THE BYRDS - Farther Along (1971) & Byrds (1973)
Farther Along is the 11th album by the American rock band The Byrds and was released in November 1971 on Columbia Records. For the most part, the album was recorded and produced by The Byrds themselves in London, England, over the course of five work-intensive days in July 1971. It was quickly released as a reaction to the commercial failure of The Byrds' previous album, Byrdmaniax, and as an attempt to stem the criticism that album was receiving in the music press. Byrdmaniax had suffered from excessive and inappropriate orchestration, which producer Terry Melcher had applied to the album, allegedly without the band's consent. As such, Farther Along can be seen as the band's answer to Melcher's over-production as well as an attempt to prove that they could produce an album superior to Byrdmaniax themselves. Unfortunately, the rapidity with which The Byrds planned and recorded Farther Along resulted in yet another uneven LP, which the band themselves were unhappy with and which failed to undo the damage to their reputation inflicted by Byrdmaniax. Upon release, the album only managed to reach #152 on the Billboard Top LPs chart and failed to break into the UK Albums Chart altogether.
Byrds is the twelfth and final studio album by the American rock band The Byrds and was released in March 1973 on Asylum Records. It was recorded as the centerpiece of a reunion between the five original members of The Byrds: Roger McGuinn, Gene Clark, David Crosby, Chris Hillman, and Michael Clarke. The last time that all five members had worked together as The Byrds was in 1966, prior to Gene Clark's departure from the band. During the reunion, the current, latter-day line-up of the band continued to make live appearances until February 1973, with McGuinn being the only member common to both versions of the group. Upon its release, Byrds received generally poor reviews, with many critics bemoaning a lack of sonic unity and the absence of The Byrds' signature jangly guitar sound among the album's shortcomings. Nonetheless, the album reached #20 on the Billboard Top LPs & Tapes chart and was also moderately successful in the United Kingdom, where it reached #31. In the U.S., Byrds was the band's highest charting album of new material since 1965's Turn! Turn! Turn!, which had also been the last Byrds' album to feature Clark as a full member.
BOB SEGER - I Knew You When (2017)
I Knew You When is the eighteenth studio album by American rock singer-songwriter Bob Seger. It was released on November 17, 2017. The album was recorded in Nashville and Detroit and produced by Seger himself. The first song that became available from the album was "Glenn Song", which was written by Seger as a tribute to his friend Glenn Frey of the Eagles, who had died one year before. On January 18, 2017—eight months before the album was announced—Seger released "Glenn Song" for free on his official website. The song recounts his long friendship with Frey that began in 1966. When the album's track listing was revealed on October 13, 2017, "Glenn Song" was listed as one of three bonus tracks that can be found on the deluxe edition of I Knew You When. Along with the track listing, the album covers of both the 10-track standard edition and the 13-track deluxe edition were revealed as well, and the album became available for pre-order the same day. The standard edition is available on CD and 130-gram vinyl, while the deluxe edition is available on CD, as a digital download, and via select streaming services. Rockin and reflecting.... Bob Seger at his best!
TRACKS: 01. Gracile 02. Busload Of Faith 03. The Highway 04. I Knew You When 05. I'll Remember You 06. The Sea Inside 07. Marie 08. Runaway Train 09. Something More 10. Democracy 11. Forward Into The Past 12. Blue Ridge 13. Glenn Song
VAN MORRISON - Versatile (2017)
Following the massive success of his 37th studio album 'Roll With the Punches' (which charted at No 4 in the UK this September), Van Morrison prepares the release of his 38th, 'Versatile!'. 'Versatile' is positive proof that Van Morrison is built differently to other artists. One of very few British recording artists to warrant the description 'living legend', Van is currently working at a rate to put musicians a third of his age to shame; an ethic that harks back to his early days as a recording artist who'd easily release multiple brilliant long players within the space of a year. While 'Roll With The Punches' saw Van revisit many of the definitive rhythm and blues records that have stayed with him all his life, Van's latest album sees him delve further back into recorded music's archives to interpret some of the 20th century's greatest vocal jazz standards.
