Posts Tagged ‘Country’

Lefty Frizzell: An Article From Life – The Complete Recordings

Thursday, December 6th, 2018

The exquisite, final word on a country legend

Born in Texas, and raised in Arkansas, William Orville “Lefty” Frizzell took in the seminal influences of Jimmie Rodgers, Ernest Tubb and others, and forged an original vocal style that impacted an entire generation of singers. His next-generation disciples included Merle Haggard, Willie Nelson, George Jones and Roy Orbison, and his influence continues to reverberate today through the works of Brennen Leigh and many others. His 1950 debut topped the charts with both “If You’ve Got the Money (I’ve Got the Time)” and its flip, “I Love You a Thousand Ways,” and the hits that followed stretched into early 1953. But Frizzell was a mercurial artist, firing his manager and band in 1952, joining and quitting the Grand Ole Opry, and moving to Los Angeles, where he joined the Town Hall Party. His 1954 single “I Love You Mostly” would be his last Top 20 hit for four years, and though he’d move to Nashville and regain the top slot with 1964’s “Saginaw Michigan,” his health and success steadily declined until his death at the age of 47 in 1975.

Bear Family has pulled out all the stops to honor Frizzell’s legendary career, gathering 361 tracks on 20 CDs, including all of his singles (45s and 78s) and albums, demos and session material, and a wealth of newly discovered material. The discs are packaged in double digipaks, which are themselves housed in a 12-½” x 12-½” x 3” box that includes a massive 264-page hardcover book. This box set represents the third iteration of Bear Family’s archival work on Frizzell, having previously issued the 14-LP set His Life, His Music in 1984, and the updated 12-CD set Life’s Like Poetry in 1992. This is a superset of both earlier releases, and though a few scraps might still be hiding in a dusty vault, this is likely to be the definitive statement on Frizzell’s recording career. In addition to complete coverage of his 25-years of commercial releases, the demos, private recordings, radio airchecks and U.S. military program transcriptions stretch back into the 1940s. The set’s final eight discs feature Frizzell’s younger brother David reading his biography I Love You a Thousand Ways.

Discs 1 through 9 repeat the same commercial material as was originally offered on Life’s Like Poetry. Discs 10-12 include demos, radio airchecks and transcriptions that provide a rich picture of the artist in development. These latter recordings vary in quality, and some of the earliest material is rough in spots, but Frizzell’s voice always manages to emerge from the surface noise of acetates and metal parts. New to this box are two dozen full and partial demos and non-session recordings, including late-40s covers of Ernest Tubb (“I’ll Always Be Glad to Take You Back” and “I’ll Always Be Glad to Take You Back”), Jimmie Rodgers (“My Old Pal of Yesterday,” “Jimmie the Kid” and “California Blues”), Ernest Tubb (“Mean Mama Blues”), Hank Williams (“I’m a Long Gone Daddy,” “Last Night I Heard You Crying in Your Sleep” and “There’ll Be No Teardrops Tonight”), and 1950 band recordings of Frizzell originals “If You’re Ever Lonely Darling,” “I Love You A Thousand Ways” and “Lost Love Blues.” Of particular interest among the new tracks are three solo acoustic takes of “I Won’t Be Good For Nothin’” that show how Frizzell developed his approach to the song.

The transfers and mastering of the studio material highlight the microphone’s love for Frizzell’s voice. His presence is palpable sixty years after he first stood and sang these numbers, and his feel for a song’s tempo remains unerring, never rushing a lyric, but never dragging the beat. As described by Merle Haggard, Frizzell would “hold on to each word until he finally decided to drop it and pick up the next one.” Charles Wolfe’s biographical essay, updated and revised by Daniel Cooper and Kevin Coffey, pieces together Frizzell’s personal and recording history from a variety of sources. Frizzell was apparently not fond of being interviewed, and the authors augment the artist’s own memories with those of his family, friends, supporting musicians and colleagues. The book (weighing in at a somewhat unwieldy five pounds) is laced with archival photos, and supplemented by Richard Weize and Kevin Coffey’s detailed discography. This collection is the epitome of the Bear Family box set, overwhelming in its completeness, attention to detail and love for the artist. [©2018 Hyperbolium]

