понедельник, 30 июля 2012 г.

White Horse "White Horse" (1977)



Performer: White Horse (Billy Nicholls)
Album: White Horse
Ⓟ & © 1977 Capitol Records
Catalogue #: ST 11687
© 1997 Capitol Records
(Digitally Remastered)
Catalog#:
SWCD005
Genre:
Pop Rock, Soft Rock
Covers: Front, Back
Total Time:
00:32:33






Единственный альбом группы White Horse.
Гитарист группы Jon Lind из New York City учился играть
на классической гитаре в Mannes College of Music.


Written and recorded in 1977 for Capitol Records in Los Angeles, Billy teamed up with writers Jon Lind and Kenny Altman, plus an impressive line-up of heavyweight musicians, including Jeff Porcaro, Paul Barrere, Russ Kunkel, Fred Tackett, Bill Payne, Reggie Knighton, Doug Livingston and Caleb Quaye.
Billy sings six of his own songs, two of which were later covered by other artists and achieved chart success. "Can't Stop Loving You" was a UK top ten hit for Leo Sayer in 1978. "Without Your Love" by Roger Daltrey went top twenty in the USA, and featured in the soundtrack of the film "McVicar"; where Roger played the title role. Phil Collins had a huge success with "Can't Stop Loving You" in 2002; featured on his albums Testify and Love Songs. Keith Urban recorded 'Can't Stop Loving You' on his album 'Love,Pain and the Whole Crazy Thing' in 2006.

            ♪ Tracklist:

          01. It Doesn't Take Much - Give It Up (5:38)
         
02. Over And Done With (3:01)
         
03. Love In A Mist (2:04)
         
04. Lost And In Trouble (3:22)
         
05. Can't Stop Loving You (Though I Try) (3:45)
         
06. Through Thick And Thin (3:28)
         
07. Without Your Love (1:54)
         
08. Everloving Arms (3:15)
         
09. Take Me Back (6:09)


White Horse:
Jon Lind: Acoustic Guitar & Vocals
Billy Nicholls: Piano, Acoustic Guitar & Vocals
Kenny Altman: Bass, Acoustic Guitar & Vocals
Additional Members:
Paul Barrere, Chuck Domanico, Bob Glaub, Milt Holland,
Reggie Knighton, Russ Kunkel, Doug Livingston, Gary Mallaber,
David Paich, Bill Payne, Jeff Porcaro, Joe Porcaro,
Caleb Quaye, Fred Tackett

----- ☆☆☆ ------


...

суббота, 28 июля 2012 г.

    
Great Buildings -  Apart from the Crowd 1981


Performer: Great Buildings
Album: Apart from the Crowd
Ⓟ & © 1981 CBS Ink.
Manufactured by Columbia Records
Producer & Recorded: Ed E. Thacker
© 2009 Wounded Bird Records
Catalog#: WOU 6920
Genre: Rock, Power-pop
Format: FLAC (track, .cue+log)
BiTrate: lossless
Cover: PNG, 300 dpi - Full Scan
Total Time: 00:40:19





Review by Jim Worbois (allmusic.com)
Before the Rembrandts there were Great Buildings, one of a series of bands that were part of Columbia Records' Developing Artists series. Sadly, many people missed the chance to catch this early effort from Danny Wilde and Philip Solem. One listen and you know these two have an ear for a catchy pop tune. Fortunately, the failure of this record didn't signal the end of this duo.

Great Buildings was one of a series of bands that were part of Columbia Records "Developing Artists" series in the early 80's. (Paul Collins' Beat, The Laughing Dogs, 20/20, Tommy Tutone and others).
Danny Wilde and Ian Ainsworth (former singer/guitarist and bassist with Los Angeles Sparks-loving glam/bubblegum band The Quick) went on to form Great Buildings.
They recorded the "Apart From The Crowd" album for Columbia in 1981 before breaking up a short time later. Danny Wilde went on to release several solo albums for Geffen before teaming up again with Solem to form the Rembrandts.
There are some terrific tuneful pop songs with rich harmonies ("Hold On To Something", "And The Light Goes On" or "Another Day In My Life"). Opening track "Hold On To Something" was picked by Rhino for its Power Pop Classics of the '80s, along 17 classic songs of the Powerpop 80's.
The album was produced by Ed E.Thacker.


