Eye of the Hurricane- Flying Burrito Brothers

According to the liner notes, this is a reunion album of sorts. John Beland, Gib Guilbeau, Sneaky Pete, and Chris Ethridge are joined by Australian country-rocker Brian Cadd and legendary drummer Ronnie Tutt for a highly entertaining set of original tunes. The vocal harmonies are excellent, and the playing is superb (made even more so by Tutt's stellar performance). Particularly outstanding are "Wheel of Love", "Heart Highway", and "Jukebox Saturday Night", but this album has something for everyone, and re-establishes the Burritos as leaders in their genre. Long live the Burritos! 

Chriss Hillman Band-Main Point

Chris Hillman Band - 1975-09-22 - Main Point, Bryn Mawr, PA

The Chris Hillman Band
1975-09-22
The Main Point, Bryn Mawr, PA
Very Good Quality Audience Recording
mp3 @ 192 kbps

Here's Chris Hillman and his band in 1975, which could have been called something like the 'Firefallin' Burrito Brothers'. After the SHF band wrapped up their tour in late 1974 and head back into the studio to work on their 2nd album, it was clear that the personal differences within the band had become a major problem. Ritchie Furay's recent conversion and burgeoning enthusiasm for evangelical christianity (aided and abetted by Al Perkins) was an annoyance to Souther and Hillman, who formed the 'Heathen Defense League' in response to repeated efforts to 'save' them. They each wrote their own songs and only came together to record them. When the album, the aptly titled Trouble in Paradise, was finished and released in 1975, to generally lackluster reviews and sales, and a planned tour was cancelled (supposedly due to an injury to Furay's hand, but possibly also because the principals had just lost interest), the group quickly disbanded. Actually, although Trouble in Paradise couldn't match the excellence of their 1st, it is still a quite solid album, containing gems such as Souther's title track and 'Mexico' and Hillman's 'Follw Me Through'. After SHF, the 3 stars quickly returned to solo careers and each released a new solo album in 1976 (Souther's Black Rose, Hillman's Slippin Away, and Furay's I've Got a Reason). After the breakup of SHF, Hillman, in particular wasted no time getting back out on the road. He called up friend and former FBB alum Rick Roberts, who by now had formed a new band, called Firefall, which was practicing and playing together but did not have a record deal or any recordings yet. So, Roberts, along with his Firefall mates guitarist Jock Bartley (who also earlier played with Gram Parsons) and bassist Mark Andes (formerly of Spirit) joined Chris to form the temporary and hastily put together band dubbed the Chris Hillman Band for a series of concert dates in the fall of 1975. Actually, it was towards the end of these show dates, when Chris became ill, and had to dropout of the tour, that Firefall continued the shows on their own, and attracted the Attention of Atlantic record execs, who offered them their recording contract, and they almost immediately began recording their first album. But in this show, earlier in the tour, Chris was definitely in charge, playing a mixture of tunes from his various bands, from the Byrds, Burritos, Manassas, and SHF Bands. Here are both sets from his excellent Main Point show, and a very fine recording it is. Thanks to the excellent Rocking-byrd blog (rocking-byrd.blogspot.com) for this one, as well as so many other fine Byrds-related shows.

Chris Hillman
Rick Roberts
Jock Bartley
Mark Andes
Michael Wootten

Early Show
01 - Lazy Days
02 - Hot Burrito #2
03 - It Doesn't Matter
04 - Follow Me Through
05 - Heavenly Fire
06 - Sin City
07 - Fallen Eagle
08 - Step On Out
09 - Colorado
10 - Can't You Hear Me Calling
11 - Wheels
12 - The Race Is On
13 - Rise And Fall
14 - Mystery train
15 - So You Want To Be A Rock 'N' Roll Star

Late Show
01 - Safe At Home
02 - Down In The Churchyard
03 - High Fashion Queen
04 - Four Days Of Rain
05 - White Line Fever
06 - Devil In Disguise
07 - Take It On The Run
08 - She Is A Song
09 - Step On Out
10 - Do Right Woman
11 - Bound To Fall
12 - Things Will Be Better
13 - Time Between
14 - Six Days On The Road
15 - Lies
16 - So You Want To Be A Rock 'N' Roll Star
17 - Can't You Hear Me Calling

