New Riders of the Purple Sage-Close Encounters of the West Coast

Close Encounters of the West coast

I feel that this is a VERY strong release of post-GP burrito material. There are a few studio records not yet released on CD from this line-up of the Burritos, but this live set is the best from this era.
Very energetic versions of mostly standard honky-tonk and bluegrass numbers, played in front of a very enthusiast Japanese audience (which I find humorous that they are so into this music!)
Maybe I am slightly impartial to this release because it was my accidental discovery into the world of "country-rock" and "bluegrass" music, an interest which has grown immeasurably over the last 10 years.


Trust me folks, a very solid release. Take this one on a road trip, this is great highway music.
Sadly, the man who acted as a catalyst in creating the best Burrito albums - the underrated Chris Ethridge - left the Burritos after 'Flying Again' to be replaced by Skip Battin. Battin is the only musician to have been a member of The Byrds, The Burritos and The New Riders of the Purple Sage. Despite this pedigree and his skill as a bassist, all three of these bands suffered when Skip joined, largely due to his dreaful songwriting contributions (normally collaborations with Kim Fowley). Although Skip contributed no songs to 'Airborne', the fifth and final Burritos album, much of the material by hands outside the band was ill-chosen and despite some fine moments, the record was almost as big a disappointment to me as 'Burrito Deluxe'.

'Close Encounters to the West Coast' features the post-'Airborne' lineup of Gilbeau, Battin, Kleinow, new boy Greg harris (who replaced the wonderful Joel Scott Hill) and Ed Ponder (whom I believe took over from Gene Parsons on drums for the tour this album originates from due to the latter injuring his hand).

The album opens with the definitive version of 'Big Bayou' (from 'Aiborne' -there is a third version Gib recorded in his time with the Dillards) which is full of Sneaky Pete's amazing treated pedal steel. For me this sound has always been the essence of the FBB, more important even than Gram Parson's originating presence. On this cut Kleinow is simply astonishing, conjouring psychedlic sounds of out his instrument that could only be duplicated otherwise by using about three analogue synthesizers simultaneously. This is real country ROCK, with emphasis on the latter oin the music and the former in the lyrics.

A superb version (and hit single) of 'White Line Fever' follows - this is the finest trucking song i;ve ever heard, penned by the superb Merle Haggard and surpassing the Chris Hillman vocal on the version from the third album. Other highlights include a craking 'Dim lights, Thick Smoke', a live version of 'Hot Burrito #2' that surpasses the one on 'Last of the Red Hot Burritos' and a gorgeous take on 'Colorado' which again outclasses the one from that eponymous third album. 'Six days on the Road' is much better here than the version with Gram singing, as it has a lot more balls. and 'Truck Drivin Man' is great fun.

Less interesting (hence the four stars) but still worth hearing are the bluegrassy numbers 'Rocky Top' and 'Rollin in my sweet baby's arms'.

So overall, I'm claiming that some of the songs here are the best versions recorded and released - remember that when I bought this album, I'd only heard 'Gilded Palace' and not been influenced by other fans and critics. For me, this is the third best Burrito album, preceded only by 'Gilded' and 'Flying Again'. Ignore the critics, put the CD on and turn up the volume. Do the same with 'Burrito Deluxe' and be honest with yourself - Gram and the boys screwed that one up.

Finally, I'll add that after this album, there are no essential Burrito CDs, so don't get carried away buying other live albums by later, inferior lineups.

New Riders of the Purple Sage- Cabin Fever

Cabin Fever

The good folks at Relix Records seem to feel that every possible FBB concert should be released on CD, regardless of the quality of the particular performance (rather like the Grateful Dead). There is nothing about this show which makes it worthy of having been recorded, let alone released as a CD. Neither John Beland nor Gib Guilbeau were around for this one, so we have Sneaky Pete, Skip Battin, Greg Harris, and Jim Goodall slogging their way through a mixture of Burrito and Byrds numbers and a few old country standards, doing justice to none of them. This disc contains nothing more than a lame, half-hearted performance by a second-rate lineup. This one is for completists only.

Poco- Cantamos

Cantomos

On Cantamos, Poco shows that they did indeed have life after the departure of founder Richie Furay. Cantamos is significant in the history of Poco in that it signals the arrival of Rusty Young as a songwriter as he does an excellent job of filling the songwriting gap left by Furay. The strength of the new material by Young in conjunction with the contributions of Paul Cotton and Tim Schmit result in the strongest song set since the classic "A Good Feelin' to Know" album.