Blue Yonder: Rough and Ready Heart

Monday, November 19th, 2018

Country, swing and honky-tonk from talented West Virginia trio

This West Virginia trio – singer/songwriter John Lilly, guitarist Robert Shafer and acoustic bassist Will Carter – make country music from another era. There are Western tones that suggest the Sons of the Pioneers, but Lilly and Carter’s harmonies are bluegrass brotherly, and Shafer’s picking ranges through swing, rockabilly, bluegrass and folk. Add in the playing of guests Russ Hicks on steel guitar and Tony Creasman on drums, and the group covers a lot of range with their original material. The album opens with Lilly on the side of the road, thumb out and wanderlust intact. His travel turns emotional, as he contemplates the scars that have toughened him and the memories that bind him steadfastly to the past. “Rough and Ready Heart” suggests he’s ready to soldier on, but his attachment to the past puts tomorrow on hold for “Lost in Yesterday.” It’s not until “Emerald Eyes” that Lilly finds his way back to the present, and with the clever barroom lesson of “You Can’t Get There From Here” he spies the exit. The album closes with the upbeat rockabilly “Green Light,” the rhythm section stoking the beat as Shafer shows off his flatpicking prowess. Sharp songwriting and instrumental virtuosity has made Blue Yonder a weekly favorite at the Bluegrass Kitchen, and their latest album brings it home. [©2018 Hyperbolium]

Blue Yonder’s Home Page

Jim Ford: Harlan County

Tuesday, October 30th, 2018

Your favorite’s favorite country-soul singer-songwriter

You may have never heard country-soul singer-songwriter Jim Ford, but you’ve likely heard his songs, and you’ve certainly heard his fans. Ford co-wrote P.J. Proby’s hit single “Niki Hoeky,” an album for the Temptations, and songs recorded by Bobby Womack, Aretha Franklin, Bobbie Gentry, Dave Edmunds and Nick Lowe. The latter named Ford as his biggest musical influence, and recorded Ford’s songs with his pub rock group Brinsley Schwarz and as a solo act. This 1969 debut was the only full-length release of Ford’s lifetime, which also included singles, unreleased albums for Capitol and Paramount, and a wealth of session tracks that slowly found their way out of the tape vault.

Recorded in Los Angeles with support from James Burton, Dr. John, Jim Keltner and Pat and Lolly Vegas, Ford laid down an unusual mix of funk, soul, country and swamp pop. Burton’s guitar figures combine with soulful backing vocals, horns and strings, to create an album that sounds as if it could have just as easily been recorded in Memphis as in Southern California. The title track looks back at the poverty and back breaking work from which Ford ran away as a teenager. The song’s breakdowns into hymn contrast with full throated pleas for relief, as Ford recounts the sort of living that wears a man down by his early twenties. His early years inform his recording of Delaney & Bonnie’s “Long Road Ahead,” and his move from New Orleans to California is essayed in the autobiographical “Working My Way To LA.”

Oddly, for an album by a songwriter, half the selections are covers, including Stevie Wonder’s “I Wanna Make Her Love Me,” a swamp-boogie take on Willie Dixon’s “Spoonful,” and a vocally strained rendition of Alex Harvey’s “To Make My Life Beautiful.” Ford’s originals include the broken hearted road metaphors of “Under Construction,” the emotionally satisfied “Love on My Brain” and the not-too-subtle drug references of “Dr. Handy’s Dandy Candy.” None of this made an impression on radio programmers or record buyers, and the album quickly disappeared. Ford eventually made his way to England where sessions with Brinsley Schwarz and the Grease Band failed to generate releases, and additional masters recorded for Paramount were shelved.

Ford drifted into partying and out of the music industry, eventually ending up in Northern California’s Mendocino County, where he passed away in 2007. Bill Dahl’s liner notes tell the story of Ford’s career leading up to, through and following this album, and the booklet reproduces the album’s front and back cover art. The original ten tracks have been reissued several times on vinyl and CD, including a 2014 release by Varese, and an expanded 2013 edition by Bear Family. Additional volumes [1 2 3 4] of previously unreleased material have also been issued, but if you’re new to Ford as a performer, this 1969 debut is the place to start. [©2018 Hyperbolium]

Buck Owens: Country Singer’s Prayer

Tuesday, October 16th, 2018

Buck Owens’ previously unreleased final album for Capitol

Don Rich’s death in a 1974 motorcycle accident had a well-documented impact on Buck Owens. With his musical drive in neutral, his chart success declining and his Capitol contract expiring, Owens departed his longtime label, recorded a pair of albums for Warner Brothers and faded into a musical hiatus. Lost in the shuffle was this final album Owens recorded in 1975 for Capitol at his Bakersfield studio. Two singles – “The Battle of New Orleans” and “Country Singer’s Prayer” – were released to little chart action, and anthologized on the album that turned out to be Owens’ last Capitol release, The Best of Buck Owens, Vol. 6. The remaining tracks, shelved for more than forty years, are released here in their original running order, from the master tapes, for the first time. Both singles and their B-sides are included alongside liner notes by Scott B. Bomar and new interviews with Buckaroo Jim Shaw, and songwriters Robert John Jones and Dennis Knutson.

