2CD Band bootleg released on the Wild Wolf label in 2000, with tracks from 1971 live recordings and rehearsal tapes.
All previously unreleased/ uncirculated according to this "ad" for the CDs:
Incredible 33-track, superb quality from master reel sources.
Another fab Wild Wolf set with 25 previously unreleased/uncirculating performances from the NY City, Academy of Music, December 28-31, 1971/72 gigs that spawned Rock of Ages - but no overlap with that one.
Plus a terrific 8-song rehearsal from UltraSonic Studios, Long Island, in Dec 1971, also uncirculating & in primo sound.
Beautifully dressed up color glossy set w/vintage Band pics (6) spread throughout a 3-panel gatefold paper sleeve and classic color live shot from the Academy on back cover.
Disks are 24K gold plated, audiophile design, with black/gold song titles on disk.
An absolute knockout 155+ minutes and an instant Hall-of-Famer.
According to collectors, the CDs are of excellent quality.
However, as usual, the track list is somewhat off.
On Disk 1, track 17 is both track 17 and 18.
There is no gap or track number change between tracks.
On Disk 2, tracks 3 is both 3 and 4.
The rest of the tracks are then off by one.
Also, a hidden track appears: The last track on disk 2 is "Crash On The Levee" with Bob Dylan.
Kenny Loggins and Jim Messina were the most successful pop/rock duo of the first half of the '70s.
Loggins was a staff songwriter who had recently enjoyed success with a group of songs recorded by the Nitty Gritty Dirt Band when he came to the attention of Messina, a record producer and former member of Buffalo Springfield and Poco. Messina agreed to produce Loggins' first album, but somewhere along the way it became a duo effort that was released in 1972 under the title Kenny Loggins with Jim Messina Sittin' In. The album was a gold-seller that stayed in the charts more than two years.
In the next four years, Loggins & Messina released a series of gold or platinum albums, most of which hit the Top Ten. They were all played in a buoyant country-rock style with an accomplished band.
Loggins & Messina (1972) featured the retro-rock hit "Your Mama Don't Dance". Full Sail (1973), On Stage (a double live album, 1974), and Mother Lode (1974) all hit the Top Ten. So Fine was an album of '50s cover songs. The pair's last new studio album, Native Sons, came out at the start of 1976.
Loggins & Messina split for two solo careers by the end of that year, their early catalog completed by a greatest-hits album, Best of Friends, and a live record, Finale.
The duo reunited in 2005 and hit the road for a summer tour while the compilation The Best: Sittin' in Again was arriving in stores. The tour itself was documented on Live: Sittin' in Again at Santa Barbara Bowl, which appeared late in the year. (by William Ruhlmann from amg)
My review (Dr Bell Otus) : Here is an album of country-rock, which brings me many memories and I really like, even though the country music is not one of my favorite genres, but this album has more than that.
We all know Jim Messina (born December 5, 1945), singer, guitarist and songwriter, and engineer and producer in groups such as Buffalo Springfield and Poco. Kenny Loggins (born January 7, 1948), started writing some songs for Nitty Gritty Dirt Band and a success in "House At Pooh Corner" that caught the attention of Messina who had just signed a contract with Columbia Records to produce some discs.
Then Messina offered himself to produce the first album by Kenny Loggins, and was thus that the two have started a duo leaving his name, to the rock history.
This double LP/CD, includes concerts at Carnegie Hall (NY) at 1 and March 2, 1973 at Orpheum Theater (Boston) on March 4, 1973 and even at Winterland (San Francisco) in 28 and April 29, 1972, and has songs ranging from pure country, to rock, where the fabulous and fantastic song "Vahevala" makes the difference with more than 20 minutes and with some touch of latin music and jazz sound, mixed.
It is for me, an essential record in any collection.
Your Mama Don't Dance:
Track List :
CD 1 : 01.House At Pooh Corner 02.Danny's Song 03.You Could Break My Heart 04.Lady Of My Heart 05.Long Tail Cat 06.Listen To A Country Song 07.Holiday Hotel 08.Just Before The News 09.Angry Eyes 10.Golden Ribbons 11.Another Road
CD 2 : 01.Vahevala 02.Back To Georgia 03.Trilogy: Lovin' Me/To Make A Woman Feel Wanted/Peace Of Mind 04.Your Mama Don't Dance 05.Nobody But You
Are you ready for the country? So sings Neil Young on the song of the same name, the second track of his new live release, A Treasure.
But this should probably be the first track on the album, since it’s more than just a fast, raunchy, countrified blues number; it’s something like an aesthetic standpoint.
Young asks us if we can handle this side of him. Are you ready for the country? If you are, then you need to get this album.
