The epitome of Southern California rock beginning in 1971, Eagles tunes have now spanned over three decades. The group was formed in Los Angeles as Linda Ronstadt’s back-up band. All four of the group were already working professionally—Glenn Frey, Bernie Leadon, Randy Meisner, and Don Henley. They toured with her for two months as the Stone Ponies before becoming the Eagles. Leadon was from Minnesota (birthday 7/19/47) and went to LA in 1967 as a member of Hearts and Flowers, then later Dillard and Clark, and on to the Flying Burrito Brothers . He plays guitar, banjo, mandolin and writes. Henley hails from Texas where he was born 7/22/47. He showed up in LA in 1970 with his group, Shiloh. He plays drums, writes, and does vocals. Singer/bassist Meisner is from Nebraska, born 3/8/46. His move to LA was in 1964 with a group called the Soul Survivors and later called Poor. He was a founding member of Poco, but left before they released their first album. He joined the Stone Canyon Band to back up Rick Nelson. Guitarist/vocalist/keyboardist Frey is from Michigan and was born 11/6/48. He was a backup musician to Bob Seger before he moved to LA in 1968. He was one of the duo of Longbranch Pennywhistle with J.D. Souther. They had an album in 1969. Their self-titled first album, Eagles, was laid-back country rock and was released in 1972. One of the three hits that it produced was “Take It Easy,” a Jackson Browne song. Browne was a friend of Frey, who added a second verse and did the lead vocals. It is the first tune on the Greatest Hits album, and is their debut single. The verse that Frye wrote about Winslow, Arizona prompted the town to erect a bronze statue on a main corner with a mural in the background. Bernie Leadon plays banjo on this tune, and of course, the vocal harmonies are stand-out. Rock and Roll Hall of Fame named it to their list of “500 Songs That Shaped Rock and Roll.” Next on Greatest Hits is another song from the Eagles album. “Witchy Woman,” a rock classic written by Henley and Leadon, also charted big for the group. Leadon had begun writing this song when he was with the Flying Burrito Brothers. Henley helped finish it, and it was one of his first song-writing ventures. He performs the vocals. The lead guitar is as impressive as the vocals on this song. The third Eagles album tune on the Hits album is “Peaceful Easy Feeling.” This song was written by J. Tempchin with Frey doing the vocals, and is an easy-listening ballad. The Eagles released their second album, Desperado, in 1973. It was a concept album about outlaws. Two songs from it are included on Greatest Hits: “Tequila Sunrise” and “Desperado.” Both were written by Henley and Frey with the latter doing the lead vocals on “Sunrise,” and Henley on “Desperado.” These are both mellow, easy to listen and relate to tunes. Album number three, On The Border, contributed two more tunes to Hits—“Already Gone” and “Best Of My Love.” The album leaned more toward rock, and the change was brought about by changing producers. His name was Bill Szymczyk, and he brought Don Felder into the fold as a fifth Eagle. Felder is a Florida native, born 9/21/47. He was only on two Border songs, but one of them was “Already Gone,” in which he did a dual guitar solo with Frey. “Already” was written by J. Tempchin and R. Strandlund. Lead vocals were done by Frey. “Best Of My Love” was penned by Henley, Frey, and J.D. Souther with Henley doing lead vocals. It hit #1, and was probably less rock and more country than other tunes on the album. The harmonies were among the best of the best on this one. The Eagles fourth album, One Of These Nights, released in 1975, leaned even more into the rock world with Felder on guitar, and contributed three tunes to round out Their Greatest Hits 1971-1975. “One Of These Nights,” penned by Henley and Frey and sung by Henley, hit #1. Frey has said that it is his personal favorite. “Lyin’ Eyes,” written by Henley and Frey with Frey doing the lead vocals, charted at #2 and is a Grammy winner for Best Pop Vocal Performance by a Group. It was also nominated for Record of the Year. The song tells a story in such a way that most people were able to visualize the participants as if in a movie. The clean, smooth guitar is just right for the story song. “Take It To The Limit” gives writing credit to Meisner, as well as Henley and Frey, and Meisner performs the lead vocals on this one. It reached #4. Eagles: Their Greatest Hits 1971-1975 sums up an era for the original Eagles. Bernie Leadon did not like the way the music was going and left to form a band with Michael Georgiades. The album went on to become the best-selling album in U.S. history and is one of the best definitions of “classic rock.” The combination of country, rock, folk, ballad, and pop connect with listeners in an extraordinary way. It showcases the collaborative writing abilities of Henley and Fre,y and the beauty of simple but perfect harmonies and production when excellent musicians come together.
