits for others, and as a superb performer in his own right.

Hits written or co-written by Souther include several Eagles tracks ('New Kid in Town', 'Best of My Love', 'Heartache Tonight', 'Victim of Love') and others recorded by artists as diverse as Linda Ronstadt, George Strait, Glenn Campbell and James Taylor. The enduring appeal of Souther's compositions is underscored by the Eagles' choice of a Souther song for the first single off their new album.

This compilation of his own recordings, together with an excellent new EP ("Possible Weather") and a forthcoming new album (his first since 1984), should give his music the higher profile that it so richly deserves.

The tracks on this album have be taken fairly equally from Souther's four solo albums, with two tracks from each (of two) outings with the Souther Hillman Furay band. Inevitably, as with any compilation, some fans will find some surprising ommissions but, in Souther's case, this is largely a reflection of the sheer quality of his back catalogue - this could so easily have been a double CD.

Given Souther's reputation as a song writer, it should be stressed to any potential purchaser of this CD that he is also an outstanding performer, as anyone fortunate enough to have taken in his 2007 UK tour will attest.

This album can be very strongly recommended. If you enjoy it, your next purchase should be 'Black Rose', a superb solo effort released in 1976

Charlie Daniels Band-Live at Rockpalast

Live at RockPalast

Charlie Daniels' Rockpalast concert at Westfalenhalle, now released the first time on DVD and CD, opens with ""Funky Junky"", a sweeping and swinging song which wins the audience over right away. It's not the big pose that counts but ""honest"" handmade music, staged in an unspectacular way, yet performed in a spectacular manner.It is an entertaining feast for the ears and eyes to experience Charlie Daniels Band's 76 minute show which ends with a fiery nearly ten minute version of the country classic ""Orange Blossom Special."" Recorded in 1980.

George McCorkle-American Street

American Street

George McCorkle is quickly becoming one of the finest and most sought-aftersongwriters on Music Row.His collaborations with other writers such as Marshall Chapman,Scott Miller,and Mike Battle have resulted in some of the most original songs to come out of Music City of late. On American Street, his debut album,McCorkle collects 12 of the best of his original compositions while manageing to pay a resectful homage to the band that first launched his name into the spotlight,The Marshall Tucker Band. A founding Member of the Spartanburg,SC-based country-rock group from their formation in 1971 and a member until the original group disbanded in 1984, McCorkle made his way to Nashville several years back in order to hone the craft that he first developed with MTB songs such as "Last Of the Singing Cowboys",Silverado,and "Fire On The Mountain" which is included her in a whole new 21st century virson. While tipping his Setson to his old Bandmates, McCorkle delivers"The Journey Home",a heart felt tribute to old friend and bandmate Toy Caldwell,who died in 1993.The Song is filled with references to Caldwell,the MTB and the Southern rock world that surrounded them during the 70s. The first tune on the album "Someboby New", is an up-tempo rockabilly number thhhhat gets the fingers tapping from the very first note.Same with "move In a Circle" and "Rocket Shoes",another couple of danceable tracks. "Promised Land" is downright funky,laced with obvious influence from Little Feet. The title cut "American Street" is lyrical genius. An observation of the homelell and deslate people of the street, it's a little Bob Dylan and a shot of John Prime with a Southern accent. "Law Called This Morning" has all the fllavor o B.B.King or Stevie Ray Vaughn and feathers some smooth Saxophone work from Randy Leago. Two highlites of the Disc are up next."Crazy Molly Monroe" may well be the best song McCorkle has penned to date.It's a story of a man falling in with a girl in an old book found in the attic, a woman that lived a 100 years earlier. or did she? Right on the heels of "Molly" comes one of the finist song of Love and Peace written in years."Peace Stories" keeps the dream of peace on earth alive and well, with a beautiful melody and some fine acoustic guitar work. Closing out the set are "Drowning On Dry Land",a Tom Petty-ish tune, and :Land of The Free" featuring Theresa Andersson, who shares lead Vocal dudies with McCorkle. It's a funky R&B rocker that is fitting closer for this outstanding album. It' been more than 15 years since we've heard McCorkle on record but it waas worth the wait. He has created somr fine music that is sure to propel him futher up the ladder of success

Marshall Tucker Band-Still Holdin' on

Still Holdin' On

This is not your adverage MTB release, but it's worth the purchase before it becomes completely impossible to find. It's a scaled down version of the band as they reunited in 1988 - at least Doug Gray & Jerry Eubanks from the original crew. It was released to the country market, & it definetly has that sound. Doug handles the songs extremely well however even without being in best voice at the time. The highlight to me is the title track. It's worth a listen. Grab it up Tuckerheads!  This one I personally do not listen too much.