This ain’t your father’s Neil Young, unless of course your dad listens to Waylon Jennings, Townes Van Zandt, and/or once owned a confederate flag.
Neil was a musical shapeshifter in the 1980s, after a decade and a half of establishing himself as classic rock royalty in bands like Buffalo Springfield, CSN&Y, and Crazy Horse. As part of the burgeoning acid folk/folk rock/psychedelic scene of late ’60s Los Angeles, he brought an edge to the soft vocal harmonies of Crosby, Stills, and Nash, and his biting guitar rocks your inner core on songs like “Ohio” and “Southern Man”.
In 1982, Young released Trans, a synth-heavy rock album that could almost be the soundtrack to the original Tron. 1983 saw the release of Everybody’s Rockin’, an album of rockabilly-flavored 1950s rock and roll. And in 1985, Neil dropped Old Ways, an album that his label didn’t want to release, saying that it was too country.
In the midst of that creative period, Young toured with the International Harvesters, a group of musicians who could revel in the country twang of the Old Ways material.
Their concerts, in 1984 and 1985, are captured here for the first time on A Treasure. Of course, Neil Young is no stranger to southern music; “Are You Ready for the Country?” was first recorded on the 1972 gem Harvest, and the country sound has always been integral to this singer-songwriter’s world.
The live version of “Are You Ready…” brings out the country stomp, played at a much faster and more aggressive clip than the original studio version. Rufus Thibodeaux’s fiddle flies out in front, with Young’s phlanged guitar substituting for the Hank Williams twang of honky-tonk.
A Treasure was cobbled together from various recordings made during Neil’s fall 1984 and 1985 tours, but it arcs like a real show, coming to a frenzied peak with the most rocking selection on here, the album-closing “Grey Riders”. Never before released, and long considered a fan favorite, “Grey Riders” is a monster of Young’s “Cinnamon Girl” classic rock sound.
Thibodeaux’s crying fiddle is still there, and the fast country backbeat dominates the verses and chorus, but it’s all about the heavily distorted, syncopated guitar riff in between verses, and Young’s wailing, over-driven guitar solo.
Along the way, A Treasure visits a variety of Southern styles. “It Might Have Been” is fast Nashville sound, dominated by fiddle and Young’s nasally voice, with longtime Young collaborator Ben Keith on pedal steel guitar. “Bound for Glory” is a dramatic narrative ballad, a sad country love story.
The soulful country ballad “Nothing Is Perfect” features gospel backing vocals, which lend strong and commanding support to Neil’s reedy tenor, while bowed bass and barrel-house piano contribute that old-time homey sound. Banjo adds a frolicky bluegrass feel to “Get Back to the Country”, as Young sings, “Back where it all began.” It’s high-powered, über fast rock bluegrass, with electric guitars and drums commingling with the fiddle, banjo, and pedal steel.
There’s plenty of harder stuff on here, too. “Motor City” has gritty guitars, and the working class ethos of ’80s rockers like George Thorogood or John Mellencamp lurks in the background. Except that Neil Young brings more humor, more artistry, and more rawness to the sound than either of those commercial rockers.
“Soul of a Woman” is a 12-bar blues, hearkening back to a ’50s rock and roll sound. It’s the country tinge that Elvis, Carl Perkins, and Buddy Holly had, but with more grit, more drive, more overdrive on the guitars (and a totally bad-ass blues fiddle solo).
The nearly eight-minute “Southern Pacific”–a chugging lament on train culture–is the centerpiece of the second half of the album. The train screams into your headphones with a fast rock backbeat and lyrics full of melancholy and nostalgia.
Anthony Crawford’s totally raw banjo solo, complete with noisy fret scratching, sounds like the sound of rusty train brakes. Young’s voice soars with urgency, delivering a commanding performance of this socially conscious tune, channeling the plight of the American worker into song.
The album is being released in a variety of media, including a deluxe CD/Blu-ray combo pack featuring live footage of the ’84-’85 Harvesters when available. Longtime Neil Young fans and completists will salivate that this incredibly fruitful collaboration is finally an official release and that songs like “Grey Riders”, which previously existed only as grainy bootlegs, have been lovingly remastered.
This was Young’s offering on Record Store Day, telling something of the affection he has for this time period. Yes, it’s a live album, but not “this is what he’s been doing recently.”
If anything, this feels more like a vault release of a new band with familiar faces. Above all, you can feel the exuberance that comes from playing raw, unbridled live music, and there are few from that generation who excel at this better than Neil Young. Old man, take a look at your life, indeed (by Jaken Cohen).