LINK HERE
http://www.megaupload.com/?d=KTUMZMWP 

Byrds-farther Along

This album featured Roger McGuinn, Clarence White, Skip Battin. It was the last original Byrds album to feature this quartet. The Byrds produced it themselves and recorded it mostly in London, though it was finished in Hollywood. The overall feel of the album is country-rock in its truest sense, though some tracks have more of a country flavor than others.\

I particularly like America's great national pastime, a catchy song that pokes fun at consumer materialism. The Byrds also do an excellent cover of the gospel classic Farther along. The opening track, Tiffany queen, shows a Chuck Berry influence. Bugler, a song about ... a road accident, is considered by many to be the highlight of the album. Antique Sandy is an interesting hippie love song.

The three bonus tracks were recorded after the album was completed. Lost my driving wheel was actually a Roger McGuinn solo track intended for an eventual solo album. The other two bonus tracks were recorded by the Byrds - they are Born to rock and roll and Bag full of money.

While this album may not be the best Byrds album, it has much to commend it and should not be overlooked.

Manassas -Pieces

Stills should have been the American Clapton. He certainly had no fewer vices and yet his muse was a fragile thing that would come and go as he engaged in different projects or dissolute directions. His records, then, can be very hit or miss, and by the 90's were largely less than impressive. And that's the tragedy. He had talent to spare and Manassas at its peak was a force to be reckoned with. After a very strong debut, he followed with an overproduced second album, a protean live document and then the brilliant Manassas double CD. Unfortunately, that was followed by Down The Road, as low a point in Stills' canon as there is. PIECES represents sessions engaged between the first record and DTR, and it's a genuine pity that this was not the second album. All of Stills' strengths are on display and none of his weakenesses. DTR followed these sessions and somewhere along the way the songs fell flat and the musicianship got unfocused and Stills' voice sounded like he had spent the weekend yelling at people. It was a mess. This, while not quite Stills 1 or the first Manassas, is a joy start to finish. There are songs you have not heard before, songs that would find life with the Flying Burritos, songs that recapitulated earlier statements from Just Roll Tape and Stills 2, and what results is a well-disciplined band hitting on all its cylinders. This band must have been a powerhouse live, and God willing, Stills has some tape worth releasing that documents just how good both the front line and the rhythm section were in concert.

Obviously, in the overly competitive framework of CSNY, this band was a gauntlet thrown at Crazy Horse and the CN back up bands of the time. Crazy Horse was a barely competent gaggle of misfits who could somehow rise above their abilities under the direction of Young and Briggs. CN's group of crack session players had to deal with Crosby's relentless indulgences of a different crack, and over a very short time could no longer rescue him from free fall. Manassas in some ways would not be able to save Stills from himself either, but while they were on, they were mighty. And how can you lose with Chris Hillman, Al Perkins, Joe Lala, Calvin Samuels, et al?