Across 'Versatile's sixteen tracks, Van Morrison interprets some of the very building blocks of modern music in his own utterly unique style. As well as songs originally made famous by the likes of Chet Baker, Frank Sinatra, the Righteous Brothers, Tony Bennett and Nat King Cole, Versatile features six stunning new Van compositions, including Broken Record – a timeless piece of late-night swing. Van says of 'Versatile:' "Recording songs like these - especially the standards - gave me the chance to stretch out vocally and get back to the music that originally inspired me to sing - jazz!". A joy from start to finish, Versatile is a completely different record to Roll With the Punches yet it's incontrovertibly Van and proof, if ever it were needed, that at 72 years of age, he's not going to slow down any time soon.
PHIL LANZON - If You Think I'm Crazy (2017)
Philip James "Phil" Lanzon is the keyboardist for British rock group Uriah Heep since 1986. Lanzon has worked both as a session musician and sideman with Grand Prix, Grant & Forsyth, John Lawton (former Uriah Heep-member), Mick Ronson, Chris Spedding, and Sweet, among others.
Long-serving Uriah Heep keys man Phil Lanzon has his first solo album offering – If You Think I’m Crazy. He describes it as: “A collection of mixed genre tunes with a few surprises thrown in”. A fair summary in a single sentence I’d say. If you are expecting a quasi-Heep album, you won’t get it here. What Phil does give is ten songs which are composed, arranged and performed expertly to illustrate the depth and variety of the man’s talents. Those “mixed genres” range from nice pastoral ballads to rock to full-on prog.
TRACKS: 01. Mind Over Matter 02. Kelly Gang 03. I Knew I Was Dreaming 04. I Saw Two Englands 05. Step Overture (Instrumental) 06. Lover's Highway 07. Donna & Joe 08. Carolin 09. The Bells 10. Forest
STEPPENWOLF - Rock Masterpiece Collection (1997)
Led by John Kay, Steppenwolf's blazing biker anthem "Born to Be Wild" roared out of speakers everywhere in the fiery summer of 1968, John Kay's threatening rasp sounding a mesmerizing call to arms to the counterculture movement rapidly sprouting up nationwide. German immigrant Kay got his professional start in a bluesy Toronto band called Sparrow, recording for Columbia in 1966. After Sparrow disbanded, Kay relocated to the West Coast and formed Steppenwolf, named after the Herman Hesse novel. "Born to Be Wild," their third single on ABC-Dunhill, was immortalized on the soundtrack of Dennis Hopper's underground film classic Easy Rider. The song's reference to "heavy metal thunder" finally gave an assignable name to an emerging genre. Steppenwolf's second monster hit that year, the psychedelic "Magic Carpet Ride," and the follow-ups "Rock Me," "Move Over," and "Hey Lawdy Mama" further established the band's credibility on the hard rock circuit. By the early '70s, Steppenwolf ran out of steam and disbanded. Kay continued to record solo, as other members put together ersatz versions of the band for touring purposes. During the mid-'80s Kay re-formed his own version of Steppenwolf, grinding out his hits (and some new songs) at oldies shows. Nevertheless, they'll be remembered for generations to come for creating one of the ultimate gas'n'go rock anthems of all time.
