Al Stewart

Al Stewart - Just Yesterday (Bonus Disc 5) - 2005 - EMI

This live album is the 5th bonus disc of Al Stewart's 5 CD "Just Yesterday" box set. The tracks are from a concert recorded live in Chicago, in October 1978 during Al's American tour to promote his then new "Time Passages" LP. That album's title track, as well as "Valentina Way," "Life in Dark Water," and "Song on the Radio" (the latter with a great Phil Kenzie sax solo), are all included. If you are a real Al Stewart fan you will notice that the tracks on this album have already been released on Al's "Time Passages Live" album in 2002. The SQ on this release is arguably better than "Time Passages Live." The full box set contains tracks from his first album Bedsitter Images in 1967 right through to his "A Beach Full Of Shells" album in 2005. Al Stewart's music is eclectic and diverse in the extreme. He deals with political, historical, and sociological issues, as well as normal standard rock radio favourites. Listen to his song, “Trains", from his "Famous Last Words" album; a song of sheer brilliance, which on the surface seems to be about the history of rail travel, but is, in fact a long narrative about the trains that carried refugees to concentration camps during the Holocaust. His great song, “Post World War Two Blues,” tells about the attitudes of people after WW 2, and refers to Louis Mountbatten and Jimi Hendrix. Definitely not your average song theme. Absolutely amazing lyrics, and typical of Al Stewart's eclectic songwriting. His song, “Flying Sorcery,” is the story of Amy Johnson, the brave English aviatrix who died in 1941 during WW2. Not all his songs are about war, though. Listen to his classic "Year of the Cat", Night Train To Munich", "Song On The Radio", or "If It Doesn't Come Naturally, Leave It". His songs can be humorous, melodic, rock orientated, and contain many more diverse themes and qualities too numerous to mention here. Al Stewart is one of the great "unfashionable" artists who has always "done his own thing", musically. The guy is a brilliant songwriter, and a lyrical genius. Try and listen to Al’s “Rhymes in Rooms” album featuring Peter White. Roy Harper is another "unfashionable" singer songwriter who has been around for a long time, and his creative brilliance is on a par with Al Stewart. Try and listen to Roy's "Stormcock" album [All tracks @ 320 Kbps: File size = 118 Mb]

TRACKS

1. On the Border
2. Sirens of Titan
3. Time Passages
4. Roads to Moscow
5. Life in Dark Water
6. Valentina Way
7. Year of the Cat
8. Pink Panther Theme
9. Song on the Radio

All tracks composed by Al Stewart except Track 3 by Al Stewart & Peter White, Track 7 by Al Stewart & Peter Wood, and Track 8 by Henry Mancini

MUSICIANS

Al Stewart - Guitar, Vocals
Adam Yurman - Guitar
Peter White - Guitar, Keyboards
Robin Lamble - Bass
Robert Alpert, Krysia Kristianne - Keyboards
Harry Stinson - Drums
Phil Kenzie – Saxophone

BIO (WIKI)

Al Stewart (born Alastair Ian Stewart, 5 September 1945 in Glasgow) is a British singer-songwriter and folk rock musician. He is best known for his 1976 single "Year of the Cat" and its 1978 follow-up "Time Passages" (both of which were produced by Alan Parsons), although albums such as Past, Present and Future [1973] and Modern Times [1975] are seen as more representative of Stewart's talent as a historical wordsmith and lyrical balladeer. His current sidemen are Dave Nachmanoff (U.S., Germany) and occasionally Laurence Juber (primarily U.K. tours). Stewart was an integral part of the folk revival in Britain in the sixties and seventies. He appears throughout the musical folklore of the age - he played at the first ever Glastonbury Festival in 1970, knew Yoko Ono pre-Lennon, bought his first guitar from future Police guitarist Andy Summers and compered at the legendary Les Cousins folk club in London in the 1960s. Stewart grew up in the town of Wimborne, Dorset, England after moving from Scotland with his mother. After that, as he sings in the song Post World War II Blues (off Past, Present and Future): "I came up to London when I was 19 with a corduroy jacket and a head full of dreams." After breaking through into the London folk scene in the late 1960s and early 1970s, he moved to the United States in 1977 and recorded/produced most of his best-known work in Los Angeles, California during the late 1970s and throughout the 1980s. The 1990s were quieter for Stewart, as he released a series of live and concept albums, although the last decade has seen Stewart revive his interest in the historical ballads that brought him to fame in the 1960s and 70s, and he has produced three studio albums since 2000. His extensive back-catalogue has been released on CD and in a number of retrospective compilations, and Stewart continues to tour extensively throughout the United States and Europe. Recordings of live concerts are often made available through his fan clubs, chronicling his 43-year career. As of February 2009[update], he has resided in Los Angeles. Stewart's first record was the single "The Elf" (backed with a version of the Yardbirds' "Turn into Earth"), which was released in 1966 on Decca Records, and included guitar work from Jimmy Page (later of the Yardbirds and Led Zeppelin), the first of many leading guitarists Stewart worked with, including Richard Thompson, Tim Renwick and Peter White. Stewart then signed to Columbia Records (CBS in the UK), for whom he released six albums. The first four of these attracted relatively little commercial interest, although they contain some of Stewart's most incisive and introspective songwriting, and he became popular on the university circuit. Stewart's debut album Bed-Sitter Images was released on LP in 1967; a revised version appeared in 1970 as The First Album (Bed-Sitter Images) with a few tracks changed, and the album was reissued on CD in 2007 by Collectors' Choice Music with all the songs from both versions. Love Chronicles (1969) was notable for the 18-minute title track, an anguished autobiographical tale of sexual encounters that was the first mainstream record release ever to include the word "fucking". It was voted "Folk Album of the Year" by the UK music magazine, Melody Maker, and also features Jimmy Page on guitar. His third album, Zero She Flies followed in 1970 and included a number of shorter songs which ranged from acoustic ballads and instrumentals to songs that featured electric lead guitar. These first three albums (including The Elf) were later released as the two CD set To Whom it May Concern: 1966–70. Orange (1972) was very much a transitional album, combining songs in Stewart's confessional style with more intimations of the historical themes that he would increasingly adopt (e.g. "The News from Spain", with its prog-rock overtones, including dramatic piano by Rick Wakeman). The fifth release, Past, Present and Future (1973), was Stewart's first album to receive a proper release in the United States, via Janus Records. It echoed a traditional historical storytelling style and contained the song "Nostradamus," a long (9:43) track in which Stewart tied into the re-discovery of the claimed seer's writings by referring to selected possible predictions about twentieth century people and events. While too long for mainstream radio airplay at that time, the song became a hit on many U.S. college/university radio stations, which were flexible about running times. Such airplay helped the album to reach #133 on the Billboard album chart in the US. Other songs on Past, Present and Future characterized by Stewart's 'history genre' mentioned American President Warren Harding, World War II, Ernst Röhm, Christine Keeler, Louis Mountbatten, and Stalin's purges. Stewart followed Past, Present and Future with Modern Times (1975), in which the songs were lighter on historical references and more of a return to the theme of short stories set to music. Significantly, though, it was the first of his albums to be produced by Alan Parsons, and Allmusic regard it as his best. While it failed to produce any hit singles, it received substantial airplay on album oriented stations and reached #30 in the US. Stewart's contract with CBS Records expired at this point and he signed to RCA Records for the world outside North America. His first two albums for RCA, Year of the Cat (released on Janus in the U.S., then reissued by Arista Records after Janus folded) and Time Passages (released in the U.S. on Arista), set the style for his later work, and have certainly been his biggest-selling recordings.[7] Both albums reached the top ten in the US, with "Year of the Cat" peaking at #5 and "Time Passages" at #10, and both title songs became top ten singles in the US ("Year of the Cat" #8, and "Time Passages" #7). Meanwhile "Year of the Cat" became Stewart's first chart single in England, where it peaked at #31. The overwhelming success of these songs, both of which still receive substantial radio airplay on classic-rock/pop format radio stations, has later overshadowed the depth and range of Stewart's body of songwriting. Stewart himself has frequently expressed disappointment with the quality of his recordings during this era, commercial success notwithstanding. Stewart then released 24 Carrots (#37 US 1980) and his first live album Live/Indian Summer (#110 US 1981), with both featuring backing by Peter White's band Shot in the Dark (who released their own unsuccessful album in 1981). While "24 Carrots" did produce a #24 single with "Midnight Rocks," the album sold less well than its two immediate predecessors. After those releases, Stewart was dropped by Arista and his popularity declined. Still, despite his lower profile and waning commercial success, he would continue to tour and record albums. There was a four year gap between his next two albums Russians and Americans (1984) (which was highly political) and the upbeat pop-orientated Last Days of the Century (1988), which appeared on smaller labels and had lower sales. Stewart followed up with his second live album, the acoustic Rhymes in Rooms (1992), which featured only himself and Peter White, and Famous Last Words (1993), which was dedicated to the memory of the late Peter Wood (famous for co-writing "Year of the Cat"), who died the year of its release. Stewart followed these up with concept albums, with Between the Wars (1995), covering major historical and cultural events from 1918 to 1939, such as the Versailles Treaty, Prohibition, the Spanish Civil War, and the Great Depression and Down in the Cellar (2000), covering the aspects of wine, one of Stewart's areas of enthusiasm and expertise. In 2005, he released A Beach Full of Shells, followed in 2008 by Sparks of Ancient Light. He continues to tour the United States and Europe, along with guitarists such as Laurence Juber and Dave Nachmanoff, whilst also finding time to pursue his hobby of collecting fine wines. Stewart's historical work includes songs such as "Fields of France", from the album Last Days of the Century, about World War I pilots, "In Red Square", from Seemed Like a Good Idea at the Time, about the Soviet Union , "The Palace of Versailles", from Time Passages, about the French Revolution, and "Sirens of Titan", from Modern Times, a musical precis of Kurt Vonnegut's novel of the same title.