          ♪ Tracks:

        1. Hold On To Something (Wilde - Ainsworth - Solem) 3:46
        2. ...And The Light Goes On (Wilde - Ainsworth - Solem) 3:15
        3. Dream That Never Dies (Wilde - Ainsworth - Solem - Sandford) 3:42
        4. Combat Zone (Ainsworth - Wilde) 3:34
        5. Maybe It's You (Ainsworth - Wilde) 5:07
        6. One Way Out (Ainsworth) 3:38
        7. Another Day In My Life (Ainsworth - Wilde) 3:09
        8. Heartbreak (Wilde) 4:42
        9. Love Goes Blind (Ainsworth - Wilde) 3:53
       10. Apart From The Crowd (Ainsworth) 5:11

Band Members:
Danny Wilde Lead - Vocals, Guitar, Piano
Philip Solem - Lead Guitar, Vocals
Ian Ainsworth - Bass, Keyboards, Vocals
Richard Sandford - Drums, Percussion


----- ☆☆☆ ------

...

пятница, 27 июля 2012 г.

Billy Nicholls - Love Songs 1974




Performer: Billy Nicholls
Album: Love Songs
1974 GM Records (U.K.)
Catalog#: GMC1011
© 1998  Southwest Records
(Digitally Remastered CD)
Catalogue #: SWCD002
Genre: Rock, Psychedelic Rock







• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Billy's second album released in 1974, 'Love Songs', has 
the unique distinction of being the first recording ever to be entitled 'Love Songs'.
Mainly recorded at the legendary Olympic Sound Studios, Barnes, helped by his musician friends: Caleb Quaye, Ronnie Lane, Ron Wood, Ian McLagan and Pete Townshend. Engineered by Phil Chapman. Remastered by Billy in 1998.
Billy Nicholls (born William Nicholls Jr, 15 February 1949, White City, Hammersmith, London) is an English singer, songwriter, record producer and musical director, who first gained fame in the 1960s while still a teenager with his Pet Sounds influenced album, Would You Believe, originally released on Immediate Records.

 
            ♪ Tracks:
          
         
1. Winter Rose (4:15)
          2. Gipsy (3:02)
          3. Travellers Joy (3:25)
          4. Stay Awhile (3:06)
          5. Little Lady (3:06)
          6. Sometimes (3:13)
          7. Kew (3:20)
          8. Hopeless, Helpless (3:23)
          9. Overnight Train (3:25)
        10. White Lightning (4:05)



----- ☆☆☆ ------

...

среда, 25 июля 2012 г.

 Honeybus  - Honeybus At Their Best (Compilation) 1989





Artist: Honeybus
Album: Honeybus At Their Best (Compilation)
Original sound recordings
made by Noon Music Ltd. 
Ⓟ & © 1989 by See For Miles Records Ltd. 
Catalog#: SEECD 264
Country: UK
Style: Rock, Soft Rock







• • • • • • • • • • • • • • • • • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Honeybus существовала недолгое время, с 1967 по 1969 гг., но успела за это время создать великолепные песни, многие из которых не хуже тех, которые в середине 60-х сочинили The Beatles. Говорят, что любая копия хуже оригинала, но к Honeybus это не относится, потому что все же они были достаточно своеобразны. Впрочем, яркой особенностью того периода было всеобщее помешательство на музыке The Beatles, и популярностью пользовались в основном группы, которые старались воспроизвести битловское звучание.
Считается, что Honeybus - это группа одной сублимированной песни "I Can`t Let Maggie Go", ставшей британским хитом весной 1968 г. Однако такие песни, как "Story", "Black Mourning Band", "Scarlet Lady", "Ceilings № 1", "She`s Out There", "I Remember Caroline", "(Do I Figure) In Your Life" - это явная классика тех лет, и я слушаю их до сих пор часто и с огромным удовольствием.
Лидером группы был лондонец Пит Делло (настоящее имя Питер Бламсон). Кроме него, в группу входили Рэй Кейн, Колин Хэй, Пит Киршер. Все они были очень талантливы, обладали прекрасным вокалом, многие их музыкальные находки предвосхитили то, что позднее делали The Moody Blues, Procol Harum, The Byrds. Не случайно исследователь их творчества Роджер Допсон в 1989 г. сказал, что известность группы настолько не соответствует их гениальности, что их в связи с этим следует включить в книгу рекордов Гиннесса.
Группа выпустила всего один альбом - ""STORY" (1970), а в 1989 г. был выпущен сборник "At Their Best". Мне известно, что в начале 70-х Пит Делло и Рэй Кейн выпустили по сольному альбому, а позднее вообще перестали выступать и записываться. Более удачна была карьера у Киршера, который выступал в составе нескольких групп, в том числе Status Quo.
                                                                                                        - vataga (Январь 2009)

All Music Guide
The story of the Honeybus is almost a cautionary tale. Considering that most of us have never heard of them, it's amazing to consider that they came very close, in the eyes of the critics, to being Decca Records' answer to the Rubber Soul-era Beatles. The harmonies were there, along with some catchy, hook-laden songs and usually tastefully overdubbed brass and violins. The pop sensibilies of the Honeybus's main resident composers, Pete Dello and Ray Cane, were astonishingly close in quality and content to those of Paul McCartney and the softer sides of John Lennon of that same era. What's more, the critics loved their records. Yet, somehow, the Honeybus never got it right; they never had the right single out at the proper time, and only once in their history did they connect with the public for a major hit, in early 1968. Their best known lineup consisted of Pete Dello (vocals, keyboards, guitar), Ray Cane (vocals, bass, keyboards), Colin Hare (rhythm guitar, vocals), Pete Kircher (drums, vocals), with Dello and Cane writing most of their songs. Dello and Cane, songwriting partners and ex-members of various minor early-'60s rock bands, were the prime movers behind the Honeybus. In 1966, they formed the Yum Yum Band with ex-Them drummer Terry Noon, which became popular in the London clubs and released five singles on the English Decca label. A collapsed lung put Dello out of action in early 1966, and it was during his recuperation that he began rethinking what the band and his music were about. He developed the notion of a new band that would become a canvas for him to work on as a songwriter — they would avoid the clubs, working almost exclusively in the studio, recreating the sounds that he was hearing in his head. Those sounds mostly featured lush melodies and lyrics that suddenly blossomed with the upbeat radiance of flower-power and the Summer of Love. Out of this came the Honeybus, with Noon stepping aside to manage the group and being replaced by Mike Kircher. The group was one of the best studio bands of their period, reveling in the perfection that could be achieved through multi-tracking and overdubbing, and an approach that also mimicked the Beatles' breadth, playing with either admirable taste or reckless abandon, depending on the song. Their debut single, "Delighted to See You," which was cut with the help of Roulettes Bob Henrit and Russ Ballard, sounded more like the Beatles than anything heard in British pop-rock since the Searchers had faded from view in early 1966. The B-side, "The Breaking Up Scene," could have been the work of the Jimi Hendrix Experience or the Creation. The critics were quick to praise the band and the record, but it never charted. Their second single was also unsuccessful. Then they hit with their third release, "I Can't Let Maggie Go," in March of 1968, which rode the British Top 50 for three months and peaked at number eight. The record should have made the group, but instead it shattered them. Pete Dello resigned during the single's chart run. He had been willing to play live on radio appearances and the occasional television or special concert showcase — during which the group used a Mellotron to replace the overdubbed strings and other backing instruments on their songs — but he couldn't accept the physical or emotional stresses of performing live on a regular basis, or the idea of touring America, which would have been the inevitable result of a British hit of that side. Perhaps a Brian Wilson/Beach Boys-type solution, with an onstage replacement, might have worked, but instead Dello left, and with him went his songs. Jim Kelly came in on guitar and vocals, while Ray Cane, whose talents and instincts were a near-match for Dello's, took over most of the songwriting, and the Honeybus proceeded to play regular concerts. Cane was a good songwriter, but the group never recovered the momentum they'd lost over "Maggie." The enthusiasm just wasn't there, and the music around them was changing into something harder and louder, and by mid-1969 it was all over. Their one completed album, The Honeybus Story (sic), was released in late 1969, but without an active group to promote it, the record sank without a trace. This was a real pity, because it was a beautiful album, with the kind of ornate production and rich melodies that had become increasingly rare with the passing of the psychedelic era. Ironically, the Dello lineup got back together in 1971 to record a new body of songs for the Bell label and a complete LP for British Warner Bros, which was never issued. Dello and Hare had recorded solo albums without success before those final group sessions, while Cane wrote songs and produced other groups without making any impact. Eventually, everybody except Kircher (who has played with everyone from Engelbert Humperdinck to Status Quo) gave up music as a profession.
                                                                                                                             - Bruce Eder
---------- ☆☆☆☆☆ ----------

