Blackfoot-5CD boxed set

Boxed set

 

2013 five CD box set containing a quintet of albums packaged in cardboard mini LP sleeves and housed in a slipcase. Opened by the US Platinum certified album Strikes, this collection contains the five best-selling albums by the Florida rockers, Blackfoot. The original albums in this collection were all released between 1979 and 1984, at a time when the band was fronted by Rickey Medlocke, the man now known as lead guitarist of Lynyrd Skynyrd. US Top 40 hits 'Highway Song,' and 'Train, Train,' are both featured on Strikes: the first of a three-album streak of classic gems, including the stand-out single 'Fly Away' on Marauder. Each album has something unique to offer with the hard rock anthem 'Send Me An Angel,' on Siogo, showcasing the band's successful experimentations with synthesisers, and the opening number of Vertical Smiles: a fantastic cover of 'Morning Dew,' made famous by Grateful Dead.

 

1. Strikes
2. Tomcattin'
3. Marauder
4. Siogio
5. Vertical Smiles

Book-Mr Tamborine Man-The Story of Gene Clark

Mr Tamborine Man-The story of Gene Clark

"For Gene, it was all about the lyrics," states Einarson at the outset of his latest book on rock music. Einarson devotes several pages to exploring Clark's gene pool, dwelling on the singer's Native American blood. The tale spins on through Clark's recording of "Blue Ribbons" at the age of 14 to his move to California in 1963, when he joined the New Christy Minstrels. Einarson gives background on the musicians who, with Clark, would form The Byrds, focusing on their influences and the Folk music scene that brought them together. About a third of the volume is devoted to Clark's time with The Byrds, their formation, internal power struggles and reactions to sudden fame and fortune, often describing Clark as the "country boy in the big city." The rest of Einarson's story covers less familiar territory, including Gene Clark & The Group and the singer/songwriter's time with the Firebyrds in the 1980s, as Clark swam uneasily through the music world, keeping his head above water until his death from alcohol at the age of 46. The chatty prose is easy to read, and much of the book is quoted material from interviews with Clark's friends and relatives, who gave detailed accounts of personal relationships and contributed previously unpublished photographs. What emerges is a portrait of a talented, troubled man who was underappreciated as an artist, which Einarson attempts to remedy by stressing Clark's songwriting achievements. It's ironic, then, that Einarson chose his title from a song Clark did not pen (Bob Dylan). 30 b&w photos.



Black Oak Arkansas - X Rated

X- Rated

This CD  Cooks from start to finnish. Manager told BOA "Sex is gonna sell you boys" and boy did they deliver!

 

1. Bump N Grind - Jim Dandy at his sleaziest. Briefly in their video after the preacher
2. Fightin Cock - BOA with a disco beat, it works!
3. Highway Pirate - Sleazy with a disco beat
4. Strong Enough To Be Gentle - Gawd awful ballad
5. Flesh Needs Flesh - eh? Weak filler
6. Wild Men From The Mountains - Similar to "Diggin for Gold"
7. High Flyer - dull
8. Ace In The Hole - Instrumental, not on the cassette
9. Too Hot To Stop - "You say stop, your eyes say go, I can give it to you fast or give it to you slow" ... awsome track.

On CD!!! Official, 2013 release, remastered, made in USA, been waitin toooooo long! BOA's best studio album, they were peakin. Hard to get they're energy on a studio recording, but X-Rated is only outdone by Raunch & Roll and Live Mutha. The sound is clear & robust, very impressed. Greatest album cover of all time.

Gene Clark-This Byrd has Flown

This Byrd Has Flown

Or

Firebyrd

 

This album disappoints. In 1980, with the Mcguinn, Clark and Hillman project already dead, Clark left for Hawaii for about one year in order to get himself back together. He returned to the states and after a year he started the recording for "Fyrebyrd"(This album consists in fact of "Fyrebyrd", supplemented with some bonus tunes). Various problems delayed Fyrebyrd's progress and it wasn't until 1984 that it was finished.
This Byrd has flown has its strong moments like "All I want" (a bonus tune, recorded around 1986), "rain song" (great guitar playing) and "made for love" (great vocal, nice music). Sadly, most of the material is really weak, especially when compared to his usual standards. He covers Mr. Tambourine man for example. Off course, it doesn't match the byrds' version. The same thing for "Feel a whole lot better". Lightfoot's "If you could read my mind" is covered too, but again, it sounds dull and flat. His originals are not much better. They sound uninspired, and the music's often dull. His voice is showing the signs of severe abuse (alcohol). Luckily he proved in 1987 with the "So Rebellious" album that he could still do it. He died in 1991 as a result of severe substance abuse (mainly alcohol), aged 46

 



Pure Prairie league -Extended Versions

Extended Versions

Live Takin' the Stage is one of the best live albums of all time, but is extremely hard to find on cd and quite expensive. This cd, which I believe was recorded during the same tour, is a great alternative. It only has ten songs but every one is a gem. The musicianship is strong and the vocals great. The sound quality is the best I've heard from any extended versions cd. PPL fans will undoubtedly love it, and any true country rock fan should give it a try. It's a great deal on great music.



New Riders of the Purple Sage-Live at Veneta

Live at Veneta

 

Like the last Pure Prairie League post, another rare recording

August 27, 1972 found the New Riders once again on the bill with the Grateful Dead for what turned out to be one of the more legendary events in this subculture’s history. Chuck Kesey (brother of author and Merry Prankster icon Ken Kesey) put together this benefit concert, which quickly became known as the "Field Trip," for the Springfield Creamery. As fellow Prankster Ken Babbs recalls, "no one ever suspected it would become a historic event with an attendance of 20,000 on the hottest day ever…they ran out of water, the guitars warped in the heat and now everyone you talk to, hundreds of thousands, were there on that all time greatest most spectacular day."

THIS CD WAS PRODUCED FROM THE ORIGINAL 16-TRACK ANALOG MASTER TAPES RUNNING AT 15 I.P.S. WE’VE TRIED TO PRESERVE THIS DAY AS IT WAS…AN OUTDOOR EVENT ON AN EXTREMELY HOT DAY WITH AN ASSORTMENT OF MERRY PRANKSTERS ON THE LOOSE. WE THINK YOU’LL ENJOY!

 



Pure Prairie League-Momentos

Momentos

A rare CD recording indeed!

Momentos 1971-1987

On the surface, this disc looks like one of the many other greatest hits collections of PPL, that outnumber the regular albums of their catalog. And that was exactly what I thought it was... I was wrong, but really happy that I ended up with something different. This CD contains new studio versions of old Prairie League favorites, recorded in 1987. Bass player Michael Reilly, was the guy behind all of this, and he roped: Craig Fuller, George Ed Powell, Vince Gill, John Call, Larry Goshorn, Mike Hamilton, Michael Connor, Dan Clawson, Joel Rosenblatt, Gary Burr, Nicolette Larson & Rosemary Butler, into a studio in the middle of Ohio, to produce this album of sparkling, crystal clear sounding Pure Prairie League music.

The seventies records of Pure Prairie League, are the most country of the country rock records ever produced. The problem with those classic records was the sound. The production of the early PPL records does not live up to the excellence of the material, it sounds like the wagon wheels of this music are submerging into soft desert sands. This wonderful state-of-the art (for 1987) production, pulls all the music up front and puts you dead center with the band all around you playing like blue skies in the morning.