In 1976 the Doobie Brothers released Best of the Doobies. In 1996, twenty years later, the album was certified "Diamond" for having reached sales over ten million. And it all started in 1970 in San Jose, California, in the state that had dominated much of the 1970’s sound. The Doobies managed to blend rock and blues in a progressive country base, and some would argue that they were more of one than the other. But no one would argue the fact that their skillful three-part harmonies and adroit instrumentation dominated their music and set them apart.
Tom Johnston and John Hartman formed the nub of the group in 1969, calling themselves Pud. In 1970 they joined with Pat Simmons and Dave Shogren to become the Doobies. They almost immediately became a central attraction of the Hell’s Angels in California and played biker bars until their first album was released in 1971. It was self-titled and used more acoustic guitar than electric, but did not produce any hits.
But, after some personnel changes, 1972’s release of Toulouse Street did. Shogren was replace on bass guitar by Tiran Porter, who was also a vocalist and songwriter. Michael Hossack was brought in as a supplemental drummer. Bill Payne (of Little Feat) began his frequent keyboard contributions. This combination really established their "sound" and three hit tunes from this album appear on Best of the Doobies. "Listen To The Music," written by Tom Johnston, is an upbeat "song of the times" that really showcased Simmons’ finger-style guitar. It reached #11 and was their first big hit. "Rockin’ Down The Highway," also by Johnston, was definitely classic rock with its vocal driven chorus and Johnston’s rock licks on the guitar. "Jesus Is Just Alright," written by A. Reynolds, reached #35 with a distinct rock sound and solid vocal harmonies.
The Captain And Me, album number three in 1973, contributed "Long Train Runnin" to Best Of The Doobies. It charted at #8 with Johnston having written, performed lead vocal and a harmonica solo, and his trademark strumming of the guitar. Another Johnston-penned tune on this album is "China Grove," which made it to #15. Two more songs from this disc made it to Best Of: "South City Midnight Lady" and "Without You." "South City" was written by Pat Simmons and is a country-flavored love song with a great guitar. "Without You" is credited as having been written by the entire group and is more heavy metal.
1974s What Were Once Vices Are Now Habits provided the compilation with the biggie "Black Water," another Pat Simmons tune that hit #1. Simmons also did lead vocals on this one. Although Michael Hossack left the band during this period, he did the drums for Vices, but his replacement, Keith Knudsen can also be heard on vocals. Knudsen took over as drummer, provided vocals, and wrote songs.
Rounding out disc are "Takin’ It To The Streets," "It Keeps You Runnin," and "Take Me In Your Arms." This last one was a Motown remake that hit #11 and was released on their 1975 Stampede. By this time they had added "Skunk" Baxter from Steely Dan as a third lead guitarist and the song features a solo by him. He had also already done some studio work with them and had no problem joining them in the middle of a tour.
Later in 1975 Tom Johnston became ill and another former Steely Dan member was recruited. Michael McDonald shared vocals on Johnston’s songs while they were on tour, and contributed by way of keyboards and songwriting on their next album Takin’ It To The Streets in1976. The title song was written by McDonald and reached #13. The album went platinum even though it was a big sound change for the Doobies, often described as gospel and jazz-tinged. "It Keeps You Runnin" was also written by McDonald and hit first with them backing Carly Simon on her version. They released it themselves five months later and it did even better, reaching #37.
These eventful seven years culminated in Best Of The Doobies, but there was much more to come. See our CLASSIC ARTISTS UPDATE page for follow up on the years after.
In the mid 1960's, there was a war brewing for the hearts and minds of popular music fans. On one side were bands like the Monkees, whose pop sensibilities brought them three hit albums in 1967 alone. On the opposing side, there were bands diving headlong into the burgeoning counterculture movement. From England, the Beatles were exploring mysticism and the politics of revolution, moving away from the hook-filled pop songs that had established them. The Rolling Stones, bad boys from the beginning, were pushing the limits of what was socially acceptable with every album they released. And in the United States, there were numerous musicians challenging the conservative values and lifestyles of the 1950's and early 1960's. The Jefferson Airplane, Jimi Hendrix, Crosby, Stills, Nash & Young were at the forefront of protest and revolution in their music and their lifestyles. And then their was a group that pushed things even further: The Doors.