MORE ABOUT AL STEWART

Glasgow-born Al Stewart has been an amazingly prolific and successful musician across 40 years and counting (as of 2009), working in a dizzying array of stylistic modes and musical genres — in other words, he's had a real career, and has done it without concerning himself too much about trends and the public taste. He's been influenced by several notables, to be sure, including his fellow Scot (and slightly younger contemporary) Donovan, as well as Ralph McTell, Bob Dylan, and John Lennon — but apart from a passing resemblance to Donovan vocally, he doesn't sound quite like anyone else, and has achieved his greatest success across four decades with songs that are uniquely his and impossible to mistake. Stewart was born in Glasgow, Scotland, in 1945, and was swept up a decade later in the skiffle boom that took young Britons by storm — he decided to take up guitar after hearing Lonnie Donegan's music. By the early '60s, his family was living in Bournemouth, and he joined a local band, the Trappers, in 1963, and was already writing songs by that time. He was an admirer of the Beatles as their fame swept out of Liverpool and across the country, and even managed once to get backstage to meet John Lennon and play a few notes for him, at one of their Bournemouth performances. He studied guitar with Robert Fripp, no less, and later played keyboards in a band called Dave La Caz & the G Men, who managed to open for the Rolling Stones at the outset of the latter's career in 1963. A true milestone for Stewart took place when Dave La Caz & the G Men recorded one of his songs, "When She Smiled," in early 1964. It was around this time that Stewart discovered the music of Bob Dylan, who was in the midst of his "protest" song phase — what he referred to as his finger-pointing songs. The mix of topicality, folk melodies, and the growing prominence of rock instrumentation that he heard in Dylan's music inspired Stewart, who was now prepared to devote as much energy to composition as he had to performing. He went so far as to cut a demo single of Dylan's "The Times They Are A-Changin'" backed with one of his originals, entitled "The Sky Will Fall Down." Though nothing came of it directly, the demo and the song, and the tenor of the times, inspired Stewart to head to London in search of success. He failed to interest anyone in recording him or his topical song "Child of the Bomb" — the "Ban the [H] Bomb" movement in England being a hugely popular and urgent cause at the time — and retreated to performing for a time, as part of the burgeoning London folk scene, which was already home to such figures as Davy Graham, Martin Carthy, and Isla Cameron. He fell in with some of the younger figures on the scene, playing shows with Bert Jansch, Ralph McTell, and Sandy Denny, and also shared living quarters for a time with a visiting American named Paul Simon, from New York, who had already recorded an album, as well as numerous singles with a partner, and was immersing himself in the English folk scene. His friendship with Simon led to Stewart's first gig as a session musician on record, playing guitar on the song "Yellow Walls" from Jackson C. Frank's album Blues Run the Game, which Simon produced. By this time, Stewart had also appeared on the BBC, and was playing better gigs and starting to be noticed. Finally, in 1966, he was signed to Decca Records to cut a single featuring an original of his, "The Elf," on the A-side (the B-side, oddly enough, was his rendition of the recent Yardbirds LP cut "Turn into Earth" — even more curiously, in terms of coincidence, future Yardbirds guitarist Jimmy Page was one of the players on those sessions). Stewart's single was not a success, though the composition has the distinction of being one of the earlier — if not the earliest — pop songs inspired by J.R.R. Tolkien's Lord of the Rings. Stewart was undaunted, and he remained part of the thriving London music scene, and his efforts paid off in 1967 when CBS Records, the U.K. division of Columbia Records in America (which couldn't use the "Columbia" name in England, as it was the property of a division of EMI) signed him to record his debut album, Bedsitter Images. The latter was a superb showcase for Stewart's songwriting, but not for the sound he visualized for his music — heavily orchestrated and, in his eyes, grotesquely over-produced, he felt his voice and even his songs were lost amid the densely layered accompaniments. But the record generated a massive amount of publicity for him, and put Al Stewart on the pop music map as a contender, and someone worth watching and hearing. By then, he was known to the music journals, and at his performances he could show off his songs his way (and one of his shows in 1968 featured accompaniment by no less than his former teacher Robert Fripp and several others who would figure large in a group called King Crimson a year or so later). In 1969 came a second album, Love Chronicles, whose epic title track broke ground among respectable recordings for its use of language (a colloquial term for intercourse) as well as running-time barriers, and included Fairport Convention among the backing musicians. Stewart's writing had already showing a remarkable degree of growth from what were hardly modest beginnings, at least in terms of ambition — his songs were increasingly coming across as something akin to "sung" paintings, mixing topicality, a command of detail and imagery, and distinctive use of language. But with Zero She Flies he took a major step forward with the song "Manuscript," which was his first to draw extensively from history, and also to incorporate sea images. These were elements that would all manifest themselves ever more strongly in his work across the decades to come. Following the release of Orange in 1972, he would turn away from the deeply personal songs and devote an increasing part of his music to sources out of history, plunging into such subject matter in the first person, as almost a musical precursor to Quantum Leap. Stewart made the leap in October of 1973 with the release of Past, Present and Future, an LP's worth of songs that would explore past lives (and the future by way of the past, on "Nostradamus"). The latter song and "Roads to Moscow" also gave him his first major exposure in America, where FM and college radio stations quickly picked up on both songs. Suddenly, from being all but unknown on the far side of the Atlantic, Stewart had a serious cult following on American college campuses, especially in the Northeast (where New York's WNEW-FM radio gave all of Past, Present and Future, and especially the two songs in question, lots of airplay). He followed this up in the fall of 1974 with Modern Times, produced by Alan Parsons, which was thick with contemporary, historical, and literary references. It would be a full year before his next album showed up, but when it did, that record completely altered the landscape under Stewart's feet, and far beyond as well. Year of the Cat (1975) turned Al Stewart from an artist with a wide cult following at America's colleges into a fixture on AM radio, the title song rising into the Top Ten in the U.S. and, ultimately, around most of the world. In the United States, in an effort to capitalize on his sudden fame — as not only "Year of the Cat" but "On the Border" also charted high — a double album of tracks from his four prior British LPs was issued. And in the fall of 1978, Time Passages, his newest album, was released to great success, including a Top Ten single for the title track. A year of touring to huge audiences around the world followed, all of it very strange when one considers how far removed from the dominant late-'70s sounds of punk, disco, and new wave Stewart's music was. In the summer of 1980 came his next album, 24 Carrots, but neither it nor any of the singles pulled from it were ever able to repeat the success of those three prior LPs or their accompanying 45s. Indian Summer (1981), a mixed live and studio album, also failed to perform up to expectations. Stewart, who had been a mainstay of Arista Records in America for the last three years of the 1970s, was dropped by that label soon after Indian Summer's release. He didn't disappear, however, either on record or in concert, and continued to tour and record. The much more overtly political album Russians & Americans (1984) and the lighter Last Days of the Century (1988) kept his name out there, and he also recorded another concert album, the all-acoustic Rhymes in Rooms (1992). And in an increasingly rare sort of gesture, in 1993 he released Famous Last Words, and album dedicated to the late Peter Wood, who had co-written "Year of the Cat." He also continued to explore history in song with Between the Wars (1995), which dealt with events between 1918 and 1939. Stewart's 21st century recordings include A Beach Full of Shells (2005) and Sparks of Ancient Light (2008). When he isn't recording or touring, he keeps busy with his hobby of collecting fine, rare wines. His post-1980 work is less easy to find than compilations of his hits from the mid- to late '70s, which are downright ubiquitous, and in 2007 his British CBS albums were released on CD in America through Collectors' Choice. Stewart was also given the comprehensive box set treatment by EMI in 2005 with the five-CD set Just Yesterday. © Bruce Eder, allmusic.com

John Kay

John Kay - Lone Steppenwolf - 1987 - MCA Records

Contains 10 of the best selections from John Kay’s solo albums, “Forgotten Songs and Unsung Heroes” (1972) and “My Sportin’ Life” (1973). It contains both his well-known version of Hank Snow's "I'm Movin' On" from 1972 and his great version of Mentor Williams' (brother of Paul Williams) "Drift Away" from early 1973 (originally recorded by John Henry Kurtz on his 1972 album Reunion) but recorded by John Kay before Dobie Gray's hit version was released in late 1973. John Kay has this to say about "My Sportin’ Life" - "With the exception of “Sing With The Children”, the rest of the songs were recorded by studio musicians and myself. Mike Utley, keyboards, Russ Kunkel, drums, Danny Kortchmar, guitar and Lee Sklar, bass. With hindsight, I feel the album was perhaps, a little over produced and at times had a pop sound. Nevertheless this is still one of my favorite albums to this day. I’m particularly fond of my version of “Drift Away” as well as “My Sportin’ Life” “Nobody Lives Here Anymore” and “Dance To My Song”. Two other favorites of mine are “Sing With The Children” (double slide guitar work between Kent Henry and myself) and “Easy Evil” which has a great feel and Gloria Jones’ sexy harmony. People still comment on that song to this day"."Lone Steppenwolf" is a really good album from John Kay in the country rock/folk style with some blues. Check out John's "My Sportin' Life" album on this blog which contains a rare cover of Donald Fagen & Walter Becker's "Giles of the River" [All tracks @ 320 Kbps: File size = 95.8 Mb]

TRACKS / COMPOSERS

1. EASY EVIL (Alan O' Day) 3:34
2. WALKIN' BLUES (Arranged by Robert Johnson) 2:44
3. MANY A MILE (Patrick Sky) 4:29
4. DRIFT AWAY (Mentor Williams) 4:07
5. SING WITH THE CHILDREN (Ron Davies) 6:33
6. MY SPORTIN' LIFE (John Kay) 5:15
7. YOU WIN AGAIN (Hank Williams) 4:02
8. I'M MOVIN' ON (Hank Snow) 3:07
9. NOBODY LIVES HERE ANYMORE (John Kay) 3:57
10. SOMEBODY (John Kay) 4:07

MUSICIANS

John Kay - Guitar, 12 String Guitar, Electric Guitar, Bottleneck Guitar, Dulcimer, Harp, Vocals
Danny Kortchmar, Kent Henry - Guitar
George Biondo, Leland Sklar, Bill Cooper - Bass
Hugh Sullivan, Daryl Dragon, Larry Knechtel, Alan O'Day - Keyboards
Richard Podolor - Keyboards, Mandolin, Guitar, OrganTambourine, Jawbone
Mike Utley - Piano
Whitey Glan, Russ Kunkel - Drums
Venetta Fields, Sherrie Matthews, Gloria Jones, Marsha Temmer, Alexandra Sliwin, Joan Sliwin, Stan Farber, Gene Morford - Vocals

BIO

Steppenwolf leader/founder John Kay is perhaps the most overlooked early contributor to the musical style that would become heavy metal and hard rock. Kay was the first rocker to use the phrase heavy metal in a song, in one of metal's first great anthems: Steppenwolf's 1968 classic "Born to Be Wild." Born Joachim Fritz Krauledat on April 12, 1944, in the section of Germany that was once known as East Prussia, it was the American rock & roll that he heard on U.S. Armed Forces radio after his family moved to East Germany that fueled his interest in music. After relocating to Toronto, Canada, in 1958, Kay became even more transfixed by rock & roll -- leading to Kay picking up the guitar, writing songs, and playing in local bands. In the '60s, Kay founded the Sparrow, a rock outfit who played both Canada and the U.S., but received little attention. The group had fallen apart by 1967, but with a new, harder-edged style of rock beginning to conquer the charts and airwaves (Cream, Jimi Hendrix, and the Yardbirds), Kay decided to pursue this direction with his next band, Steppenwolf (titled after Hermann Hesse's novel of the same name). After moving to Los Angeles, the fledgling band was signed to Dunhill and recorded their self-titled debut, issued in 1968. The album became a sizeable hit, as "Born to Be Wild" was unleashed on an unsuspecting record-buying public, becoming one of rock's most instantly identifiable and enduring hits of all time. After the track was used in the 1969 cult classic movie Easy Rider, it subsequently appeared in countless other movies and TV commercials over the years and was covered by numerous other bands (Blue Oyster Cult, Slade, Crowded House, and the Cult). Steppenwolf continued to crank out hit albums (1968's The Second, 1969's At Your Birthday Party, and 1969's Monster), singles ("Magic Carpet Ride," "Rock Me"), and tours on a regular basis, with Kay being the only constant member among a revolving door of other musicians. By 1972, Kay decided to end the group, issuing his first solo albums around the same time: Forgotten Songs & Unsung Heroes and My Sportin' Life. Steppenwolf's retirement didn't last for long, however, as Kay alternated between the band and his solo career throughout the '70s, '80s, and '90s. He even took a few former members of the band to court when they, too, began touring behind the name Steppenwolf. In 1994, Kay penned an autobiography, Magic Carpet Ride, and four years later, Steppenwolf and Kay were the subject of an interesting Behind the Music episode for VH1. © Greg Prato © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-kay-p13383/biography