This CD begins with: "Country Song" from 1971, and winds it's way up to 1987's: "Love Is An Illusion." In between, the PPL classics are here, and sounding better than you have ever heard them before. With: "Early Morning Riser", "Falling In And Out Of Love", "Amie", "Boulder Skies", "Two Lane Highway", "Pickin' To Beat The Devil" "Sun Shone Lightly", I'm Almost Ready", "I'm Hot, You're Not", "Does This Only Happen (When You Fall In Love)", "Never Thought Love Would Find Me" & "Let Me Love You Tonight", all spotlighted here, on this CD.

The arrangements of the songs are the same as they have always been, they have not altered here. The big issue with this CD, is the amazing sound that Michael Reilly, has produced here. The argument between digital and analog recordings, is a matter of taste. Right here on this CD entitled: "Mementos 1971-1987" digital recording wins this battle. These songs have never sounded better, than they do on this disc. My only wish would be that the band, had re-recorded MORE of their music for this project. This is a wonderful CD of some fantastic country rock, played by the masters...The Pure Prairie League.
4.5 Stars !!



Emmylou Harris-Old Yellow Moon

Old Yellow Moon

Emmylou Harris and Rodney Crowell are perfect duet partmers. Each song communicates a different aspect of human emotion. My two favorite songs are "Hanging Up My Heart" and "Open Season On My Heart". The first song is a rather pleasant country song about being heart broken. It features great steel guitar playing. "Open Season On My Heart" is also about feeling heart broken, but the tone is much slower and sad. I can feel the pain in Rodney Crowell's voice on this song. I love the song."Black Caffeine". It is a bluesy country song. I can relate to the lyrics because of my personal addiction to caffeine in all forms. "Bull Rider" is a song about taking life by the horns and hanging on for the ride. I love the fiddle playing on this track. "Spanish Dancer" is not a country song. This song was written by Patti Scialfa. She is known for writing rock and pop songs. The musical arrangements with the accordion and acoustic guitar make this song definitely country though. This song is about falling in love with a male Spanish dancer. Emmy Lou sings about being smitten by this man's charms so well on this song. "Bluebird Wine" is a song that spark my interest simply because I did not know that such a drink existed. This song makes me want to drink some. Maybe I can be happy like Rodney Crowell after drinking some bluebird wine. "Back When We Were Beautiful" and "Old Yellow Moon" are two songs that touch my heart. "Old Yellow Moon" is a superb duet album.

Allman Brothers Band-Dreams Boxed Set

Dreams Boxed Set

Boxed sets such as this typically are a mixture of "Greatest Hits" material with enough unreleased material to hook die-hard fans into going ahead and spending money. "Dreams" is no exception to this, but it is better organized than most boxed sets. Die hards who already own the albums will get a lot of duplicate material, but roughly a third of it is unreleased and/or difficult to find. Those interested in discovering the group are in for a real treat! This boxed set is the perfect introduction.
Disc one is mostly cuts from the Pre-ABB groups The Allman Joys, Hour Glass, The 31st of February, and The Second Coming. When I saw the track listings after buying the set, I was initially disappointed by this, as I have little interest in being an Allman's "completist." However, I was relieved that all of the early cuts are at least pretty good, and at times, sublime! You hear a clear progression from psychedelic cover band to blues virtuosos to jazz/rock/country fusion. The second half of the disc is downright excellent.

Discs two and three are, by and large, greatest hits from the ABB golden era. If you don't already have a copy of the amazing Live at Fillmore East, there are three remastered cuts of probably the best tracks from Fillmore. Most ABB fans will already have Fillmore, but if you don't it's great to have these.

Over half of Disc four is solo and side project material by ABB members. As with disk one, all of these cuts are at least pretty good, with some really excellent numbers thrown in as well.

I'd rate this as one of the best boxed sets available because it doesn't contain any unnecessary filler tracks. You won't find yourself hitting the skip button very much at all. The breadth of ABB's musical heritage is laid out clearly and will continue to amaze after many listens

Allman Brothers Band-Win, lose or draw

Win, lose or draw

 

Dickey Betts was instrumental in keeping the ABB together from the late 1970's until his departure from the band in the Spring of 2000. Alot of his music is no longer acknowledged by the band including great songs like Blue Sky, Rambling Man, etc. However, one song on the Win, Lose or Draw albumn/CD which is just a classic "guitar" jam is the song High Falls. I bought this CD purely for that song alone as to me it defines what Dickey was and for that matter still is. Don't get me wrong, the latest version of the ABB with Warren, Derek and O'Teil is the absolute best I've heard since the original inception of the band in 1969 but Dickey Betts deserves acknowledgement for his musical contributions to the band who is in the process of their 40th Anniversary Tour this summer. High Falls is Dickey Betts at his zenith to be enjoyed for his seering guitar riffs, like small sips of a fine wine that became part of his incredible catalogue of Southern Rock-N-Roll music. High Falls makes this CD a 4-Star selection **** in and of itself the balance of the songs on this outstanding CD are like "icing on the cake" and thusly deserves the 5-Star rating it deserves.Win, Lose or Draw 

Bob Dylan-Modern times

Modern Times

Since Time Out Of Mind, us Dylan fans can be proud again to admit that we're fans of the new stuff, not just classic Dylan. Modern Times is his third in a streak of impeccable releases. The latest is a return to the styles Dylan introduced in Love and Theft-- country-blues and smart rockabilly. As with the most recent album, Dylan (aka Jack Frost) produced Modern Times; as such its feeling is closest to Love and Theft-- warmly personal, like listening to the band in a small nightclub.

 

The songs are longer, the lyrics arguably more memorable and there's a few more down-tempo ballads. Contrary to the popular notion that Dylan's voice is incomprehensible (probably owing to his horrible performance at his 30th anniversary concert), the singing is so clean you can understand everything without the benefit of a lyric sheet.

 

As I said, the songs are longer: the shortest is 4:58, the longest over eight minutes. Dylan borrows from blues standards on Rollin' and Tumblin' and The Levee's Gonna Break (no, he doesn't cover Led Zeppelin :), but liberally infuses a brilliant mess of his own lyricism. When the Deal Goes Down and Workingman's Blues, especially the latter, are his best ballads in decades. All in all, its not as forceful as Love and Theft. It's not as surprising as that album was, but hardly less of a masterpiece. His lyrics have gotten sharper and wittier, jumping out at you at odd moments with silly innuendos, jokes about getting old, an Alicia Keys name-drop, countless thought-provoking one-liners and an all-around optimistic glow. Altogether, it's friendlier and more fun that the last two releases; it might be Dylan's most 'personable' album since, well, 'Another Side...' or 'Self-Portrait.' The last track, Ain't Talkin' is reminiscent, stylistically, of Time Out of Mind's opener, though it's probably coincidental. Dylan sings, 'Ain't Walkin', Ain't Talkin' in the same tone as Love Sick's lyric 'I'm Walkin', bringing what Columbia's been labeling a 'trilogy', full-circle.

 

Though reviewers elsewhere have said that Modern Times is unlikely to impress non-fans, I can't imagine how anyone couldn't enjoy the heart-wrenching warmth and sagacious wit flaunted by Dylan and his band. Dylan's last two albums and his live shows, on the other hand, are denser affairs, more tuned to the mind of the familiar fan, but, similar in appeal to, but greater in quality than, Johnny Cash's later recordings for American Records, Modern Times is Bob Dylan singing for everybody. And just as well, those who've stuck with Dylan over the years and listened with awe to Time Out of Mind are going to keep Modern Times out next to the CD player for quite awhile.