While some preached, and many feared, an actual overthrow of government, the revolution that was taking place was cultural. The war in Viet Nam had become a festering sore that many were determined to stop, and that was the most precise and unifying goal. But the cultural revolution was much broader, and in the end that era became largely about personal freedom. Young people were rejecting their parents values, and while much of this was just the fire of yearning youth, much of it has lasted and changed our society forever. The advent of oral contraceptives played a big part in this cultural shift, and the so called "sexual revolution" brought an in-your-face sexuality that was in direct contrast to the buttoned-down 1950's. Thanks to their lead singer, the Doors were at the forefront of that aspect of the revolution.
It is interesting to speculate as to whether Jim Morrison intentionally took on that role or whether it was thrust upon him by circumstances and his own late-blooming sensuality. A sometimes pudgy and moderately attractive child, Morrison became a slim and attractive man in college. The camera loved him, and the photos taken of him as a member of the Doors indicate a brooding awareness of his own good looks and effect on women. Either way, his lyrics, and most especially his onstage antics, challenged the national ethos. This, of course, culminated in his arrest and conviction for exposing himself on stage during a concert. That conviction resulted in a sentence that would likely seem out of proportion to the offense by today's standards. He was sentenced to, but never served, six months in jail.
The Doors' music was also, at times, blatantly revolutionary. Songs such as "Five To One" were a direct challenge that absolutely frightened many parents and, especially, politicians. These same groups, when they stopped to listen, were also upset by the violence of songs like "Riders On The Storm" and "The End." "The End," with its confused violence and sexuality, was extremely controversial and threatening. Of course, most of those who were offended would have happily sat through a production of "Oedipus Rex," the song's genesis.
The Doors were also challenging the accepted norms with songs such as "Roadhouse Blues." The idea of America's children losing themselves in a haze of drug use, general dissatisfaction, and hedonistic pleasure seeking was a direct affront to the American ideal of success through hard work and dedication.
So, all this begs the question: are the Doors relevant because of their historical context or because of their contribution to rock and roll. This boxed set answers that question by presenting their music as it has never before been heard. The set contains all six of the Doors' original studio albums plus an album of live songs mixed with unreleased studio material. Thanks to a brilliant job of remastering, the songs sound better than ever. And yes, resoundingly yes, their contribution to rock and roll was a wealth of great music in an incredibly short time. The songs are as wonderful now as they were almost forty years ago.
As any good boxed set should, this one offers some extras. First, each CD is packaged in a replica of the original album cover, right down to the paper sleeve. The liner notes by Dave DiMartino are outstanding, offering an intelligent tribute to a band he greatly admired. There is a wealth of great photos included, most of which have never been published before. There are four captivating portraits, beginning with the essential rarities text, that were shot by Edmund Teske. Any Doors' fan will enjoy them. And one more wonderful bonus-the lyrics to all the songs are printed at the end of the booklet. This one is a sure-fire winner.
