Emmylou Harris & The Daniel Lanois Band – Live At The Shepherds Bush Empire, London (1995)

FrontCover1.jpgIn 1995, Emmylou Harris released one of the most critically acclaimed albums of the decade, Wrecking Ball, produced by Daniel Lanois, best known for his work with U2, Peter Gabriel and Bob Dylan. An experimental album for Harris, the record included Harris’s rendition of the Neil Young–penned title track (Young himself provided guest vocals on two of the album’s songs), Steve Earle’s “Goodbye”, Julie Miller’s “All My Tears”, Jimi Hendrix’s “May This Be Love”, Anna McGarrigle’s “Goin’ Back to Harlan” and Gillian Welch’s “Orphan Girl”. U2’s Larry Mullen, Jr, played drums for the project. The album received virtually no country airplay, but it brought Harris to the attention of alternative rock listeners, many of whom had never listened to her music before. (wikipedia)

And to promote his album Emmylou did together with The Daniel Lanois Band this wonderful show in London.

Emmylou Harris contributions to country-rock, the bluegrass revival, folk music, and the Americana movement are widely lauded.

I am always pleased that I got to read a review of ‘Elite Hotel’ her second solo album, back in 1976 when it was first released.

Not only did I love the album, it helped me discover the country rock genre of that time, and set high standards, that helped me avoid the more ‘cheesy’ country artists. She remains a firm favorite of mine. (beehivecandy.com)

Recorded live at the Shepherds Bush Empire, London, UK; November 23, 1995.
Very good BBC Radio 2 Stereo FM.
Captured, Transferred & Artwork by JTT, December 2006

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Personnel:
Brady Blade (drums, percussion, background vocals)
Emmylou Harris (vocals, guitar)
Daryl Johnson (bass, bass pedals, djembe, percussion, background vocals)
Daniel Lanois (guitar, vocals, mando-guitar)

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Tracklist:
01. May This Be Love (Hendrix) 4.44
02. Where Will I Be (Lanois) 4.40
03. Pancho And Lefty (van Zandt) 4.56
04. Orphan Girl (Welch) 3:22
05. Goodbye (Earle) 4.57
06. Goin’ Back To Harlan (McGarrigle) 5.16
07. Prayer in Open D (Harris) 4.28
08. One Of These Days (Montgomery) 3.03
09. Every Grain Of Sand (Dylan) 4.03
10. Sweet Old World (Williams) 4.08
11. Indian Red (Landry) 6.31
12. Makin’ Believe (Work) 4.10
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13. Wrecking Ball (Young) 4.50
14. Deeper Well (Olney/Olney/Lanois/Harris/Harris) 6.55
15. Blackhawk (Olney/Lanois/Harris) 4.54
16. Wheels (Hillman/Parsons) 3.22

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Poco – Live At Columbia Studios, Hollywood, September 30, 1971 (2010)

FrontCover1.jpgCombining the natural excitement and added vibrancy that a live performance provides, while recording in a studio environment with better acoustics, proves the best of both worlds for a recorded concert. The small invited audience to this label showcase consisted mostly of family, friends, and music company executives from the Columbia/Epic imprints, giving the proceedings a homey, more comfortable vibe. Poco’s live album of predominantly new material, Deliverin’, which came out earlier in the year, was a big seller and the band had just released the studio follow-up, From the Inside, which introduced Paul Cotton into the outfit, replacing Jim Messina. This was Cotton’s first tour with the existing members, and although his contributions on electric guitar and soon-to-be primary songwriter are still on low boil, it’s clear that Poco is headed in a more commercially rock-oriented direction. Not surprisingly, half the 14-song set consists of material from their new album, with four more from Deliverin’, and Furay even diving back to his Buffalo Springfield days to resurrect “A Child’s Claim to Fame” as part of a medley that also includes “Pickin’ Up the Pieces.” It’s a spirited performance with the quintet’s distinctive three- and four-part harmonies — a clear blueprint for what the Eagles would take to the bank just a year later — sounding particularly vibrant. The more intimate atmosphere is evident on a three-song acoustic mini-set where the unplugged songs take on a rootsy flair somewhat at odds with the harder-edged electrified approach the band was leaning towards.

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Rusty Young’s inimitable and inventive pedal steel consistently stands out, especially when he makes his instrument sound like a B-3 organ on a rollicking, soulful version of “Hurry Up,” a tune from the group’s second album that acquires new life in this setting. Cotton’s three contributions include “Bad Weather,” one of his finest compositions that would later be a staple of their early catalog. Furay’s lovely “What If I Should Say I Love You” is another standout, with this version even more soulful and slightly slower than the studio take. These guys could play and sing with a taut professionalism that always seemed a little ragged but was never sloppy. With sparks fueled by the live experience, this long-lost professionally recorded show is a necessary addition to any country-rock-loving listener’s collection. (by Hal Horowitz)

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Personnel:
Paul Cotton (guitar, vocals)
Ritchie Furay (guitar, vocals)
George Grantham (drums)
Timothy B. Schmidt (bass, vocals)
Rusty Young (pedal steel guitar, guitars, banjo, dobro, vocals)

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Tracklist:
01. I Guess You Made It (Furay) 4.55
02. A Man Like Me (Furay) 5.41
03. Ol’ Forgiver (Cotton) 4.27
04. Hear That Music (Schmidt) 3.21
05. Hurry Up (Furay) 5.54
06. You Are The One (Furay) 3.04
07. Bad Weather (Cotton) 5.56
08. Medley: Hard Luck / Child’s Claim To Fame / Pickin’ Up The Pieces (Furay/Schmidt) 5.23
09. Hoe Down (Furay/Young) 2.15
10. What A Day (Messina/Furay) 2.25
11. Railroad Days (Cotton) 3.20
12. What If I Should Say I Love You (Furay) 4.16
13. Just For Me And You (Furay) 3.36
14. C’mon (Furay) 5.36

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Redwing – Dead Or Alive (1974)

FrontCover1.JPGEssentially, Redwing, Glad, and the New Breed are all the same band…sort of. As the band evolved and their styles changed, so did their name.

