Sheryl Crow

Sheryl Crow

I guess Sheryl Crow is not a Country Rocker, but more of a pop artist from the 90's with a country music twist. If you like the other artists in this blog, you might want to give a listen

Sheryl Suzanne Crow (born February 11, 1962) is an American singer-songwriter and actress. Her music incorporates elements of pop, rock, folk, country and blues. She has released ten studio albums, two compilations, a live album and has contributed to a number of film soundtracks. She has sold more than 50 million albums worldwide. Crow has garnered nine Grammy Awards (out of 32 nominations) from the National Academy of Recording Arts and Sciences.

In addition to her own work, Crow has performed with the Dixie Chicks, the Rolling Stones, Jerry Lee Lewis, Stevie Nicks, Michael Jackson, Steve Earle, Prince, Eric Clapton, Luciano Pavarotti, Willie Nelson, Smokey Robinson, John Mellencamp, B.B. King, George Strait, Tony Bennett, Kid Rock, Sting and Zucchero Fornaciari, among others. She has also performed backing vocals for Tina Turner, Don Henley, Stevie Nicks, Belinda Carlisle, Bob Dylan, Joe Cocker and Michael Jackson.

As an actress, Crow has appeared on various television shows including 30 Rock, Cop Rock, GCB, Cougar Town, Jon Stewart and Stephen Colbert's Rally to Restore Sanity and/or Fear, as well as One Tree Hill.

Jim Messina - In the Groove

In The groove

JIM MESSINA - In The Groove (2016)

James Melvin "Jim" Messina is an American musician, songwriter, singer, guitarist, recording engineer and record producer. He was a member of the folk rock group Buffalo Springfield, a founding member of the country rock pioneer Poco, and half of the soft rock duo Loggins and Messina with Kenny Loggins.

Recorded live in September 2015 at The Clark Center and The Lobero Theatre, legendary singer/songwriter Jim Messina captures moments in time with these superbly rendered and lively performances. It’s a nice cross-section that spans the artist’s career from his time with Poco and Loggins & Messina to solo work. In addition to a core ensemble, Messina is joined by former Poco steel guitarist Rusty Young, who adds spice to modern classics like “Kind Woman” and “Listen to a Country Song.” And tracks like “Mojito Moon” and “Keep Me in Mind” possess a subtle jazzy element providing something for everyone.

TRACKS: 01. Please Welcome 02. Mojito Moon 03. Keep Me In Mind 04. Those Were The Days 05. Whispering Waters 06. Rusty's Intro 07. Follow Your Dreams 08. Jasper's Ride 09. Better Think Twice 10. When I First Met Rusty 11. Kind Woman 12. Childs Claim To Fame 13. Listen To A Country Song 14. Holiday Hotel 15. Be Free 16. It's Election Time Again 17. Same Old Wine 18. Changes 19. Angry Eyes 20. You Need A Man 21. Your Mama Don't Dance

Jack Nitzche

Jack Nitzche

Bernard Alfred "Jack" Nitzsche (22 April 1937 – 25 August 2000) was an American musician, arranger, producer, songwriter, and film score composer. He first came to prominence in the late 1950s as the right-hand-man of producer Phil Spector, and went on to work with the Rolling Stones, Neil Young and others. He also worked extensively in film scores, winning a song of the year Oscar in 1983 for co-writing "Up Where We Belong" (from An Officer and a Gentleman.)

Some of Nitzsche's most enduring rock productions were conducted in collaboration with Neil Young, beginning with his production and arrangement of Buffalo Springfield's "Expecting to Fly", considered by many critics to be a touchstone of the psychedelic era. In 1968, he produced Young's eponymously titled solo debut with David Briggs. Even as the singer's style veered from the baroque to rootsy hard rock, Young continued to work with Nitzsche on some of his most commercially successful solo recordings, most notably Harvest. Nitzsche played electric piano with Crazy Horse throughout 1970 (a representative performance can be heard on the Live at the Fillmore East album). Nitzsche also played keyboards on the first Crazy Horse album, Crazy Horse (recorded 1970 and released 1971), which he produced, as well as featuring as composer and lead singer of the honky-tonk number Crow Jane Lady.