Marshall Tucker Band-The Next Adventure

The Next Adventure

MTB latest is a refreshing, breezy musical journey. its been a long 30+yrs for the band and as with all bands--suffered tragic losses etc. MTB has struck paydirt with 10 passionate songs that spin cowboys and the west. DOUG GRAY is still the keeper of the stable and his voice is tired but true. there are 3 songs from GEORGE MCCORKLE and one from TOY CALDWELL and both need no introduction. highlights are: A SAD COWBOY SONG and I LOVE YOU THAT WAY-thrown in a couple well to do rockers and you have a great lazy day lemonade song parade. with each listen I like it just a little more. its not the 70's but this is a good reflection of past experiences. good one boys. Only vocalist Doug Gray remains from the original sextet, yet the group's sound hasn't changed substantially, as their breezy mix of jazz, blues, and country doesn't need updating to remain fresh. Their unlikely emphasis on flute defined a style that was lighter and less boogie-oriented than most of the harder-driving acts of their era. Perhaps not surprisingly, age has mellowed them even further, and this album's one rocker, "Travelin' Man," seems forced next to the warm melodic roots and country twang that otherwise dominate. Gray's graying vocals have lost a bit of steam, but the band sounds terrific, and most of the songs glow like burnished gold. The somewhat clichéd topics of music, cowboys, horses, and the road appear, but when the elements mesh, as on "Cold Steel," "The Guitar Playing Man," and "Crossroad," favorable comparisons can be made with some of the band's finest. Coming this late in the Marshall Tucker Band's career, that's an unlikely and impressive feat.

Dallas Taylor

Dallas Taylor

Dallas Woodrow Taylor Jr. was born in Denver, Colorado, 7 April 1948. He is a session drummer who has played on several rock records of the 1960s and 1970s. Achieving some success first with the fine but ill-fated '60s band Clear Light, he is best known as the drummer on Crosby, Stills and Nash's debut album, Crosby, Stills & Nash (1969) and their follow-up with Neil Young, Déjà Vu (1970) and was given a front-sleeve credit along with Motown bassist Greg Reeves. As well as appearing on Stills' eponymous first solo album in 1970, Taylor was also the drummer for Stills' group Manassas in 1972 and 1973. He also played with Van Morrison at the 1974 Montreux Jazz Festival in a quartet along with keyboardist Pete Wingfield and bassist Jerome Rimson, a performance issued on the 2006 DVD, Live at Montreux 1980/1974. He briefly surfaced in the mid-70's drumming for Paul Butterfield's touring band.

Glenn Frey -Live

Released in 1993, this is a live recording of Glenn Frey's concert in California, also one of the best since The Eagles' bottom-out in 1980s.

Guitarist Glenn Frey of the former Eagles once said that performing live was a lot like "riding a rollercoaster, a little scary but a lot of fun." The more ones does it, the less scary it becomes. Glenn Frey's own loyal fans, joined by fans of one of the greatest contemporary band in 1970s and 1980s - the Eagles, had made the night VERY fun.
This CD contains some of the Eagles' greatest hits ever along with Frey's solo materials. The soft blues "The One You Love" has remained one of my favorite for many years. The charm of this melody has sustained through the passing of time and still captured hearts of many, including myself. Glenn's magnetic, soothing, soft tenor distincts himself for the rendition.
Another song that captures my immediate attention is "Desperado", co-written by Glenn Frey and Don Henley. Glenn Frey might lack the hard rocking vocal of Henley, yet his easy-listening tone makes the performance incomparable.
Other noteworthy tunes include Frey's own "Wild Mountain Thyme", again for which his soft tenor is praised; "Smuggler's Blues", "Heartache Tonight", "Strange Weather", and and the opening song "Peaceful Easy Feeling." A nicely-done medley mixing "Lyin' Eyes" and "Take It Easy" is also included in this album.
This is a recording Eagles' fans or those of Frey shouldn't miss. Play this record loud and have some fun.