V.A. - Plug It In! Turn It Up! [Electric Blues: The Definitive Collection! Pt.1-4 - 1939/2005] (2011)
Bear Family's Electric Blues history Plug It In! Turn It Up! may not seem quite as ambitious as some of their projects, but that's only because it arrives in four volumes of three CDs, not a hulking 12-disc, 12X12 box complete with a hardcover book. Taken on its own terms, it is a pretty impressive chronicle of electrified blues from its infancy to its prime. Here in the first volume, the spotlight shines on its birth, opening up with a cut from Andy Kirk & His Twelve Clouds of Joy, a 1939 side called "Floyd's Guitar Blues" featuring a solo by Floyd Smith, and running to 1954, when the jumping, hard-charged sound started to break into the big time. Wisely, Bear Family is happy to repeat artists -- there is no way to limit yourself to just one T-Bone Walker or Muddy Waters song, after all -- and they bend the rules ever so slightly, letting in sides by R&B singers like Fats Domino and Ray Charles, artists who aren't always strictly classified as electric blues but certainly fit this wide definition. Roughly speaking, the first disc here is devoted to the swinging, jumping sounds of the '40s and '50s, with the second finding the rawer, nastier sounds starting to sneak in (Jackie Brenston's 'Rocket '88'," Howlin' Wolf's "How Many More Years," Elmore James' "Dust My Broom," and Little Walter's "Juke" pop up here), and the third concluding with the rise of overdriven Chicago blues and boogie, with Jimmy Reed rubbing shoulders with Wynonie Harris. Perhaps there are some seminal sides from these 15 minutes -- almost certainly there are -- but this first volume of Plug it In! Turn It Up! tells its story expertly and, best of all, it sounds like a party as it does so.
The second volume of Bear Family's four-part electric blues series Plug It In! Turn It Up! features the years 1954-1967 but that's slightly misleading, as much of the latter years are bunched up on the third disc, which rounds up 29 significant instrumentals. The rest of the collection concentrates on continuing the story the first volume began, as West Coast, Delta, and Chicago blues all began to swing harder and play louder, working their way onto rock & roll jukeboxes as they did so. Some of these singles do play like rock & roll -- that's particularly true of Bo Diddley's heavy-footed rumble and Hank Ballard's easy shuffle on "Look at Little Sister" -- but this is primarily devoted to electrified blues that jolts and jumps like a bare wire. There are plenty of big names and classics here, songs that would later be standards in any number of house bands across the country: "Kansas City," "I'm Ready," "My Babe," "I'm a Man," "I Wish You Wouldn't," "I Can't Quit You Baby," "Got My Mojo Working," "I'm a King Bee," "Texas Flood," "Kansas City," "Baby What You Want Me to Do," "The Sky Is Crying," "Wham!," "Frosty." It's a crash course in history that plays like a party, even on that third disc of high-octane instrumentals.
This is the third three-disc volume in Bear Family Records' ambitious four-volume history of the electric blues, all compiled and annotated by blues historian and musicologist Bill Dahl. The Gibson guitar company introduced the first electric guitar in the 1930s, and the advent of amplification meant the blues could preach louder and longer, which allowed a country acoustic music to transform itself into its own kind of powerfully rhythmic pop music. Taken as a whole, this ambitious Bear Family series traces and surveys that transformation, beginning with jazz-inspired jump blues tracks and following through to the juncture of blues and rock, blues and funk, and beyond, on into the 21st century. This particular volume covers 1960 to 1969, a time when blues and rock & roll really started to join hands, and it features classic tracks like Buddy Guy's "First Time I Met the Blues," Jimmy Reed's "Big Boss Man," Albert King's "Crosscut Saw," and B.B. King's "Rock Me Baby," but it also collects lesser-known gems like Frank Frost's "Jelly Roll King" and Junior Parker's "Driving Wheel," then slides into blues and rock hybrids like the Animals' "House of the Rising Sun," Canned Heat's Henry Thomas-inspired "On the Road Again," and Janis Joplin's "Ball and Chain," before closing things out with Stevie Wonder's blues-based "I Ain't Superstitious" done by the Jeff Beck Group. Bear Family Records is known for its quality releases, and this volume is no exception. When the full 12 discs are taken together, with nearly 300 tracks, it makes for a fascinating survey of the blues in all of its electric configurations.