Allman Brother Band-Enlightened Rogues

Enlightened Rogues

 

Over at the notorious Allman Brothers Band website "Enlightened Rogues" gets very good press. The overzealous fanbase would have you believe that this over the top album was the perfect comeback for the band. Well, so much for their hyperbole. To my ears this is a slightly GOOFY album. If the later Arista Albums, "Reach for the Sky" and "Brothers of the Road" were quite bad, and they were then the slide started on "Enlightened Rogues". For certain the album is worth purchasing and their is a lot on the cd/record that reminds one of the old Allman Brothers Band. This album meant a lot to Gregg and Dickey, Butch and Jaimoe. They had broken up three years earlier. The band members were in dire straits financially and more so as a band. This was a make or break album. Well the truth is the band was just good enough to remind folks a lot of what the band had been. But again on this album the band had lineup changes. Lamar Williams was out and David "Rook" Goldflies was in. I don't know if Lamar was too sick to play or what. Lamar died some time in the 80's from cancer. He had been exposed to agent orange, a defoliant, in Vietnam and he had extensive cancer. Also very notably Chuck Leavell was out, so there was no keyboardist on this cd as on the last two albums. To replace Chuck it seems Danny Toler was brought in so the band would again have two guitarists in the band. This two guitar attack put the band back in the old lineup formation that the band lost with Duane Allman.

 

My favorite song on the record is Gregg's Can't Take It With You. There is a fine live performance of this song on a video from New Jersey from during this tour. "Crazy Love" is ok but it is certainly no Ramblin' Man and this is one song that is a bit bombastic or over the top. "Just Ain't Easy" is also easily one of the best Gregg penned songs on the record. Things get pretty goofy though on "Try It One More Time" where Dickey and Gregg go back and forth on vocals. The song is ok but lyrically it makes one wonder who the song is for? Was this song suppossed to be dedicated to women, to lost loves or to Gregg and Dickey and the band trying it again one more time. This song is just a bit dorky and silly, other than that the song is decent. "Pegasus" is an almost prissy instrumental put together by Dickey. It certainly was no In Memory of Elizabeth Reed or even High Falls. "Blind Love" shows Gregg trying real hard again vocally as on "Try it One More Time". "Need Your Love So Bad" is to my knowledge a cover of an old blues song but I'd have to look it up to see who wrote the song. The album closes with "Sail Away" a song Dickey wrote and sung. The song is ok but nothing too special.

 

All in all "Enlightened Rogues" is not a bad album at all. The problem is that the album also didn't pick up where the band left off. Truly "Win Lose or Draw" was not a full band effort but even that album has some of the real ABB magic going for it. The album was a half-assed project and Dickey and Gregg were off on little ego trips with all kinds of animosity flying around. In 1975 the ABB was not a happy bunch but they still were able to come out with an album that captured the essence of what the band was all about. "Enlightened Rogues" was a horse of a different color. This was not the lineup from 1975 or 1976. 1979 was the fourth incarnation of the Allman Brothers Band and it had been at the time the least of all of the lineups. That being said the five man band with Berry Oakley on bass never put an album of material together. All the five man band did was tour after Duane's death.

 

At best "Enlightened Rogues" stood as evidence of the greatness that had proceeded it. Yes, the Allman Brothers Band was back but this time they were trying to recapture the glory of old. The band put out a decent album, and perhaps in some ways the album was even better than say something like "Idlewild South" which has never been a favorite of mine. If "Idlewild South" was not a great album well at least it didn't showcase the band trying so hard to the point of being bombastic as on "Enlightened Rogues".

 

All in all though "Enlightened Rogues" is worth having and it shows that band at a critical point in time in their lives. And it is only too bad for the band and the fans that the ABB was not able to capture the magic of old. In about two more years after two really bad albums the band would call it quits for about 7 years. 

Graham Nash

Graham Nash

Graham William Nash, OBE (born 2 February 1942) is an English singer-songwriter known for his light tenor voice and for his songwriting contributions with the British pop group The Hollies, and with the folk-rock super group Crosby, Stills, Nash & Young. Nash is a photography collector and a published photographer. Nash was inducted to the Rock and Roll Hall of Fame as a member of Crosby, Stills & Nash in 1997 and as a member of The Hollies in 2010.

Nash was appointed Officer of the Order of the British Empire (OBE) in the 2010 Birthday Honours for services to music and to charity.

Nash holds three honorary doctorates, the latest in Music from the University of Salford (England) in 2011.

Nash initallly met both David Crosby and Stephen Stills in 1966 among a group of American musician friends during a Hollies USA tour. In 1968, after a further visit to the US during which he met David Crosby in Laurel Canyon, Los Angeles, California, Nash left The Hollies to form a new group with Crosby and Stephen Stills. A threesome at first, Crosby, Stills & Nash later became a foursome with Neil Young: Crosby, Stills, Nash & Young (CSNY). With them, Nash went on to even greater worldwide success, penning many of CSN's most commercial hit singles such as; Marrakesh Express (1969 - written earlier & initially cut in unfinished form by The Hollies back in 1968), "Just A Song Before I Go" (1977) and later "Wasted on the Way" (1982). Both Nash's "Our House" and "Teach Your Children" (CSNY recordings from the album Deja Vu in 1970) have become well known items used in both TV commercials and films. Nash, nicknamed "Willy" by his band mates in CSNY, has been described as the glue that keeps their often fragile alliances together. A mark of this is the loyalty and support Nash showed to his best friend, Crosby, during Crosby's well-documented period of drug addiction ending in the mid 1980s. Nash's solo career has often been shelved in favour of reunions on stage and in the studio with either Crosby and Stills or Crosby, Stills and Young. In addition, Nash briefly rejoined the Hollies in 1983 (to mark their 20th anniversary) to record two albums, What Goes Around and Reunion. His own solo work shows a love of melody and ballads. His solo recordings have experimented with jazz and electronic percussion but tend not to stray too far from a pop format with well-defined hook lines.

 



Gregg Allman-Just before the bullets fly

Just before the bullets fly

 

 

This album was recorded just prior to the great Allman Brothers Band reunion that started in 1989, which has produced 5 suprisingly wonderful ABB albums. Gregg's solo albums have always been hit or miss, most of them weighed down by slick studio production (1973's Laid Back & 1997's Searchin for Simplicity being the exceptions).
Although this album has some great songs on it, the majority of the music is overproduced - including synthesizers taking the place of real backup horns. Some of these songs he still plays with his current solo band (Slip Away, Before the Bullets Fly) and they have an honest, roots-type R&B sound to them when performed in concert nearly 10 years later. Too bad he didn't record these songs that way.

 

For a truely great Gregg Allman solo album, I would jump foward to his recent Searchin for Simplicity. It is a much more Old School type Muscle Shoals album, with a refreshing back-to-basics R&B flavor throughout.

 

If you are just venturing beyond the 70s Allman Brothers Band albums, I would also try Mycology, An Anthology, which is a best-of the Allman Brothers recordings from the 90s. Mycology contains some of the ABB's most classic tunes ever including Seven Turns, End of the Line and No One To Run With, although none are huge radio hits.


Joe LaLa

Joe LaLa

 

Sorry, I could not find a good old 70 picture of Joe.

Joe Lala (born Joseph Lala, in Ybor City, Tampa, Florida) is a musician, actor and voice actor, notable for dubbing Kun Lan of the video game Killer7.

Lala is a professional percussionist featuring in many albums and songs. He started out playing the drums in several Florida bands, before making a huge success by forming the band Blues Image in 1966. Lala also sang lead vocals on occasion, most notably on the song "Leaving My Troubles Behind".