Carla Olson

Gene Clark and Carla Olson

Carla Olson formed the Textones in the early '80s for a few singles on IRS. (Most of these tracks appear on Through the Canyon [Rhino] and Back in Time [Demon U.K.].) The band's major-label debut, Midnight Mission (A&M), included help from Don Henley, Ry Cooder, Barry Goldberg, and Gene Clark. Cedar Creek, the band's second album, appeared in 1987 on Enigma Records. Olson then worked on many projects, including ones by John Fogerty, Henley, and Eric Johnson and a duet album with Gene Clark. In 1988, she recorded a self-titled solo album (for Amigo Musik) in Sweden, backed by Wilmer X. After another duet project, this time with former Rolling Stones guitarist Mick Taylor, Olson's second solo LP (Within an Ace) was released in 1993 on Watermelon Records; Reap the Whirlwind followed the next year. That album signaled a period of relative quiet from the guitarist, as she disappeared into private life while her best-of collection hit the shelves. It wasn't until 2001 that she returned, boasting The Ring of Truth, an album featuring Taylor and a handful of roots rock tunes that showcased her weathered vocals and comfortable sound. Olson has also found success on the other side of the studio glass, producing records for Barry Goldberg, Dona Oxford, Jake Andrews, Joe Louis Walker, Davis Gaines, Mare Winningham, and Phil Upchurch. 

JD Souther-Your only lonely

Your Only Lonely

Of course, Souther was never an Eagle..and may never really have desired to be. He did co-write several hits for the group, and even continued into Henley's solo career (Heart of the Matter).
Of the talent that all seems to have taken at least one orbital spin around Linda Ronstadt..including her excellent sideman, and later solo artist, Andrew Gold (remember "Lonely Boy"?) one has to wonder, as the Eagles put it " why fortune smiles on some, and lets the rest go free".
Souther has a style and voice that evoke love or hate. I for one, have been a fan, along apparently with many other musicians. Even Nashville's Dixie Chicks cover a Souther song on their first album..
Yet of all the covers, none do a song justice like JD Souther..great range, and a smooth, silky voice. His third album, "You're Only Lonely" is another group of well crafted, thoughful songs that have excellent harmonies, Souther's trademark voice, some very rememarkable tunes.. catchy, some soulful..all brimming with hooks.
This is a great introduction to Souther , a must have for fans, and certainly Eagles fans will appreciate most of Souther's work. Black Rose is also a must have, while his self titled debut did not enthrall me like most Souther fans, I do own it. His 4th album, (Home by Dawn?), is even better, but for whatever reason, has not been released on CD.
Souther has another excellent song, possibly titled "Shining Star", a track in a forgetable movie dealing with the serious subject of teen suicide..but it is not available at all. (as far as I can tell). If you like the "Southern California" style of music, ..try JD Souther.

Marshall Tucker Band-Walk Outside the lines

Walk Outside the lines

The Marshall Tucker Band followed their 1992 release, Still Smokin' with another memorable set of songs, including the title track, "Walk Outside the Lines," co-written by Garth Brooks. On this outing, the MTB manages to produce their most country-oriented album to date, and the country Top 40 track, "Down We Go," written by fellow Spartanburg, S.C. resident Sam Spoon, brings it all back home. Other choice cuts include, "Daddy's Eyes," written by bassist Tim Lawter and "Lost in Time," co-written by Doug Gray and Rusty Milner. While Walk Outside the Lines may not go down in the books as one of the Marshall Tucker Band's best recordings ever, it still manages to hold its own in the country music field.

Glenn Frey-No Fun Aloud

No Fun Aloud

This album is one of Frey's best solo albums. This is not faint praise by any measure. After all, Frey has the most featured voice on the best selling album in human history. Unlike some of his albums in the mid-1980s, No Fun Alound has a consistent sound. Many of the works on these album have a blues-inspired feel that should be comfortable to fans of Glenn from the early 1970s. For what it's worth, this album is generally superior to fellow Eagle Henley's first solo album. Glenn works with many artiest that he colloaborated with during the Eagles-era including Jim Ed Norman, Jack Tempchin, and Bob Seger. Commonly mentioned stand outs on this album include "The One You Love" and "Partytown." I particularly like the last two tracks (She Can't Let Go and Don't Give Up). This album was not as commercially succuessful as some of its contemporaries since it did not pander to the faddish modernism of some other artists. There are a few songs that had modern touches but only upon a base that is solidly Frey's signature of R&B. The music world seems to appreciate Don Henley's solo work as compared to Glenn Frey's and in many respects its quite understandable as Henley's social commentary in many of his songs are quite thought provoking. However, this collection of Glenn's is very overlooked as many fo the love songs are quite soothing. In addition, Glenn explores several interesting styles from the boogie woogie Sea Cruise to the disco flavored Don't Give Up to the gentle I Volunteer. You can't forget the frat house party hearty number.....Partytown. Maybe this disc is not quite up to desert island standards, but it sure is pretty darn good.