Possibly one of the greatest lyricists ever--Bob Marley's talents are highlighted on LEGEND, THE BEST OF BOBMARLEY AND THE WAILERS. He is the undisputed Reggae king and probably Jamaica's best known citizen. Robert Nesta Marley was born February 6, 1945 and left this world on May 11, 1981. Having grown up in the shanty-town area called Trenchtown outside of Kingston, it seems inevitable that Bob would eventually base his spirituality in Rastafarian beliefs. The plaited and matted hair that he kept for so long was typical of Rastas, and his music and life is representative of those teachings. Two decades of his short life were spent making music, beginning in the early 60's as a solo artist, then with a group he put together--The Wailing Wailers. The group, consisting of Peter McIntosh, Bunny Livingston, Junior Braithwaite, and Beverly Kelso, charted locally in 1964. Then Junior and Beverly left the group and Bob went to America for a time. At the end of the 60's he returned to Jamaica, joined up with Pete and Bunny, and became popular throughout the Caribbean. During this time period the three set the direction for Reggae. One of their earliest songs, written by Bob, is "Stir It Up," and is the seventh tune on LEGEND, but it was first made popular in 1972 by Johnny Nash. The big change came in 1972 when the band signed with Island Records. This began the journey to international fame, beginning with the release of CATCH A FIRE in 1973. It was one of the first reggae albums. Soon to follow was BURNIN'. Two 'biggies' from this disc can be found on LEGEND: "Get Up, Stand Up," an activism song written by Bob and Pete, and "I Shot The Sheriff" written by Bob, and which was later to become a #1 hit for Eric Clapton. The album NATTY DREAD in 1975 gave the group a world-wide hit with "No Woman, No Cry," penned by Vincent Ford. It was a song of love and memories of Trenchtown and contains the famous chorus "Everything's gonna be all right" along with a great guitar solo. This year saw Pete and Bunny leave to pursue solo careers. One of the new members for background vocals was Rita Marley, and the new group name became Bob Marley and the Wailers. In 1976 Marley, Rita, their manager, and another friend were shot inside their home by unknown assailants, and after being released from the hospital they hid until the 'Smile Jamaica' festival, where they performed in bandages. Shortly after recovering they left for England. Here they recorded EXODUS and KAYA. EXODUS included five tunes that are on LEGEND: "Exodus," "Waiting In Vain," "Jamming," and "Three Little Birds," all written by Bob, and "One Love," a rendition of "People Get Ready" by Curtis Mayfield. "Jamming" is a religious, but humble, and world-popular song in which he states "No bullet can stop us now." "Three Little Birds" is a light-weight, optimistic, 'don't worry bout' a thing' tune with a great bass guitar attitude. "Waiting In Vain" is a pure love ballad; "One Love" another religious/unification plea. "Exodus," though a repetitive tune with lots of bongo drum, was considered a message of activism. KAYA gave the world "Is This Love," and "Satisfy My Soul"--more Marley-penned and easy going love songs included on LEGEND. "Is This Love" personifies the group's excellent vocals. Listen to the percussion on the jaunty little "Satisfy." After these releases, Bob returned to Jamaica for the 'One Love, One Peace' concert, a huge event. He followed this with his first trip to Africa to visit the home of Rastafaria: Ethiopia. He was inspired to produce two more albums: SURVIVAL, and then UPRISING, which hit all European charts. "Redemption Song" from UPRISING is included on LEGEND, as is "Could You Be Loved," both penned by Bob. "Redemption" is a call for freedom, if only in the mind. "Could You" has a faster beat and was hardly seen as a message so much as a 'get up and move' song. After touring Europe, the group went to America and did some touring before Bob collapsed. He was diagnosed with cancer and ultimately died in a Miami hospital while trying to return home. He was 36. In 1983, posthumously, the album CONFRONTATION was released and contained previously unheard material. On it "Buffalo Soldier," written by Bob and NG Williams, is the fifth song on LEGEND. It told the story of four U.S. Army regiments composed of black men under white leaders who fought against Native Americans. The Indians called the men "Buffalo Soldiers." The song is filled with irony over the history of the black man.
Bob once said, "Music goes on forever." Certainly his will.
HAPPY BIRTHDAY, FREDDIE September 6--should have been 60!!!
QUEEN--Greatest Hits Volume I & II
Not too many people would disagree that any Greatest Hits album from the British rock group QUEEN should begin with THE greatest QUEEN hit, and this one does. Freddie Mercury's voice and writing talent are showcased in "Bohemian Rhapsody," originally released in 1975 on the album ' Night At The Opera. It stayed #1 for nine weeks and on the charts for 17 weeks--almost unheard of for a six-minute song that was never edited for time. It was the first song to have a promotional video (as opposed to clips), and was re-released in 1992 after Freddie's death, and sold over 1 million more copies in the UK alone. There will probably never be another song like "Bohemian Rhapsody," with sections of music consisting of heavy metal rock, opera, ballad, a cappella, and no real chorus. Band members say that Mercury had the entire song worked out in his head before they ever entered the studio. And in case anyone's wondering--'Scaramouch' means 'a stock character who appears as a boastful coward,' and in this case makes reference to the novel and play of that name.