He also played drums and percussion instruments. His credits include Crosby, Stills, Nash & Young, Manassas, The Bee Gees, Whitney Houston, and many others. Lala accumulated 32 Gold records, and 28 Platinum records during his music career. He played on the movie soundtracks of Saturday Night Fever, Staying Alive, D.C. Cab, Streets of Fire. All the Right Moves, Breathless, Defiance, The Lonely Guy, and Airplane!.

 



Flying Burrito Bros-Authorized Bootleg

Authorized Bootleg

This was recently relased at Amazon.com  .  Sneaky Pete is absolutely amazing...the Hendrix of the pedal steel!! Michael Clarke is on fire on drums. The band sounds really reinvigorated after the departure of Gram Parsons and be sure to read Hillman's book "Hot Burrito" for his perspective on GP's contributions/irritations to the band. Rick Roberts will soon bring "Colorado" and better covers and they will drop "Feel Good Music" which is the weakest thing here. Bernie Leadon's time in the band was strange in that he brought only "God's Own Singer", did few if any lead vocals live and while an awesome lead electric guitarist, dobro player, and banjoist he was overwhelmed by Sneaky Pete's virtuosity. I saw this version of the band several times and they could totally rock or play bluegrass. For a better picture of Chris Hillman's vocal maturation be sure to check out the "Last Of The Red Hot Burritos" cd. Overall this new cd is really exciting and a must-own for fans of seminal "country-rock".



Doug Dillard

Doug Dillard

 

Bluegrass banjo pioneer Earl Scruggs answered a knock at the door of his Nashville home in 1953 to find an eager-looking banjo enthusiast on the porch asking Scruggs to put a set of his special tuner keys on the young man's instrument.

"He was so gracious," Rodney Dillard said of the reception his older brother, banjo player Doug Dillard, received that day from the father of the bluegrass banjo. "He sold him the tuners, then sat down at his kitchen table and installed them on the spot."

Doug Dillard, who died Wednesday at 75, put those tuners and Scruggs' influence to good use over a long career as a founding member of the Dillards bluegrass band, as a solo artist and in collaboration with numerous other country, bluegrass, rock and pop musicians.

He and the band helped popularize bluegrass in the 1960s through regular appearances on "The Andy Griffith Show," and they were important figures in the creation of what would become known as country rock music.

Dillard, who suffered a collapsed lung several months ago, recently developed a lung infection and died in a Nashville hospital, his brother said.

His declining health prompted Dillard to give up touring about two years ago. Yet he still played occasional recording sessions and isolated concert performances, including when the Dillards were inducted in 2009 into the Bluegrass Hall of Fame in Owensboro, Ky., by the International Bluegrass Music Assn.

"I would put him at the very top level of proficiency on the banjo, right up there with Earl Scruggs," Chris Hillman, a founding member of the Byrds and the Flying Burrito Brothers, said Thursday. "He was a great musician, and he greatly influenced me."

Actor and comedian Steve Martin, who has focused in recent years on his career as a bluegrass banjo player, said in a statement: "Doug Dillard was a banjo icon. He, along with his group, the Dillards, influenced so many players.... He was fast, clean and a melodic player with his own style."

Born March 6, 1937, in Salem, Mo., in the Ozark Mountains, Douglas Flint Dillard was one of three sons of Homer and Lorene Dillard. Music ran in the family: Homer played fiddle, their mother was a guitarist and the eldest sibling, Earl, played keyboards.

Doug Dillard never forgot how Scruggs affected him the first time he heard him. "I was driving down the road with the radio on," Dillard recalled. "All of a sudden I heard this incredible banjo music. I got so excited that I drove off the road and down into a ditch. I had to be towed out."

He started on guitar, got his first banjo at 15 as a Christmas present and promptly wrote a letter to Scruggs asking whether 16 was too young to learn the banjo. Scruggs wrote back encouraging his interest in the instrument, cementing Dillard's love for the banjo. By 19 he was performing regularly on a Salem radio station. He and Rodney were members of the Ozark Mountain Boys from 1956 to 1959.

But as teenagers in the '50s, the Dillard brothers were also exposed to the sounds of rock 'n' roll, which they wanted to incorporate into their music. Doug earned an accounting degree at Washington University in St. Louis, and Rodney, five years younger, said he "quituated" from studies at Southern Illinois University to pursue their passion for playing music.

When they were ready to seek a wider audience, "we decided we wanted to go to Los Angeles, because we felt people were more open-minded, creative-wise," Rodney Dillard said Thursday. "Nashville was formula cut-and-dried at that time."

Shortly after arriving in L.A., the Dillards were signed to the burgeoning folk-rock label Elektra Records, which issued their major-label debut album "Back Porch Bluegrass."

"When they hit town, they completely blew everybody away," Chris Hillman, a founding member of the Byrds, said Thursday. The Byrds later enlisted the Dillards as an opening act after their own career took off.

"It wasn't the old bluegrass thing," Hillman said. "Doug Dillard was the only bluegrass banjo player who actually smiled on stage. He really enjoyed himself. Their entire approach was very entertaining. And Doug was an amazing player."

The Dillards also departed from strict bluegrass tradition as one of the first acts to use amplified instruments.

Their music and faces became familiar nationwide starting in 1963, when they began appearing on "The Andy Griffith Show" as a band called The Darlin' Boys. Griffith encouraged them to use their original songs as often as possible on his show. Their popularity led to guest spots on musical variety shows hosted by Judy Garland, Tennessee Ernie Ford and others.

"Because of 'The Andy Griffith Show' and the exposure that music brought, it gave an introduction to bluegrass to a lot of people who never ever would have gotten to it," Rodney said. "They found others like Flatt & Scruggs and the Osborne Brothers, and found this whole world of the classic form of traditional music."

One of those was contemporary banjo innovator Bela Fleck, who first heard the Dillards when he was growing up in New York City. "It was one of the few bluegrass bands you could see on TV. Flatt & Scruggs were on 'The Beverly Hillbillies' pretty rarely."

Living and working in Southern California in the 1960s, the Dillards were in on the birth of what would become known as country rock.

"They were living in the real world playing this music, and that world was very different than what it was to be playing in Flatt & Scruggs' time," Fleck said. "They were trying to figure out how to bring that music to the audience that was there, so they were open to everything…. They really had a unique band sound, and Doug was at the center of it — he came up with a variation on the Scruggs style that was hard-driving but intelligent. It wasn't like the old mountain stuff. "

The Dillards were invited to open shows on a two-week tour by the Byrds, which was at the forefront of blending country, rock and folk strains. After he left the Dillards, Doug joined the Byrds on their European tour.

In the 1970s Dillard joined ex-Byrds member Gene Clark in the Dillard and Clark band. With Doug pursuing solo and other interests, the Dillards continued with Rodney at the helm. The Dillards' only album to chart on Billboard, 1972's "Roots and Branches," was recorded without Doug.

The brothers had toured together again in recent years until Doug's health declined to the point where he could no longer handle the rigors of the road.

Besides his brothers Rodney and Earl, Dillard is survived by his wife, Vikki Sallee.

 





Lynyrd Skynyrd- Vicious Cycle

Vicious Cycle

This album rocks from start to finish. There`s the usual Skynyrd Southern rock sound, but also heavy metal fans, like myself, will love this. Some of the guitar riffs on here are pretty bloody heavy. I was a bit skeptical at first when Skynyrd reformed with a different singer, but i can now confirm that the new Skynyrd line up is just as good, if not better, than the line up from the 70s. These guys have never made a dull album since they started. And you`d think with age they`d mellow a bit, but, no, their new material is great hard rock sounding music. The guitar work is also fantastic with great lead breaks. For the Skynyrd fans who also like the band`s more softer songs, don`t worry, there`s some great ballads on here as well. Overall, one of their best albums. Long live Lynyrd Skynyrd. Ricky Medlock's voice and guitar work are very noticeable on this album. red, White and Blue is a great song.