Marshall Tucker Band-Live on Long Island

Live on Long Island

Per the title, this is a double disc representing the (complete?) last concert by the original MTB line-up. Overall, the sound is very clean (there are some spots where it's a bit muddied), the performance is smokin' hot and the song selection includes a good assortment of (then) newer songs and the classic hits we all know and love. Personally, I was not familiar with those newer songs but they're a worthy addition to this release.

As players, this show demonstrates that these guys were way more accomplished than many gave them credit for and Doug Gray is one heck of a vocalist. That said, one specific highlight of this show is Toy Caldwell's very ragged (effects of a long hard tour?) but yet very right vocals on his "Can't You See". Sa-weet!

The booklet includes some nominally interesting notes and pictures, but nothing overly special or unique.

I think their recent "Stompin' Room Only" release served well as a sort of greatest hits live - but LOLI has the edge due to the cohesion and energy of being one continuous concert. My preference is this one.

The only nit-pick I have with this is that the cover picture of Tommy Caldwell shows him with long hair, meaning it was from an earlier date rather than from this specific concert. No matter!
The infamous last concert by the original MTB (bassist Tommy Caldwell died in a car wreck days later)-and the ONLY complete concert these Southern-rock superstars ever released. They power through the hits This Ol' Cowboy; Fire on the Mountain; Heard It in a Love Song; Can't You See; Last of the Singing Cowboys , and more!

Black Oak Arkansas-Raunch and Roll Live

Raunch and Roll Live

I love this album.It is what a live release is supposed to be,a souvenir of the event that captures the original energy and spirit.This is one of the best rock albums ever period.Lead vocalist Jim Dandy's performance is nothing less than legendary.Just one listen and it becomes obvious where David Lee Roth and Axl Rose developed much of their styles.Tommy Aldridge's drumming is excellent,better than anything I've heard him play for OZZY or anyone.His driving double bass style brings a hard edge to the music.The guitar arrangements are top notch.This band is TIGHT.Every single song is excellent.The BOA southern boogie selections are "Gettin Kinda Cocky","Gigolo"and "Hot and Nasty"."Hot Rod"is hard driving indeed with Aldridge at the wheel.The more complex,serious selections,are "Electricity"which begins with Jim Dandy's washboard and thimble intro and includes the bands vocal interpretation of power humming through the line!,"Up"a very heavy tune with a drum solo and "Mutants"the environmental-hippie classic that describes man as "an animal gone mad".Just between Jim Dandy's introduction and the first note,a man in the audience is heard shouting "MUTANT OF THE MONSTER!"Oh,how I wish that I could have been that character!

Marshall Tucker Band-Anthology

Anthology-The first 20Years

Their first three albums (Self-titled, A New Life and Where We All Belong) are the Holy Trinity of Southern Rock. If you want the best of MTB you can't go past these 3 albums then you can dip your toes into their other Capricorn albums at your leisure. The Capricorn albums are their best, especially those recorded before the death of co-founder and criminally under-rated bass player, Tommy Caldwell. The band blended elements of country, jazz and blues into their superb material, written in the main by Toy Caldwell, guitarist extrordinaire. Their biggest hit, "Heard It In A Love Song", is not one of their stongest numbers but it allowed them to keep on going for which we all must be grateful. This Anthology album is a fair representation of their work over a very long period of time and is the album to get if you wish to own just one album. It misses many of their better songs but has to include some of their longer jam tracks which cuts down the number of tunes one can squeeze onto a double CD. There are, in fact, quite a few glaring omissions. Their "Capricorn Years" Anthology is probably a better buy but it is currently out of print and even it has its faults; too many single/edited versions. This all means that there is still not a definitive MTB Anthology album out there. The perfect Anthology/Box Set would include most of their first 3 albums, a heaping of their best from the rest of the Capricorn material and a sampling of their later material. All this should be Remastered. Include a comprehensive booklet with all the original album artwork (superb) and a concert DVD which shows Toy Caldwell playing up a storm. This would be about a 4 disc set at less than $50 and would be a fitting tribute to one of the greatest bands of the last 30 years. It's the first collection to pull together all the highlights from this seminal Southern rock band, with notes, a 24-page booklet and a CD-ROM video clip of a 1981 live performance of Fire on the Mountain as a bonus! Includes Take the Highway; Can't You See; Heard It in a Love Song; Searchin' for a Rainbow; Fire on the Mountain; Last of the Singing Cowboys; Long Hard Ride; Ride in Peace; Running Like the Wind , and more. 32 tracks!