The remainder of this two-CD set spans the years from 1974 to 1991--the year of Freddie Mercury's death. The cover art was designed by Freddie and is the band's logo, consisting of their birth signs. QUEEN evolved in 1971 from the group Smile; the name was changed to QUEEN when the last of the four, John Deacon, joined the group on drums. The first album to hit the charts was released in 1974. Queen II hit with "Seven Seas of Rhye" written by Mercury; the song made it to #10 on UK charts. Sheer Heart Attack followed later in the same year and produced the hits "Killer Queen," also written by Mercury, and "Now I'm Here," written by lead guitarist, Brian May. A Night at the Opera followed in 1975 and besides the sensational "Bohemian Rhapsody," the album gave the world "You're My Best Friend," John Deacon's first single.
1976 saw the release of A Day At The Races. This album re-enforced what was becoming QUEEN's trademark perfect vocals, harmonies, and total control of their instruments. The vocals were especially strong on "Somebody To Love," written by Mercury. He, along with Brian May and bass guitarist John Deacon, multi-tracked their voices to form a 100-member gospel choir. This album also hit with "Good Old Fashioned Lover Boy," also written by Mercury. News of the World in 1977 contained the huge hits "We Will Rock You" by Brian May and "We Are The Champions" by Mercury, and as everyone knows, these songs contributed greatly to the phenomenon known as "stadium rock."
In 1978 Jazz gave QUEEN a double-sided hit single with "Fat-Bottomed Girls" by May and "Bicycle Race" by Mercury. "Bicycle Race" was written in France after Mercury watched the Tour de France go by from his hotel room. The song was promoted with a live nude bike race that caused a stir and bike shops sold out of bicycle bells before concerts for years. A third hit, "Don't Stop Me Now," by Mercury, was #9 on the UK charts. The album had no jazz to speak of, and did not receive critical acclaim despite the hits.
The group decided to take a year off to write, and in 1980 released The Game. "Crazy Little Thing Called Love" gave the band their first #1 in the USA, and rightfully so, since it was Elvis-styled rockabilly. Once again Mercury displayed his versatile writing abilities and was inspired to write the song while in a bubble bath in a German hotel. He also wrote another hit song for this album called "Play The Game," and May contributed a hit with "Save Me"--a ballad that charted at #11 in the UK. And, of course, this is the album on which John Deacon contributed "Another One Bites The Dust," the bass-driven hit that turned out to be their biggest USA single and contributed heavily to The Game being their best selling album aside from Greatest Hits releases. It was also the first album on which QUEEN used a synthesizer.
The movie Flash Gordon in 1981 gave QUEEN their first soundtrack album. It sold poorly, but Brian May's tune "Flash Gordon" did chart in the UK. In the same year an impromptu session was held when David Bowie dropped in, and the hit song "Under Pressure" was written and recorded. It was released in 1982 on the album Hot Space. The song gave the band their second #1 UK hit and also hit #1 in Argentina. The album in general bombed, considered too 'funky' for the hard rock fans. Their American popularity waned, and the group decided to take a break from each other. They did some solo work, but also spent some time in 1983 working on their 1984 release album The Works. This disc produced a hit by Roger Taylor, "Radio GaGa," which was inspired by MTV, and another Mercury-penned song, "It's A Hard Life," a picture disc. Brian May furnished "Hammer To Fall"--a heavy rock tune. John Deacon contributed with "I Want to Break Free," a song with an unusual use of lead guitar and whose video with the band members dressed in drag was banned in parts of the USA.
In the 1985 "Live Aid" concert there was no question that QUEEN stole the show. The perfect musicianship combined with Mercury's theatrical talent gave no room for criticism. The year ended with the release of the album A Kind ofMagic. The album included the song by Mercury and John Deacon "Friends Will Be Friends" that went to #14 on the UK charts. Roger Taylor contributed the song "A Kind of Magic" which went to #3 in the UK, #1 in 35 other countries, and was used in the film Highlander. Brian May kicked in the ballad "Who Wants To Live Forever" that made use of orchestra and was also featured in Highlander. The hard rock hit "One Vision" went to #7 UK. By this time the group had decided to credit song writing to the group as a whole. 1986 was to be the last year the band would perform together.