In some ways, the fourth installment of Bear Family's four-volume Plug It In! Turn It Up! Electric Blues - The Definitive Collection is the most important -- not because this was the most innovative period for electric blues but rather the years of 1970-2005 are generally considered to be when the genre was rather dormant. Certain acts had hits now and then, but the blues weren't ruling the R&B charts and rock & roll starts to shed its blues influence during the '70s, so its presence doesn't seem as immediate. Nevertheless, this fourth volume proves that electric blues not only has a rich legacy but that it is one that continues into the modern era, both by old hands (Buddy Guy pops up with his 1991 "Damn Right, I've Got the Blues") and new (Robert Cray's "Smoking Gun," which actually crossed over into the Top 40). Most of the major names of soul-blues and mainstream blues are here -- B.B. King, Al Green, Z.Z. Hill, O.V. Wright, Bobby Rush, Bobby "Blue" Bland, Albert King -- and this also traces the rise of Alligator Records (Hound Dog Taylor's "Give Me Back My Wig" still sounds nasty all these years later), grapples with such rock bands as the J. Geils Band and ZZ Top, and makes a case for the influence of Stevie Ray Vaughan and the Fabulous Thunderbirds. While it doesn't necessarily make a case for the next generation -- some of the newer tracks toward the end of the set are by old guys like R.L. Burnside -- this fourth volume does prove that electric blues remained vital well into the new millennium.
STILLS & COLLINS - Everybody Knows (2017)
Judy Collins provided Stephen Stills with the inspiration for "Suite: Judy Blue Eyes," a song he composed in 1969 as their relationship was coming to an end. Lovers no more, the two remained friends over the years and decided to strike up a musical partnership nearly 50 years later, releasing Everybody Knows in September of 2017. The album deliberately plays off their past, with the duo reviving songs from their individual albums -- "Who Knows Where the Time Goes" from Collins; "So Begins the Task" from Stills -- and selecting covers from their peers, including the Traveling Wilburys' "Handle with Care," Tim Hardin's "Reason to Believe," Bob Dylan's "Girl from the North Country," and Leonard Cohen's "Everybody Knows," which also lends its name to the album title. It's a clean and crisp production, so much so that its transparency reveals the disparity between Collins' sweet voice and Stills' scraggly singing, a pairing that can sound as smooth as sandpaper. Nevertheless, there's an inherent warmth to Everybody Knows. Stills and Collins have a gentle, easy chemistry and the studio-slick supporting performances provide a nice bed for a project that is less nostalgia than a reassuring reminder of the comfort of growing old together.
TRACKS: 01. Handle with Care 02. So Begins the Task 03. River of Gold 04. Judy 05. Everybody Knows 06. Houses 07. Reason to Believe 08. Girl from the North Country 09. Who Knows Where the Time Goes 10. Questions
GEORGE HARRISON - Through Many Years (1999)
A patchy assortment of outtakes and rarities from Harrison's early solo career, filled out with a few similar items from Ringo Starr's early solo sessions. The first half-dozen tracks are the most exciting, as all are outtakes from George's best album, All Things Must Pass, only one of which ("I Live for You") was previously bootlegged (in inferior quality). "Dera Dhun" (which Harrison briefly busked in the Beatles' Anthology documentary) and "Gopala Krishna" are pleasant, if unformed, tunes that, as their titles indicate, have an Indian influence, although they are performed by a rock band with no Indian instruments. There's also a derivative rockabilly jam ("Going Down to Golders Green"), a half-assed vamp on "Get Back," and, straight from the bottom of the All Things Must Pass barrel, "Pete Drake's Talking Steel Guitar," which is exactly that. It's followed by the three February 1969 solo demos that already appeared on Anthology 3. With VigoTone's typical hubris, the (very good) liner notes describe two of the tracks as boasting superior mixes here. The early-'70s non-LP Harrison B-sides "Deep Blue," "Miss O'Dell," and "I Don't Care Anymore" are useful to completists, as they haven't been reissued on CD, although none are among his more memorable compositions. Rounding out the program are a 1969 television-special mix of Starr's "Octopus's Garden" (including some non-Beatles musicians), a "Stormy Weather" outtake from Starr's first solo album, and two unissued tracks from Starr's 1970 Beaucoups of Blues album. The fidelity is excellent throughout the disc.