Cantamos provides a vehicle for Poco to show the full range of their talents. Cotton does what he does best, delivering rockers like "Western Waterloo" and "One Horse Blue." Schmit's "What Ever Happened to Your Smile" falls right in line with the relatively laid back acoustic tunes that he specializes in. But it is the great Rusty Young who provides the highlights on Cantamos. The album opens and closes with Young classics "Sagebrush Serenade" and "All the Ways" and his "High and Dry" provides both the literal and figurative centerpiece. "Sagebrush" and "High and Dry" also provide an opportunity for Young to blow us away with his superhuman skills on the pedal steel guitar.

Cantamos has a little bit of everything for Poco fans - great harmonies, lots of energy, and great guitar and pedal steel work. Most importantly, it offers us a peak at things to come; Grantham, Cotton, Schmit and Young were not finished with creating some great music and Poco was ready to carry on a great tradition and were still very much at home on the throne as the kings of country-rock.



Chris Hicks

Chris Hicks

Since the age of seven, Chris Hicks’ only passion has been playing guitar. He created his first band when he was 14 and has been a shooting star ever since. Heading up The Loose Change Band from 1980 through 1988, Chris developed his distinctive style and grabbed the attention of listeners across the country. The legendary Outlaws recruited Chris in 1989. He captivated a rapidly expanding coterie of supporters with smoldering hot guitar work, powerful blues vocals and expressive songwriting. Chris played on and contributed songs to the Outlaws releases, “Hittin’ The Road Live” and “Diablo Canyon.” He returned home to produce his first solo album, “Funky Broadway” which was nationally distributed by Ichiban Records. Soon after its release Chris was sought out by The Marshall Tucker Band. His signature licks and heart-pounding vocals fused perfectly with the band’s unique sound and can be heard on their latest release, “Face Down In The Blues.” Having gained a solid reputation as a well-respected solo artist, he continues to create a unique musical experience best described as “soulfully inspiring.” He also played on MTB's Beyond the Horizon CD.

 

Chris’ talent and ability to provide an original and versatile sound has landed him opening spots for The Atlanta Rhythm Section, Jefferson Starship, .38 Special, The Charlie Daniels Band, Edgar Winter, Eddie Money, REO Speedwagon and several multi-band tours. His song, “Love Is On The Line,” was featured in the film Fast Food, starring Jim Varney. His song “Blues Got Me Down,” was hand-picked by Taxim Records to appear on their European blues compilation, “Peach State Blues.” The record also highlights Chris’ lead vocals on Barry Richman’s “Here Again.” His work also includes several television and radio commercials, a motivational tour, and numerous guest appearances both on stage and in recording productions for various artists.

 

The new millennium finds The Chris Hicks Band hard at work recording tracks for album number two and…back on the road, blazing with the force, spirit and music his fans have come to know and expect.

 

 



Bob _Dylan- Hard Rain

Hard Rain

There's something oddly poignant about an audience member drunkenly shouting "'LAY LADY LAY!'" before Bob Dylan and his gypsy band rip into the then-recently released 'Oh, Sister.'
"Hard Rain" is the first official document of the 1975-76 Rolling Thunder Revue, released thirty years before the ominous "Bootleg Series Volume 5."

 

 

 Despite being one of the most legendary tours in rock history, "Hard Rain" received lukewarm reviews upon release, probably because the performances were taken from near the end of the tour, and has since become slightly obscured by the wealth of recordings offered by the fifth installment of Dylan's "Bootleg Series."
But what "Hard Rain" has that its successor doesn't is grit. The lack of polish in recording and performance seems to be more fitting for the Rolling Thunder Revue, and for the song selection in particular. 'Maggie's Farm,' 'Stuck Inside of Mobile With the Memphis Blues Again,' and 'Shelter From the Storm' are all treated like rental cars, with reckless abandon, and more delicate treatment is not given to more balladic songs like 'Lay Lady Lay,' 'I Threw It All Away,' and 'Oh, Sister,' the version here actually topping the version found on "The Bootleg Series."

 



Son Volt- Straightaways

Straightaways

When Jeff Tweedy and Jay Farrar, his former partner in Uncle Tupelo, split up in 1994, the common wisdom was that Tweedy was the melodic and optimistic Paul McCartney of the team, while Farrar was the cathartic and moody John Lennon. That analogy seemed to stand up when Wilco's debut disc A.M. was sweet and tuneful, while the first album by Farrar's Son Volt, Trace, was angst-ridden country-rock. Tweedy transcended his pigeonhole with the diverse, ambitious Being There, but Farrar remains trapped in his on Son Volt's follow-up Straightaways, a more laid-back, understated version of Trace. Farrar does one thing really well, and that is his use of a gravelly baritone and suspended guitar chords to capture the exhaustion and desperation of a man at the end of his rope. Unfortunately, he tends to do it over and over and over again.