The album opens with Homer Joy’s New Orleans-tinged “John Law.” Joy played an important role in Owens’ career as the writer of his comeback vehicle “Streets of Bakersfield,” and here he writes a tale of a colorful night in a county jail. The song’s opening lyric tips its hat to Don Rich, who plays guitar on this 1973 track. By this point in Owens’ career, he wasn’t writing much, but he collected good material from RJ Jones, Jim Shaw, David Knutson and David Frizzell. Though still grieving the loss of Don Rich, he puts on a brave face for a few up-tempo numbers, but really digs into the sad songs of cheating spouses, lost souls and fraying relationships. The title track’s reminiscence, written by Jim Shaw and RJ Jones, proved dear to Owens as he thought back on the road traveled with Rich and the Buckaroos, and “A Different Kind of Sad,” again by RJ Jones, could easily have been written for Owens about Rich.

Owens’ distress eventually sapped his drive for recording, but it never dented his talent or star power. The mood here is more sedate than the explosive performances of his early, groundbreaking years, but Owens poured his sorrow into his singing, and found enough resonance with this material to re-record many of these songs for Warner Bros. The studio hands that backed those later recordings, though Nashville pros, didn’t muster the deep connection that Owens found with his Buckaroos, and Owens himself didn’t sound as emotionally invested as he had on these original drafts. After more than forty years, it’s a real treat for Owens’ many fans to have this album finally released. It’s a more fitting bookend to his Capitol career than a sixth volume of hits, and shows that even amid in his personal and professional grief he found solace in music. [©2018 Hyperbolium]

Buck Owens’ Home Page

Sarah Borges & The Broken Singles: Love’s Middle Name

Tuesday, October 16th, 2018

Love’s highs, lows and vexing in betweens

Sarah Borges has never been one to be pigeonholed. As both a solo act, and leading the Broken Singles, she’s explored country, rock, rock ‘n’ roll, rockabilly, psych, pop and numerous points in between. Her third album fronting the Broken Singles – the first in nine years- continues to indulge a variety of musical muses, including hard-charging rockers and mid-tempo laments, as she explores separation, loneliness, desire and dysfunction. The album opens with “House on a Hill,” immersing herself in the dichotomy between lingering feelings and the growing apprehension of an unraveling marriage. Similar tensions animate the balance of need and want in “Lucky Rocks,” the sober retrospective of “Are You Still Takin’ Them Pills” and the introspective closer “I Can’t Change It.” The latter contemplates what’s changed, what remains, and in the chorus, the effort needed to distance the present from a troubled past. Borges’ protagonists aren’t shy about their questionable choices, including problematic hookups and a murder ballad, but with “Grow Wings” she suggests that it’s songwriting that allows her introverted soul to freely express its troubles. Borges’ music has been likened to Sheryl Crow meets Joan Jett, but her music might also be likened to the emotional rock of New England compatriot Robin Lane and her 1980s band the Chartbusters. A little bit country, folk and blues, and a whole lot rock ‘n’ roll. [©2018 Hyperbolium]

Sarah Borges’ Home Page

Willie Nelson: Things to Remember – The Pamper Demos

Thursday, October 11th, 2018

Expanded helping of Nelson’s early songwriting demos

For a songwriter of Willie Nelson’s stature, it’s surprising that his early ‘60s Nashville demos have received so little attention. A few slipped out on compilations and bootlegs, but it wasn’t until 2003 that Sugar Hill pulled together fifteen for Crazy: The Demo Sessions. And it was thirteen more years until Sony expanded the catalog with two volumes of digital downloads on The Demo Project. Real Gone now collects the latter two volumes into physical CD and LP releases, augmenting the twenty-eight tracks with liner notes by Colin Escott, and photos from the archives of Bear Family founder Richard Weize. As with the previous releases, the recordings are clean and compelling, and with only partial overlap of the 2003 Sugar Hill disc, this is an essential addition to any Willie Nelson fan’s collection.