TRACKS: 01. I Live For You 02. Dera Duhn 03. Gopala Krishna 04. Going Down To Golders Green 05. Get Back 06. Pete Drake's Talking Steel Guitar 07. Old Brown Shoe 08. All Things Must Pass 09. Something 10. Deep Blue 11. Miss O'dell 12. I Don't Care Anymore 13. Octopus's Garden 14. Stormy Weather 15. The Wishing Book 16. Nashville Freak-out
TOMMY CASTRO & THE PAINKILLERS - Method To My Madness (2015) & Stompin' Ground (2017)
Night after night, Tommy Castro, a fierce and fiery road warrior, fervently delivers his driving, blues-soaked, soul-baring music to fans all over the world. Over the course of his four-decade career, Castro has played thousands of shows to hundreds of thousands of fans, packing dance floors, always leaving them screaming for more. He and his band, The Painkillers (currently featuring bassist Randy McDonald, keyboardist Michael Emerson and drummer Bowen Brown), play music that is guaranteed to fire up fans and with Method To My Madness (available now on CD and 180 gram blue translucent vinyl, the group turns the intensity up another notch. “My main objective when making a new album,” says Castro, “is to do something different from before. I’ve always been a blues guy; it’s what I’m meant to do. But I’m always listening and reacting to what’s going on in the outside world, experimenting with my guitar tone and my songwriting approach to constantly keep my music fresh. In the end, though, my brand is on every song.” Method To My Madness finds Tommy Castro And The Painkillers at their very best.
On his new album, Stompin’ Ground, Tommy Castro opens windows both into his past and his always-evolving musical future. Produced by Castro and guitar wunderkind Kid Andersen and recorded at Andersen’s soon-to-be legendary Greaseland Studio in San Jose, Stompin’ Ground finds Castro letting loose on a set of 12 tracks featuring six originals and new versions of songs he learned and played as a young up-and-comer. He is simultaneously looking back with autobiographical originals and cover songs that inspired him, while forging a forward trail with modern lyrics atop blistering blues-rock. With The Painkillers firing on all cylinders behind him, Castro lays it all on the line from the opening notes of Nonchalant to the final, introspective Live Every Day. From the autobiographical My Old Neighborhood to the socially aware Enough Is Enough and Fear is The Enemy to versions of Elvin Bishop’s Rock Bottom and Taj Majal’s Further On Down The Road (two of his favorite songs from his earliest heroes), Stompin’ Ground is pure musical pleasure. “As soon as we started cutting,” Castro says, “we knew we were onto something.” In addition to the The Painkillers, Castro’s friends Charlie Musselwhite (harp and vocals on Live Every Day), Mike Zito (guitar and vocals on Rock Bottom), Danielle Nicole (vocals on Soul Shake) and Los Lobos’ David Hidalgo (guitar and vocals on Them Changes) add their talents to Stompin’ Ground. “I heard each one of my friends’ contributions on these songs in my head as I was working on them. Happily, when I reached out and actually asked, everyone said yes.”
THE WHO - My Generation (1965) [2012, Japan] & A Quck One (1966) [2012, Japan]
My Generation is the debut album by English rock band The Who, released by Brunswick Records in the UK in December 1965. In the US, it was released by Decca Records as The Who Sings My Generation in April 1966, with a different cover and a slightly altered track listing. The album was made immediately after the Who got their first singles on the charts and was later dismissed by the band as something of a rush job that did not accurately represent their stage performance of the time. On the other hand, critics often rate it as one of the best rock albums of all time: in 2003, the album was ranked number 236 on Rolling Stone magazine's list of the 500 greatest albums of all time, and named the second greatest guitar album of all time by Mojo magazine. In 2004, it was #18 in Q magazine's list of the 50 Best British Albums Ever. In 2006, it was ranked #49 in NME's list of the 100 Greatest British Albums. In 2004, the title track was #11 in Rolling Stone magazine's list of the 500 greatest songs of all time. In June 2009, the 1966 US version of the album "The Who Sings My Generation" was selected for the National Recording Registry of the US Library of Congress. The album, deemed "culturally significant", will be preserved and archived. This 2012 Cardboard sleeve (mini LP) reissue from The Who features the high-fidelity SHM-CD format (compatible with standard CD players) and 2012 remastering. The cardboard sleeve faithfully replicates the UK first press LP and comes with a serial-numbered label card. Two cardboard sleeve jackets, each replicating the first press LP of the US edition and the Japanese one, are included as well. Comes with an obi that replicates the one included with the Japanese first press LP. Also includes a description and lyrics.