Stephen Stills -1975 Stills

1975 Stills

As Crosby wandered about as El Dopo, Nash took photos of himself, and Young set about betraying all ala Jean Genet, Stills got himself together, must have swallowed some pride and produced a CD that was, is and remains a sobering account of one's life. More rocking than Dylan's "Blood On The Tracks," this effort laid it out as finely as anything he would ever do what it meant to live one's life with careful reflection.
All the songs here are extraordinary, and his tendency towards excess seeps out only with "Love Story", and that suits the song just fine.
Ringo is along for the ride here, Donnie Dacus proves to be an excellent foil for Stills, and nods to Neil in the form of the best version ever of "New Mama" round out an album that begins on a great song "Turn Back the Pages" moves through the brilliant "Favourite Changes" and fulfills everything Stills was capable of.
CSN was in free fall. Stills seemed to have nowhere to go with the dissolution of Stills-Young, and faced with this precipice, summoned forth all of his strengths. His guitar playing, particularly his otherwise annoying wah-wah, was at its very best. His voice was terrific, and perhaps this is really his highwater mark as a solo artist. 



Stone Poneys - Vol 3

Volume 3

When the group the Stone Ponies first hit the charts, it was as a trio that featured the captivating voice of a teenage Linda Ronstadt singing lead vocals for this Arizona-based folk-rock trio. And with a voice blazing like Pecos Pete on methadrine, her incredible melodic shout of a singing style led her and the group to quick fortune and early success. The fact that she was such an incredible talent quickly doomed the trio as an act, however, and by the time this third and final album was released, the group went by the name of "Linda Ronstadt and The Stone Ponies". But they left behind this very interesting and eclectic collection of songs to remember them by, songs both worth listening to and worth having in your CD library. Included here is quite a collection of songs and styles, ranging from the ethereal "Fragments" to a more traditional folk effort, "By The Fruits Of Their Labors", from Tim Buckley's ironic "Hobo" (and only Linda could make it the soaring showcase she does here) to a cover of the wonderful "Let's Get Together". She tears out all the stops with another Tim Buckley song, "Wings", and walks all over Laura Nyro's hit "The Stoney End". Also included here is the groups final top ten hit, "Some Of Shelly's Blues", written by one-time Monkee's singer Mike Neismith. This is a very easy album to get to like, and several of the numbers you may finding yourself singing to yourself on the way to work. In my opinion, this is an essential album for anyone claiming to be a real Linda Ronstadt fan. Enjoy!



Emmylou Harris- Ballad of Sally Rose

Ballad of Sally Rose

This is an interesting album from Emmylou Harris. Released in 1985, it stands as one of her best. Avid fans will want to get their hands on this cd, it's pretty rare to find but worth the search! This is the first album in her career where she wrote or co-wrote all of the songs, something she is more inclined to do on her newer albums. She is an excellent songwriter in my opinion. The album works as a concept album, telling a story of a girl from a small town who gets taken under the wing of singer that takes her (and her angelic voice) out on the road. Which is sort of like what happened with her and Gram Parsons. To get the story of the album though you need to read the liner notes. She truly shines on the slower ballads such as "Diamond in My Crown" and the closer "Sweet Chariot." Not an essential album for casual fans, but the hardcore Harris fans will either already have this, or be looking for it.



Brewer & Shipley- Weeds & Tarkio

Weeds and Tarkio

Like several other one-hit wonders, Brewer & Shipley were a bona fide music act before (and after) their brief intersection with Top-40 fame. The native Oklahoman and Ohioan (respective to their billing) had been kicking around the Los Angeles folk scene for a couple of years when they recorded their 1968 debut ("Down in L.A.") for A&M. By the time they waxed this pair of albums for Kama Sutra in '69 and '70, they'd settled back in the Midwest.
Both albums were recorded in San Francisco with Nick Gravenites producing and assembling the who's-who bands. "Weeds" features Mike Bloomfield on guitar, Mark Naftalin on piano and organ, Richard Greene on fiddle, and Red Rhodes on pedal steel. "Tarkio" retains several of the players (most notably Naftalin), and adds a guest spot for Jerry Garcia on his then newly learned pedal steel. Across the two LPs' 20 tracks, Brewer & Shipley forge a perfectly balanced blend of folk harmony, country twang and rock power.
"Weeds" features a number of standout originals and covers, including the easy ballad "Lady Like You," the slumberous "Indian Summer," and a truly sublime cover of Jim Pepper's ancestral peyote chant, "Witchi-Tai-To." "Tarkio" moves its hippie vibe into the '70s, with strong echoes of the Nixon Years' creeping paranoia. In addition to the rousing hit "One Toke Over the Line," and poetic, philosophical folk songs like "The Light" and "Ruby on the Morning," the album is filled with personal travelogues that match external miles with internal turbulence. "Song From Platte River" and "Tarkio Road" essay the repressed experience of the counterculture, and "Don't Want to Die in Georgia" voices the anxiety of many freaks' travel in the South.
Both albums are vastly under-known 5-star folk-rock classics.