Ernie Graham

Ernie Graham - Ernie Graham - 1971 - Liberty

Ernie Graham's 1971 self-titled solo album is one of the lost jewels of its era, but the CD reissue is even better -- the sound is remastered in state-of-the-art digital audio, and it's thoroughly annotated, but even better, the subsequent 1978 single A- and B-sides "Romeo and the Lonely Girl" (authored by Phil Lynott) and "Only Time Will Tell" are appended to the original eight songs. The result is a one of the most rewarding and enjoyable pieces of roots/folk-based rock of its era, and a must-own CD for anyone who loves either of those genres or the pub rock sound of the 1970s. © Bruce Eder, allmusic.com

This is one of the most hauntingly beautiful solo albums to come out of the whole English pub rock scene, and references to Bob Dylan and the Band are appropriate because the rootsy/folk-like intersections with their work are here. It's also a rival to the best work of Brinsley Schwarz, Ducks Deluxe, Eggs Over Easy, et al. (and no surprise -- the Brinsleys played on this album). Opening with the gorgeous, Dylanesque "Sebastian," built on a lyrical acoustic guitar part, Graham reveals himself a songwriter and player of extraordinary sensitivity -- he might easily have been another Alan Hull, or even bigger than that, had he been able to join a band with legs or hold his own career together. As it is, from that Dylan-like start, he and the Brinsleys deliver a brace of full electric numbers that rival the classic sound of the Band, starting with "So Lonely" -- the roots rock sound here is so authentically American that it will fool lots of listeners about its origins and source. For this album, "The Girl That Turned the Lever" and "For a Little While" are two of the finest working-class/folk-style compositions this side of "The Night They Drove Old Dixie Down," and "Blues to Snowy" takes Graham into Lynyrd Skynyrd territory. "Belfast" finally takes listeners to Graham's real roots, in a bracing, fiddle-driven folk-based piece from that side of the Atlantic. © Bruce Eder, All Music Guide

Ernie Graham was a member of Eire Apparent, whose claim to fame was their Sunrise album, produced by Jimi Hendrix. His brilliant 1971 solo record often gets the ‘pub rock’ tag, but sounds closer to genuine Americana, like The Band record that never was. It doesn’t feel like most pub rock (even considering Nick Lowe’s Brinsley Schwarz filled out the backing band); it may just be because Graham hailed from England that we call it pub rock. Labels aside, this is a pretty much perfect record. “Sebastian” is a wonderful folksy opener, but overtly dylanesque. “Belfast,” the closer, is the other anomaly on this disc, definitely a good number but drastic in its divergent Irish style. All the tunes in between are delicately produced gems and true lost classics. Thankfully, the Dylan impersonation tones down as Ernie lets his natural voice shine through. “So Lonely” kicks in with that mellow groove and tunes like “Girl That Turned The Lever” etch their melody into your mind. A laid-back combo: acoustic guitar, touch of organ, the bass and drums sound warm and wooden, with doubled electric guitar punching it up. Even the harmonies are low key, just barely there, lending to the album’s lovely, lulling mood. The “la la” refrains to “For A Little While” and “Don’t Want Me Round You” are positively anthemic and the psyched-out shuffle of “Blues To Snowy” and dreamy feel to “Sea Fever” seal the deal. It’s hard to believe this record could fall so far through the cracks. Beautiful growing melodies, choruses that resonate before you even know the song. Bruce Eder calls this “perhaps the greatest unknown album of the 1970s” and I tend to agree. After this record, Graham would play guitar and pen tunes for Help Yourself, who released their own Cali-flavored gem from the pub rock scene, and would later form his own band, Clancy, who released two albums in 1975. Written by & © Brendan | July 14th, 2008 © http://therisingstorm.net/ernie-graham-self-titled/

The late Irish singer songwriter, Ernie Graham was a member of the Irish sixties psychedelic pop rock band, Eire Apparent, whose "Sunrise" album was produced by Jimi Hendrix. He also played with Help Yourself, Clancy, and with artists like Nick Lowe and the late, great Phil Lynott.. This does not sound like an album of British rock or "Pub Rock", despite Ernie Graham's associations with people like Nick Lowe, and bands like Help Yourself, Clancy, and Brinsley Schwarz. There are albums on this blog by artists like Jim Kweskin, who play Americana style folk blues roots rock, and some of Ernie Graham's songs are in that vein. There is soulful blues, but also electric rock in the eight great tracks on this vastly underrated album. There are also Dylanesque elements on the album. There is not one dud track on this wonderful album. The arrangements for the rhythm section, guitar and piano, are superb. Richard Treece's guitar work is especially good. Also included in the line-up are members of two great British "Pub Rock" bands already mentioned here, Help Yourself, and Brinsley Schwarz.. Bruce Eder calls this “perhaps the greatest unknown album of the 1970s". The album is V.H.R by A.O.O.F.C, and your comments are welcome. The album is now available on CD, with two bonus tracks. Listen to Eire Apparent's "Sunrise" album, and also, if you can find them, Help Yourself's "Strange Affair", and Clancy's "Seriously Speaking " albums. Read more about this album @ http://irishrock.org/irodb/bands/graham-ernie.html [All tracks @ 224 Kbps: File size = 65.1 Mb]

TRACKS

A1 Sebastian 5:40
A2 So Lonely 5:25
A3 Sea Fever 4:40
A4 The Girl That Turned the Lever 6:15

B1 For a Little While 6:35
B2 Blues to Snowy 4:05
B3 Don't Want Me Round You 4.27
B4 Belfast 5.39

All songs composed by Ernie Graham

MUSICIANS

Ernie Graham - Guitar, Vocals
Brinsley Schwarz, Richard Treece - Guitar
Bob Andrews - Guitar, Accordion, Piano, Organ, Background Vocals
Ian Gomm - Guitar, Background Vocals
Malcolm Morley - Guitar, Vocals, Piano
Nick Lowe, Ken Whaley - Bass Guitar
Dave Charles - Drums, Percussion, Background Vocals
Billy Rankin - Drums
Chris Cunningham - Fiddle
J. Eichler - Vocals

BIO

Singer/guitarist Ernie Graham was an active part of the British pub rock scene during the first half of the '70s, shuffling between several bands and also recording solo. Graham started out in Belfast during the mid-'60s in professional music when he joined Tony & the Telstars, a local band, as their rhythm guitarist, working as an apprentice auto mechanic during the day. Eventually, Graham and two other members of the band decided to leave Belfast for England, and potentially bigger rewards. It was there that he met guitarist Henry McCullough and the two, on returning to Ireland, began putting together their own band, which was initially known as the People. They saw some serious success in the swinging London music scene of the second half of the 1960s, enough that they were persuaded to change their name to Eire Apparent in a bid for major stardom. That didn't quite happen, but they came close, the psychedelic-flavored band touring with Jimi Hendrix, who also played on their only album, Sunrise (1969). McCullough left the group -- to form the Grease Band -- and Eire Apparent later dissolved, Graham signed with UA/Liberty as a solo artist, just at the time that the British arm of the label had begun building a new, bold roster of acts representing a new generation of performers. It was all a happy coincidence that brought Graham into the studio backed by no less an act than Brinsley Schwarz, and the result, coupled with Graham's exceptional singing and songs, was one of the finest albums of the entire decade. Ernie Graham failed to sell, however, and soon after, he joined Help Yourself as a guitarist, entering the studio for their second album, Strange Affair, but departing the group before the record was completed. Sad to say, the rest of Graham's career was a similar study in unfulfilled promise. In 1973, Graham formed another band called Clancy, along with ex-Help Yourself bandmate Jojo Glemser. Clancy signed to Warner Bros. in 1974 and issued two albums the following year; however, the group imploded following one last Warner single in 1976 and Graham drifted away from performing. His personal demons, including a strong alcohol dependence, gradually got the better of him, and his health began to fail late in the 20th century. He passed away in 2001, forgotten by all but the most loyal fans and serious music scholars. The following year, his 1971 album was reissued on CD in Japan. © Bruce Eder & Steve Huey, All Music Guide

BIO (WIKI)

Ernie Graham (b Ernest Harold Graham, 14 June 1946 in Belfast, d 27 April 2001 in London) was a singer, guitarist and songwriter, active from the mid 1960s to the early 1980s Ernie Graham was born in Belfast, and was training to be a mechanic, when he joined his first band Tony & the Telstars in 1965, as rhythm guitarist. When the band split Graham and two other members moved to England, where Graham met Henry McCullough. Graham and McCullough returned to Belfast and formed The People, with George O'Hara, Davey Lutton and Chris Stewart. In 1967 the band moved back to London where they came to the attention of Michael Jeffery and were signed by him and Chas Chandler. In 1968 they changed their name to Eire Apparent and toured with Soft Machine, Pink Floyd and Jimi Hendrix. Eire Apparent only recorded one album Sunrise (1969), which was produced by Hendrix, who also played on the album. Shortly after McCullough left, to tour with The Grease Band, Eire Apparent disbanded. Graham moved in with McCullough and recorded four songs with The Grease Band, but these were never issued. Graham was then signed to Liberty Records as a solo artist, by Andrew Lauder. Sharing management with Brinsley Schwarz and Help Yourself, they all toured together as "The Down Home Rhythm Kings" package and lived in the same commune in Northwood. Both bands also backed Graham on his eponymous solo album Ernie Graham (1971). The album was well received, described as "one of the most hauntingly beautiful" albums of the pub-rock scene, and "one of the more distinctive and memorable solo albums of the period", but sold poorly. Graham and 'JoJo' Glemser then joined Help Yourself appearing with them at the Glastonbury Festival in 1971 and playing on their second album Strange Affair (1972), although Graham had left the band before the album was released. In 1973, Graham formed pub rock band Clancy, who were initially signed to Island Records, but issued two albums and a single on Warner Bros. Records. When Clancy broke up in 1976, Graham played with Nick Lowe and tried to go solo, issuing Phil Lynott's "Romeo and the Lonely Girl" as a single in 1978, which was his last release. In the early 1980s, he tried forming a band with Larry Pratt, who had briefly been a member of Clancy, but when this failed, he gave up being a professional musician, worked on the railways, including as a guard on the Orient Express, and was training to become a counsellor, but his "strong alcohol dependence" caused his health to fail, and he died in April 2001.