Al Perkins

Al Perkins

Al Perkins (born January 18, 1944) is a Texas-born American guitarist. Known primarily for his Steel Guitar work, the Gibson guitar company called Perkins "the world's most influential Dobro player", and even began producing an "Al Perkins Signature" Dobro in 2001 - designed and autographed by Perkins. Al Perkins was born and raised in Texas and learned to play Hawaiian steel guitar at the age of 9. In the 1950s Perkins was considered a child prodigy, playing with regional country and western bands, appearing on TV/radio, and winning several talent contests. In the early 1960s, Perkins began playing electric guitar with west Texas rock bands. By 1968, he enlisted into the Army National Guard and was discharged from the US Army Reserves in 1972.

In 1970, Perkins joined the east Texas country rock band Shiloh and moved to California. The band included Don Henley and future producer/record executive Jim Ed Norman. Perkins was then hired hired to play in the new incarnation of the Flying Burrito Brothers and recorded the live album The Last of the Red Hot Burritos in 1972. Perkins, along with former Byrd Chris Hillman went on to join Manassas.[ Led by Stephen Stills, Manassas incorporated Latin jams, rock, blues, country, folk, and bluegrass influences.

With Stills working with Crosby Stills and Nash, Perkins and Hillman joined Richie Furay (Buffalo Springfield and Poco founding member) and J.D. Souther in the Souther–Hillman–Furay Band. Perkins moved into record production in the mid-1970s, but did tour again with Michael Nesmith and McGuinn & Hillman. As a session player, Perkins contributed to many notable albums, including the Eagles' On The Border.

Website
http://www.alperkins.com
 

Kentucky Colonels

Kentucky Colonels

Clarence white on the acoustic guitar

The Kentucky Colonels were a popular bluegrass band in the 1960s. They included Clarence White, later with The Byrds.  The White brothers started out as the 3 Country Boys in 1954, with their brother Eric. With the addition of Latham, Mack and Sloane, and Roger Bush replacing Eric, they changed their name to the Kentucky Colonels in 1961. They soon became well-known on the bluegrass scene, performing at folk and country festivals. They appeared on Andy Griffith's television show twice. In 1964, they released their most popular album to date, Appalachian Swing!. The band's last performance was in the Fall of 1965. They reunited with Clarence White and performed a few shows in 1973. Clarence was killed by a drunk driver in July 1973. Before Clarence was killed, the White Brothers recorded an album called "Live in Sweden 1973."

Members
 Clarence White - guitar, vocals (born 7 June 1944, Lewiston, Maine, died 14 July 1973, Palmdale, California)
 Roland White - mandolin, vocals (born 23 April 1938, Madawaska, Maine)
 Billy Ray Latham - banjo (born 12 January 1938, California)
 LeRoy Mack - Dobro
 Roger Bush - bass
 Bobby Sloane - fiddle
 Scotty Stoneman - Fiddle Died Mar. 4, 1973 Was son of famous Ernest V Stoneman of country music's Stoneman family.

Discography
 New Sounds of Bluegrass America (1963, Briar International)
 Appalachian Swing! (1964, World Pacific)
 Long Journey Home (1964, Vanguard)
 Kentucky Colonels (1973, Rounder)
 Livin' In The Past (1975, Sierra)
 The Kentucky Colonels with Scotty Stoneman (1975, Sierra)
 The White Brothers Live in Sweden 1973 (1973, Rounder)

Gene Parsons- Kindling Collection

Kindling Collection

First, it is significant in that it covers the beginnings (as well as a epitome of) an era in music known as "folk-rock", of the Byrds western influences on the rock/folk scene that they created, of the input of one of the greatest creative guitarists - Clarence White - and his collaboration with another unsung, fabulous musician - Gene Parsons - and their harmonies and melodies, not to speak of the common man and his journeys and loves, which made the world a very happy place. Superb musicianship, beautiful harmonies and melodies - salt of the earth, dusty country: you need this music! This will be, in 50 years, part of a "classical music" that the world will thirst for.  To me then and still now it sounds like Gene and Clarence having a great time, with Gib Guilbeau, Ralph Stanley and others along for the ride. A bit like Clarence creating a gift to Gene The Byrds tracks from Gene and his Burritos tunes are the bookends that enclose a neat little solo album that sounds as fresh and clear as a desert morning. Try it, buy it, you'll like it. One of the greatest country rock albums ever recorded. Period. Guests on the album include Parson's former Byrd bandmate, the late, great Clarence White, plus Gib Guilbeau from Guilbeau and Parsons fame, as well as Ralph Stanley, Vassar Clements, Bill Payne and Sam Bush. Sadly, it was released the same year (after, actually) that White - just 29 - was killed by a drunk driver while loading equipment into a van. It's a disgrace that this album isn't available anywhere. Light one up and enjoy, and say an Amen for Clarence.

Three Little Country Boys

Three little country boys

Clarence White was born on June 7th 1944 in Madawaska, Maine as Clarence Joseph LeBlanc. Nearly all his close relatives were born in Canada of French ancestry - and soon LeBlanc was changed to WHITE.

Musically the family heritage was a rich one and their home was filled with the sound of traditional fiddle music and country music after work and on weekends. Their father Eric White, Sr. played fiddle, banjo, harmonica and guitar.

At the age of 8 Clarence's brother Roland, older by 6 years, learnt his first chords on guitar from his father Eric and two years later got his first mandolin. Although Clarence first played the guitar when he was six years old, the first instrument he owned was a Ukelele given to him by his father for Christmas 1950 and from then he started strumming the Ukelele to accompany Roland's mandolin playing before graduating to the guitar. Clarence gave his first public performance aged 8 at a local "Grange Hall" entertainment in Chinalake, Maine.  They played standard country numbers like "Ragtime Annie", "Golden Slippers", "Rubber Dolly" and "Under The Double Eagle" - a famous march written by Josef Franz Wagner, who was born in Vienna, Austria 1856.

In 1954 the whole family moved from Madawaska, Maine to Burbank, California where they joined an aunt who had preceded them in finding work. Shortly thereafter, they learned of a talent show "Country Show" every sunday on KXLA in Pasadena. Going by the name of THREE LITTLE COUNTRY BOYS, the children won a show, and they began to appear on many local radio & TV shows such as "Squeskin' Deacon's Show", "The Old Riverside Rancho Show" or "Cal's Corral". At that time, Eric, the middle brother, played tenor banjo and bass, Roland was on mandoling with Clarence on guitar and for a short time, their sister, Joanna, sang with them and sometimes played the bass.
 Roland White first heard Bluegrass in 1955 (before the family moved to California, they had not seen live Bluegrass music, and neither was it very popular in California at this time) on a record of Bill Monroe "Pike County Breakdown" and he fell in love with that music.

Joe and Rose Maphis further helped fire the enthusiasm of the young White brothers for Bluegrass music. Joe Maphis gave some tapes of Django Reinhardt and Charlie Christian to Clarence, and Joe taught him the basics of various guitar playing styles.
 In the middle of 1957 the three brothers began appearing regularly on a local radio show.
At the age of 19, Roland set out for Nashville and in his absence the White family met Billy Ray Lathum who moved to California from Cave City, Arkansas and the name was shortened to THE COUNTRY BOYS.

 Roland returned just in time for the group to begin picking small local jobs. Shortly thereafter, they also met LeRoy Mack (LeRoy McNees) who played the dobro and began playing some back-up for the group - Billy Ray played the banjo. They regularly appeared at the "Frontier Club" in Pomona, CA, two nights every week.