Nelson signed a publishing deal with Pamper Music in 1960 and commenced to churning out songs and demos with his guitar and in off-hour sessions with Nashville A-listers. The material includes many of his most iconic compositions – “Crazy,” “Funny (How Time Slips Away),” “Hello Walls,” “Night Life,” “Pretty Paper” – first turned into hits by Patsy Cline, Faron Young, Ray Price, Roy Orbison and others. But also heard here are the initial takes on songs that would populate Nelson’s early albums for Liberty and RCA, and fully flower in the years after he’d shucked off Nashville’s stylistic straightjacket. His idiosyncratic vocal phrasing had yet to fully form, but you can hear its roots here, and the sophistication of his songwriting was already steps ahead of the Nashville mainstream.

The band tracks are two-steps and shuffles, and though Nelson sings straight to the beat, his voice, melodies and lyrics are distinctive. The violence of “I Just Can’t Let You Say Goodbye” probably wouldn’t be released as a single today, but Nelson actually had middling success cutting it for RCA in 1965. The low strings on “Little Things” sound like Nelson’s guitar playing, though they don’t have the tone of Trigger, and the walking bass line of “I’m Gonna Lose a Lot of Teardrops” and the acoustic blues guitar and fingersnaps of “Night Life” offer changes of pace. Nelson turned out numerous songs of romantic dissolution, each colored with a unique shade of self-pity, anger or remorse, and “I Gotta Get Drunk” sounds like something Hank Williams might have written had he lived into the 1960s.

Comparing these demos to their later incarnations provides an interesting lesson in what songwriters, singers, musicians and producers each contribute to a hit record. The lyrics of “Pretty Paper” provide a sympathetic portrait of the song’s subject, but the demo couldn’t anticipate the level of pathos that would be brought to the hit by Roy Orbison, producer Fred Foster and arranger Bill Justis. Similarly, Nelson’s demo of “Crazy” suggested the phrasing that would turn it into a hit, but didn’t take it to the crooning extreme that made it a signature for Patsy Cline. The talking guitar that threads through “Hello Walls” is a nice period touch, but only a placeholder for the answer vocals on Faron Young’s hit. As memorable as are the hits, it’s a treat to hear these early sketches and enjoy Nelson’s early burst of songwriting genius. [©2018 Hyperbolium]

Willie Nelson’s Home Page

Cliff Westfall: Baby You Win

Wednesday, August 1st, 2018

Twangy throwback country with a clever, humorous edge

Native Kentuckian Cliff Westfall’s country songs harken back to the clever and funny writing of Roger Miller and Tom T. Hall. And though he’s relocated to New York City, he’s recruited like-minded country music players as his backing band, ensuring there’s plenty of twang behind his humor and wordplay. Westfall lists Chuck Berry as his favorite songwriter, and he exhibits the same sort of attention to detail in his lyrics, choosing his words in parallel service of story, meter and rhyme. The album opens with the honkytonk of “It Hurts Her to Hurt Me,” as Westfall tends to his romantic wounds with a self-delusional salve. He’s a relationship pragmatist, staring past criticism, content to be Mr. Right Now until Mr. Right comes along and he’s pushed out of the picture. The chugging “Off the Wagon” surveys a dysfunctional relationship whose blurry attraction wears off along with the booze and pills, and runs out with a lengthy, twangy instrumental.

Westfall’s protagonists have the self-awareness to know they’re playing the doormat. They expect to be left behind, and only occasionally think of their own feelings, as one realizes “more and more I love you less and less.” They suffer lies, wait for the other shoe to drop, and wallow in self-deception to avoid thinking about what they really believe to be inevitable. The romantic powerlessness and emotional resignation of the album’s lone cover, “Hangin’ On,” fits perfectly with the originals, and the use of pedal steel in place of the Gosdin Brothers’ acoustic guitar underscores the broken will of the lyrics. Bryce Goggin and Graham Norwood’s production is clean, but not so modern that it loses the spirits that inspire Westfall’s writing, and the assembled players offer up everything from honkytonk twang to the jazzy turn of “Sweet Tooth.” Fans of Rodney Crowell, Dwight Yoakam, Moot Davis, and the Derailers should take this out for a spin. [©2018 Hyperbolium]