While prolific and hard working throughout the 1970s, he began to suffer from depression and problems connected with substance abuse. After he castigated Young in a drunken 1974 interview, the two men became estranged for several years and would only collaborate sporadically thereafter. Later that year, he was dropped from Reprise Records' roster after recording a scathing song criticizing executive Mo Ostin. This desultory period culminated in his arrest for allegedly breaking into the home of and then raping ex-girlfriend Carrie Snodgress, formerly Young's companion, with a gun barrel on June 29, 1979. Snodgress was treated at the hospital for a bone fracture, cuts and bruises and had 18 stitches. The charge of rape by instrumentation (which carries a five-year sentence) was eventually dismissed.

Ralph Molina

Ralph Molina

Ralph Molina (born June 22, 1943) is an American musician, best known as the drummer for Neil Young's backing band Crazy Horse.

Born in Puerto Rico, Molina has been a member of Crazy Horse since they were formed in 1962 as Danny & the Memories. He has remained throughout the band's many personnel changes, and has performed on all 20 releases by the band, with and without Young. Molina's style of drumming is characterized by simple, but steady beats and fills.

Crazy Horse- Scratchy

Crazy Horse- Scratchy

I'm guessing that the majority of you are familiar with Crazy Horse's story, so I'm not going to go into great detail describing their origins. Of course, they are best known for their work with Neil Young and as the backing band who, in my opinion, brought out the best in that particular musician. Although they will forever be linked to ol' Shakey, their own material holds up rather well in its own right as "Scratchy: The Complete Reprise Recordings" convincingly demonstrates. This first-rate collection compiles their phenomenal eponymous debut LP, the underrated followup, Loose, previously unreleased material, and an early 1960s 45 from pre-Crazy Horse vocal group, Danny & the Memories. While the rest of the band's ouevre has its merits, these performances from 1971-1973 are the most definitive and essential.

Prior to joining forces with Young for the masterpiece "Everybody Knows this Is Nowhere," guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina had provided the core to aggregations such as the aforementioned white doo-wop group and scuzzy Los Angeles rock band the Rockets. Unlike other musical outfits, these guys learned to sing before becoming proficient with their respective instruments. Thus, in contrast to many other groups, they could rock hard and belt out killer harmony vocals at the same time. "Crazy Horse" came about in the wake of "This Is Nowhere" and "After the Gold Rush" and should have been huge. However, in spite of the superb contributions from guitarist Nils Lofgren (who was playing hooky from his band Grin during the recording sessions), pianist-producer Jack Nitzsche, guitarist Ry Cooder, and fiddler Gib Gilbeau, it failed to make a significant commercial impact. Crazy Horse's sound was unique: roots-based country rock filtered through a drug-addled, post-1960s perspective of lost innocence. Prewar blues even shows its influence in songs such as the awesome opening track "Gone Dead Train" (although it sounds like the band only borrowed the title of King Solomon Hill's best 78) and the lovely "Carolay" (which contains verses lifted from Robert Johnson's "I Believe I'll Dust My Broom"). "Dance, Dance, Dance" is a fine bit of ersatz Cajuniana from the pen of mentor Neil Young, while the anthemic "Downtown" inexplicably never became the massive hit that it could have been in a more just world. The phase shifter featured on the melancholy "Look at All the Things" and the rocking "Beggars Day" give both songs an early 1970s psychedelic sheen. Cooder's exquisite slide guitar is the icing on the cake for the heartfelt and beautiful "I Don't Want to Talk About It," which stands in stark contrast to the menacing and tough "Dirty Dirty." "Nobody" sounds more upbeat in tone as does "I'll Get By," which also features some enchanting group vocals. And finally, Nitzsche takes a rare turn handling lead singing duties on the Rolling Stones-like "Crow Jane Lady."