They did some solo work for a couple of years with Mercury doing projects with other people and releasing a solo album. Barcelona with Montserrat Caballe was released in 1988, and in the same year he performed on stage with her, his last public performance. He was by this time very ill, but continued to compose and record, and even do some videos. 1989 saw the release of the pop-rock album The Miracle. With all songs at this point considered written and performed by QUEEN, the album gave us several hits. "I Want It All" is classic rock with lots of lead guitar; it hit #3 UK and #1 in many other European countries. "Breakthru" went to #7 UK; "The Invisible Man" went to #12 UK; both charted across Europe. "The Miracle" charted across Europe with a chorus of 'waiting for peace on Earth and end to war today,' a huge drum, lead guitar, bass ending, then the optimistic "We can all be friends. That day will come." There was no tour with the album, although Mercury was still not ready to tell the world why.
Innuendo: released 1991 and in which a very ill Freddie gave his all...... The title track was "Headlong," a hard-rock hit with lots of lead guitar that was a big seller throughout Europe. "Innuendo" the song, with guest guitarist Steve Howe went through several styles of music during its six and 1/2 minutes and went to #1 UK. "The Show Must Go On" is an anthem that was, in retrospect, very telling. It was later used in 'Moulin Rouge' for the dying star of the show. "I'm Going Slightly Mad" used synthesizers in a big way and was promoted with a much acclaimed video. The song reached #1 in Hong Kong, but only obtained #22 status in the UK.
On November 23, 1991, Freddie Mercury finally admitted in a prepared statement that he was dying of AIDS; he was gone within 24 hours of the announcement, at the age of 45. On September 5, 2006, Freddie would have been 60 years old, but the man and the band of extremes is gone forever.
Bob Dylan's music has been repackaged so many times over the years that it may be difficult for his fans to justify purchasing another greatest hits album. Every song on this disc other than "Summer Days" was included on The Essential Bob Dylan, the two disc retrospective issued in 2000. That compilation included some of Dylan's most brilliant compositions that could not be included on this single disc format. So this one may not be for everyone; but for some there are compelling reasons to buy it.
First, of course, it is full of great songs. The disc is certainly notable for what is on it rather than what was left off. It offers an interesting, if abbreviated, retrospective of his career, spanning the years from 1962 until 2001. The songs are compiled (with one exception) in chronological order, beginning with "Blowin' In The Wind" and "The Times They Are A-Changin'" to cover his time as a folk singer. "Mr. Tambourine Man" heralds the beginning of folk/rock, and "Like A Rolling Stone" launches him fully into the rock era. The hit parade continues with these Dylan classics: "Rainy Day Women #12 & # 35," "All Along The Watchtower," "Lay Lady Lay," "Knockin' On Heaven's Door," "Tangled Up In Blue," "Hurricane," "Forever Young," and "Gotta Serve Somebody."
Another reason to buy this album is that the tracks listed so far have been beautifully remastered, and have never sounded better. This allows them to flow seamlessly into the later recordings: "Jokerman, "Not Dark Yet," "Things Have Changed." and "Summer Days."
If you are one of the many Dylan fans who already has all of these songs, then you may not need to add this one to your collection. If you know someone who has not yet discovered this genius, consider adding it to theirs. There is a whole generation that barely knows his music. What a shame.
For most rock groups, breaking up is hard to do. Clashing egos and differing visions often set band members on collision courses that can be resolved only by dissolution of the partnership, usually coming suddenly and resulting in damaged friendships. How much better would it be to plan the breakup and turn it into a celebration? One group, known simply as The Band, did just that. With unprecedented class, they picked the date and invited all their friends in the music business to help them say goodbye. The LastWaltz was recorded for record and film, adding a spectacular coda to their brilliant careers.
The Band began their careers as the Hawks, the backing band for rockabilly star Ronnie Hawkins. Hawkins was a talented musician with a hectic touring schedule consisting largely of small clubs. It was Hawkins who discovered these individual musicians and brought them together. Robbie Robertson was to become the lead guitarist and the chief source of original material for the group that became The Band. Garth Hudson was a classically trained pianist brought in to play various keyboards and horns, as well as the accordion. Rick Danko played bass and brought a unique, dolorous tenor to the group. In a band that featured three vocalists and did not plan to have a "lead" singer, there was no way that Richard Manuel's voice would not stand out. Manuel had a rich, emotive baritone that he could stretch into a falsetto, and was once described as having "a tear in his voice." To finish out the ensemble, Levon Helm played drums and mandolin, as well as providing a third voice.