Wilco-Being There

Wilco is probably capable of making a great album of just about any genre imaginable, but on Being There they went with a genre that is impossible to describe. Often said to 'borrow' from various great records of the late 60s and early 70s, Wilco really does sound more different than you'd get the impression they do. No song is made up simply of one influence, and influence never goes ahead of pure songwriting genius. The opening track on Being There, 'Misunderstood,' as with many other tracks on the double CD, has been compared countless times to other songs and records. However, with every reviewer thinking it sounds like one thing, it's hard to imagine Wilco ever really just went out and made any songs based on just one person's music. 'Misunderstood' is an amazing way to start off an album, but it shines not just because of the noticeable influences, but mainly because of Jeff Tweedy's lyrics and voice along plus the incredible talent of the rest of the band. If you think 'Hey that sounds like The Beatles,' or 'Hey that sounds like John Lennon' before you think 'Wow, that was an incredible song,' then there is something seriously wrong with you.
After the booming finish of the heartfelt story of a musician returning home in 'Misunderstood,' the records moves on to the somewhat more upbeat, although more mellow 'Far, Far Away,' and then on to '70s rockers' 'Monday' and 'Outta Sight (Outta Mind). While when you think about it lyrics in the latter song are not exactly happy ('Well okay, I know you don't love me but you'll still be thinking of me,') the song still seems very upbeat and certainly isn't trying to depress you.
This rock mood is soon killed by the AM-esque 'Forget the Flowers,' where Tweedy doesn't go back to his alt-country roots, but more so to older straightforward country. The essence of this song would fit on any of Wilco's albums, it obviously would have been slightly altered had it been on Wilco's only album better than Being There(to date), Summerteeth. An excellent song either way. One more sad song follows, 'Red Eyed and Blue,' which goes with a slightly less country approach than 'Forget the Flowers,' and comes out well.
From here Wilco balances the last too more depressing song with 'I got you (at the end of the century).' This and the next song 'What's the World Got in Store' have you realizing that this is definitely becoming a great first side. Then the next song, 'Hotel Arizona' completely confirms this, sounding like something Neil Young would have on a greatest hits record. The first side finishes off with 'Say You Miss Me,' another great love song, with Jeff Tweedy's own style.
The second disk opens with two songs that are similar in some ways to the first two songs on the first disk. 'Sunken Treasure' is another great drawn out piano/guitar song that let's you look at Tweedy so closely you can't help but love it. 'I got my name from rock n' roll' he sings, and you know his lyrics are a window straight into him. Similar to 'Far, Far Away,' the next song 'Someday Soon' brings a dreaming less intense song to the table, followed by an acoustic version of 'Outta Sight (Outta Mind),' which in this case goes by the name 'Outta Mind (Outta Sight).' While not as good as the original in terms of it's upbeat rock sound, it still comes off very well.
Then Jeff Tweedy goes into another song about other people's music with 'Someone Else's Song,' a song portraying the frustrated feeling of try to impress someone but just sounding no different than anything before you, which ironically does not describe Wilco, with Being There no longer sounding much like anything from Uncle Tupelo. Kingpin is a much less serious song, that seems to just be Tweedy having some fun ('I wanna be your kingpin, livin' in, Pekin'.)
From there 'Was I in Your Dreams' goes into classic Wilco, sounding happy with dark lyrics, followed by another song of this style, 'Why Would You Wanna Live,' which is so much happier sounding than the lyrics would suggest. In this type of Wilco song will either feel upbeat to you or feel really depressed depending on your mood and whether you focus on lyrics or music.
'The Lonely One' does not hide behind any happy music; it is in the same fashion as 'Forget the Flowers' a straight for sad song, even if it is somewhat less country.
The last song on the record is one of the best record finishers in a while, 'Dreamer in My Dreams.' Even if you've leaned towards the slower, sadder song on the record, this song will still be one of your favourites. It's an excited big loud song that doesn't feel like 'hard rock,' but more like a great live performance in a small place. By the time this song is over and has had it's various false endings, you can't help but be taken away by this record.
Most detractors are usually looking for country or alt-country and really don't find too much of it, but if you're looking for a great record, even if all your favourite records are alt-country, this is still one of the greatest albums released during the 90s. It may even be one of the best to come before the 'end of the century.'



Jerry Garcia Acoustic Band-Ragged But Right



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Approximately 66 minutes of music. The digitally edited sound is crisp and clean, yet has a warmth to it which is essential for this type of music. The disc is slipped inside a pocket in the billfold style cardboard holder. Inside the holder is a color photo of the band onstage, personnel listing, song titles, lengths, and composer (s). The booklet tells the history of the band, and has several very small photos of the band members. Curiously, if you purchase the first album "Almost Acoustic", there's notes on each song for both albums.

This is the second album by the JERRY GARCIA ACOUSTIC BAND, that was scheduled to be released a number of years ago, but circumstances delayed that release until now. In a nutshell-if you liked the first album, you'll like this one. The tracks for "Ragged But Right" come from the same series of concerts from 1987, recorded at the Lund-Fontane Theater in New York City, (11 tracks + band introductions),the Wilturn Theater in Los Angeles, and the Warfield Theater in San Fransisco (3 tracks). For those who don't know, the players are-Jerry Garcia-guitar/vocals, David Nelson (who played with the great NEW RIDERS OF THE PURPLE SAGE)-guitar/vocals, Sandy Rothman-mandolin/dobro/banjo/vocals, John Kahn-string bass, Kenny Kosek-fiddle/bass vocals, and David Kemper (Bob Dylan's drummer)-snare drum. Sometimes people new to this music hear the name Jerry Garcia, the "Garcia/psychedelic" factor can overshadow the other musicians, but one listen and you realize you're hearing a band of equals. They play this music simply because they love the sound they make, the straightforward lyrics tell a (sometimes) true story, and that purity of purpose shines all through these tunes.

The songs range from traditional (the title track, "Short Life of Trouble", "Deep Elem Blues", "Roas Lee McFall", "Two Soldiers", "If I Lose", "Bright Morning Star", and "Turtle Dove"), to songs by Mel Tillis ("I Ain't Never"), Richard Jones ("Trouble In Mind"), Reno and Smiley ("Drifting With the Tide") Huddie Ledbetter ("Goodnight Irene"), Don Wayne ("It's a Long, Long Way to the Top"), and Charles Moody ("Drifting Too Far From Shore").

The music on this album forms some of the cornerstones of American music. The players are all steeped in country, western, folk, blues, gospel, and bluegrass music. The band's vocal harmonies are like the title of the album-ragged but right. Garcia has a number of lead vocals, with Nelson and the others stepping up to take a turn occasionally. The music itself is based on any, or a combination of the above genres. Kemper's snare drum is the perfect foundation for the music-never calling attention to the rhythm, but always pushing the music along perfectly. Rothman's multi-instrument playing is one of the highlights of this set. And with both Garcia and Nelson on guitars, the sound is full and at times, swinging. Mention should also go to Kosek's fiddle work, which complements the other players perfectly.

This great band lasted only through a couple of dozen or so shows, opening for Garcia's fully electric band. This is the music that captured Garcia's imagination in the beginning, and made him want to play music for the rest of his life. Influenced by "Folkways Anthology of American Music" (if you haven't heard this collection you need to), Garcia credits that set as his first major influence on his own music. Way back when I was in college in Palo Alto, I frequented Kepler's Books, an old style bookstore with large old tables where you could sit and read-all day if you wanted. Occasionally some "strange" people would be playing this funny sounding music-old timey stuff, and they seemed to be enjoying themselves. Soon, I too, was drawn into this odd sounding (to someone who was into r&r) but strangely satisfying music. I never forgot the impression that music and those players (one of them Garcia before he had a beard-just sideburns and sometimes a funny looking cap) had on my narrow range of music. Eventually, much later the NEW RIDERS OF THE PURPLE SAGE (David Nelson's and Marmaduke's band) became one of my favorite groups, with Garcia playing his peddle steel and singing in his plaintive style, (along with HOT TUNA-playing acoustic country blues during JEFFERSON AIRPLANE shows), before the Dead at concerts. But that aside, this album is chock full of that same good time feeling that these plain, straightforward songs, played by great musicians can only provide. It puts a smile on your face and sets your toe to tapping. It's nice to know this style of music is still alive, still very worthwhile. This music just rolls along with an honesty that's very refreshing. Listen to this and you'll hear why this music is so good, and still has a place in the present.

New Riders of the Purple Sage- Oh what a Mighty Time

At the time that this recording was released, it received HORRENDOUS reviews from the critics and is listed as the "worst" release that the band had done to that point and maybe ever. I personally don't see it. I have been a NRPS fan from near the beginning and I love this album! I have been looking for this CD ever since I made the transition from vinyl to CD's.I had pretty much given up ever seeing this in CD. It has fun and joy that characterized the band. The songs are wonderful. I particularly love the musicianship in "Take A Letter Maria" It's my favorite track even though I would have liked to have it mixed so that the second verse was fully audible. Other personal favorites are Strangers on a Train and Farewell, Angelina. Give it a listen; you may be pleasantly surprised!

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I'd have to agree with the previous reviewer - a much derided release that has all the joy of the mid-life Riders (Up against the Wall, Redneck' a particular favourite, the gospel fand Sly Stone brew of the title track). The musicianship is excellent as it always was when Buddy Cage was on the pedal steel and Dawson and Nelson were up front. Skip Battin brought his (ill-fitting) Byrds like contributions co-written with Kim Fowley but after they dominated Brujo, Stranger on a Train was their only offering before he became the next to jump ship and Mike Love (I think) took over bass (and some song-writing) duties for 'Who are Those Guys' which, I must admit, is not anywhere near as fine as this album (so why did it get a CD release on Wounded Bird?)I have to note this is not the first CD release of the album. The excellent Cactus Juice combines Brujo, Oh, What a Mighty Time and Home, Home on the Road as a 2-CD package with a couple of bonus tracks and is well worth the coinage - that's where my (CD) version of this album is located.