Up until about 1959, they had little contact with any live bluegrass or acoustic music except through occasional concerts at the Town Hall Party. The Ash Grove was to be the scene of their introduction to many folk acts. Through the New Lost City Ramblers they met Ed Pearl, manager of the Ash Grove, who subsequently booked the Country Boys. At the time, Clarence and Eric were still in school and the others had day jobs.

 he band (Clarence, Roland & Eric White, Billy Ray Lathum and LeRoy Mack) practiced and recorded songs at LeRoy Mack's parents' residence. They practiced songs like: Angel Of Death / Who Will Sing For Me / Singing All Day / If I Be Lifted Up / Wicked Path Of Sin / Are You Afraid To Die / Let Me Walk Alone / Workin' On A Building / A Beautiful Life / Old Time Religion.
The first COUNTRY BOYS single was released 1959 on the "Sundown" label: "I'm Head Over Heals In Love With You" / "Kentucky Hills".



Graham Nash-Earth and Sky

Earth and Sky

I picked up this album recently on CD to complete a Graham Nash compiliation I was working on. I needed "Earth and Sky" and a few other songs (at least that's what I believed at the beginning).

After listening a couple of times, I couldn't find anything to leave off of the compilation. This is an excellent mid-period Graham Nash album, far better than anyone would have a right to expect when recalling the vicious and hateful "Rolling Stone" review of the album circa 1980.

I've long since discounted "Rolling Stone" reviews as the magazine has lost all credibility with me, due in part to its harsh review of albums as excellent as "Earth and Sky". I can also recall the magazine panning "Exile on Main Street" and "Byrds" with a like-minded viciousness. Now, they call "Exile" one of Stones best albums. Alas, their "Byrds" review was taken to heart by the band and there were no further serious attempts at a full reunion.

It's interesting to note that the latter-day Byrds, the latter day Stones and the latter day Graham Nash were ridiculed by Rolling Stone but any and all releases by the tone-deaf shrieker Yoko Ono never failed to merit less than a five-star review from them. So much for their stellar reputation for astute record reviews.

Quite frankly, Rolling Stone isn't worth the paper it's printed on.

But Graham Nash's "Earth and Sky" is well worth buying. Every song is good; he obviously devoted a great deal of effort to it, in the writing, the arrangements, the production and in choosing the supporting cast of excellent players. In my view, "Earth and Sky" compares favorably with "Songs for Beginners", "Wild Tales" and "Songs for Survivors". And it's head and shoulders better than Nash's next album, "Innocent Eyes" and the vast majority of Neil Young's post 1974 releases.

Nash fans should give it a listen. It deserves to be as available as the rest of the vast CSNY catalogue (which is mostly hit and miss). This one's a hit! 

Beefeaters

Beef Eaters

"The Beefeaters" was the name of the band before they changed it to "The Byrds". They released only one single, in 1964.  Jim Dickson, their manager, knew that they had to have a unique style. Therefore he decided that the group had to practice day in day out. From all the recordings they had already made the two songs "Please Let Me Love You" and "Don't Be Long" were selected as tracks for the single release, but Dickson insisted that those songs should be rerecorded with the help of session musicians. Ray Pohlman played the bass and Earl Palmer was hired for the drums. Jim McGuinn played his twelve string guitar and Gene Clark the rhythm guitar. The vocals were provided by McGuinn, Clark and Crosby. Jac Holzman, head of Electra Records, did not like the group's name JET SET, therefore he named them BEEFEATERS. This is the reason, why the first single release has got this unusual name.

Leadon, Hillman, Perkins- Ever Call ready

Ever Call Ready

Bernie Leadon

Chris Hillman

Al Perkins

 

Many years ago (22 to be exact) maranatha music released this gem of a project featuring a veritable hall of fame supergroup of musicians whose pedigree lines included the byrds, the eagles, the flying burrito brothers, bob dylan's rolling thunder review, souther-hillman-furay band, stephen stills' manassas etc.It wasn't a country rock project though but rather an affectionate nod to traditional bluegrass, performed with great affection. It was so well done that it made me into a fan. I was so thrilled to find out that Sierra Records had put it on Cd and re-released it. This should be in any country rock or folk buffs collection. Standout tracks are "I'm using my bible for a roadmap" and "Don't let them take the Bible out of our school rooms". "Boat of love" has some of the most exquisite vocal harmonies and all the musicians, especially Al Perkins and David Mansfield play with carefree but virtuotistic flair. IF you love the Desert Rose Band, as I do you'll love to hear Chris Hillman sing pure bluegrass - its wonderful!! 

Mark Andes

Marke Andes

 

Mark Andes (born February 19, 1948) is an American musician, known for his work as a bassist with Canned Heat, Spirit, Jo Jo Gunne, Firefall, Heart, and Mirabal.
Andes moved to Boulder, Colorado, where he lived in the basement of local musician Jeff Reaves. In 1975, he was recruited by former Flying Burrito Brothers vocalist Rick Roberts and former Byrds drummer Michael Clarke to form the country-rock band Firefall. For six years, Mark would be in a band that had a string of hit singles, including the Top 10 hit, "You Are the Woman." During the early 1980s, Andes also collaborated briefly with future Yes guitarist Trevor Rabin and future Quiet Riot drummer Frank Banali.

Following a move back to California, and some session work, Andes joined Heart. He appeared on their final album for Epic Records, Passionworks (1983), and remained with the band until 1993. During this time, Heart found mainstream success, with several number one singles, and a number one album, Heart (1985). After a decade with Heart, Andes returned to session work.

Doug Gray -Soul of the South

Soul of the South

 

 

The Soul of the South is an 8-song mini-LP of solo recordings made by MTB lead singer Doug Gray in 1981 and never released until now. Recorded with backing by members of The Marshall Tucker Band and produced by Billy Sherrill, these recordings shine a light on Gray s affection for soul music. Featured are rare compositions by Bobby Whitlock (of Derek and the Dominos) and a pre-fame Michael Bolton, as well as a cover of the 1969 smash hit More Today Than Yesterday, originally recorded by The Spiral Starecase.

Country Rock Family Tree

I found this online,and Is nice to have.  This tree, however is not complete and is limited to the bands shown at the top, Which doesnt include other key players in the genre such as new riders and pure prairie league. Youll have to click on it to read it.

Commander Cody-Too Much Fun

Too Much fun

Just bought this CD & I must say Commander Cody and the Airmen are a really good band! Their mix of boogie/woogie & western swing is very catchy & to think many of these cuts were recorded years ago. Check out their version of Smoke, Smoke, Smoke, which IMHO is superior to Asleep at the Wheels. Ray Benson's Hot Rod Lincoln version is almost a note by note copy of Bill Kirchen's with CC&LPAM. For the price this CD is a good deal.    This band takes some getting used too, the whole swing thing is not as pleasent sounding as traditional country rock like Pure Prairie League

Nashville West

Nashville West

Nashville West was a short-lived American country rock quartet that was briefly together in the late 1960s. The group comprised multi-instrumentalist Gene Parsons, guitarist Clarence White, singer-guitarist-fiddler Gib Guilbeau and bassist Wayne Moore. Parsons and White left the band to join The Byrds while Guilbeau later joined the Flying Burrito Brothers.

Along with the International Submarine Band, The Byrds and The Flying Burrito Brothers, Nashville West was among the pioneering groups of the country rock genre.