"Crazy Horse" was a tough act to follow, especially considering that Whitten's heroin problems led to his departure from the group after its release. Nitzsche and Lofgren also bailed out, leaving Talbot and Molina to recruit former Rockets bandmate George Whitsell to fill one of the guitar slots. Keyboardist John Blanton and guitarist Greg Leroy rounded out the lineup that recorded "Loose." Unfairly slagged by many, the band's second album does pale in comparison to their debut but only because its predecessor is so thoroughly excellent. Had "Loose" been a privately pressed LP released by a more obscure country rock band, I can guarantee you that it would be more highly regarded in certain record collecting circles. Yes, Whitten's distinct guitar and vocals are noticeably absent, but that does not mean the listener cannot derive enjoyment from rockers and blues-influenced numbers like "Move," "All the Little Things," "I Don't Believe It," and "One Sided Love." Tracks such as "Hit and Run," "Try," "Fair Weather Friend," "You Won't Miss Me," and "And She Won't Even Blow Smoke in My Direction" have a more palpable country influence and are all good performances if sometime a bit too laid back for their own good. "One Thing I Love" features a nice combination of instrumentation and vocal harmonies making it my favorite track on this album. While "All Alone Now" has a nice good-time vibe to it, the ballads "Going Home" and "Kind of Woman" are a bit too soft for my tastes.

With these two albums being squeezed onto this set's first CD, the second disc contains some interesting supplementary material from the recording sessions for "Crazy Horse" including an alternate take of "Dirty, Dirty" and a stretched-out version of "Downtown" that clocks in at nearly 11 minutes. "Dear Song Singer" is a moving solo piece from Whitten, while "Scratchy" is an unfinished instrumental whose main riff seems to have been recycled for "Move" on the second LP. "Susie's Song" simply sounds like Lofgren messing around on the piano and does not amount to much. "When You Dance You Can Really Love" is a Neil Young song recorded in 1973 by the "Loose" lineup as a possible single but was never released. I've always been a fan of radio spots, and the one included here is pretty cool. "Can't Help Loving that Girl" and "Don't Go" represent the lone single recorded by the previously mentioned Danny & the Memories in 1962, with the latter being the more interesting of these two tracks. Although neither song bears any similarities to the material Whitten, Talbot, and Molina would later record in Crazy Horse, they give the listener an opportunity to hear how far these musicians had come from their vocal group origins.

Crazy Horse- Scratchy

I'm guessing that the majority of you are familiar with Crazy Horse's story, so I'm not going to go into great detail describing their origins. Of course, they are best known for their work with Neil Young and as the backing band who, in my opinion, brought out the best in that particular musician. Although they will forever be linked to ol' Shakey, their own material holds up rather well in its own right as "Scratchy: The Complete Reprise Recordings" convincingly demonstrates. This first-rate collection compiles their phenomenal eponymous debut LP, the underrated followup, Loose, previously unreleased material, and an early 1960s 45 from pre-Crazy Horse vocal group, Danny & the Memories. While the rest of the band's ouevre has its merits, these performances from 1971-1973 are the most definitive and essential.

Prior to joining forces with Young for the masterpiece "Everybody Knows this Is Nowhere," guitarist Danny Whitten, bassist Billy Talbot, and drummer Ralph Molina had provided the core to aggregations such as the aforementioned white doo-wop group and scuzzy Los Angeles rock band the Rockets. Unlike other musical outfits, these guys learned to sing before becoming proficient with their respective instruments. Thus, in contrast to many other groups, they could rock hard and belt out killer harmony vocals at the same time. "Crazy Horse" came about in the wake of "This Is Nowhere" and "After the Gold Rush" and should have been huge. However, in spite of the superb contributions from guitarist Nils Lofgren (who was playing hooky from his band Grin during the recording sessions), pianist-producer Jack Nitzsche, guitarist Ry Cooder, and fiddler Gib Gilbeau, it failed to make a significant commercial impact. Crazy Horse's sound was unique: roots-based country rock filtered through a drug-addled, post-1960s perspective of lost innocence. Prewar blues even shows its influence in songs such as the awesome opening track "Gone Dead Train" (although it sounds like the band only borrowed the title of King Solomon Hill's best 78) and the lovely "Carolay" (which contains verses lifted from Robert Johnson's "I Believe I'll Dust My Broom"). "Dance, Dance, Dance" is a fine bit of ersatz Cajuniana from the pen of mentor Neil Young, while the anthemic "Downtown" inexplicably never became the massive hit that it could have been in a more just world. The phase shifter featured on the melancholy "Look at All the Things" and the rocking "Beggars Day" give both songs an early 1970s psychedelic sheen. Cooder's exquisite slide guitar is the icing on the cake for the heartfelt and beautiful "I Don't Want to Talk About It," which stands in stark contrast to the menacing and tough "Dirty Dirty." "Nobody" sounds more upbeat in tone as does "I'll Get By," which also features some enchanting group vocals. And finally, Nitzsche takes a rare turn handling lead singing duties on the Rolling Stones-like "Crow Jane Lady."

"Crazy Horse" was a tough act to follow, especially considering that Whitten's heroin problems led to his departure from the group after its release. Nitzsche and Lofgren also bailed out, leaving Talbot and Molina to recruit former Rockets bandmate George Whitsell to fill one of the guitar slots. Keyboardist John Blanton and guitarist Greg Leroy rounded out the lineup that recorded "Loose." Unfairly slagged by many, the band's second album does pale in comparison to their debut but only because its predecessor is so thoroughly excellent. Had "Loose" been a privately pressed LP released by a more obscure country rock band, I can guarantee you that it would be more highly regarded in certain record collecting circles. Yes, Whitten's distinct guitar and vocals are noticeably absent, but that does not mean the listener cannot derive enjoyment from rockers and blues-influenced numbers like "Move," "All the Little Things," "I Don't Believe It," and "One Sided Love." Tracks such as "Hit and Run," "Try," "Fair Weather Friend," "You Won't Miss Me," and "And She Won't Even Blow Smoke in My Direction" have a more palpable country influence and are all good performances if sometime a bit too laid back for their own good. "One Thing I Love" features a nice combination of instrumentation and vocal harmonies making it my favorite track on this album. While "All Alone Now" has a nice good-time vibe to it, the ballads "Going Home" and "Kind of Woman" are a bit too soft for my tastes.

With these two albums being squeezed onto this set's first CD, the second disc contains some interesting supplementary material from the recording sessions for "Crazy Horse" including an alternate take of "Dirty, Dirty" and a stretched-out version of "Downtown" that clocks in at nearly 11 minutes. "Dear Song Singer" is a moving solo piece from Whitten, while "Scratchy" is an unfinished instrumental whose main riff seems to have been recycled for "Move" on the second LP. "Susie's Song" simply sounds like Lofgren messing around on the piano and does not amount to much. "When You Dance You Can Really Love" is a Neil Young song recorded in 1973 by the "Loose" lineup as a possible single but was never released. I've always been a fan of radio spots, and the one included here is pretty cool. "Can't Help Loving that Girl" and "Don't Go" represent the lone single recorded by the previously mentioned Danny & the Memories in 1962, with the latter being the more interesting of these two tracks. Although neither song bears any similarities to the material Whitten, Talbot, and Molina would later record in Crazy Horse, they give the listener an opportunity to hear how far these musicians had come from their vocal group origins.