Cliff Westfall’s Home Page

Buck Owens and the Buckaroos: The Complete Capitol Singles – 1967-1970

Tuesday, May 15th, 2018

Stupendous second chapter of Buck Owens’ career at Capitol

Omnivore’s previous set on Owens’ groundbreaking Capitol singles is now joined by a companion volume that catalogs his expanding reach as an artist. The commercial dominance of his initial rise to fame – which included twenty-two Top 40 hits and thirteen consecutive chart toppers – was unlikely to be matched, and yet this second collection rises to the occasion, both commercially and artistically. Of the eighteen singles Owens released across these four years, all but two made the Top 20; of the two misses, “Christmas Shopping” charted #5 on the holiday list, and only the internationally-themed instrumental “Things I Saw Happening at the Fountain on the Plaza When I Was Visiting Rome or Amore” missed entirely. Fifteen of the A-sides reached the Top 10, and six topped the country chart.

More importantly, the late ‘60s found Owens branching out from twangy Bakersfield country with innovative pop touches. He opened 1967 with the back-to-back #1s “Sam’s Place” and “Your Tender Loving Care,” dipped to #2 with “It Takes People Like You (To Make People Like Me),” and climbed back to the top with 1968’s “How Long Will My Baby Be Gone.” He scored three more chart toppers in 1969 (the originals “Who’s Gonna Mow Your Grass” and “Tall Dark Stranger,” and a cover of Chuck Berry’s “Johnny B. Goode”), and just missed the top spot with 1970’s “The Kansas City Song.” Owens joined Hee-Haw in 1969 and continued to chart throughout the 1970s, but with the passing of Don Rich in 1974, his interest in a music career quickly declined. After a pair of albums and a handful of mid-charting singles for Warner Brothers he basically retired from releasing music for more than a decade.

But in the mid-to-late ‘60s, Owens was still accelerating. As he and the Buckaroos had shown with their 1966 Carnegie Hall Concert album (and reaffirmed here with the 1969 live take of “Johnny B. Goode”), the group was one of the hottest bands in the land. The singles featured here include the talents or Don Rich, Doyle Holly, Tom Brumley and Willie Cantu, as well as later members Jerry Wiggins and Doyle Curtsinger, and numerous sidemen. Perhaps most startling is the inclusion of smooth backing vocals from the Jordanaires and the Nashville-based Anita Kerr Singers on several tracks, and strings are heard on both A-sides and flips, including “Big in Vegas.”

Owens authored a seemingly inexhaustible supply of great songs, and by the mid-60s he’d begun expanding beyond the classic Bakersfield Sound. The acoustic guitars of “It Takes People Like You” and “How Long Will My Baby Be Gone” weren’t unprecedented, but the songs’ moods, particularly in Owens’ vocals, were new. Owens love of ‘50s rock ‘n’ roll is heard on “Christmas Shopping,” there’s fuzz guitar on the waltz-time “Who’s Gonna Mow Your Grass,” and Earl Poole Ball adds organ to the intro of “The Kansas City Song.” Rather than hoarding his best work for A-sides, Owens often complemented his hits with interesting flips, including the transfixed vocal of “That’s All Right With Me (If It’s All Right With You)” and the funereal “White Satin Bed.”

Owens found terrific chemistry with protege Susan Raye on several hits, including the Johnny & June-styled sass of “We’re Gonna Get Together,” the harpsichord-lined fairy tale “The Great White Horse,” and the terrifically stalwart B-side remake of Owens’ “Your Tender Loving Care.” Omnivore’s double-disc includes 18 singles (A’s and B’s), ten in mono and eight in stereo, mastered from original analog sources by Michael Graves at Osiris Studio. Scott B. Bomar’s liner notes are accompanied by detailed session notes, photos, and picture sleeve and label reproductions. This is a stupendous second chapter, showing Owens and the Buckaroos in full artistic and commercial flight. It’s every bit as essential as the first volume, and will leave fans eagerly anticipating the third and final Capitol chapter. [©2018 Hyperbolium]

Buck Owens’ Home Page

Don Gibson: The Best Of The Hickory Records Years, 1970–1978

Saturday, May 5th, 2018

Don Gibson’s second wind on Hickory Records

By the time that Don Gibson landed at Hickory Records, he’d been scoring hits for more than a decade at RCA. 1958’s chart-topping “Oh Lonesome Me” kicked off a string of RCA hits that ran through the end of the 1960s, and continued at Hickory into the late-70s. His biggest Hickory singles, “Country Green,” “Woman (Sensuous Woman)” and “Touch the Morning,” included his third (and final) #1, and provided the commercial face of a solid catalog that’s seen surprisingly little reissue activity. Omnivore offers twenty-five well-selected singles and album tracks, covering original and cover material that ranges from the twangy “Don’t Take All Your Loving” to a soulful take on Mel & Tim’s “Starting All Over Again.”