An album by Nashville West was released in 1976, about eight years after the band had broken up. The material on the Nashville West album was recorded during a club date in 1968.
In the mid-1960s, Gene Parsons and fiddler Gib Guilbeau, who had been earlier acquainted from their time together in a band called the Castaways, were hired for a recording session with the Gosdin Brothers' singing duo of Vern and Rex Gosdin. The session, being produced by The Byrds' Chris Hillman, included guitarist Clarence White, who had formerly played the bluegrass the Kentucky Colonels. Parsons, Guilbeau and White then went on to play on sessions together for several other country music artists and became the house band for Gary S. Paxton's record label, Bakersfield International Productions.[1]

In the course of their session work, Parsons and White devised the B-Bender, or Stringbender, a system installed on White's Fender Telecaster that made the instrument sound like a pedal steel guitar.

Eventually, Parsons, Guilbeau and White became a band, joining with fellow session player, bassist-vocalist Wayne Moore, who played in the Castaways with Parsons and Guilbeau.

The group was known by various names, including The Reasons, Gib Guilbeau and The Reasons, the Gary Paxton Band or Cajun Gib and Gene.[2] The Nashville West moniker was taken from the name of the El Monte, California club where they sat as the house band, and was the name of an instrumental song composed by Parsons and White.

Parsons and White were then asked to join The Byrds in 1969. White had already played on 1968's The Notorious Byrd Brothers and Sweetheart of the Rodeo. After Chris Hillman split from the Byrds with Michael Clarke and Gram Parsons (no relation to Gene) to form the Flying Burrito Brothers, White and Gene Parsons joined Roger McGuinn and John York to become full-fledged members of The Byrds. The resulting next album, Dr. Byrds & Mr. Hyde, featured White's and Parsons' signature instrumental tune, "Nashville West". White and Parsons were with the Byrds for the albums Live at the Fillmore - February 1969, Ballad of Easy Rider, (Untitled), Byrdmaniax and Farther Along.

When the original line-up of The Byrds reunited in March 1973 to record Byrds, White left the Byrds to join the bluegrass supergroup Muleskinner. He also played on a package tour with several other country rock pioneers at the time, including Gram Parsons. White then reformed his old band, the Kentucky Colonels, with his brothers, but was killed on July 14, 1973 in Palmdale, California, when he was struck by a car driven by a drunken driver.

Guilbeau went on to play sessions with Linda Ronstadt and joined a band called Swampwater. He also played with Sneaky Pete Kleinow in a group called Cold Steel. In 1974, Guilbeau and Gene Parsons joined the Flying Burrito Brothers.

Commander Cody-Hot Licks

Hot Licks, Cold Steel and Truckers Favorites

After inventing their unique brand of hippie-country-rock-boogie-woogie on their debut, the Airmen returned with a second helping dedicated to truckers and trucking. As on their first album, the band wrote and borrowed originals to mix with brilliantly picked covers. Newly penned classics include the country rockers, "Truck Stop Rock" and "Semi-Truck," the seductive, bluesy "Cravin' Your Love," and the old-timey country-gospel of "Kentucky Hills of Tennessee."
Covers include one of the best-ever readings of Terry Fell's "Truck Drivin' Man" and a scorching, bar-ready take of "Rip it Up." The Commander takes the microphone for Memphis' Curtis spoken blues, "It Should've Been Me," with a fine fat-toned sax solo from Andy Stein. Stein also swings his fiddle for the cajun-flavored "Diggy Liggy Lo."

The toughness of the trucker's life is sung in the classic "Lookin' at the World Through a Windshield," and in Blackie Ferrell's brilliant "Mama Hated Diesels." The loneliness of the road and the emotional wreckage a trucker's life levies on those left behind is one of country music's most powerful archetypes, and the Airmen play it for all it's worth.

Though the recording is a bit tinny in spots, the playing and singing are top-notch, and an essential part of the Airmen's ouvre. MCA's put this out on CD and then let it drop from their catalog, which means you either have to track down a used copy or see if the Commander himself has any left in his personal stash.

Gene Parsons

Gene Parsons

Gene Victor Parsons is an American drummer, banjo player, guitarist, singer-songwriter, and innovative engineer, best known for his work with The Byrds from 1968 to 1972. Parsons has also released solo albums and played in bands including Nashville West, The Flying Burrito Brothers, and Parsons Green. Parsons is credited with inventing the B-Bender (also known as the StringBender) along with Clarence White and the device is often referred to as the Parsons/White B-Bender, a trademarked name.

Gene Parsons was born on September 4, 1944 on his family's farm in Morongo Valley in the Mojave Desert, California. His professional musical career began when he joined up with guitarist and Fiddle player Gib Guilbeau in the duo Guilbeau & Parsons. Later the duo was joined by Clarence White, former guitarist with the Kentucky Colonels, and bassist Wayne Moore to form the band Nashville West, named after a club where the band often performed.

After the dissolution of Nashville West, Parsons was brought in to The Byrds by his friend Clarence White, who had recently become the band's guitarist, to replace previous drummer Kevin Kelley. Parsons remained with the band for four years, principally as a drummer but he also contributed guitar, banjo, harmonica and a number of his own songs to the albums Dr. Byrds & Mr. Hyde, Ballad of Easy Rider, (Untitled), Byrdmaniax and Farther Along.

His first solo album, Kindling, was released in 1973 on Warner Bros. Records, after the disbandment of The Byrds.[4] Although Kindling received positive reviews in music publications such as Rolling Stone, it failed to reach the Billboard Top LPs & Tapes chart. Following this, Parsons joined The Flying Burrito Brothers, like other ex-Byrds Chris Hillman, Gram Parsons and Michael Clarke had done before him. While he was a member of The Flying Burrito Brothers with Sneaky Pete Kleinow, Chris Ethridge, Skip Battin, Joel Scott Hill and Gib Gilbeau, Parsons contributed a number of songs to the band's Flying Again and Airborne albums, including "Wind and Rain", "Sweet Desert Childhood" and "Out of Control".

After his tenure with The Flying Burrito Brothers ended in 1978, Parsons released a second solo album in 1979 entitled Melodies. Since the mid-1980s, he has also released two albums with his wife, California based folk musician Meridian Green, under the moniker of Parsons Green. A third solo album, this time a live recording, entitled In Concert - I Hope They'll Let Us In was released by Parsons in 2001 on his own Stringbender record label.

As well as his work with Nashville West, The Byrds and The Flying Burrito Brothers, Parsons has also played on records by Arlo Guthrie, The Everly Brothers, Randy Newman, The Gosdin Brothers, and Elliott Murphy.During 1994, he was a member of The Byrds Celebration, a tribute band formed by guitarist Terry Rogers that had originated with former Byrds' drummer Michael Clarke, who had died in 1993, and which also included fellow ex-Byrd Skip Battin. Parsons was also part of the band Haywire (not to be confused with the Canadian band of the same name), along with Joe Craven, Bill Douglass and Will Siegel, and features on the band's 1998 album, Bluegrass Christmas. In 2002, Parsons collaborated with British singer-songwriter Julian Dawson, on the album Hillbilly Zen.

Gene Parsons currently lives in Caspar, California, spending much of his time running his StringBender company and customizing guitars with his B-Bender device in his machine shop.

Parsons is not to be confused with another former Byrd, Gram Parsons, to whom he is not related.

Don Felder-Heaven and Hell Book

Heaven and Hell Book Review

Don Felder

First of all, I don't feel sorry for Felder. He is more than wealthy enought to maintain himself for the rest of his life. I feel this book is notable because he has given us a look into the workings of the Eagles. The last 4-5 chapters were the most interesting for me. Felder describes in detail the control Henley and Frey had in the band and how they un-equally shared the revenue with the Hell Freezes over Tour. Whereas Schmidt and Walsh signed their agreements willingly, it was Felder who tried to keep everything equal due to the original agreement they had when he had joined the band, and it was his downfall.