Willow

Willow - Branching Out - 1974 - 20th Century Records

"A lot of people have an instant aversion to “soft rock.” Most imagine insipid lyrics, watery harmonies and bland musical arrangements. That couldn’t be further from the case with Branching Out which, as its name indicates, is a musical step forward for the trio in lyrics, texture and engineering quality. The album alternates between high tempo Byrds-inspired folk rock on tracks like “No Sweat” and “Taking Life Easy” and intricately arranged string-laced ballads such as “Thinking of You” and “All My Life” that possess a memorably aching, poignant beauty". © http://www.vine-yl.com/willow.htm

Willow was an early to mid '70's Bay Area acoustic folk rock band that made two albums with 20th Century Fox. Their music has been described as "an amalgam of CSNY and America. Great harmonies and fluid acoustic guitars deliver strong songs." The album was also described as "melodic rural rock with middle of the road songwriting". The music is comparable to early '70's British bands like Lindisfarne, and McGuinness Flint, although with a more West Coast "poppy" sound. Willow's s/t album can be found @ http://akashaman.blogspot.com/2008/03/willow-73-debut.html Any more info on Willow's band members would be greatly appreciated. Has anybody got a full credits list for "Branching Out", and were any of the band members involved in any other music projects? For music in a similar vein, check out Blue's underrated "Life In The Navy" album. [All tracks @ 320 Kbps: File size = 83.9 Mb]

TRACKS

1 NO SWEAT
2 LAY LIKE A LADY
3 MYSTERY MAN
4 LOAVES & FISHES
5 THINKING OF YOU
6 LIGHTNING (CREEPY ONE)
7 RUM & SUNSHINE
8 ELIZABETH
9 ME & THE MISSES
10 TAKING LIFE EASY
11 ALL MY LIFE
12 LAND ARMY LADY

All songs composed by Barry Fitzgerald, William McSweeney and Kevin Dolan

MUSICIANS [Not Definitive]

Barry Fitzgerald - Lead Vocals
William McSweeney - Lead Vocals
Kevin Dolan - Lead Vocals

ABOUT THE ALBUM

Willow’s sophomore album, Branching Out, released in 1974, is a perfect advertisment for the glory of collecting vinyl. This is simply an album you would almost certainly never hear about, never listen to, and never find if you did not dig in the crates. The reason is that Willow, like so many countless bands from the Sixties through the Eighties (but especially the Seventies) has never had its catalog released in any other musical format. And that is both a crime and a selfish delight. I first heard of Willow from a blogger named Akashaman who generously shares his latest LP discoveries online in the form of ripped mp3s. I was intrigued by the day-glo cartoonish cover art, as well as by his description of California folky soft rock. I had been a secret AM radio geek since childhood, going back to the days when my father would serenade my sister and I to sleep with the Carpenters, Captain and Tennille and Carole King through our built-in wall mounted Nutone stereo system. (Step #1: My name is Derek, and I am a fan of Bread.) I downloaded the mysterious album and within a week was listening to it on a trip across the Atlantic to a wedding in Scotland. There was something peaceful, mellow and nostalgic in the gentle but intricate melodies that employed flute, banjo, clarinet and vocal harmonies. Especially in the context of visiting old college friends, some of whom I hadn’t seen in a decade. The track “Mellow Days” became an instant favorite, the perfect bittersweet anthem for ambivalent travelers. But I have to admit, one of the things that made the songs so compelling was their anonymity. Listening to a record in its entirety that one knows nothing about is an interesting, evocative experience. You spend your time simultaneously looking for clues about the band, its origins, its inspiration, and also imagining your own personal vision of what the songs mean. It’s like being handed someone else’s dream with no identifying marks. I returned determined to find my own copy of this new favorite on vinyl, which Akashaman had wisely labeled a grower. My efforts were partially rewarded two months later when I found Breaking Out at Chad’s Records, my amazing hometown vinyl paradise. As soon as Chad put the platter on the turntable and I heard “Mystery Man,” I recognized that familiar feeling—the hairs standing up on my arms and neck, the rampant joy of finding buried treasure. Search the internet for Willow, for “Branching Out,” for the artists’ names. I guarantee you will find nothing but a few brief listings by online dealers. Next to nothing is available about the men who wrote, performed and recorded this wonderful music, and that is fine by me. For the record, their names are Barry Fitzgerald, William McSweeney and Kevin Dolan. All three share songwriting credits and take turns on lead vocals. It seems they were a product of the Bay Area, and their sound reflects the alternatingly sunny, hazy and pleasantly melancholic aspects of that region. A lot of people have an instant aversion to “soft rock.” Most imagine insipid lyrics, watery harmonies and bland musical arrangements. That couldn’t be further from the case with Branching Out which, as its name indicates, is a musical step forward for the trio in lyrics, texture and engineering quality. The album alternates between high tempo Byrds-inspired folk rock on tracks like “No Sweat” and “Taking Life Easy” and intricately arranged string-laced ballads such as “Thinking of You” and “All My Life” that possess a memorably aching, poignant beauty. The record also flirts with an abstruse, allegorical hippie-Christian element that is never clearly defined or expressed, but lends a deeper mystical quality to songs such as “Mystery Man” (Mystery Man with the light above your head, won’t you save me…) and the awesome psychedelic-tinged rocker “Loaves and Fishes” with its tale of a regular man who realizes he’s not going to be confused with the "man from Galilee." (Ooh yeah, you know it’s been a long, long lonely kind of day, but anyway…) The album is not perfect by any means, and I’m sure it will inspire its share of detractors. The Calypso-flavored “Rum and Sunshine” and the vaudevillian “Land Army Lady” (replete with swinging clarinet and McCartney-esque overdubs of bombs and air-raid signals) are perhaps my two least favorite tracks. But like the Girl in Longfellow’s famous poem, when it is good, it is very, very good. It's a low-key soft rock album of remarkable finesse, texture and flavor. One that lays you back instead of bumming you out. And always, your head is gazing dreamily up to the sky, fascinated by visions of clouds through upturned branches. I could wish for the sakes of the gentleman who made Branching Out that it would grow more famous, cultivating the audience it rightly deserves. But for my own selfish sake, I’ll be happy to let the record spin in blissful anonymity for many Mellow Days to come. On a side note, we paired this record with Tulocay Zinfandel because we truly believed it cast the same spell we felt sitting with winemaker Bill Cadman, sipping his meticulously hand-crafted reds and indulging in his warm, earthy, generous spirit. It was his request, however, (jokingly or not) that we listen to Bach’s "Toccata and Fugue" while drinking his deep, incantatory Zins. So here’s to a great winemaker and an even greater guy. Bill, we are more than happy to oblige: © http://www.vine-yl.com/willow.html

Isaac Guillory

Isaac Guillory - Isaac Guillory - 1974 - Atlantic

The late Isaac Guillory's first album was recorded after the Chicago native had moved to England and established himself as an impressive young gun on the singer/songwriter scene of the early '70s. Most notable was his slick fingerpicking, evident from the opening cut "St. Peter" onward. With spare accompaniment (a little bass and drums here and there, touches of electric guitar, and even tablas), it's very much Guillory's show and he presents it with aplomb. His voice was as strong as his fretwork, and his songs could veer from flowing verse to a halt before taking off into a chorus. "Staying Awhile" is reminiscent of James Taylor, but without any saccharine factor in the road song (and a lovely piece of electric guitar work from Guillory). There's a melancholic quality to much of the material, and a constant sense of travel and looking back at his homeland ("Sidewalks of America" remains as relevant as it was when first written). He can be flashy on the acoustic -- the blues-based "Carbondale Strut" is an exercise in how to pick -- but it's generally in the service of the song, although "El Jadida" (whose inflections are more Indian than Middle Eastern) gives him a chance to try a few tricks. Where there's a sense of adventure it's very much in tune with the period, all patchouli and pot smoke. But there's still a relentless New World energy about the disc that means it holds up very well. © Chris Nickson © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/isaac-guillory-r39579/review

Although all great guitarists are unique in their playing styles and techniques, the late Isaac Guillory was unusual in his "hybrid picking" style, where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers". This is an obscure and very underrated folk album with some progressive rock influences from a brilliant acoustic guitarist. "Guillory came to earn the reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. Having studied Classical Guitar in his younger years, Guillory would often incorporate quasi-classical techniques into his playing and on occasions would even throw in some pure classical guitar pieces, merging them into various songs as a medley". Think of the great Roy Harper, early James Taylor and Joni Mitchell, with jazz, classical, Baroque, and blues elements, and you will have some idea of Isaac's sound. There is minimal surface noise on this vinyl album, but enough enough to mar your listening experience. Some of the covers on this album you may not have heard before like the Chicago folk blues singer Virginia Klemens' "Staying Awhile", Chicago band's Saturday's Children vocalist and bassist Jeff Boyan's "Sidewalks Of America", and Jefferson Airplane's lead guitarist Jorma Kaukonen's " Ice Cream Phoenix". This s/t album is HR by A.O.O.F.C. Try and track down Isaac's "Live" and "Solo" albums [All tracks @ 192 Kbps: File size = 43 Mb]

TRACKS / COMPOSERS

1. St. Peter - Isaac Guillory
2. Staying Awhile - Virginia Klemens
3. Brusselles - Isaac Guillory
4. Steamboat - Isaac Guillory
5. Sidewalks Of America - Geoff Boyan
6. The Carbondale Strutt - Isaac Guillory
7. Movin' On - Isaac Guillory
8. Ice Cream Phoenix - Jorma Kaukonen & Charles Cockey
9. El Jadida - Isaac Guillory
10. Karma Blues - Jim Carey

MUSICIANS

Isaac Guillory - Guitar, Bass, Keyboards, Mellotron, ARP, Vocals
Jim Fairs - Acoustic Guitar on "Sidewalks Of America" & Electric Guitar & Dulcimer on "Ice Cream Phoenix"
Johnse Holt - Electric Guitar on "Ice Cream Phoenix"
Jim Cole - Bass on "Ice Cream Phoenix" & "Karma Blues" : Vocals on "Karma Blues"
Fred Gandy - Bass on "St.Peter", "Sidewalks Of America", & "Movin' On"
Jim Carey - Drums on "Staying Awhile", "Ice Cream Phoenix", & "Karma Blues"
Pete Gavin - Drums on "St.Peter"
Roger Pope - Drums on "Sidewalks Of America"
Cathy Hall - Flute on "Ice Cream Phoenix"
Sam Gopal - Tablas on "Movin' On", "Ice Cream Phoenix", & "El Jadida"
Mox - Harmonica on "St.Peter" & "Movin' On"