David Muse

David Muse

David Muse (born July 1949, Rome, Georgia) is an American singer, songwriter, composer, producer and multi-instrumentalist. He has been a member of several bands including Firefall, The Marshall Tucker Band

Firefall (1975–1981, 1994-1995, 2000–2003, 2011–present)

David joined Firefall in 1975 at the invitation of old friend Rick Roberts.The band had recently signed a deal with Atlantic Records and was preparing to record their debut, self-titled album Firefall. Since David was not an original signatory to the deal with Atlantic Records, the label would not allow his picture to be on the album and insisted that he be listed as an additional musician. The band always considered him an original member and was credited as such on their second album Luna Sea, released in 1977. From 1975–1981 the band released five albums and produced hits such as You Are The Woman, Goodbye, I Love You, Strange Way, Just Remember I Love You and Cinderella. During this time, Firefall toured the world and shared stages with Fleetwood Mac, The Doobie Brothers, The Band, The Beach Boys and Lynyrd Skynyrd. Unrest and tension among band members lead to the breakup of the original band in 1981.

David performed with the band occasionally over the years, returning as a full-time band member in 2011. Original bassist Mark Andes returned to the band at this same time.
The Marshall Tucker Band (1996–2000, 2003–2008)

When original member Jerry Eubanks decided to retire in 1996, David was invited to join The Marshall Tucker Band to cover sax, flute and keyboard duties He toured and recorded with the band until 2001, when he left for a Firefall reunion. He returned in 2003, departing again in 2008 for other projects. David appears on seven MTB albums.

As a member of Firefall^[

• Firefall (1976) – Certified GOLD (11/3/1976) & PLATINUM (April 19, 2004)
• Luna Sea (1977) – Certified GOLD (10/3/1977)
• Elan (1978) – Certified GOLD (October 17, 1978) & PLATINUM (1/10/1979)
• Undertow (1980)
• The Best of Firefall (1981)
• Clouds Across the Sun (1981)
• Break of Dawn (1982)
• Greatest Hits (1992)
• Concert Classics, Vol. 2 (1999)
• Colorado (2001)
• Firefall Reunion Live (2009)

As a member of The Marshall Tucker Band

• Face Down in the Blues (1998)
• Gospel (1999)
• Beyond the Horizon (2004)
• Carolina Christmas (2005)
• Anthology (2005)
• The Next Adventure (2007)
• Live from Spartanburg, South Carolina (2013)

George Frayne (Commander Cody)

Commander Cody

Commander Cody and His Lost Planet Airmen is an American country rock band founded in 1967. Core members included founder George Frayne IV (alias Commander Cody, born 19 July 1944, Boise City, Idaho) on keyboards & vocals; Billy C. Farlow (b. Decatur, Alabama) on vocals and harmonica; John Tichy (b. St. Louis, Missouri) on guitar and vocals; Bill Kirchen (b. 29 January 1948, Ann Arbor, Michigan) on lead guitar; Andy Stein (b. 31 August 1948, New York) on saxophone and fiddle; Paul "Buffalo" Bruce Barlow (b. 3 December 1948, Oxnard, California) on bass guitar; Lance Dickerson (b. 15 October 1948, Livonia, Michigan; died 10 November 2003, Fairfax, California) on drums; and Bobby Black on steel guitar.

The band's style mixed country, rock 'n' roll, Western swing, rockabilly, and jump blues together on a foundation of boogie-woogie piano. It was among the first country-rock bands to take its cues less from folk-rock and bluegrass and more from barroom country of the Ernest Tubb and Ray Price style. The band became known for marathon live shows.

Jerry Eubanks

Jerry Eubanks (born March 9, 1950) is an American musician best known as the original saxophonist, keyboardist and flautist for the The Marshall Tucker Band.

Jerry Eubanks, a sax player by trade, was asked by Toy Caldwell if he knew how to play flute... and although he didn't, that didn't stop him from answering Toy's question with a resounding "hell yeah!" He set out to learn real quick, and thus the addition of the instrument that made MTB's sound unique from all other southern rock bands was made. Jerry was a mainstay in the band from 1973 - 1996. His flute and sax solos were, along with Toy's guitar licks, the signature of the band. After 25 years of life on the road, he enjoy a life of leisure in Spartanburg with his wife and children, and plays in a band called the Lipnikkies.