         ♪ Tracklist:

       1. Story 4:02
       2. Black Mourning Band 3:18
       3. Scarlet Lady 2:44
       4. Fresher Than Than The Sweetness In Water 3:05
       5. He Was Columbus 2:50
       6. Ceilings No.1 3:42
       7. Under The Silent Tree 3:59
       8. She's Out There 3:02
       9. She Said Yes 3:37
      10. 0I Remember Caroline 2:39
      11. How Long 3:06
      12. Ceilings No.2 4:05
      13. Delighted To See You 2:35
      14. The Breaking Up Scene 2:35
      15. (Do I Figure) In Your Life 2:35
      16. Throw My Love Away 2:21
      17. Girl Of Independent Means 2:48
      18. The Right To Choose 3:06
      19. Julie In My Heart 2:25
      20. I Can't Let Maggie Go 2:57
      21. She Sold Blackpool Rock 4:32
      22. She Sold Blackpool Rock (French Version) 4:37
      23. Would You Believe 3:28
      24. Tender Are The Ashes 2:47
      25. How Long (Single Version) 2:41


Band Members:
Pete Dello - vocals, keyboards, guitar
Ray Cane - vocals, bass, keyboards
Colin Hare - rhythm guitar, vocals
Pete Kircher - drums, vocals

----- ☆☆☆ ------


...

понедельник, 23 июля 2012 г.

The Visitors No Sign Of Intelligent Life 1981



Performer: The Visitors
Album: No Sign Of Intelligent Life
1981 Paradigm / Airstrip Records
Catalog#: PA 0004 
Country: US 
Genre: Rock, Pop-Rock
Total Time: 00:28:59


On their 1981 platter, No Sign of Intelligent Life, The Visitors are so decade-centric they literally invite us to "Enter the Eighties."  And even though these Bay Area bad boys play music that's more quintessential of their era than actually essential, there is sort of a rush to that introductory number, which flirts with some mighty tasty power pop and wave maneuvers.  Not sophisticated or frilly enough for the new romantic set, and way too innocuous for Reagan-era punks, The Visitors settle on a basic modern rock formula with mainstream leanings, albeit a little too jovial and goofy for their own good at times.  With such a ubiquitous moniker, finding any pertinent biographical info on this bunch is a considerable challenge.


         ♪Tracklist:

        1. Enter The Eighties 03:30
        2. Magic 03:06
        3. Looking For Love 03:14
        4. The Man With The X-Ray Eyes 02:32
        5. The Test Of Time 01:50
        6. How Do People Fall In Love 02:00
        7. She's My Girlfriend 02:30
        8. I Like To Steal 02:52
        9. (I Love My) Rock And Roll Reco 02:48
       10. No Sign Of Intelligent Life 01:40
       11. I Know 02:52

Credits:
Bass, Backing Vocals – Hillary Stench 
Drums, Backing Vocals – John Moffa 
Guitar, Lead Vocals – Russ Golub 
Keyboards, Backing Vocals – Harry Mello 
Producer – Stuart Jacob Glasser