BIO (WIKI)

Isaac Guillory (February 27, 1947 – December 31, 2000) was an American folk guitarist. He wrote over 70 songs during a career that spanned 30 years. Born at the Guantanamo Bay Naval Base, Cuba, his parents were Easton Joseph Guillory, an American sailor who was from a Jewish American family, and Victoria Ojalvo, of Jewish, Spanish and Turkish origin. His maternal grandparents were Turkish immigrants who met and married by arrangement only 10 days before they sailed for Cuba. He attended the Conservatory of Music, Havana, where he studied classical piano at the age of six. Guillory's mother, a professional musician taught him to play guitar. When he was 11, Guillory moved to Tallahassee, Florida. At age 14, he moved again to Gainesville, then finally settled in Palatka. By age 14, after enroling in University of Florida's swimming program, he became an assistant swimming intructor. He was a student at St. Johns River State College, at the time named St. Johns River Junior College, in Palatka, Florida. There he studied the cello and saxophone. He married twice, first to the English model Tina Thompson (divorced 1990), mother of Jace and British actress and model Sienna Guillory, then in 1993, to Victoria McMillan, mother of Jacob and Ellie. Guillory died on New Year's Eve 2000. His death was attributed to complications from cancer that had gone undetected for some time. Guillory first began performing in 1965, while still attending St. John's River Junior College where he became a member of 'The Illusions', eventually becoming lead guitarist. While studying music at Roosevelt University in Chicago during 1965 to 1969, he recorded two albums with The Cryan' Shames as bass player. Towards the end of 1965, Guillory moved to Chicago where he studied guitar at the Chicago School of Music. He then attended Wright Junior College for three years where he played with 'The Revelles. The group played with Chicago DJ, Art Roberts, of WLS. He then played with 'The Flock', and The Cryan' Shames. During 1970 to 1976 Guillory performed at the Shakespeare's Head Folk Club in Carnaby Street, London. After active resistance to the Vietnam War, Guillory left the USA in November 1970, acquired a Martin D-35 and lived throughout Europe. He worked as an acoustic solo performer and settled in the United Kingdom. Guillory came to earn the reputation as one of the best guitarists ever. Many guitarists today emulate techniques Guillory evolved in the early 70's while living in the south of Spain. A particular signature technique that he developed was 'hybrid picking', where he would sustain a bass line with a plectrum held between his thumb and first finger, whilst picking chord and melody lines with his second and third fingers. Having studied Classical Guitar in his younger years, Guillory would often incorporate quasi-classical techniques into his playing and on occasions would even throw in some pure classical guitar pieces, merging them into various songs as a medley. His soft American accent always went down well with British audiences and Guillory would exploit this with his witty on-stage bantor between songs. Throughout his career, Guillory sought to encourage younger musicians at every opportunity and would often allow them to play as a 'floor-act' before he came on stage. He was widely known for insisting on carrying his own PA sound system with him from gig to gig. This allowed him to reproduce the exact sound he wanted night after night regardless of the venue. This was quite rare at the time with solo singer/guitarists on the folk circuit and certainly helped him to communicate his renowned performing skills to his audiences without having to fear the usual technical blips that can occur using a venue's house PA. He always concentrated on live solo performances (which put him up-close with more intimate small audiences) and sharing his understanding of music; touring, creating his own online guitar school. After an initial recording deal with Atlantic Records published five more CDs on his own independent label, Personal Records. As a performer he was dedicated to sharing his gift with both audience and fellow musicians, and as a teacher he never hesitated to share in a manner that others could understand. He performed frequently as a guest artist for recordings and films with, among many others, Al Stewart, Donovan, Mick Jagger, Buggles, Barbara Dickson, Nick Heyward and Elkie Brooks. Guillory released Isaac Guillory, a self-titled album in 1974. For a while he delved into jazz fusion and recorded with Pacific Eardrum. Isaac lectured at the Guildhall School of Music in London. His music can be heard on 'A' Net Station, a web radio station that he helped found, where his website continues to be available. He also wrote The Guitar Hand Book with friend, Ralph Denyer, which became the foundation for the BBC TV series Rock School. In his later years, he performed on the folk club circuit in Great Britain. His virtuoso guitar playing made him popular with audiences and ensured a steady stream of work as a performer and teacher. His final album, The Days of '49, recorded on tour during late 1999 and released in early 2000, included a number of solo compositions as well as arrangements of some folk standards. His tribute to the British guitarist John Renbourn, "Dear John", is one of the highlights of an outstanding album.

Janis Ian

Janis Ian - Night Rains - 1979 - CBS

When Janis lan's self-titled 1978 album failed to crack the Top 100, it was clear that changes were in order. Here, she turns to producer Ron Frangipane and a surprising songwriting partner, Euro-disco maven Giorgio Moroder, who brings in his dance tracks for "Fly Too High," which was intended for the motion picture Foxes. More appropriately, Ian also pairs with Albert Hammond for the leadoff track, "The Other Side of the Sun." Even on her own, however, she is attempting a more timely pop style: "Memories" is as much of a disco cut as the Moroder one. That makes the album more engaging on the surface than her recent releases, but less compelling. As a commercial move, Night Rains failed to chart in the US, but was an international best seller. © William Ruhlmann © 2011 Rovi Corporation. All Rights Reserved
http://www.allmusic.com/album/night-rains-r9723

"Night Rains" was the legendary songstress' Janis Ian's most successful overseas album, but barely registered with the American record buying public.The often criticized disco flavoured "Fly Too High" written with Giorgio Moroder for the Adrian Lyme movie "Foxes" earned Janis a Grammy nomination. The song was a big hit in many countries, including the Netherlands, Belgium, and South Africa. "Here Comes The Night" was also composed for a movie ("The Bell Jar"), and is a very good Janis Ian composition. "Memories" continues the disco theme and was a definite musical change of direction for Janis. "Photographs" with Ron Carter on bass, and "Jenny (Iowa Sunrise)" with Chick Corea on piano are more in the jazz vein and are great tracks. "The Other Side Of The Sun" written with Albert Hammond, and "Have Mercy Love" are very much in the "pop" mould. "Night Rains" is a "countryish" number, and a good memorable tune. The album "genre hops" between pop, rock, disco, jazz, and C&W. As usual, Janis' lyrics are intense, passionate, intelligent, and often powerful. Despite the diversity of the album, there are enough well structured and melodic songs on the album to demonstrate Janis Ian's great talents, and make "Night Rains" HR by A.O.O.F.C. Janis has never fully received the recognition she deserves for her utterly brilliant songs, and marvellous guitar technique.The late, great Chet Atkins once called Janis "a genius". Not just for her guitar talents, but also her songwriting ability. Read Janis' lovely tribute to the great man @Janis/Chet Atkins Check out Janis' "The Bottom Line Encore Collection" @ JIAN/BOTLINEC and search this blog for other releases.

TRACKS / COMPOSERS

A1 The Other Side Of The Sun - Janis Ian, Albert Hammond 3:58
A2 Fly Too High [Written and Recorded for the Adrian Lyme movie "Foxes"] - Janis Ian (Lyrics), Giorgio Moroder 5:07
A3 Memories - Janis Ian 4:45
A4 Photographs - Janis Ian 2:45
A5 Here Comes The Night (Theme From the Larry Peerce movie "The Bell Jar") - Janis Ian 3:35

B1 Day By Day - Janis Ian, Giorgio Moroder 4:15
B2 Have Mercy Love - Janis Ian 4:39
B3 Lay Low - Janis Ian 3:04
B4 Night Rains - Janis Ian 3:22
B5 Jenny (Iowa Sunrise) - Janis Ian 3:31

MUSICIANS

Janis Ian - Guitar, Vocals
Sal DeTroia, Mats Bjoerklund, Ron Getman, Bob Kulick, Steve Love, Scott Zito - Guitar
Gordon Edward, Neil Jason, Les Hurdle, Ron Carter - Bass
John Crowder - Bass, Vocals
Frank Owens, Joe d'Elia, Harold Faltermeyer - Keyboards
Chick Corea - Piano
Steve Gadd, Keith Forsey, Richard Crooks, Allen Schwarzberg - Drums
Jimmy Maelen - Percussion
Clarence Clemons, Dino Solera, Gary Herbig - Saxophone
Steve Madaio - Trumpet
Gloria Agostini - Harp
Stephanie Spruill, Lisa Roberts, Jocelyn Brown, Frank Floyd, Lani Groves, Gordon Grody - Vocals
Mike Mainieri - Vocals (Background)

BIO (WIKI)