New riders of the purple sage-Keep on Keepin' on

Keep on Keeping on

In 1989, the Riders released their first album since 1981's Feelin' All Right called Keep On Keepin' On, first released on Mu Records and then reissued by Relix Records in 1992 and again complete on Relix's Best of the New Riders 2 cd set. In 1981, David Nelson and Buddy Cage split while Rusty Gauthier was added in their place on guitar, lap steel, fiddle and vocals. Rusty also contributed songs during this era. In 1985, Gary Vogensen was added on guitars and vocals. The New Riders during this era were: John Dawson, Rusty and Gary along with Greg Lagardo on drums and Michael White on bass. The Riders here are joined by friends and family members like former It's A Beautiful Day drummer Val Fuentes helping out.

The album itself is quite strong with a lot of the songs having been in the band's set lists for quite a while. The album starts off with John's charging Keep On Keepin' On which is follow by John's great Now I Call It Love. Rusty turns in It's O.K. To Cry and Bounty Hunter which are co written with Val and Lina Valentino. Bounty Hunter in particular would become a standard up into 1997. Next up, Joe New's Barbaric Splendor ends the first half of the album while John's Senorita starts the second half. The Johnson, New song Night of the Living Lonely is followed by John's, Rancher's Daughter. Rusty's Big Ed is nice and the album closes with a rousing Friend Of The Devil which was co written by John all those years ago. The album sounds well recorded but, unfortunately, both Mu and Relix Records didn't have the money to do great cd pressings so the sound quality was never quite as good as it could have been.

Outlaws-Outlasw 1st

Outlaws

This is a greqt CD. The lush, but not overplayed, guitar harmonies. The Point / Counterpoint of Billy Jones (Les Paul) & Hughie Thomasson's (Stratocaster)Guitars. Their guitars, and Vocals, along with those of Henry Paul, bring a touch of bluegrass to Rock, and sweet background vocals, like birds, add up to the most amazing "Band Sound". While all Outlaws albums are keepers, "The Outlaws", is a MUST, for any serious music collector, or listener. Green Grass and High Tides is not the only high spot!
The Outlaws first album is not necessarily where they peaked, but it is their consistently best record. Released in 1975, the album fits in well with the times; high energy, guitar charged, bluesy, countrified music was rampant during this era. Lynyrd Skynyrd and The Marshall Tucker Band had both adhered to a similar formula a few years prior, and met with more than modest success.

So what separates The Outlaws from their peers? I'd say it's their tight Eagles-inspired harmonies and the brevity of the tunes (minus, of course, "Green Grass & High Tides.")

So while the band would produce a few more solid records, this, their first, is their best. The leadoff tune, "There Goes Another Love Song," was a hit for them, as was the albums' closer, the aforementioned "Green Grass." And what's in between is equally good. The guitar interplay on "Song For You" is outstanding. And the harmonies on "Song In The Breeze" is quite pretty.

Outlaws-Playin to Win

Playin to Win

Occasionall mated with the Ghost Riders Album on one CD

This disc, without a doubt, is The Outlaws best release to date. Their vocal harmonies and dual lead guitar licks are the best in the business. All tracks are solid. "Southern Rock" at its finest. I wish I could say the same about "Ghost Riders". Somewhat disappointed this was included in the package. However, this disc accompanies me wherever I go. Finally able to acquire in a digitally remastered format. "Playin' To Win' has never offically been released on CD. The excitement of having "Playin To Win" on CD quickly vanished upon listening to it. Outlaw fans beware, this CD (at least the "Playin' To Win" tracks) are not from the original master tapes. Good southern rock and roll but not close to the original band's studio recordings: Outlaws, Lady in Waiting and Hurry Sundown. When Henry Paul left to go out on his own the quality and originality went with him. The performance of the song Ghost Riders in the Sky is very good but the rest of the album loses steam.