The decision to strike out without Hawkins meant starting all over. However, this new group received some attention in 1965 from its association with Bob Dylan. When Dylan decided to abandon his folk music roots, he chose these musicians (they had billed themselves variously as Levon and the Hawks or the Levon Helm Sextet) as his back-up band. Much of the attention initially proved to be negative as Dylan's fans booed his new electric sound mercilessly on his 1965/66 tour. Dylan eventually retreated to Woodstock, New York. When The Band (minus Levon Helm who had left the group due to the negative fan reaction on the Dylan tour) also relocated to Woodstock, a new sound began to emerge. Jamming with Bob Dylan produced a Dylan bootleg that became known famously as The Basement Tapes. More importantly for the Band, this period produced the album Music From Big Pink (with Levon Helm back on drums) and the group's reputation was made.
This reputation was not just with their fans. The members of The Band were long regarded as "musicians' musicians." No one appreciated them more than other members of the music industry. When The Band decided to give their final performance on Thanksgiving day, 1976, the guest list was a rock fan's fantasy. The venue was an easy decision for the group. Bill Graham's Winterland, in San Francisco had been the site of their debut as The Band. It would be perfect for their farewell. Martin Scorcese was chosen to film the event, and it was given a suitable title: The Last Waltz.
When the day came, Thanksgiving dinner was provided for everyone in attendance, about 5000 people. Then the music started. The all star line-up included Bob Dylan, Ronnie Hawkins, Joni Mitchell, Eric Clapton, Neil Diamond, Dr. John, Muddy Waters, Bobby Charles, Paul Butterfield, Van Morrison, Neil Young, Joe Perkins, Bob Margolin, Ringo Starr, Stephen Stills, Carl Radle, and Ron Wood. The concert consisted of The Band's own music interspersed with the music of their guests. The line-up on the stage changed constantly, and the all star jam lasted for more than five hours. It was not enough for the fans.
Two of the invitees were unable to attend due to prior commitment. The Staples and Emmylou Harris recorded their parts later at MGM studios and thereby became part of the legacy.
The Last Waltz has been issued in several versions. The definitive version is this four disc set, with more material included than the earlier releases. Highlights are too numerous to mention, but some of the best moments are the Staple Singers singing "The Weight" and Joni Mitchell's "Furry Sings the Blues."
Above all else, The Last Waltz is a celebration. The event may have been bittersweet, but the joy of making music together can be heard in every song.
As it happens with many people, Chris Rea needed a near death experience to grasp the reality of his own mortality. A frightening brush with cancer served as the impetus for him to at last make the music he wanted to make; free from the constraints of what would likely sell, of what record company executives would demand. The result is an opus on a scale that is unmatched in popular music: 128 songs on eleven compact discs, plus a 75 minute documentary dvd.
The idea is intriguing in itself: to trace the history of the blues from its beginnings in Africa, to its development in North America via the slave trade; and to a lesser extent its parallel development in Europe. The first compact disc in the collection is titled “Beginnings,” and the songs are spun directly from the slave trade and the experiences of the slaves in the new world. Using African rhythms and authentic West African instruments, Rea has crafted a powerful record that is lyrically moving and musically irresistable. In a set of eleven excellent discs, this one may be the standout. It is a supremely strong introduction to the boxed set.
The succeeding discs follow the development of this unique genre through its various stages:
Beginnnings
Country Blues...As freed slaves struggle to build lives, the music begins to evolve.
Louisiana & New Orleans...European melodies and instruments begin to influence the music.
Electric Memphis Blues...The move from acoustic to electric means a profound change in the blues.
Texas Blues...Texas, with its Tex-Mex influences, moves the blues in a different direction.
Chicago Blues...The move to the big city brings more freedom to the people and to the lyrics.
Blues Ballads...The music finally moves completely away from the cotton fields, and a more universal style develops.
Gospel Soul Blues & Motown...soul music develops from the rythms that became popular at this time.
Celtic & Irish Blues...Rea demonstrates the influence of West African music on the Northern British Isles.