Janis Ian (born Born Janis Eddy Fink in New York City on April 7, 1951) is a Grammy Award-winning American songwriter, singer, multi-instrumental musician, columnist, and science fiction fan-turned-author. She had a highly successful singing career in the 1960s and 1970s, and has continued recording into the 21st century. At age thirteen, she legally changed her name to Janis Ian, her new last name being her brother's middle name. At the age of fifteen, Ian wrote and sang her first hit single, "Society's Child (Baby I've Been Thinking)," about an interracial romance forbidden by a girl's mother and frowned upon by her peers and teachers; the girl ultimately decides to end the relationship, claiming the societal norms of the day have left her no other choice. Produced by melodrama specialist George "Shadow" Morton and released three times between 1965 and 1967, "Society's Child" finally became a national hit the third time it was released, after Leonard Bernstein featured it in a TV special titled Inside Pop: The Rock Revolution. The song's lyrical content was too taboo for some radio stations, and they withdrew or banned it from their playlists accordingly. In the summer of 1967, "Society's Child" reached #14 on the Billboard Hot 100. Apparently "Society's Child" was too hot for Atlantic Records as well at the time. Ian relates on her website that although the song was originally intended for Atlantic and the label paid for her recording session, the label subsequently returned the master to her and quietly refused to release it. Years later, Ian says, Atlantic's president at the time, Jerry Wexler, publicly apologized to her for this. The single and Ian's 1967 eponymous debut album were finally released on Verve Forecast; her album was also a hit, reaching #12. In 2001, "Society's Child" was inducted into the Grammy Hall of Fame, which honors recordings considered timeless and important to music history. Her most successful single was "At Seventeen," released in 1975, a bittersweet commentary on adolescent cruelty and teenage angst, as reflected upon from the maturity of adulthood. "At Seventeen" was a smash, receiving tremendous acclaim from critics and record buyers alike — it charted at #3 on the Billboard Hot 100 and hit #1 on the Adult Contemporary chart. It even won the 1975 Grammy Award for Best Pop Vocal Performance - Female beating out the likes of Linda Ronstadt who was nominated for the classic Heart Like A Wheel album, Olivia Newton-John and Helen Reddy. Ian performed "At Seventeen" as a musical guest on the very first episode of Saturday Night Live on October 11, 1975. The song's album, Between The Lines, was also a smash and hit #1 on Billboard's Album chart. It was quickly certified Gold and later earned a 'Platinum' certification for sales of over one million copies sold in the US. Another measure of her success is anecdotal - on Valentine's Day 1977, Ian received 461 Valentine cards, having indicated in the lyrics to "At Seventeen" that she never received any as a teenager. "At Seventeen" can also be heard playing in the background in one scene in the 2004 movie Mean Girls. The movie, like the song, addresses the topic of teenage cruelty and alienation; the film features a character named "Janis Ian" who was not a lesbian but was called one nonetheless by some of her classmates in an attempt to demean her. The character was played by actress Lizzy Caplan. "At Seventeen" is also mentioned in Jeffrey Eugenides's 1993 novel The Virgin Suicides, where the song is used by four girls imprisoned in their own home and essentially cut off from normal adolescent experiences to communicate with the narrator and his friends. "Fly Too High" (1979) was her contribution to the soundtrack of the Jodie Foster film Foxes. It earned her a Grammy nomination and became a hit single in many countries, including South Africa, Belgium and the Netherlands. Another country where Ian has achieved a surprising level of popularity is Japan. She had two top 10 singles on the Japanese Oricon charts, "Love Is Blind" in 1976, and "You Are Love" in 1980; and her album Aftertones was a #1 best-seller there in October 1976. By contrast, in the U.S., Ian made the pop charts only once more after "At Seventeen" ("Under the Covers," #71 in 1981), though she had several more songs reach the Adult Contemporary singles chart through 1980 (all failing to make the Top 20, however). Ian spent much of the 1980s and early 1990s without a record deal; her label dropped her in 1981 following the disappointing sales of Miracle Row (1977), Night Rains (1979), and Restless Eyes (1981). "Basically, I didn't do anything from 1982 to 1992. Ian finally resurfaced in 1993 with the album Breaking Silence, its title song about incest. She came out as a lesbian with that release. Also in 1993 was her infamous Howard Stern Show appearance where she performed a "new" version of "At Seventeen" about Jerry Seinfeld. Ian has released five albums since (including one live album, 2003's Working Without A Net). Ian's most recent album, Folk Is The New Black, was released jointly by the Rude Girl and Cooking Vinyl labels in 2006. It is the first in over twenty years where she did all the songwriting herself. She still tours and has a devoted fan base. Other artists have recorded Ian's compositions, most notably Roberta Flack, who had a hit in 1973 with Ian's song "Jesse" (also recorded by Joan Baez; Ian's own version is featured on her 1974 album Stars). Ian also co-wrote "What About The Love?", featured on Amy Grant's 1988 album Lead Me On. She is an outspoken critic of the Recording Industry Association of America (RIAA), a record industry organization which she sees as acting against the interests of musicians and consumers. As such, she has willingly released several of her songs for free download from her website. She was not only one of the first artists to do this but also was one of the first, along with author Eric Flint, to show conclusive evidence that free downloads dramatically increased hard-copy sales, contrary to the claims of RIAA and NARAS. Ironically, Ian's signature tune At Seventeen sold over two million singles in the United States alone yet was never certified. "I've been surprised at how few people are willing to get annoyed with me over it," she laughs, "there was a little backlash here and there. I was scheduled to appear on a panel somewhere and somebody from a record company said if I was there they would boycott it. But that's been pretty much it. In general the entire reaction has been favorable. I hear from a lot of people in my industry who don't want to be quoted, but say 'yeah, we're aware of this and we'd like to see a change too'." In addition to being an award-winning singer/songwriter, Ian writes science fiction. A long-time reader of the genre, she got into science fiction fandom in 2001, attending the Millennium Philcon. Her works have been published in an assortment of anthologies, and she co-edited, with Mike Resnick, the anthology Stars: Original Stories Based on the Songs of Janis Ian, published in 2003. When her schedule permits, she occasionally attends science fiction conventions. Ian has been a regular columnist for, and still contributes to the LGBT news magazine, The Advocate. She has a selection of her columns available on her website. On July 24th 2008, Janis Ian released her Autobiography: Society's Child (published by Penguin Tarcher) to much critical acclaim. An accompanying double CD "The Autobiogrphy Collection" has also been released with all Ian's best loved songs. Ian currently lives in Nashville, Tennessee, with attorney Patricia Snyder, whom she married in Toronto, Canada on August 27, 2003.

MORE ABOUT JANIS IAN

A singer/songwriter both celebrated and decried for her pointed handling of taboo topics, Janis Ian enjoyed one of the more remarkable second acts in music history. After first finding success as a teen, her career slumped, only to enter a commercial resurgence almost a decade later. Janis Eddy Fink was born on May 7, 1951, in New York City. The child of a music teacher, she studied piano as a child and, drawing influence from Edith Piaf, Billie Holiday, and Odetta, wrote her first songs at the age of 12. She soon entered Manhattan's High School of Music and Art, where she began performing at school functions. After adopting the surname Ian (her brother's middle name), she quickly graduated to the New York folk circuit. When she was just 15, she recorded her self-titled debut; the LP contained "Society's Child (Baby I've Been Thinking)," a meditation on interracial romance written by Ian while waiting to meet with her school guidance counselor. While banned by a few radio stations, the single failed to attract much notice until conductor Leonard Bernstein invited its writer to perform the song on his television special Inside Pop: The Rock Revolution. The ensuing publicity and furor over its subject matter pushed "Society's Child" into the upper rungs of the pop charts, and made Ian an overnight sensation. Success did not agree with her, however, and she soon dropped out of high school. In rapid succession, Ian recorded three more LPs -- 1967's For All the Seasons of Your Mind, 1968's The Secret Life of J. Eddy Fink, and 1969's Who Really Cares -- but gave away the money she earned to friends and charities. After meeting photojournalist Peter Cunningham at a peace rally, the couple married, and at age 20, she announced her retirement from the music business. The marriage failed, however, and she returned in 1971 with the poorly received Present Company. After moving to California to hone her writing skills in seclusion, Ian resurfaced three years later with Stars, which featured the song "Jesse," later a Top 30 hit for Roberta Flack. With 1975's Between the Lines, Ian eclipsed all of her previous success; not only did the LP achieve platinum status, but the delicate single "At Seventeen" reached the Top Three and won a Grammy. While subsequent releases like 1977's Latin-influenced Miracle Row, 1979's Night Rains, and 1981's Restless Eyes earned acclaim, they sold poorly. Ian was dropped by her label and spent 12 years without a contract before emerging in 1993 with Breaking Silence (the title a reference to her recent admission of homosexuality), which pulled no punches in tackling material like domestic violence, frank eroticism, and the Holocaust. Similarly, 1995's Revenge explored prostitution and homelessness. Two years later Ian returned with Hunger; God & the FBI followed in the spring of 2000. A live set, Working Without a Net, appeared from Rude Girl Records in 2003, and a DVD, Live at Club Cafe, saw release in 2005. Folk Is the New Black appeared as a joint release from Rude Girl and Cooking Vinyl in 2006. © Jason Ankeny, All Music Guide

Rita Coolidge

Rita Coolidge - Nice Feelin' - 1971 - A&M Records

Born in Lafayette, near Nashville in 1945, the daughter of a Baptist minister, Rita Coolidge originally established herself as a backup vocalist. With her smoky sweet voice, intelligence, and her funky Dusty Springfield/Memphis like soul vocals, she soon became a session vocalist for artists like Delaney & Bonnie and Leon Russell. Her first important public appearance was in 1970 when she was invited to tour with Joe Cocker's Mad Dogs And Englishmen entourage, where she became the vocal anchor of Cocker's space choir. Rita even got a showcase spot on these Joe Cocker concerts, singing the great Leon Russell/Bonnie Bramlett song, "Superstar." She was eventually signed by the great A&M label. She eventually achieved worldwide acclaim in 1977, with her "Anytime-Anywhere album", which produced three Top 20 hits. Later albums became more commercial and she drifted away from her great roots music background. However, in 1971 all the elements were firmly in place. Rita's early albums are often classified as West Coast "country" music. The term "country" music puts a lot of people off. There are many sub-genres of Country music which would take too long to go into here. Many of the great "country" albums were recorded by bands like the Eagles and Poco. Steely Dan even had a country flavour with tracks like "Pearl of the Quarter", "With a Gun", and "Dallas". This is not the same kind of country music as Jim Reeves, Hank Locklin, or Johnny Cash and there is no offence aimed at these late artists' music. Rita's early work is arguably her best work. "Nice Feelin'" contains covers of songs by Dave Mason, Graham Nash, Bob Dylan, Neil Young and others. Musicians include Marc Benno, Al Kooper, and Rusty Young. It's a classy album from a classy Delta Lady. N.B: The post here is a from the original vinyl issue (@ 160 Kbps). If the album is available on CD (remastered), it's well worth picking up. Listen to her "Out of the Blues" album, and search this blog for more of Rita's releases.

TRACKS / COMPOSERS

A1 Family Full Of Soul - Marc Benno 2:56
A2 You Touched Me In The Morning - Mike Utley, Steven Bogard 3:20
A3 If You Were Mine - Jimmy Lewis 3:37
A4 Nice Feelin' - Marc Benno 5:26
A5 Only You Know And I Know - Dave Mason 3:36

B1 I'll Be Here - Jimmy Lewis 4:21
B2 Better Days - Graham Nash 3:07
B3 Lay My Burden Down - Mike Utley, Steven Bogard 3:59
B4 Most Likely You Go Your Way (And I'll Go Mine) - Bob Dylan 4:10
B5 Journey Thru The Past - Neil Young 3:27

MUSICIANS

Vocals (Piano on "Journey Thru The Past") - Rita Coolidge
Guitar, Vocals - Marc Benno
Guitar - Charlie Freeman [from The Dixie Flyers]
Steel Guitar (on "You Touched Me In The Morning") - Rusty Young
Bass - Tommy McClure [from The Dixie Flyers]
Keyboards - Mike Utley [from The Dixie Flyers]
Organ (on "I'll Be Here") - Al Kooper
Drums - Sammy Creason [from The Dixie Flyers]
Accordion (on "Journey Thru The Past") - Nick De Caro
Harmonica (on "Only You Know And I Know", "Better Days", & "Most Likely You Go Your Way (And I'll Go Mine)") - Don Brooks