Outlaws-Demos, Outakes and Jewel

Demos, Outtakes and Jewels

Have enjoyed this CD all weekend and hearing it feels like Hughie is still with us making new music. Just like hearing from an old friend. Thank you Thomasson family for releasing this music! Hughie is one of my favorite musician and he is sorely missed, and this release is wonderful. Can't stop listening.

Most demo releases sound so raw and unfinished that it's hard to listen. These songs are almost like an Outlaws/Hughie unplugged cd even though still electric. A bit more relaxed and stripped down but still captures the essence of the songs. Please release more!

Anybody out there know anything about the unreleased recording of "Full Circle"? Stumbled across it on Youtube and can't believe it's not available for sale. Love this tune!! I have tried tracking it down, since the Youtube version sounds fully mixed and complete. I heard it was to be on the "Once an Outlaw" CD that hasn't been released, but I saw a traks listing for OAO and it wasn't shown. Can anybody tell me where to buy a copy or download of "Full Circle" or Once an Outlaw"? Thanks so much.
DEMOS, OUT-TAKES, AND JEWELS is a great set of demos by the Outlaws from the 70s and 80s, "unplugged" but still electric. You get to hear many songs that later became successful for the Outlaws, as well as the unreleased "Dreamrunner" and a version of "Green Grass And High Tides" that sounds the way it was intended to before a producer cut the song down. Hearing this album makes me wonder when I'll be able to have a copy of the 2005 recording "Full Circle" to wake up to for work. It was supposed to be on ONCE AN OUTLAW but wasn't listed. However, it's great that we have this set, PITTSBURGH 1977, and ANTHOLOGY (LIVE & RARE) 1973-1981 to enjoy now.

Marshall Tucker Band-Where we all belong

Where we all belong

The Marshall Tucker Band's third album called "Where We All Belong" was originally a double album which consisted of a "Studio Album" and a "Live Album". Released in 1974, "Where We All Belong" left no question as to as to why these Spartanberg, South Carolina boys were fast becoming one of southern rocks best groups to emerge from the land of Dixie. By combining elements of country and blues and mixing in some good old rock, they had a sound unlike other groups at the time. "Where We All Belong" enlists such artists as Charlie Daniel playing his fiddle on "This Ol' Cowboy" and Elvin Bishop adding his touch of slide guitar to "Where A Country Boy Belongs", but it's lead guitarist Toy Caldwell who clearly shows why he's one of southern rocks most gifted guitarists on songs such as "This Ol Cowboy", "How Can I Slow Down", and "Now She's Gone" (not to mentioned the "live" songs). The "live" versions of "Ramblin'", "24 Hours At A Time", "Everyday (I Have The Blues)", and "Take The Highway" all of which were recorded on July 11, 1974 in Milwaukee's Uhlein Hall Performing Arts Center absolutely smoke. The entire group is as tight as ever! This remastered version of "Where We All Belong" also contains a bonus "live" track called "See You Later, I'm Gone". The remastering on this disc is excellent with crisp highs, increased midrange and bass. If you enjoy listening to The Allman Brothers Band, Lynyrd Skynyrd, The Charlie Daniels Band and The Outlaws (to name a few) then you owe it to yourself to add this to your collection.

Outlaws-Its About Pride

Its about pride

If you like Southern Rock or love great vocal harmonies and blistering guitars than this album is a must. I bought it that night because this line up was phenomenal in concert. You have to see them in concert your jaw will drop! I have been an Outlaws fan since 75 so I wasn't expecting too much from the album, but was I surprised. I have not listened to an album this much probably in at least 15 years. It brought back memories of when I was a kid. Remember when you would buy a new album and then play it over & over again until the grooves wore out? That's how this album was for me. The opening track gets me pumped up. I listen to it on my way to play my sporting activities. It's kind of a history of the Outlaws. My son even figured out how to play it on his guitar, but not the solo's yet. Too fast! The lyrics on this album are very good too, especially the title track where the Outlaws pay tribute to Southern Rock. Every song on this album is very, very good. There's 3 different lead vocalists on this album. I always loved that about the Outlaws. Variety! I'll stop there, because I can easily go on & on about this album. One more thing... The Flame is a great song written in honor of the late great Hughie Thomasson. Green Grass & High Tides Forever!!!

Poco-Forgotten Trail

Forgotten Trail

Poco became more successful in the late seventies, but this collection covers their equally interesting formative years. During that period, their success was modest, so a double-CD seems somewhat generous, but it's all good stuff - and I love the cover picture too.Poco were one of the earliest country rock bands. Most such bands placed the emphasis on the rock rather than the country, but Poco included a steel guitarist in their band to emphasise the country. This may explain why they struggled - rock fans have long regarded the steel guitar as a symbol of what is (to them) everything that is wrong with country music, while country fans (at the time) wouldn't touch country rock. Throughout the period covered by this collection, the steel guitar remained a feature of Poco's music, but it never dominates, always being used effectively and well in just the right places.
The albums represented here are Picking up the pieces (5 tracks), Poco (4 tracks), Delivering (3 tracks), From the inside (3 tracks), A good feeling to know (3 tracks), Crazy eyes (4 tracks), Poco Seven (2 tracks) and Cantamos (3 tracks). The other 11 tracks were recorded during the same period, but did not appear on any album. Some were released as singles, while others were not released at all, or are remixes.
Poco's influence is obvious but hard to measure. Two of their members later joined the Eagles, the most successful country rock band of them all, while other country rock bands of the seventies all owed something to Poco. Today, there are many bands who mix rock and country in various ways, but they also owe something to Poco, either directly or indirectly via other bands.
This mammoth collection, with mammoth liner notes, provides a fascinating insight into the early evolution of country rock. Unlike the mammoth, the music is alive and flourishing.

Black Oak Arkansas-Street Party

Street Party

Arguably their best effort, Black Oak Arkansas was one of the hottest groups around in the mid-70's when they released their sixth album entitled "Street Party" in 1974. Following up on their excellent 1973 release "High On The Hog", "Street Party" continued the pattern of mixing blistering rock tunes with down-home bluegrass-country numbers that was both satisfying and frustrating at the same time. The rock-only crowd (most of my friends at the time) considered tunes like the Caribbean/calypso flavored "Good Good Woman", the chain gang dirge of "Sure Been Workin' Hard", the doleful country offering "Going Home", the odd spiritual pair of tunes both entitled "Brink Of Creation", and the bluegrass-tinged "Everybody Wants To See Heaven" to be novel distractions at best that disturbed the momentum created by the smokin' rock numbers ("Dancing In The Streets", "Sting Me", "Jail Bait", "Son Of A Gun", "I'm A Man", "Dixie", and "Hey Y'All"). Then there were those like me who found this mixture to be an enriching experience and extremely effective inasmuchas it came from a group of seriously good musicians who decided to have some serious fun while putting out a seriously good musical product that didn't have to be taken so seriously to be enjoyed. Thanks to releases like "Street Party", I developed the ability to appreciate other musical genres beyond rock and roll at an earlier age than many of my teenaged counterparts.

And here's a nod to reviewer "mdavis255" from San Antonio for bringing up the comparison to the Darlin family on The Andy Griffith Show. Good call as the scenario you described is quite valid. However, let there be no doubt that BOA are rockers first and foremost who just happen not to have any reservations at all about slipping into their bib overalls and breaking down on some hot and nasty bluegrass and country when the mood hits them.

Bruce Springsteens-Nebraska and Nebraska Demos

Nebraska

 Bruce did a complete 180 and released the dark, brooding Nebraska. Bruce at the time was listening to Woody Guthrie and other depression era folk & blues artists and this album reflects those sounds. The album consists basically of just an acoustic guitar and harmonica and explores subjects such as murder, crime, loss and loneliness. The songs are all sung in the first person and that gives them an intimacy that is rarely felt from an album. Bruce would explore dark subjects on later albums ("Born In The USA" was original recorded for this album), but he never recorded them in such a bare and stark nature. On this album, Bruce asks alot of questions and dares you to search for answers. The search is well worth the time and effort. This album is for true fans only...It was recorded basically in a farm house with an acoustic guitar and a 4-track cassette recorder but the quality of lyrics are SO Springsteen; so stark and simple yet the complexity of the story-telling is truly Springsteen. From the title song "Nebraska" to the beautiful "Mansion on a Hill" each song tells a story in only Springsteen's style. "Johnny 99" is haunting tale of desperation and every man's thoughts and fears. "My Father's House" is a lonely tale weaved between thorns and lonliness. "State Trooper" and "Highway Patrolman" obviously bring thoughts of Springsteen's anguish in his past to song. But in the end, Springsteen does bring a ray of hope through "Reason to Believe."
I love this album - it forces you to be introspective in a high quality, Springsteen kind of way.