Powderfinger:
Track List: 01.Amber Jean* (9/20/84) Nashville Now TV – Nashville, TN 02.Are You Ready for the Country? (9/21/84) Riverbend Music Center – Cincinnati, OH 03.It Might Have Been (9/25/84) Austin City Limits TV – Austin, Texas 04.Bound for Glory (9/29/84) Gilleys’ Rodeo Arena – Pasadena, TX 05.Let Your Fingers Do the Walking* (10/22/84) Universal Amphitheatre – Universal City, CA 06.Flying on the Ground is Wrong (10/26/84) Greek Theater – Berkeley, CA 07.Motor City (10/26/84) Greek Theater – Berkeley, CA 08.Soul of a Woman* (10/26/84) Greek Theater – Berkeley, CA 09.Get Back to the Country (10/26/84) Greek Theater – Berkeley, CA 10.Southern Pacific (9/1/85) Minnesota State Fair – St. Paul, MN 11.Nothing is Perfect* (9/1/85) Minnesota State Fair – St. Paul, MN 12.Grey Riders* (9/10/85) Pier 84 – New York, NY
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San Francisco's Beau Brummels were amoung the first of the the American counter-invasion bands of 1965.
Songs like "Laugh Laugh" and "Just A Little" were big hits and revealed an unusual mastery of harmonics and songcraft that many of "ragged but right" garage bands of the counter-invasion lacked.
The Brummels, like the Byrds in L.A., were firmly imbeded in the folk rock explosion which placed an empasis on chiming guitars, minor chord progressions and haunting vocal atmospherics.
It was the shimering songcraft of Ron Elliot and the Sal Valentino's expressive vocals that distinguished the Brummels for any number of Beatle wannabe bands in America in 1965.
By 1968 the Brummels were pared down from a quintet to the duo of Elliot and Valentino. In 1967, as a trio, they had recorded "Triangle" which earned the respect of the undergound rock critics but never gained a large audience.
It was arguably one of the best releases of 1967, but the long shadow cast by a new wave of psychedelic bands doomed "Triangle" to the lower reaches of sales charts. "Bradley's Barn", recorded one year later was the Brummel's swansong and has become a page that was torn from the book of rock history.
Elliot and Valentino went to Nashville to record the album in the famed studio named for Owen Bradley, the legendary country music producer.
The excellent Nashville hired studio guns are so good they sound as if they have been members of the Brummels for years.
Elliot's maturity as a songwritter shines on cuts like "Cherokee Girl", "Turn Around" and "Deep Water". There is not a single throwaway track on the entire album.
Valentino's bittersweet vocals are well suited to the Brummel's new countrified context and the rough-hewn expressivness of his vocals rivals that of his peer Gene Clark of the Byrds. This album is truly a lost classic (by Gavin B.).
Cherokee Girl:
Track List: 01.Turn Around (3:04) 02.An Added Attraction (Come And See Me) (3:03) 03.Deep Water (2:33) 04.Long Walking Down To Misery (3:16) 05.Little Bird (2:42) 06.Cherokee Girl (3:36) 07.I'm A Sleeper (3:20) 08.The Loneliest Man In Town (1:54) 09.Love Can Fall A Long Way Down (4:16) 10.Jessica (2:22) 11.Bless You California (2:16)
Considering the excellence of Stage Fright, it's incredible to recall that the album was looked upon as a disappointment in some critical quarters upon its release by Capitol in 1970. That opinion, which has certainly blown away in the winds of time, was likely more a response to what had gone before in the career of The Band than to any (unapparent) deficiencies in the album itself.
The Band began its existence with a one-two punch of surpassing artistic authority. The group's 1968 debut, Music From Big Pink, stands today as one of the most acclaimed bows of any rock 'n' roll era an album of overwhelming mystery and soulfulness. That record's 1969 successor, simply entitled The Band, enthralled critics and listeners alike with its uncanny contemporary conjuring of a deep American past, and yielded such classic songs as "Up On Cripple Creek" and "The Night They Drove Old Dixie Down." The Band's subsequent first American tour was one of the most anticipated concert events of its time.
By the time Stage Fright was released, the Band was less a rock band than a cultural institution: The group became one of the few acts of the era to be profiled in a cover story in Time magazine. So The Band was probably the victim of its own astonishing reputation when Stage Fright saw the light in 1970. Some writers muttered darkly at the time, and even later, that the group had lost its edge. But, as this compact disc reissue makes abundantly clear, The Band continued to work deep in the American grain on its third album.