BIO

A versatile singer blessed with a clear, pure voice, Rita Coolidge was a capable stylist in rock, pop, R&B, country, and folk, and was a hugely in-demand session vocalist outside of her own solo recording career. Born near Nashville, TN, in the town of Lafayette in 1945, Coolidge was part Cherokee and first sang in the church where her father was a minister. She studied art at Florida State University, but also sang and wrote songs on the side, and decided to give music a shot before settling into teaching. She moved to Memphis after graduation and worked singing commercial jingles, sometimes with her sister, Priscilla, and soon landed a job touring with Delaney & Bonnie as a backup vocalist. She subsequently relocated to Los Angeles, where she sang on recording sessions by the likes of Eric Clapton, Stephen Stills, Leon Russell, and Joe Cocker, among others. After returning from the supporting tour for Cocker's Mad Dogs & Englishmen, Coolidge landed her own solo contract with A&M. Coolidge's self-titled debut album was released in 1971, but despite critical acclaim for it and the follow-up, Nice Feelin', she failed to break through commercially. Over the course of the next few years, she moved into country-rock and Southern California soft rock, working territory not too dissimilar from Linda Ronstadt. She also married progressive country singer/songwriter Kris Kristofferson in 1973, the same year she recorded a duet album with him titled Full Moon. Full Moon topped the country charts, and "From the Bottle to the Bottom" won a Grammy for Best Country Vocal by a Duo or Group. The following year, the couple released a follow-up, Breakaway, whose "Lover Please" won them another Grammy in the same category. Coolidge finally broke through in her own right with 1977's Anytime, Anywhere, a collection of well-chosen covers with a strong R&B bent. Paced by the hit singles "(Your Love Has Lifted Me) Higher and Higher" (a Jackie Wilson cover that went to number two pop), "We're All Alone" (Top Ten), and "The Way You Do the Things You Do" (a Top 20 Temptations cover), Anytime, Anywhere climbed into the Top Ten and sold over a million copies. Coolidge and Kristofferson released one final duet album, Natural Act, in 1979, but their marriage was on the rocks, and they separated by the end of the year. Coolidge never repeated the pop success of Anytime, Anywhere, but she did continue to land hits on the adult contemporary charts through the early '80s, including "You," "I'd Rather Leave While I'm in Love," and "All Time High" (the theme for the James Bond flick Octopussy). She parted ways with A&M after 1984's Inside the Fire, and spent some time away from the music business to devote herself to various social causes. She returned to recording with 1992's Love Lessons, on Critique, and went on to cut several albums for other small labels during the latter half of the '90s. 1995's Cherokee, in particular, signaled a renewed interest in her Native American musical heritage, and she teamed up with her sister, Priscilla, and her niece, Laura Satterfield, to form Walela, which explored those roots in greater detail over two albums in 1997 and 2000, respectively. Several anthology collections were released in the early 2000s; And So Is Love, an album of traditional jazz standards, marked Coolidge's first release for Concord in 2005. © Steve Huey © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:difyxqw5ldte~T1

The Sutherland Brothers

The Sutherland Brothers - Down To Earth - 1977 - Columbia

The Sutherland Bros. are another seventies band who never got the success and recognition they deserved. The early '70s produced many bands like the Sutherland Brothers. Iain Sutherland was a remarkably talented songwriter. As an individual, and with his brother, Gavin, he wrote many wrote many fine, catchy, and melodic pop songs with tasteful instrumental work and fine harmony vocals, the most notable being "Sailing," and "Arms of Mary". They were more than competent musicians and made some great records, none of which sold in any great numbers. Sadly, many of the duo's great songs have never been heard by so many people. "Dream Kid" is one example of a SB & Q album that went largely unnoticed. Like so many other bands on this blog, they are really only remembered for one or two songs. The Sutherland Brothers will always be remembered for "Arms Of Mary" and Rod Stewart's famous anthemic "Sailing" but the duo wrote many great songs. The band's wonderful folk rock sound is here, and the vocals are great. Sadly, in Britain and elsewhere, good folk rock was declining in popularity from the mid seventies onwards. "Down To Earth" has been dismissed by many music "critics" as a slushy, below average late '70's soft rock album, but good songwriters don't disappear overnight and "Down To Earth" needs to be reassessed by some of these critics. Check out Quiver's "Gone in the Morning" album, the Sutherland Brother's "Lifeboat" album, (UK Version), Gavin Sutherland's "Diamonds and Gold" album, and the Sutherland Brothers and Quiver's "Beat of the Street" album. For more music in the same vein, listen to Gallagher & Lyle's great "Seeds" album, or the "Ferguslie Park" album by Stealers Wheel. Also check out some of Gerry Rafferty's early recordings. His "Can I Have My Money Back" album is a good example. N.B: This album was also released in 1977 in the USA on CBS as The Sutherland Bros & Quiver "Down To Earth" which contained the tracks "Oh Woman", "Rock 'n' Roll People", and "Where Lies Your Soul" but excluded the tracks, "One More Night With You", "Sunbird", and "When I Say I Love You (The Pie)". NNB: The post here is a vinyl version but many of these albums are now available on CD and well worth checking out. Search this blog for more related releases

TRACKS

A1 One More Night With You 3:41
A2 Ice In The Fire 4:17
A3 Sunbird 3:05
A4 Harbour Light 4:31
A5 Dark Ship 5:33

B1 Situations 4:15
B2 Somebody's Fool 4:32
B3 Every Tear I Cry 4:11
B4 Fun Of The Farm 4:57
B5 When I Say I Love You (The Pie) 4:14

All songs composed by Gavin Sutherland, and/or Iain Sutherland

MUSICIANS

Gavin Sutherland, Iain Sutherland - Vocals, Guitar
Ritchie Zito, Rick Vito, Leonard Arnold, Ray Flacke, Mick Grabham, Tim Renwick - Guitar
Bob Glaub, Andy Pyle, Rick Wills - Bass
Billy Smith, John "Rabbit" Bundrick - Keyboards
Mike Baird, John "Willie" Wilson - Drums
Brian Bennett, John Shearer - Percussion

BIO

Folk rockers the Sutherland Brothers formed originally in London during 1970, but it wasn't until a few years later (when the group fused together with another band) that they enjoyed their greatest chart success. Brothers Ian (vocals, guitar) and Gavin (bass, vocals) first went by the name of A New Generation (at the insistence of their manager at the time) before the duo changed their name to the Sutherland Brothers and recorded a demo. The tape caught the ear of former Traffic bassist Muff Winwood, who helped sign the duo to Island Records, a label that Winwood served as an A&R man for at the time. A pair of largely folk-based recordings were issued in 1972, a self-titled debut and Lifeboat, the latter of which scored the group their first bona fide hit, "(I Don't Want to Love You But) You Got Me Anyway," as well as an original composition that would later be covered by Rod Stewart, "Sailing." By the dawn of 1973, the Sutherland Brothers decided to augment their group (they were unhappy with their live sound at the time) by teaming up with an obscure rock act named Quiver (who had issued a pair of underappreciated albums on their own -- 1971's self-titled release and 1972's Gone in the Morning) -- as the new group went by the name of the Sutherland Brothers & Quiver, or SBQ. The Sutherland Brothers & Quiver remained intact for much of the '70s and Stewart's aforementioned cover of "Sailing" hit the number one spot in the U.K. and during 1975, the group scored another sizeable hit on their own with "The Arms of Mary" (peaking at number five in the U.K.). The group steadily toured both the United States and Europe, issuing such further releases as 1973's Dream Kid and 1974's Beat of the Street before leaving Island for Columbia Records and releasing 1975's Reach for the Sky, 1976's Slipstream, 1977's Down to Earth, and 1979's When the Night Comes Down. But by the dawn of the '80s, the hits had dried up and SBQ decided to call it a day. Both of the Sutherland brothers attempted to launch solo careers on their own during the early '80s, but both failed to retain the audience of their previous band. © Greg Prato © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/the-sutherland-brothers-p20868/biography

McKendree Spring

McKendree Spring - Tracks - 1972 - Decca

McKendree Spring was an electric folk rock group founded in the Glens Falls area of NY in 1969 by the talented vocalist and guitarist from Connecticut, Fran McKendree. They had a good following and actively played into the mid 1970's. The band mixed synthesizers and electric strings with a strong acoustic base. Fran McKendree’s subtle understated voice backed by Marty Slutsky’s guitar, Fred Holman’s bass, and Michael Dreyfuss’ dynamic violin work gave McKS a unique sound. McKS played many top venues including Carnegie Hall, and the Fillmore East. They opened for some high profile bands including ELP. They also played with many great artists including the late Billy Preston. The band regrouped in 2007 for occasional dates playing with more emphasis on folk music than their earlier recordings. At present, the German Line record label possess the publishing rights to the album posted here, and distribution of McKendree Spring's album are generally limited. Try and listen to the band's "Second Thoughts" album

TRACKS / COMPOSERS

A1 Don't Keep Me Waiting - Fran McKendree 3:51
A2 Underground Railroad - Fran McKendree, David Woods 3:16
A3 The Man In Me - Bob Dylan 3:24
A4 Watch Those Pennies - David Woods 3:05
A5 Shoot Me - Keith Sykes 3:34

B1 Two Of Me - David Woods 3:55
B2 Train To Dixie - Keith Sykes 3:30
B3 Friends Die Easy II - Fran McKendree 4:10
B4 Road To Somewhere - Fred Holman 3:25
B5 Light Up The Skies - Michael Dreyfuss, David Woods (based on Vivaldi's "Four Seasons") 5:00

MUSICIANS

Electric Guitar - Martin Slutsky
Vocals, Acoustic Guitar - Fran McKendree
Guitar [Classical] - David Woods
Guitar [Pedal Steel] - Hank DeVito
Bass, Backing Vocals - Fred Holman
Piano, Organ - Ron MacKinnon
Drums - Andy Newmark
Saxophone [Tenor] - Artie Kaplan
Violin [Electric], Viola, Synthesizer [Moog, Arp] - Michael Dreyfuss
Backing Vocals - Jo Ann Vent
Backing Vocals - Bob Hipwell, John Montgomery on "Watch Those Pennies"

ABOUT MCKENDREE SPRING

Fran McKendree grew up in rural Connecticut where he began to play guitar and, very reluctantly, sing. In high school, a trio he’d joined won a talent contest, first prize being a slot on a folk music radio show, and he was hooked. He began his professional career playing at coffee houses in and around Syracuse University. Moving to the Glens Falls area of NY he formed "McKendree Spring," a four-piece folk-rock ensemble that the legendary promoter/manager Bill Graham dubbed "one of the best unknown bands in the world." The band recorded seven albums and toured with some of the most exciting artists of the 70's, beginning early in their career with several weeks at NY's famous 'Bitter End.' where they shared the bill with an amazing array of talent - from the Everly Brothers to James Taylor. McKendree Spring developed a loyal following, spending the next several years touring the US, the UK and Canada, sharing the stage with everyone from the Average White Band to Frank Zappa and the Mothers of Invention. The band played many memorable venues as well, including Carnegie Hall, the Fillmore East, and with the late Billy Preston, the first ever rock concert at Radio City Music Hall. With the [tiny, but hey, nice to be included!] McKendree Spring exhibit in the Rock & Roll Hall of Fame Museum in Cleveland, Ohio is an attribution that says: “Experimental and innovative, McKendree Spring mixed blues, folk and country with a progressive musical vision." The group eventually disbanded in 1975, and each of the members went on to pursue varied careers. © 2011 Fran McKendree http://www.franmckendree.com/bio.html

BIO (WIKI)

McKendree Spring was a folk-rock band. The band consisted of Fran McKendree (vocals & guitar), Fred Holman (bass), Dr. Michael Dreyfuss (electric violin, viola, Moog, Arp), Martin Slutsky (electric guitar). Christopher Bishop replaced Holman on bass as of the 1973 release Spring Suite. Steve Anderson (bass and vocals) and Alan Stoker (drums and vocals) were added for the "Live at the Beachland" 2007 release. In addition, Dave Morrison (harmonica) also played on the live album. In the summer of 2010, Christopher Bishop [bass and vocals] rejoined the group for the recording of 5 songs for "McKendree Spring: Recording No. 9". This recording also featured Alan Stoker {drums/percussion/vocals], Paul Hollowell [keys] and Fred Mollin [synth].