We hear and feel Felder's frustration when attempting to talk to Henley and Frey through their Manager Irving Azoff. Azoff himself protected more of Henley and Frey than the other band members. They all stayed in different floors away from each other in hotels during touring. When it was promised that the percentage of income would be worked out with Felder, (It never Happened). After Felder was fired, he was forced to sue the Eagles over constantant mis-management and handling of the finances. This book put Irzoff, Henley and Frey in an extreemly bad light, and I must say I agree completely with Felder on many of his examinations. The Company created called "Eagles Limited" was the organization made up by all the original members including Don Felder. Each had a 20% part of the organization equally. When Bernie and Randy (original members) left the group, these shares were given back freely but not extended to Schmidt or Walsh. This is probably the beginning of the control ride that Henley and Frey started with the group. To this day Schmidt and Walsh are just hired session and performance members only. Felder did still retain all his membership rights. When he questioned the accounting and business decisions, he was made to feel uncomfortable. Henley, Frey, and Azoff made no attempt to let him in on the decisions made. It was in fact a partnership with only two members making decisions while the other member was made to be a silent partner. Felder had every right to question accountability of the finances and decision making. When he was terminated, his only recourse was to sue. Some of this is covered in the book but may have been watered over due to the settlement of the lawsuit.

This book has made me a convert and fan to Felder. I never realized how much he incorporated into the Eagles music until now. I recommend this book highly because Don is a respectable guy, and a great guitarist. I believe Henley and Frey made a very bad decision with the removal of Felder. They obviously did not take into account how many fans Felder had.

Don Felder-Airborne

Airborne

After reading about this album in Don's book, Heaven and Hell, I thought I would give it a listen. Don's own critique about this album is spot on. The album lacks punch, and a hit, but the overall feel is relaxed and the tunes have a way of growing on you. I'd say that this album is "good", but lacks anything "great" that will have you coming back over and over again. Buying this record won't break the bank so it is an easy way to end any curiosity you might have.

All in all it was nice to hear what Don was doing on his own while the Eagles toiled in their break-up period. Now that Don is permanently removed from the Eagles, perhaps he will get to writing and performing a new album with a more serious tone to it. I've seen Don performing live twice since he departed the Eagles and his live show is great, so I anxiously await his next venture.

In the meantime, this becomes a dust collector that I listen to occasionally, just to see if I missed something the first few dozen times I heard it. AIRBORNE, the only solo album by Eagles guitarist Don Felder, is great. The songs are instantly hummable, and the grooves rock like sort of a West Coast blend of War and Grand Funk Railroad. It should be noted that this album includes "Never Surrender", which was also on the soundtrack to the film FAST TIMES AT RIDGEMONT HIGH, one of THE coolest teen flicks ever. This album is an all-time classic that just gets better with time.

Danny Whitten

Danny Whitten

Daniel Ray Whitten (May 8, 1943 – November 18, 1972) was an American musician and songwriter best known for his work with Neil Young and Crazy Horse, and for the song "I Don't Want To Talk About It", a hit for Rita Coolidge, Rod Stewart and Everything but the Girl.

Whitten was born on May 8, 1943, in Columbus, Georgia. His parents split up when he was young. He and his sister, Brenda, lived with their mother, who worked long hours as a waitress. His mother remarried when he was 9 and the family moved to Canton, Ohio.[1]

Whitten joined Billy Talbot and Ralph Molina among others in the doo-wop group Danny and the Memories. After recording an obscure single, "Can't Help Loving That Girl of Mine", core members of the group moved to San Francisco where they morphed into a folk-psychedelic rock act called The Psyrcle. Whitten played guitar, Molina drums, and Talbot played bass and piano.

By 1967, the group took on brothers George and Leon Whitsell on additional guitars and vocals, as well as violinist Bobby Notkoff, the sextet calling themselves The Rockets. They signed with independent label White Whale Records, working with producer Barry Goldberg for the group's self-titled album in mid-1968. The album sold poorly.

Songwriter Neil Young, fresh from departing the Buffalo Springfield, with one album of his own under his belt, began jamming with the Rockets and expressed interest in recording with Whitten, Molina and Talbot. The trio agreed, so long as they were allowed to simultaneously continue on with The Rockets: Young acquiesced initially, but imposed a rehearsal schedule that made that an impossibility. At first dubbed "War Babies" by Young, they soon became known as Crazy Horse.

Recording sessions led to Young's second album, Everybody Knows This Is Nowhere, credited as Neil Young with Crazy Horse, with Whitten on second guitar and vocals. Although his role was that of support, Whitten sang the album's opening track "Cinnamon Girl" along with Young, and Whitten and Young played guitar on "Down by the River" and "Cowgirl in the Sand." These tracks would influence the grunge movement of the 1990s, and all three songs would be counted among Young's most memorable work, continuing to hold a place in his performance repertoire to this day.

As did so many other rock musicians in the late 1960s, Whitten began using heroin and quickly became addicted. Although he participated in the early stages of Young's next solo effort, After the Gold Rush, Whitten and the rest of Crazy Horse were dismissed about halfway through the recording sessions, in part because of Whitten's heavy drug use. Whitten performs on "Oh, Lonesome Me", "I Believe in You", and "When You Dance I Can Really Love". Young wrote and recorded "The Needle and the Damage Done" during this time, with direct references to Whitten's addiction and its role in the destruction of his talent.

Acquiring a recording contract and expanded to a quintet in 1970, Crazy Horse recorded its first solo album, released in early 1971. The debut album included five songs by Whitten, with two standout tracks being a song co-written by Young which would show up later on a Young album, "(Come On Baby Let's Go) Downtown", and Whitten's most famous composition, "I Don't Want To Talk About It", a heartfelt ballad that would receive many cover versions and offer the promise of unfulfilled talent.

Whitten continued to drift, his personal life ruled almost totally by drugs. He was kicked out of Crazy Horse by Talbot and Molina, who used replacements on the band's two albums of 1972. In October of that year, after receiving a call from Young to play rhythm guitar on the upcoming tour behind Young's Harvest album, Whitten showed up for rehearsals at Young's home outside San Francisco. While the rest of the group hammered out arrangements, Whitten lagged behind, figuring out the rhythm parts, though never in sync with the rest of the group. Young, who had more at stake after the success of Harvest, fired him from the band on November 18, 1972. Young gave Whitten $50 and a plane ticket back to Los Angeles. Later that night Whitten died from a fatal combination of Valium, which he was taking for severe knee arthritis, and alcohol, which he was using to try to get over his heroin addiction.

Neil Young recalled, "We were rehearsing with him and he just couldn't cut it. He couldn't remember anything. He was too out of it. Too far gone. I had to tell him to go back to L.A. 'It's not happening, man. You're not together enough.' He just said, 'I've got nowhere else to go, man. How am I gonna tell my friends?' And he split. That night the coroner called me and told me he'd died. That blew my mind. Fucking blew my mind. I loved Danny. I felt responsible. And from there, I had to go right out on this huge tour of huge arenas. I was very nervous and ... insecure.”

Years later, Young told biographer Jimmy McDonough that for a long time after Whitten died, he felt responsible for Whitten's death. It took him years to stop blaming himself. "Danny just wasn't happy", Young said. "It just all came down on him. He was engulfed by this drug. That was too bad. Because Danny had a lot to give, boy. He was really good."