----- ☆☆☆ ------



...
The Lost Gonzo band Thrills 1976



Name: The Lost Gonzo Band
Album: Thrills
1976 MCA Records
Catalog#: MCA-2232
Style: Southern Rock / Classic Rock
Genre: Rock / Indie, Classic Rock, Folk
Similar Bands: Neil Young, CCR,
Commander Cody, older Bee-Gees, Blasters
Based Out of: Austin Texas



Unknown-ness: I’ve never heard of this band, but I have to say, I was immediately caught by the cover art that screams Evil Carnival music. Now I know it is 1976, so it’s not going to be wacky Oingo Boingo style music, but one can hope there is a shred of support for this great cover. And the name is just wacky enough that it might be something I’d like. But something tells me, perhaps the font on the back, that this will just be something simple, especially since its from 1976, when AOR was king.
Write a Song sounds like it is going to be a delightful, fluffy Billy Joel style piano ballad. And it sounds like a classic Bee Gees song. It feels odd to begin the album here, with a bedtime ballad. But halfway through the song, the production picks up, and it sounds somewhat Beatley. But the song finishes out in piano and simplicity, just as it began.
 Relief bounces into life with a kick drum, and a stumbling drunk Kinks style song. Based in southern ragtime rock, the song features a nice simple folk-country melody. The vocals are layered with a dense harmonized background vocal effort. I could visualize this being played out on a single home porch with a jug band.
 Wilderness Song is another slow but bouncy song with a synthesized bass beat. The vocals remind me of Neil Young in this song. The song is simple, one dimensional song, but the sound of that synthesized bass is just overwhelmingly harsh and draws most of the attention from the song.
 Sweet Little Lilly is the first full fledged country song with a country & western back and forth guitar bounce like from “Country Death Song”. And then at the chorus the song picks up with banjo and fast singing as if you’ve flung the doors open to witness some talented square dancing at a cowboy bar.
 Life is the Reason has a slow, rising, day break tempo, and again sounds like Neil Young. It again features the side to side bouncing bass guitar sound. The song also includes slide guitar and a fiddle, giving it an authentic country feel. It actually sounds a lot like a slowed down version of the preceding song.
 Dead Armadillo starts with a nice honky tonk tempo and melody. The vocals are gruff, trying to sound like a bluesman. But as he sings, that impression quickly falls away. This sounds like a Fabulous Thunderbirds or Blasters song. It is classic rock n’ roll brought to life through rock-a-billy & country filters. All that a side, it is a fun song, literally about a Dead Armadillo on the side of the road.
 The Last Thing I Need is a slow country waltz. It has a sorrow mood about it, like a guy who’s singing about his dong that just up and ranned away. And yeah, the song is a sorrowful song about a significant other walking out on the singer. At times it sounds like the singer is about three gulps away from finishing a one liter bottle of bourbon.
 Life in the Pines is a little faster back & forth bouncing bass with a banjo playing second fiddle. And the song is a Ween-ish country song, one where the lyrics are easy to pick up and where you can feel the rhyme scheme as soon as each verse starts. It is simple, and fun to follow along with, where the notes are held out extra long at the end of each lyrical line. “Ain't No Way” features horns, and is really more of a bluesy, Blasters type song. Again, this song features the synthesized bass that actually reminds me of the similar sound Stevie Wonder used at this period. The song is upbeat and fun, if a bit nasally and repetitive. The end the song breaks the mold, as the band became tired of the repetitive playing, and they allowed a little free space to experiment with vocals and instruments. The very end sounds like the end of “Stairway to Heaven.”
 Sexy Thing reminds me of a slow and quiet Big Star song covered by a country band. This is a lighter-raising piano and slide guitar anti-love ballad about a hot momma’s girl that won’t betray her mom.
 Daddy's Money is an upbeat Credence Clearwater type song that has a fun bouncy tempo and a sweet guitar hook backing up the chorus. It has the most energy and is the most straightforward pop song of the bunch. This is usually not my style, but I like this song, especially how every verse is worked to end in “your daddy’s money.” The fun bit about the chorus, is that it has a hidden anticipation / delivery build up. Just as you think the chorus is going to end on a perceived note, the energy is kicked up, and the lyric goes up an octave: Very satisfying.
 I'll Come Knocking is a final slow ballad, more piano and lounge-based than the other ballads. Again, this makes me think of the early Bee-Gee’s stuff. But the song has a fun guitar sound that reminds me of the liquid distortion that Ween uses in their stuff. The slow nature of the song brings us right back to where the album began.
---------- ☆☆☆☆☆ ----------

           • Tracklist:

         01. Write A Song 3:19
         02. Relief 3:57
         03. Wilderness Song 2:44
         04. Sweet Little Lilly 3:56
         05. Life is the Reason 4:12
         06. Dead Armadillo 2:16
         07. The Last Thing I Need 3:56
         08. Life in the Pines 3:14
         09. Ain't No Way 4:08
         10. Sexy Thing 3:33
         11. Daddy's Money 3:30
         12. I'll Come Knocking 3:11

Members & Other Bands:
Michael Brovsky - Engineer, Producer, Remixing
Chuck Childs - Recording Engineer
Donny Dolan - Drums, Percussion
Kelly Dunn - Arp, Clavinet, Organ, Synthesizer
Johnny Gimble - Mandolin, Violin

(Asleep at the Wheel, Mother Earth, Bob Willis & His Texas Playboys)
Sanchez Harley - Horn
John Inmon - Guitar, Vocals (Omar & the Howlers)
Ladysmith Black Mambazo - Vocals (Background) (Paul Simon)
Robert Livingston - Bass, Guitar, Piano, Vocals
Weldon Myrick - Pedal Steel
Gary P. Nunn - Bass, Guitar, Piano, Vocals (Lavender Hill Express)
Tomas Ramirez - Saxophone
Bobby Thompson - Banjo, Guitar (Acoustic) (Barefoot Jerry)
Bill Halloway - Cover Photography



----- ☆☆☆ ------



...
Jerry Jeff Walker Viva Terlingua! 1973



Performer: Jerry Jeff Walker
Album: Viva Terlingua!
1973/1990 MCA Records
Catalog #: AAMCAD919
Genre: Country-Rock, Progressive Country
Duration: 00:43:50


Jerry Jeff Walker is strongly associated with the progressive ("outlaw") country scene that centered around Austin, TX, in the 1970s and included such figures as Willie Nelson, Guy Clark, Billy Joe Shaver, the Lost Gonzo Band, Waylon Jennings, and Townes Van Zandt.
Viva Terlingua, recorded live in Luckenbach, TX, on a hot August night in 1973, is among the most legendary of "live" singer/songwriter albums ever released. It's the Live at the Fillmore East of redneck Texas folk-rock. Essentially, it's Jerry Jeff fronting the Lost Gonzo Band at the beginning of their long run together playing, living it up, having a ball, giving everybody the impression that life was a party, and to be sure, it was for a while. Given the loose, inspired performance on this set, Walker was every bit the equal of Willie, Waylon, and Billy Joe Shaver at the time. The material is terrific. Half of it is from Jerry Jeff's catalog: "Sangria Wine," "Gettin' By," "Little Bird," "Get It Out," and "Wheel." The rest? Can't possibly do better: Guy Clark's "Desperados Waiting for the Train," Ray Wylie Hubbard's "Up Against the Wall, Redneck Mother," Michael Murphy's "Backslider's Wine," and Gary P. Nunn's Austin City Limits anthem, "London Homesick Blues." It doesn't sound anything like it was recorded in front of an audience, but it does sound live as hell. These folks were partyin' it up and layin' down the tracks at white heat. This record was made in a night and it feels like it was made in your living room. It's guaranteed to lift any dark mood within 15 minutes. This record asks no questions and there are no hidden meanings in Walker's or anybody else's lyrics; it's all there for the taking. And that's what makes it the enduring classic it is.