Latin Blues...The blues develop in Latin America and the Caribbean for the same reason they develop in America...the slave trade
60s & 70s...The blues evolve with rock and roll.
As if the task of creating this much music wasn't daunting enough, Rea also provided a considerable amount of artwork for the boxed set. The bulk of the artwork featurs guitars, mostly blue guitars, and he works the theme of each disc into his blue guitar motif. Many fans might consider the art alone to be worth the price of the set. There is also a dvd, “Dancing Down The Stony Road,” that offers a peek into Rea's creative process.
In the end, Blue Guitars will not be remembered so much for its incredible ambition as for its success. Amazingly, each disc succeeds very well and could easily stand alone. This is a masterpiece, and any artist would be proud to have produced it. As you read the liner notes and interview with Chris Rea, you realize that he feels he could have made a number of additional albums to include in this history. Let's hope that he decides to make them.
More good news: Blue Guitars is also the best bargain of 2005. We purchased a new copy of the boxed set through Amazon.com for $57.64, shipping included. If you would like to view the artwork, please move to our Cover Art page, then to Cover Art 7.
The CSN boxed set offers everything a great boxed set should have: songs from the original albums, previously unreleased live and alternate cuts, photos of the band taken throughout the years, and text that gives a revealing peek into the group members and their songs.
Released in 1991, this set contains four discs of mostly outstanding songs. The material covered includes songs from Crosby, Stills, and Nash; Crosby, Stills, Nash, & Young; some of their solo work; and other combinations including the Crosby-Nash albums and Stephen Stills Manassas. Not surprisingly, it draws heavily on the self-titled debut album and the follow up record, DEJA VU. It was these two albums that cemented the group's reputation and made them music industry powerhouses beginning in 1969. Almost half of these songs are previously unreleased versions, and they are not presented in the order that they were on the original records or even in the order that the albums were released. The result is that listeners do not feel as if they are merely re-covering old territory. This idea is also carried through with the later material, although to a lesser extent. It does add a certain freshness. Even better is the previously unreleased cover material that is included. Joni Mitchell's “Urge For Going,” “Blackbird” by the Beatles, and Traffic's “Dear Mr. Fantasy” are great songs that are given a new sound. These tracks are pure gold.
As for the pictures and text, the photos are good but not really a strong point for this set. They are mostly black and white and without captions to give them the proper context. On the other hand, the text is outstanding. A dedication written by Chet Flippo traces the genesis of the group and includes some great information and interviews. The band members cannot agree as to how they originally came together. According to Crosby, Cass Elliot had introduced him to Nash. Crosby had been romantically involved with Joni Mitchell, after which she and Nash fell in love. Stills insists that the first song was sung in Cass's dining room (looking out on the pool where John Sebastian was swimming) and that the party then adjourned to Joni's. As Graham Nash remembers it, this took place at Joni Mitchell's house. He does, however, credit Mama Cass with bringing them together. One thing they all remember the same: there was something special from the beginning about their harmonies.
What really sets this boxed set apart from others regarding the text information is the inclusion of background material on each indiviual song. In most cases this information comes from the song's writer, although sometimes it is offered by another band member or someone else entirely. Jerry Garcia and Chris Hillman are two that contribute here, and Joni Mitchell talks about writing the song “Woodstock.” Just reading the list of contributing musicians is impressive. It is definitely a who's who of 1960's and 1970's popular music artists. Sometimes the notes are not just background material, but a great story as well. Graham Nash wrote “Cowboy Of Dreams” about Neil Young and relates this tale: “I once went down to his ranch and he rowed me out into the middle of a lake-putting my life in his hands once again. He waved at someone invisible and music started to play, in the countryside. I realized Neil had his house wired as the left speaker, and his barn wired as the right speaker. And Elliot Mazer, his engineer, said 'How is it?' And Neil shouted back 'More barn!'”
Who can resist a story like that about a band that we love for so many reasons? First of course is the great music. But we also love them for their social conscience and for their ability to identify with the common man, for that “average Joe” quality that they never lost. It is that last part that seems to cause CSN fans to identify with the band members on a more personal level than with other rock stars. We always felt, true or not, that we knew them. More so than other boxed sets, the textual information here helps to foster that sense of familiarity. Put on disc one, and read about some old friends.