The Who's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material (though Pete Townshend wrote more than anyone else). The pure adrenaline of My Generation also subsided somewhat as the band began to grapple with more complex melodic and lyrical themes, especially on the erratic mini-opera "A Quick One While He's Away." Still, there's some great madness on Keith Moon's instrumental "Cobwebs and Strange," and Townshend delivered some solid mod pop with "Run Run Run" and "So Sad About Us." John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on "Whiskey Man" and "Boris the Spider."
These 2012 reissues were remastered by Jon Astley (Mono) and Manabu Matsumura (Stereo).
MAVIS STAPLES - If All I Was Was Black (2017)
The year 2017 has been full of political unrest and growing racial division in the United States, but for good or ill, Mavis Staples has seen days like these before. As a teenager, she was a member of the Staple Singers, who in their days as a gospel group were close friends and allies with Dr. Martin Luther King, Jr. as the strle for civil rights was at its peak. They also experienced more than their share of violence and hostility as an African-American family band touring in the Deep South in the late '50s and early '60s. Mavis Staples was too strong to let hatred and narrow-mindedness break her when she was a twenty-something, and at the age of 78, she still isn't about to back down. Released in 2017, If All I Was Was Black finds Staples once again collaborating with Jeff Tweedy of Wilco, who produced the sessions and wrote the bulk of the songs, and while the lyrics tend not to focus on the specifics of the chaos that's marked the time it was made, it's definitely an album intended to speak to troubled times. As a woman of deep spiritual beliefs, Staples is the ideal vehicle for these songs, which often deal with hatred, inequality, and indifference while making clear that love and understanding have the capacity to heal America's wounded spirit. Staples' vocal style here is informed by equal parts vintage gospel and classic soul, and together they fill these messages with strength, compassion, and a much-needed sense of hope. The lyrics sometimes reflect Tweedy's usual tropes as a writer, but Staples gives them a musical and emotional force that sets them apart. Her voice is in splendid shape for a septuagenarian, still supple and able to navigate the twists of the melodies while sailing confidently over the arrangements that fuse indie rock with the feel of '70s soul. And if this set of songs is a bit short on specific answers to our problems, well, "We Shall Overcome" never explained how that would happen either. What's most special about If All I Was Was Black is the way Staples and her collaborators confront the challenges of a distraught world while filling the listener with the belief that all is not lost, that we can get past bad times and build a better future if we try. Quite simply, this is an album America needs.
ROY ORBISON - Dream Baby: The Complete 1956-1962 Singles (2017)
Roy Kelton Orbison (April 23, 1936 – December 6, 1988) was an American singer-songwriter known for his distinctive, impassioned voice, complex song structures, and dark emotional ballads. The combination led many critics to describe his music as operatic, nicknaming him "the Caruso of Rock" and "the Big O." Between 1960 and 1966, 22 of his songs placed on the Billboard Top 40, including "Only the Lonely" (1960), "Crying" (1961), "In Dreams" (1963), and "Oh, Pretty Woman" (1964).
Roy Orbison recorded the majority of his best work between the mid ‘50s and the early ‘60s, including hits like “Only the Lonely,” “Ooby Dooby,” “Running Scared,” “Crying,” “Dream Baby,” and “Workin' for the Man,” to name just a few. The aforementioned songs, and many others, have been included on this essential CD, which compiles all of Roy Orbison's 7” singles (A & B sides) released between 1956 and 1962 by such iconic labels as Sun, RCA, and Monument. The original gems presented here have been brilliantly remastered to achieve the most pristine sound. These sides helped to consolidate “The Big O” (Orbison's nickname) as one of the all-time-great singers.