allmusic.com review
Viva Terlingua, recorded live in Luckenbach, TX, on a hot August night in 1973, is among the most legendary of "live" singer/songwriter albums ever released. It's the Live at the Fillmore East of redneck Texas folk-rock. Essentially, it's Jerry Jeff fronting the Lost Gonzo Band at the beginning of their long run together playing, living it up, having a ball, giving everybody the impression that life was a party, and to be sure, it was for a while. Given the loose, inspired performance on this set, Walker was every bit the equal of Willie, Waylon, and Billy Joe Shaver at the time. The material is terrific. Half of it is from Jerry Jeff's catalog: "Sangria Wine," "Gettin' By," "Little Bird," "Get It Out," and "Wheel." The rest? Can't possibly do better: Guy Clark's "Desperados Waiting for the Train," Ray Wylie Hubbard's "Up Against the Wall, Redneck Mother," Michael Murphy's "Backslider's Wine," and Gary P. Nunn's Austin City Limits anthem, "London Homesick Blues." It doesn't sound anything like it was recorded in front of an audience, but it does sound live as hell. These folks were partyin' it up and layin' down the tracks at white heat. This record was made in a night and it feels like it was made in your living room. It's guaranteed to lift any dark mood within 15 minutes. This record asks no questions and there are no hidden meanings in Walker's or anybody else's lyrics; it's all there for the taking. And that's what makes it the enduring classic it is.
                                                                                                                              - by Thom Jurek
            ♪Tracks:
         
         1. Gettin' By 4:01
         2. Desperados Waiting for a Train 5:47
         3. Sangria Wine 4:25
         4. Little Bird 4:10
         5. Get It Out 3:37
         6. Up Against the Wall, Redneck Mother 4:32
         7. Backslider's Wine 3:34
         8. Wheel 6:00
         9. London Homesick Blues 7:44


Credit:
Jerry Jeff Walker - Composer, Guitar, Vocals
Kelly Dunn - Organ, Piano (Electric)
Craig Hillis - Guitar, Guitar (Electric)
Robert Livingston - Bass, Keyboards, Vocals, Vocals (Background)
Gary P. Nunn -  Keyboards, Organ, Piano (Electric), Vocals (Back Vocals)
Joanne Vent - Vocals, (Back Vocals)
Michael McGeary - Drums, Percussion
Herb Steiner - Guitar (Steel)
Mickey Rafael, Mickey Raphael - Harp
Mary Egan - Violin

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четверг, 19 июля 2012 г.






Performer: Natural Child
Album: For The Love Of The Game
Country: NASHVILLE, Tennessee, UnSt.
Ⓟ & © 2012 Burger Records
Catalog#: BRGR180
Genre: Alt-Country, Rock, Psychedelic
Total Time: 00:36:51









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 December 2012 is not the end of the world but is in fact when Keith Richards is gonna tell the world that the Rolling Stones are stepping down and Natural Child is the new best band in the world.
 Bluesy garage rock'n Nashville natives, Natural Child are back with their sophomore release on their own label Natural Child Music. The LP will be distributed through Burger Records on April 20. Limited to 500 copies! 150 Blood Red-Vinyl, 350 Black. If that still isn't enough they have plans for 2 other releases this year! "Bodyswitchers", under Burger Records, which is a reissue of their cassette originally released by Infinity Cat. Plus, a 3rd release entitled "Hard In Heaven", which will be released “before the world ends in 2012."
  Wes and Zack used to play in a band called Kintaro. Wes was in Meemaw with Daniel Pujol and Jessica from Heavy Cream. Seth was in a band called The Horribly Wrong.
 Natural Child has played with these rad bands: Tours with Strange Boys, played some shows with the Black Lips and toured with Hunx and His Punx and Liquor Store. 

          ♪  Tracklist:

        01. 8AM Blues 3:12
        02. She Got A Mind 4:15
        03. Baby 2:08
        04. That’s How I Got To Memphis 3:23
        05. Hey Little Girl 5:11
        06. No One Writes Sad Songs Anymore 3:59
        07. D.T.V. 4:25
        08. Paradise Heights 3:14
        09. Faces Of Death Blues 2:54
        10. Ain’t Gonna Stop 3:38

Band Members:
Wes "Wes" Traylor - bass, vocals
Seth "Murph" Murray - guitar, vocals
Zack "Marv" Martin - drums



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