In addition to his playing, Jerry wrote or co-wrote several of the band's songs, including:

"Windy City Blues" with Doug and George from Long Hard Ride
"Life in a Song" with George on Carolina Dreams
"Everybody Needs Somebody" on Together Forever with Doug & George
"Dream Lover" on Together Forever with George
"Disillusion:" with George on Tenth
"Long Island Lady" with Doug on Just Us
"Blood Red Eagle" on Greetings From South Carolina
"Tan Yard Road" with Rusty on Still Smokin'

Jerry (Far right with MTB)

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.



Emmylou Harris- Cimarron

Cimarron

 

A lot of people are lamenting the sorry state of country music today, with it making more and more concessions to popular tastes. While I admit to being one of those naysayers, I go for country music that takes risks, but still has enough twang to truly be called country. And sure enough, Emmylou Harris can best be called one of the first country artists to venture outside the confines of the genre, and still be accepted as one of country's own. A protege of the legendary country-rock godfather Gram Parsons, Emmylou has been bringing her distinctive style to just about every song from country to folk to straightahead rock. Thanks to that, some of the most unlikely songs have become country standards in spite of their non-country pedigrees. By 1981's CIMARRON, Emmylou had been making music for well over a decade (although her first album PIECES OF THE SKY was released in 1975). As a hitmaker, her days were coming to an end, but as an innovator, she hadn't yet begun to quit. Emmylou can take even the most well-worn country standards, and make them sound as if they were written yesterday like that old warhorse "Tennessee Waltz", a short 2:30 song in an album filled with numerous 4-minute tunes (which is near-epic-length for country music). I'm sure every country singer worth their salt has attempted "Tennesee Waltz" at one time or another, but Emmylou does what she has done numerous times before, making it sound like it was written for her all along. Other country greats given a new lease on life by Emmylou include "The Last Cheater's Waltz" (originally a hit for T.G. Sheppard), which is a much longer version so as to showcase the excellent musicianship of her band, "Son Of A Rotten Gambler" (written by Chip Taylor, who also penned such disparate ditties as "Wild Thing" and "Angel Of The Morning"), and the traditional "Spanish Is A Loving Tongue". But to prove that Emmylou was more risk-taking than her fellow country-ites, CIMARRON has its share of more modern, contemporary numbers. "Rose Of Cimarron" was originally a hit song for the country-rock band Poco; "If I Needed You" (a duet with country great Don Williams) was written by legendary folk singer-songwriter Townes Van Zandt; "The Price You Pay" originally appeared on Bruce Springsteen's double album THE RIVER (1980). All of these are given enough country sound to make one forget the fact they were written by people far from the country radar as possible. The other songs on CIMARRON were probably written especially for the album: "Another Lonely Morning" is a great song just looking for someone to cover it (even if it may not be better than Emmylou's); "Born To Run" (NOT the Bruce Springsteen classic) was written by Paul Kennerley, who would later become Emmylou's third husband; "Tennessee Rose" was written by Emmylou band member Hank DeVito. With all those wonderful songs, CIMARRON was a wonderful album already, but because it has been released on CD for the very first time, the deal is made even sweeter with the inclusion of a rare song called "Colors Of Your Heart", written by former Emmylou bandmate Rodney Crowell. While he had long went solo from her, this song proves why Crowell is one of Emmylou's favorite songwriters, and also a fellow "modern traditionalist" like her. After CIMARRON would come the live album LAST DATE, which was unique in the fact that it contained songs Emmylou had not yet recorded in the studio. Unfortunately, that would be her last truly successful album on the charts. But that allowed Emmylou to experiment even more with her music, resulting in such uncategorizable masterpieces like WRECKING BALL (1995) and RED DIRT GIRL (2000). For those who were introduced to Emmylou Harris courtesy of those classics, earlier albums like CIMARRON will help show that she's had it in her for more than 3 decades, and hopefully, is not thinking of slowing down any time soon.