Gibson is remarkably consistent as he brings soul to Joe South’s “Games People Play,” heartbreak to Bobby Bond’s “If You’re Goin’ Girl,” and compelling blues to Grady Martin’s “Snap Your Fingers” and Mickey Newbury’s “If You Ever Get to Houston (Look Me Down).” Producer Wesley Rose cannily framed Gibson’s voice in a number of different ways, without losing his identify as a singer or his connection to country music. Rose’s sound wasn’t as clean as that produced by Chet Atkins at RCA, but neither was it tained with the badly aging affectations of many 1970s sessions. The guitar and steel players, uncredited here, add terrific stutter and twang on many of the tracks.

Gibson’s songwriting remained strong throughout his tenure at Hickory, and though his biggest Hickory hits came from the pens of Eddy Raven and Gary S. Paxton, he wrote fine singles, B-sides and album tracks, including the effervescent love song “I’m All Wrapped Up in You,” the ballad “Pretending Everyday,” and the remorseful “Praying Hands.” Omnivore’s collections pulls together all of the charting singles that hit #29 or above, and includes tracks from each of Gibson’s Hickory albums. That leaves nearly a dozen lower-charting singles and a wealth of album material for Bear Family to extend its series of Gibson box sets; but as an introduction to Gibson’s second wind of fame, this is terrific! [©2018 Hyperbolium]

NRBQ: NRBQ

Monday, April 23rd, 2018

The 1969 debut of a polyglot music legend

Originally released in 1969, this debut outlined the wide musical grasp and irreverent sensibility that would grow the band’s legend over the next 49 years. 49 years in which this initial explosion of creativity sat in the vault unreissued. 49 years in which either the group’s continuing activity diverted their attention from a reissue, or in which lawyers intermittently haggled over muddy contractual rights. Either way, Omnivore has finally liberated the album from its resting place and reissued the fourteen songs in a tri-fold slipcase with original front and back cover art, Donn Adams period liner notes, and contemporary notes by Jay Berman. Berman characterizes the band’s repertoire, even at this early point in their career, as including “nearly anything,” and the eclectic mix of covers and originals bears that out.

This first studio lineup included long-time members Terry Adams and Joey Spampinato (the latter then credited as Jody St. Nicholas), along with vocalist Frank Gadler, guitarist Steve Ferguson and drummer Tom Staley. The group stakes out the audacious corners of their musical omniverance with covers of Eddie Cochran’s rockabilly “C’mon Everybody,” Sun Ra’s avant garde jazz “Rocket Number 9,” Sonny Terry and Brownie McGhee’s folk blues “C’mon If You’re Comin’” (which the group revisited on 1972’s Workshop), and a country soul arrangement of Bruce Channel’s 1962 chart topper, “Hey! Baby.” Few bands at the time would have even known this range of material, let alone find a way to make it fit together on an album.

The original material from Adams, Spaminato and Ferguson is equally ambitious. Adams mashes up trad jazz and rock ‘n’ roll for “Kentucky Slop,” boogies hard on “Mama Get Down Those Rock And Roll Shoes,” captures the melancholy of Carla Bley’s 1964 jazz instrumental “Ida Lupino” with original lyrics, and closes the album with the piano-led “Stay With Me.” Ferguson’s trio of originals include the pop and soul influences of “I Didn’t Know Myself,” the gospel rocker “Stomp” and the country, folk and gospel flavored “Fergie’s Prayer.” Spampinato offers the album’s most ebullient moment with “You Can’t Hide,” a title the band would revisit ten years later on Tiddlywinks.

The album’s collection of first takes (including the previously unreleased first take of “Stomp” substituting for the re-recorded version that appeared on the original vinyl) provides a snapshot of the band as they played live. The set list reflects the confluence of musical interests, knowledge and talent the band members brought to the group, and the performances have an all-in quality that made second takes superfluous. Whether or not the renditions were note-perfect (and they pretty much are), they were perfect expressions of the musical ethos that sustains the band to this day. It’s a shame that the originally released second take of “Stomp” wasn’t included as part of this reissue, but that’s a nit, given the historical and artistic riches that have been sprung from the vault. [©2018 Hyperbolium]

NRBQ’s Home Page