Judy Collins

Judy Collins - Judith - 1975 - Elektra

By the mid-'70s, Judy Collins had earned a reputation as a masterful interpretive singer as well as shown a late-blooming gift as a songwriter. But while much of her work displayed an artful and contemplative tone, after she scored a surprise hit single with her a cappella rendition of "Amazing Grace," Collins was nudged a few steps closer to the mainstream, and 1975's Judith often strikes an uncomfortable balance between misguided pop confections and sturdier material which more readily suits her talents. While several of the cuts feature unexpectedly lush orchestral arrangements, these are often among the highlights. Her graceful and affecting versions of Jimmy Webb's "The Moon Is a Harsh Mistress" and Stephen Sondheim's "Send in the Clowns" (as well as her own "Houses") are lovely and inspired, while the overcooked light rock of "Angel, Spread Your Wings" and "Salt of the Earth" (one of the least effective Rolling Stones covers ever) serve as perfect examples of what doesn't work for Collins in the studio. Other highlights include two vintage chestnuts, "Brother, Can You Spare a Dime?" and "I'll Be Seeing You" -- which suggest Collins would have done well to consider an album of great songs of the 1930s -- and two very different songs about motherhood, "Born to the Breed" and "Pirate Ships," both of which ring honest and true throughout. Judith's high points are sublime, but the low points are just sorry enough to mark this as a turning point toward one of the less-distinguished periods of Collins' career. © Mark Deming © 2010Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/judith-r96078/review

Widely and appropriately considered the masterpiece of Judy Collins' '70s pop albums, 1975's "Judith" is both an artistic success and a commercial triumph. This album's single, a sensitive, piano-based reading of Stephen Sondheim's "Send in the Clowns," was a surprise hit which to this day evokes memories of mid-'70s AM radio for anyone old enough to remember. The rest of the album, perhaps surprisingly, is up to that same level of quality. The opening, a low-key version of Jimmy Webb's oft-covered "The Moon is a Harsh Mistress," is spectacular, and other covers, like Steve Goodman's "City of New Orleans" and the Rolling Stones' "Salt of the Earth"--which works much better than you might think--showcase various aspects of Collins' remarkable interpretive facility. Unlike many albums of the era, the production does not feel particularly dated. "Judith" is a fine example of mid-'70s adult contemporary pop. © 1996 - 2010 CD Universe; Portions copyright 1948 - 2010 Muze Inc © http://www.cduniverse.com/search/xx/music/pid/1095190/a/Judith.htm
Twelve wonderful songs that Judy Collins sings in her pure, gorgeous voice; the voice of a nightingale. The songs are sung beautifully and with Judy's "amazing vocal grace". She sings these songs with true sincerity. "Judith" is regarded by many people as a Tour de force among her many releases. She penned three tracks on the album but covers songs as diverse as Stephen Sondheim's "Send In The Clowns", Steve Goodman's "City Of New Orleans", Jay Gorney & E.Y. Harburg's "Brother, Can You Spare A Dime", and Mick Jagger & Keith Richards' "Salt Of The Earth." The album is dedicated to Judy's mother, Marjorie Byrd Hall and is VHR by A.O.O.F.C. Listen to Judy's great "Maid of Constant Sorrow", and "Judy Sings Dylan... Just Like a Woman" albums. It is also worth hearing Judy's beautiful "In My Life" album, with covers of songs like Randy Newman's classic "I Think It's Going to Rain Today", Leonard Cohen's glorious "Suzanne", and Dylan's "Tom Thumb's Blues". Search this blog for other Judy Collins' releases

TRACKS / COMPOSERS

A1 The Moon Is A Harsh Mistress - Jimmy Webb 2:59
A2 Angel, Spread Your Wings - Danny OKeefe 3:05
A3 Houses - Judy Collins 4:32
A4 The Lovin' Of The Game - Pat Garvey 3:03
A5 Song For Duke - Judy Collins 3:33
A6 Send In The Clowns - Stephen Sondheim 3:57

B1 Salt Of The Earth - Mick Jagger & Keith Richards 3:59
B2 Brother, Can You Spare A Dime - Jay Gorney & E.Y. Harburg 3:12
B3 City Of New Orleans - Steve Goodman 4:07
B4 I'll Be Seeing You - Sammy Fain & Irving Kahal 3:44
B5 Pirate Ships - Wendy Waldman 2:42
B6 Born To The Breed - Judy Collins 4:45

MUSICIANS

Judy Collins/Judith Collins - Guitar, Keyboards, Vocals, Flute, Horn (English), Piano
David Spinozza, Cliff Morris, Steve Burgh, Charlie Brown - Guitar
Eric Weissberg - Guitar, Guitar (Steel), Dobro, Vocals
Hugh McCracken - Guitar, Piano
Tony Levin, John Beal - Bass
Billy Slapin - Bass, Flute
Paul Griffin - Keyboards, Organ, Piano (Electric)
Pat Rebillot - Keyboards, Organ, Piano
Kenny Ascher - Keyboards, Piano (Electric)
Thomas Pearson - Keyboards
Kenneth Bichel - Arp, Synthesizer
Steve Gadd - Drums
Ralph MacDonald, Hank Jaramillo - Percussion
Les Scott, Joel Kaye, Sidney Weinberg, Bob Steen, Jerry Smith - Wind
Randy Brecker, Garnett Brown, Arthur Clarke, Seldon Powell, Albert Richmond, Tony Studd, Frank Wess, Larry Wechsler - Horn
Wayne Andre, Vinnie Famuele - Trombone
George Ricci, Kermit Moore, Charles McCracken - Cello
Emanuel Vardi - Viola
Amanuel Vardi, Gene Orloff - Violin
Corky Hale - Harmonica, Harp
Abe Rosen, Don Brooks - Harmonica
Dominic Cortese - Accordion
George Marge - Flute, Horn, Recorder
Romeo Penque - Flute
Sylvia Shemwell, Eunice Peterson, Cissy Houston, Steve Goodman, Denver Collins - Vocals, Vocals (Background)

ALBUM NOTES (WIKIPEDIA)

Judith was Judy Collins' best-selling album from 1975. It peaked at No 17 on the Billboard Pop Albums charts. It includes Collins' hit recording of Stephen Sondheim's "Send in the Clowns", as well as material by Steve Goodman, Jimmy Webb, the Rolling Stones, and the standard "Brother, Can You Spare a Dime?" Allmusic stated in their review: "Judith's high points are sublime, but the low points are just sorry enough to mark this as a turning point toward one of the less-distinguished periods of Collins' career."

SHORT BIO

Judy Collins was one of the major interpretive folksingers of the '60s. A child prodigy at classical piano, she turned to folk music at the age of 15 and released her first album, A Maid of Constant Sorrow, in 1961 when she was 22. That album and its follow-up, The Golden Apples of the Sun, consisted of traditional folk material, with Collins's pure, sweet soprano accompanied by her acoustic guitar playing. By the time of Judy Collins #3, she had begun to turn to contemporary material and to add other musicians. (Jim, later Roger, McGuinn tried out his first arrangements of "The Bells of Rhymney" and "Turn, Turn, Turn" on this album, before using them with The Byrds.) Collins's musical horizons were expanded further by 1966 and the release of In My Life, which added theater music to her repertoire and introduced her audience to the writing of Leonard Cohen; it was one of her six albums to go gold. Her first gold-seller, however, was 1967's Wildflowers, which contained her hit version of "Both Sides Now" by the then-little-known songwriter Joni Mitchell. By the '70s, Collins had come to be identified as much as an art song singer as a folksinger and had also begun to make a mark with her original compositions. Her best-known performances cover a wide stylistic range: the traditional gospel song "Amazing Grace," the Stephen Sondheim Broadway ballad "Send in the Clowns," and such songs of her own as "My Father" and "Born to the Breed." Collins recorded less frequently after the end of her 23-year association with Elektra Records in 1984, though she made two albums for Gold Castle. In 1990, she signed to Columbia Records and released Fires of Eden, her 23rd album. A move to Geffen preceded the 1993 release of Judy Sings Dylan...Just Like a Woman; Shameless followed on Atlantic in 1994. Six years later, Collins released All on a Wintry Night. © William Ruhlmann, All Music Guide

MORE ABOUT THE ARTIST

Judy Collins has thrilled audiences worldwide with her unique blend of interpretative folksongs and contemporary themes. Her impressive career has spanned more than 40 years. At 13, Judy Collins made her public debut performing Mozart's "Concerto for Two Pianos" but it was the music of such artists as Woody Guthrie and Pete Seeger, as well as the traditional songs of the folk revival, that sparked Judy Collins' love of lyrics. She soon moved away from the classical piano and began her lifelong love with the guitar. In 1961, Judy Collins released her first album, A Maid of Constant Sorrow, at the age of 22 and began a thirty-five year association with Jac Holzman and Elektra Records. Judy Collins is also noted for her rendition of Joni Mitchell's "Both Sides Now" on her classic 1967 album, Wildflowers. "Both Sides Now" has since been entered into the Grammy's Hall of Fame. Winning "Song of the Year" at the 1975 Grammy's Awards show was Judy's version of "Send in the Clowns," a ballad written by Stephen Sondheim for the Broadway musical "A Little Night Music." Released on September 29th, Judy's new book, Sanity and Grace, A Journey of Suicide, Survival and Strength, is a deeply moving memoir, focusing on the death of her only son and the healing process following the tragedy. The book speaks to all who have endured the sorrow of losing a loved one before their time. In the depths of her suffering, Judy found relief by reaching out to others for help and support. Now, she extends her hand to comfort other survivors whose lives have been affected by similar tragedy. In a recent appearance on ABC's Good Morning America, Judy performed "Wings of Angels," the heartbreaking ballad that she wrote about the loss of her son. The song is currently available on the newly released Judy Collins Wildflower Festival CD and DVD, which also feature guest artists Arlo Guthrie, Tom Rush and Eric Andersen. This extraordinary concert was filmed at the famed Humphrey's By the Bay in San Diego, CA. The concert was the culmination of a 25 city national tour. Judy Collins continues to create music of hope and healing that lights up the world and speaks to the heart. © HDtracks 2007 - 2008