Alone at Colts Neck-The Nebraska Demos (Bootleg)

ALONE AT COLTS NECK
While determining the canon of rock n' roll involves a lot more push and shove, Nebraska belongs on that list of great works. Nebraska was a fatal blow to the critical theory that bands must develop by adopting an ever-more-bloated sound (a.k.a. The Sgt Pepper Imperative), it's middle-finger to the music industry's ideal of each album selling more than the last plus it's one of the bleakest critiques of American exceptionalism ever put to tape. In short, it's a sorta like a punk rock album disguised as a set of folk songs. If you've played the damn thing as many time as I have, you'll revel in this bootleg of tracks recorded in and around the same time and place. Some tracks are fragments, other were re-recorded for later albums but all have the spooky intensity that makes Nebraska both a push and a shove.

Outlaws-Diablo Canyon

Diablo Canyon

I'm rarely blown away the first time I hear a CD... in fact, mostly I'm disappointed that the material isn't consistently top-shelf. But, occasionally, my faith in the purity of the music is rewarded. It happened with Travis Tritt's "Down the Road I Go", and lo and behold, it happened again with "Diablo Canyon". How in the world did it happen that it took me 10 years to find out this CD even EXISTED? That's a sad commentary on the big music labels, and another story entirely. Let's get to the main picture here... I could write this review in many different ways. I could say a) Diablo Canyon proves that Hughie Thomasson was the driving talent behind The Outlaws, or b) Diablo Canyon is the missing link between country/southern rock in the 70's/80's and the 21st century, or c) Simply, this CD kicks ass and is the logical progression of The Outlaws into the 21st century, or d) all previous answers are correct. I'll choose d). How rare is it that there are NO weak tracks on a CD? You have it here. Two (of 10) may be "different", but they are solid in their own right. My God! How could it be that there was no followup to this CD?!?!!?? What a damn shame!!!! Where would this music have evolved to in 2004? All I can say is... this CD has my HIGHEST recommendation. It's where Southern Rock should be, it's where Country should be, and it's where YOU should be by 2004 and beyond. If you're a Southern rock fan, a Country fan, an Outlaws fan, and you don't like Diablo Canyon...? Turn in your membership card, 'cause you must be below ground!

Marshall Tucker Band-Still Smokin'

Still Smokin'

This follow-up release to their 1990 offering "Southern Spirit" has the same members of MTB working out on a new batch of tunes.Almost a four star effort falling just shy of the mark on a couple of tunes but generally on target. Not recommended as the starting point for those looking to get to know MTB. There is plenty of that Tucker magic sprinkled throughout this release but it may not connect with everyone in the Tucker fanbase. It all depends on how much "freedom" you are willing to give the guys to play it the way they're feeling at the time. I'm certainly happy to own a copy of this hard to find disc.

The Band-Moondog Matinee

Moondog Matinee

I have seen this record get two stars from rock critics, and for years avoided it despite the greatness of the Band's earlier records simply because I did not believe it to be on a par with the Band's classics. Finally I noticed that it had been remastered and was generally garnering good reviews from those who had bought it (see the other reviews here). So, I sprung for it and couldn't have been happier with the result. Like Lennon's "Rock N Roll," it's a seriously underrated attempt to explore an older style of music after the creation in years past of groundbreaking new work. The Band tackle a style of rock that came about in the 1950s and largely had ended when the psychedelic sound changed rock in the mid-60s. It's lively, bluesy and raw, but with enough polish and musical sophistication to make it interesting. My favorite tracks are the outtakes, like "What am I Living For" and "Shakin'," which I think are significantly better than some of the album tracks and push the disc into solid 5-star territory. If you dig "Get Back" era Beatles, earlier work by the Band, Chuck Berry and very early Elvis, this will likely be a favorite for you as it is for me. Uncertain of their direction and what they were going to do after "Cahoots" The Band did a series of casual sessions recording a variety of oldies some of which they had played when they were Levon and The Hawks and some from further back when they backed Ronnie Hawkins. A small handful were songs that they had never played but admired and had fun playing such were the circumstances that generated "Moondog Matinee"--it was about the fun and if the song felt right.
Perhaps this was an attempt by Robbie Robertson and his bandmates to rediscover their roots and, perhaps, regain some of the inspiration that had made their first three studio albums so memorable but, more than likely, it was ALL of these things. The Band chose carefully covering a wide variety of stuff but picking more obscure songs to remake for the most part (and Robbie Robertson added a bit to "Mystery Train" with Sam Phillips permission).