GOV'T MULE - 2017/10/22 - The Academy, Dublin, IE (2017)
The show opens with Hammer and Nails from 2002’s The Deep End, Volume 2. It soon becomes clear that there’s a reason the band needs to play such a long show. It’s less of a gig and more like 800 people were invited to a jam session. Everyone is so familiar with their instruments and each other, and so tight, that they don’t always seem to be sticking to the plan but rather enjoying themselves and seeing where the night takes them. Or maybe that is the plan! Tracks from the new album including Sarah, Surrender and Stone Cold Rage are mixed with older ones like Thorazine Shuffle and Mule. This is a band with a huge back catalogue to choose from and the extended show means the crowd are really treated to a bit of everything, even including Sco-Mule, from their live album with jazz guitarist John Scofield. There are so many elements mixing together the show really is a huge melting pot of genres. Haynes, while a consummate performer, isn’t one for chatting, and other than a hello and a few thank you’s he doesn’t say much until the end of set one when he tells the crowd there will be a short break, then “we have a whole other set for you.” The crowd weren’t told in advance that this was the program or the evening, so the news is greeted with cheers and general delight. They do indeed return after about fifteen minutes and open set two with their cover of Van Morrison’s Ballerina. The second set sees them really let loose. With each member free to do his own thing within the confines of a song, they frequently begin, go off on a flying solo or a jam between a couple of members, then come back to the song without so much as a blink.
TRACKS: 01. Hammer & Nails 02. Mule 03. Thorazine Shuffle 04. Banks Of The Deep End 05. Sarah, Surrender 06. Stone Cold Rage 07. Sco-Mule 08. Whisper In Your Soul 09. Dreams 10. Ballerina 11. Rocking Horse 12. Revolution Come, Revolution Go 13. No Need To Suffer 14. Dolphenius 15. Painted Silver Light 16. Devil Likes It Slow 17. Million Miles From Yesterday 18. Railroad Boy 19. Soulshine 20. Tupelo Honey 21. Soulshine
JERRY CORBITT & CHARLIE DANIELS - Live I (1970) & Live II (1971)
Jerry Corbitt (1943 – 2014) was an American guitarist, harmonica player, singer, songwriter, and record producer. He is best known as a founding member and guitarist of the rock band The Youngbloods.
Charlie Daniels was Born 28 October 1936 in Wilmington, North Carolina, USA. Daniels, who wrote "Carolina (I Love You)" about his youth, was the son of a lumberjack and was raised with a love of bluegrass music. He borrowed a guitar when he was 15 years old and immediately learned to play basic tunes. He then acquired skills on mandolin and fiddle, but had to modify his playing when he lost the tip of his ring finger in an accident in 1955. He formed a bluegrass band, ''The Misty Mountain Boys'', but the group changed its name to ''The Jaguars'' following the single ''Jaguar'', which they recorded in 1959 (produced by Bob Johnston). Daniels said, "for nine years we played every honky-tonk dive and low-life joint between Raleigh and Texas". This enabled him to master a variety of musical styles, but his only national success came in 1964 when he wrote an Elvis Presley B-side "It Hurts Me", a tender ballad that remains one of his best compositions.
In 1967, Daniels followed Bob Johnston his sestion to accept regular session work in Nashville. He played electric bass on Bob Dylan's Nashville Skyline and later appeared on his albums Self Portrait and New Morning. He also worked with Marty Robbins, Hank Williams Jr. (on Family Tradition) and Ringo Starr (on Beaucoups Of Blues), and took Lester Flatt his place alongside Earl Scr. He produced albums by The Youngbloods and by Jerry Corbitt. The latter, in turn, produced one by Daniels, both of which were released in the USA by Capitol Records.
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