One may argue whether the record attains the pinnacles heard on its two predecessors, but it never betrays a lack of vision, a poverty of lyrical accomplishment, or an absence of the gritty, barbred funk that was The Band's stock in trade. It also contains a couple of numbers that became keystones of the group's live repertoire. Stage Fright was written and recorded in the aftermath of The Band's premiere American tour (in its post/Hawks/post- Dylan incarnation), and that road trip served to bolster principal songwriter Robbie Robertson's abiding interest in the historic and folkloric undercurrents that came to the fore on The Band.
The songs seem to spring from the American subconscious like a reed from the Mississippi mud. The most notable additions to Robertson's canon of Americana are "The W.S. Walcott Medicine Show," a tintype depiction of a 19th- century touring show that seems to prefigure Robertson's involvement in the 1981 film Carny (which he co-wrote and starred in, making his acting debut as a carnival boss); "Daniel and the Sacred Harp," a dark folk tale so authentic in its detail and moral that it feels like it was passed hand-tohand on a porch in the Appalachians; and "The Rumor," a gripping excoriation of a small-town gossip-mongering.
Two other songs, "Strawberry Wine" (co-authored by Levon Helm) and the nursery rhyme like "All La Glory," both tailored to Helm's Arkansas twang of a voice, likewise call up a sense of the ribald backwaters and cozy hearths of the rural U.S., while "Just Another Whistle Stop," penned by Robertson and Richard Manuel, hangs on the central image of a locomotive puffing into a sleepy village. Not that Stage Fright hung its whole weight on the 19th'Century ethos that so predominated on The Band.
The album's title cut, which remained in the group's set list until its dissolution, is among the most personal ever written by Robertson. Its chilling view of the terror of performing was quite apparently inspired by The Band's 1969 debut engagement at Winterland in San Francisco; a report in Rolling Stone at the time said that Robertson had to be hypnotized in order to overcome his fear of setting foot on stage. As usual, Robertson left the delivery of his vision to the voices of bandmates Helm, Manuel, and Rick Danko.
The first two occupy the majority of the singing time on Stage Fright, and respond with some of their best performances: Helm on "Strawberry Wine," "All La Glory," and "Daniel and the Sacred Harp" (the latter of which he shares in calLand response fashion with Manuel), Manuel on "Just Another Whistle Stop," the wistful waltz "Sleeping," and, most powerfully of all, on the rocker "The Shape I'm In." This last song, one of the toughest originals The Band ever performed, was a perennial concert favorite, and one of Manuel's rawest and most devastating numbers Danko, who usually contributes to ensemble vocals here, turns in a potent performance on "Stage Fright."
The Band's instrumental work on Stage Fright is at its leanest and most convincing. Kicked along by the redoubtable rhythm section and underpinned by Manuel's keyboards, the songs are propelled by Robertson's stinging yet economical guitar work and, most particularly here, by Garth Hudson's keyboards. In Hudson's work here one finds none of the showiness that made his introduction to "Chest Fever" on Music From Big Pink such a revelation—one hears a musician adept at accompaniment on "Strawberry Wine," the churchy introduction to "Daniel and the Sacred Harp," and the propulsive solo fills on 'The Shape I'm In" rank with his best recorded work, (he presumably also had a hand in the subtle old-time horn charts on "The W.S. Walcott Medicine Show.")
Forty years later, Stage Fright is a durable, exciting, and often profoundly affecting record that can be counted among the most distinguished in the Band's very noteworthy catalog, with "Stage Fright" and "The Shape I'm In" standing out as especially memorable songs from an unforgettable career. Forget about what those long-ago detractors may have said—this is The Band near the peak of its considerable abilities. by Chris Morris (Billboard Magazine)
Tracks 1. Strawberry Wine (Levon Helm, Robbie Robertson) - 2:34 2. Sleeping (Robbie Robertson, Richard Manuel) - 3:10 3. Time to Kill (Robbie Robertson) - 3:24 4. Just Another Whistle Stop (Richard Manuel, Robbie Robertson) - 3:48 5. All La Glory (Robbie Robertson) - 3:31 6. The Shape I'm In (Robbie Robertson) - 3:58 7. The W.S. Walcott Medicine Show (Robbie Robertson) - 2:58 8. Daniel and the Sacred Harp (Robbie Robertson) - 4:06 9. Stage Fright (Robbie Robertson) - 3:40 10.The Rumor (Robbie Robertson) - 4:13
The Band Robbie Robertson - Guitar, Keyboards, Vocals Rick Danko - Bass, Violin, Vocals Levon Helm - Guitar, Drums, Vocals Garth Hudson - Keyboards, Saxophone Richard Manuel - Drums, Keyboards, Vocals
2CD Band bootleg released on the Wild Wolf label in 2000, with tracks from 1971 live recordings and rehearsal tapes.
Tracklist:
