Arlo Guthrie & Pete Seeger – Together In Concert (1975)

FrontCover1This is a live double CD recorded during a series of concerts in 1975. In the words of Harold Leventhal (Sometime manager of Pete, Arlo and Woody), “It took only two phone calls to get Pete Seeger and Arlo Guthrie to agree to perform together in concert. I rang Pete. “Listen, how about you and Arlo doing some concerts together?” Pete didn’t hesitate, “Sure,” he quickly replied. I then dialed Arlo. “Say, Arlo, how about you and Pete doing some concerts together?” His reply was as prompt as Pete’s. So concerts were lined up for New York, Chicago, Montreal, Boston, Denver and Tanglewood.

“Now the big problem was to get Pete and Arlo to meet, to decide on a program and to rehearse. Arlo hates to travel beyond the border of Berkshire County in Massachusetts and Pete is traveling all over the country doing benefits. Luckily, just one week before the first concert in Carnegie Hall, Arlo escaped from his farm and found his way to Pete’s place in Beacon, New York. They spent a couple of hours together, decided on a program, ran through a couple of songs…and they were ready.

Inlet“Pete Seeger had been singing with a Guthrie for some 35 years. Back in 1940, Woody Guthrie and Pete traveled cross country singing their way from state to state, and until the early 1950s Woody and Pete often shared singing in a union hall or at a political rally. In the mid-1960s, as Arlo became a “professional” singer, he was also beginning to share the same platform or concert hall with Pete, as they both participated at peace demonstrations or sang for the Farm Workers Union. The Seeger-Guthrie Union keeps going.

“There is no gap in the two generations of singers heard on this record. Rather, the music and songs express a continuity of understanding and a reflection of the world as it is and has been. The audience at these concerts- those who were lucky enough to get tickets- spanned several generations: grandfathers and grandmothers with their grandchildren, workers and students, young and old. A New York reviewer perhaps best summed up when he wrote,”It is another time, but the need for the Seegers and Guthries of whatever generation remains.” (Promo text)

Pete and Arlo’s Together In Concert is the first of their three concert albums. (More Together Again and Precious Friend are the other two). It differs from those albums. The audience sings more with Arlo than with Pete and Pete tells more stories than Arlo. “Hard to believe, but its true.”

Pete tells the story of Victor Jara’s death and reads his last poem, smuggled out of the detention camp. A story that is suspiciously similar to Joe Hill’s Last Will and Testament. (Another demonstration that folk singers know the difference between truth and factual accuracy.)

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Arlo encourages the audience to join in Walking Down The Line, hilariously, as only Arlo can.
The audience’s voice isn’t prominent in Lonesome Valley, but from there are three voices from the stage (I wonder who sung the bass line). A different sound than any of my other versions.
Well May The World Go is so typical of optimistic 60’s folk, one wonders if it’s a parody, sung with a straight face.
The album contains Arlo/Pete favorites like Guantanamera, City Of New Orleans, Deportee and Joe Hill.
It has obscure songs, like the Red Army’s Three Rule Of Discipline and The Eight Rules of Attention as well as two songs written by pre-school children.
Arlo’s covers Don’t Think Twice, It’s Allright and Stealin’. Pete quotes his father on the folk process, “plagiarism is basic to all culture”.

If Precious Friend and More Together Again are “must have” albums. Together In Concert is a “really, really should have” album. (by MikeE)

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Personnel:
Arlo Guthrie (guitar, vocals, piano, banjo)
Pete Seeger (banjo, vocals, guitar)

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Tracklist:
01. Way Out There (Nolan) 3.47
02. Yodeling (Traditional) 1.21
03. Roving Gambler (Houston) 2.22
04. Don’t Think Twice, It’s All Right (Dylan) 3.13
05. Declaration Of Independence (Gibbs/Dougherty) 2.32
06. Get Up And Go (Seeger) 2.43
07. City Of New Orleans (Goodman) 4.37
08. Estadio Chile (Jara) 3.19
09. Guantanamera (Angulo/Marti/Seeger) 4.24
10. On A Monday (Ledbetter) 3.00
11. Presidential Rag (A.Guthrie) 4.59
12. Walkin’ Down The Line (Dylan) 4.38
13. Well May The World Go (Seeger) 2.19
14. My Son (Traditional) 2.
15. The Queen Of My Heart (Bryant/Rogers) 3.21
16. Deportee (Plane Wreck At Los Gatos) (W.Guthrie/Hoffman) 4.01
17. Joe Hill (Robinson/Hayes) 3.19
18. May There Always Be Sunshine (Oshanin/Ostrovsky/Batting) 1.58
19. Three Rules Of Discipline And The Eight Rules Of Attention (unknown) 2.29
20. Stealin’ (Cannon) 2.35
21. Golden Vanity (Traditional) 4.12
22. Lonesome Valley (Traditional) 4.35
23. Quite Early Morning (Seeger) 4.34
24. Sweet Rosyanne (Bright Light Quartette/Lomax) 6.00

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Joe Walsh – Barnstorm (1972)

FrontCover1Barnstorm is the debut studio album by the American band Barnstorm, following Joe Walsh’s departure from the James Gang. The album was released in October 1972 on the labels ABC and Dunhill. It was the first album to be recorded at Caribou Ranch in Colorado.

With this album, Walsh and Barnstorm moved away from the hard rock sound of the James Gang and explored a more folk-based, acoustic sound, influenced by such artists as James Taylor and Crosby, Stills, and Nash.

Taking a cue from The Who’s guitarist Pete Townshend, Walsh utilized the ARP Odyssey synthesizer to great effect on such songs as “Mother Says” and “Here We Go.” Walsh also experimented with acoustic guitar, slide guitar, fuzzboxes and keyboards as well as running his guitar straight into a Leslie 122 to get swirly, organ-like guitar tones. The lone hard rock track on Barnstorm, “Turn To Stone,” has become the best known song from the album, since Walsh later re-recorded it for his solo album So What.

At the time of its release, Barnstorm was only moderately successful. For many years, the only CD version available was an expensive Japanese import. Nonetheless, the album became a cult classic among Walsh fans. (by wikipedia)

Tourposter1973Barnstorm, Joe Walsh’s first solo album after leaving the James Gang, garnered him fame not only as a guitarist but also as a songwriter. While it’s true that Walsh established himself as a late-’60s/early-’70s guitar hero on the Gang’s more boogie-oriented rock numbers, it’s Walsh’s love of lushly textured production and spacy, open-ended songs featuring both acoustic and electric guitars that is showcased here on this wildly adventurous and forgotten, unqualified masterpiece. Recorded at the Caribou Ranch in Nederland, Colorado, Barnstorm reflects the big sky and wide-open spaces. Accompanied by bassist Kenny Passarelli and drummer Joe Vitale, Walsh freely indulges himself with fat guitars and keyboards, beautiful choruses, country tinges, and pastoral pop hooks, as evidenced by the glorious opener “Here We Go.” This segues, via the sound of a spooky lonesome wind, into the hauntingly beautiful psychedelic country tune “Midnight Visitor,” with elegantly woven acoustic guitars, fat carnival organ sounds, and — of course — the sound of the wind before it slips out the back door. And so it goes, with the nearly Baroque psychedelic suite of “One and One” sliding seamlessly into “Giant Bohemoth” (sic) and the rollicking “Mother Says.” Everywhere on the album’s front half, reverie and American mythological archetypes and history weave together, displacing the listener from the here and now.

The openly pastoral country-tinged rock of the album’s second half signifies Walsh’s considerable gifts as a songwriter who uses his guitar as a dreamy, mercurial narrative device, as signified by the masterpiece “Birdcall Morning” — one of the greatest rock & roll love songs of the early ’70s.

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It is actually mirrored by the sadness and organic bluesy quality of “Home” and the unabashed pop/rock romanticism of “I’ll Tell the World,” complete with glorious four-part backing harmonies and a crunching guitar crescendo. Speaking of crunch, Barnstorm was also the first place that Walsh’s classic nugget “Turn to Stone” ever appeared. In its original version, the guitars have far more edge, sinew, and raw power than on their subsequent re-recordings. Rather than let it end there, Walsh tips the scales back one more time to the mysterious in the acoustic guitar-and-harmonica moment “Comin’ Down.” It’s another love song which evokes the notion of the past as a way of creating a hopeful present. And as it whispers to a close, it leaves the listener literally stunned at what has just transpired in the space of 35 minutes. (by Thom Jurek)

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Personnel:
Kenny Passarelli (bass guitar, guitarrón, vocals)
Joe Vitale (drums, percussion, keyboards, piano, flute, vocals)
Joe Walsh (guitar, keyboards, synthesizer, telegraph key, vocals)
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Paul Harris (piano, vocals)
Al Perkins (pedal steel guitar)
Chuck Rainey (bass)
Bill Szymczyk (background vocals)

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Tracklist:
01. Here We Go (Walsh) 5.00
02. Midnight Visitor (Walsh) 3.17
03. One And One (Walsh) 1.16
04. Giant Bohemoth (Vitale/Walsh) 4.19
05. Mother Says (Passarelli/Vitale/Walsh) 6.28
06. Birdcall Morning (Walsh) 3.43
07. Home (Walsh) 2.54
08. I’ll Tell The World (Gordon/Jacobs) 3.56
09. Turn To Stone (Trebandt/Walsh) 5.21
10. Comin’ Down (Walsh) 1.53

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Willowglass – Same (2005)

FrontCover1WILLOWGLASS is solo artist/multi-instrumentalist Andrew Marshall who lives in Yorkshire, England. Although involved in music from a young age and has played in various local groups over the last 20 years, the self-titled debut is his very first solo outing. Andrew’s work blends 1970’s style progressive rock with elements of classical music, adding a colourful palette of emotions & mood to his compositions, which have a uniquely English pastoral feel. It is clear that his inspiration has come from numerous symphonic prog rock bands since the 60s/70s and there are notable references to early GENESIS, YES, CAMEL and even a touch of PINK FLOYD thrown in for good measure.

The self-titled debut (2005) contains ten instrumental tracks recorded between September 2004 and April 2005, with lashings of mellotron, flute, 12-string acoustic & electric guitars. If you listen carefully you may find references to other works such as : CAMEL- “Rain Dances”, GENESIS- “Selling England By The Pound”, BARCLAY JAMES HARVEST – “Everyone Is Everybody Else” and YES – “Fragile”. However, this is NOT just a hackneyed clone of past Classics, it is a sophisticated, graceful & intelligent interpretation of these, taking the lucky listener on a journey into lush green pastures where we can forget the busy world and almost believe we are back in 1970’s again …

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HIGHLY RECOMMENDED to those who like any of the 1970’s classic prog bands mentioned above and especially for those who like the style & mood of Anthony PHILLIPS’ “The Geese & the Ghost” . (by progarchives.com)

I am quite bold in stating that this was 2005’s top 5 progressive CDs, , as it relives some classic prog luminaries , on the mellower side such as Genesis, Camel and Focus. Not a big fan of one man shows (that often yield maudlin results), this recording was received in the mail with minimal anticipation so as not to be disappointed and I was simply in heaven!I strongly urge my fellow progsters to succumb to its highly obvious charm and likewise put the sleeve up on the mantel , as the artwork is quite revealing of the juicy content (remember when we used to buy vinyl LPs just based on the progressive artwork! Ah, those were magical days!) . Andrew Marshall is as adept on keys (strong Banks influence) as on guitar where the Latimer-Hackett-Akkerman inspiration serve as a launching pad for some timely and well turned flights. Precious, fragile yet grandiose stuff indeed. Exceptional tracks include: Remembering, Tower of the King and Waking with Angels . 5 nostalgic trons. (by tszirmay)

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Personnel:
Andrew Marshall (guitar, bass, keyboards, flute, drums)
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Dave Brightman (drums)

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Tracklist:
01. Peace 1.29
02. Remembering 8.36
03. Garden 8.17
04. Interlude No. 1 1.38
05. Tower Of The King’s Daughter 7.12
06. Summer’s Lease 0.19
07. Into The Chase 4.31
08. A Blinding Light 6.38
09. Waking The Angels 5.47
10. The End 1.46

Music composed by Andrew Marshall

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