Actually, the story begins in Sacramento, CA in 1962 when Timothy (B.) Schmit, Ron Floegel, and Tom Phillips played together in a folk trio, appropriately named Tim Tom & Ron. In 1963, as high school sophomores at Encina High, the band added drummer George Hullin and switched to surf music. With this new change in direction and new member, Tim Tom & Ron became The Contenders.

Then the British Invasion hit, and the group jumped on that ship. Surf music was out and Beatlesque-sounding music was their new thing. By now, the quartet of Tim Schmit, Ron Floegel, Tom Phillips, and George Hullin went by the name, the New Breed.

In 1965, the New Breed cut a single, “Green Eyed Woman” b/w “I’m in Love,” which was quite successful as a regional hit in Northern California. The B-Side, “I’m in Love,” was actually a Lennon-McCartney tune that never appeared on a Beatles record. However, the New Breed’s rendition was extremely faithful to the Beatle-sound, almost sounding as though it was a track that could have been pulled right off of A Hard Days Night; production-wise, it was very much in the “I’m Happy Just to Dance With You” vein.

The New Breed next recorded an album’s worth of material. Most of the 11 tracks were cover tunes, but there were a few New Breed originals recorded. Due to problems with their label, the record was not released.

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In 1966, under their own label, World United, the band recorded a new single, “Fine With Me” b/w “The Sound of Music.” The band’s music mirrored the progressive changes that were happening in the music world around this time, and their follow-up single “Wand Ad Reader,” was, essentially, a New Breed re-write of “Paperback Writer.”

Around 1968, the band signed on with a new label, Equinox, under producer Terry Melcher, who had the group change their name to Glad. In Los Angeles, Glad recorded one album, Feelin’ Glad. The album, again, is very Beatlesque, but it is a highly produced effort, more so like the post-’65 Beatles. Apparently, the band was unhappy with the album due to the fact that they had very little control over it. Certain parts of the record were overdubbed with strings, horns, and fancy production against the band’s wishes. Furthermore, its been stated that Tim Schmit is the only Glad member that appeared on the LP’s track, “Shape of Things to Come,” and this was apparently a sore spot for the group. Regardless, the album, which is mostly Glad originals, is a solid album filled with great cuts and great singing and harmonies.

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Unfortunately, Feelin’ Glad did not sell particularly well, and in 1969, Tim Schmit, aka, Timothy B. Schmit was offered the position of bassist for Poco . He accepted it and went onto record some of the most under appreciated music ever with the band. He became ConcertPosterthe replacement for Randy Meisner, who, ironically, he would replace again in the Eagles in 1977. With Poco, Tim released 11 albums.

Glad, again, changed their name. This time, they became Redwing. Replacing Tim was Andy Samuels, formerly of Nate Shiner’s Band. Samuels was really another guitarist, and not really a bassist, although he would play some bass on Redwing’s albums and was–according to soon-to-be-bassist Dale Lyberger–quite accomplished. Although it seems that the band never actually found an “official,” long-term bassist, several four-stringers played with the group over the ensuing years–most notably Dale Lyberger, John Myers, and Buddy Harpham.

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Redwing did well locally, but, unfortunately, never made it nationally. Under the Fantasy label, they released 5 records–one each year starting in 1971: Redwing, What this Country Needs…, Take Me Home, Dead or Alive, and Beyond the Sun and Stars. Much like with the New Breed and Glad, each record reflected the band’s style evolving and incorporated new ideas. (More information is available on each record on the records page.)

By the time of the release of Beyond the Sun andStars, the band’s final record, the spark that originally defined the band had diminished. The end was not too far away, and the group disbanded not too long aftewards.

Although the 5 Redwing LPs remain unreleased on CD and long out of print, those who have had or have been able to find vinyl copies recognize that the group left behind some fine music. The members of the New Breed (including Timothy B. Schmit) still occasionally see each other, and have reunited for a few jams over the years: usually at high school reunions. After all, Encina High School was the place where it all started so many years back. (by desktop21.com/redwing)

And this is their 4th album …

… and if you like the sound of Crosby, Stills, Nash & Young, The Eagles, The Marshall Tucker Band or The Band …. then is this album for you.

And songs like “Rainbow Mountain”, “I’m Holding On”, “Two Brothers (Dead Or Alive)”. “Early Mornin’ Sunrise” or “Shine On Me” … stands the test of time ! Listen and enjoy !

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Personnel:
Ron Floegel (guitar)
George Hullin (drums, percussion, fiddle)
Tom Phillips (guitar, slide-guitar, steel-guitar, dobro, banjo, harmonica, saxophone, vocals)
Andrew Samuels (guitar, bass, vocals)
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David Fraser (piano on 04., 08. + 10.)
Tiny Moore (fiddle, mandolin on 06. + 09.)
Kenneth Nash (percussion on 01., 05., 06. + 08.)
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background vocals:
Debbie Moore – George Hullin

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Tracklist:
01. I’m Holding On (Phillips) 3.58
02. You’ve Got It (Phillips) 2.47
03. Two Brothers (Dead Or Alive) (Phillips) 3.26
04. The Rhythm King (Floegel) 2.01
05. Early Mornin’ Sunrise (Phillips) 4.49
06. Foxfire (Phillips) 2.19
07. Shine On Me (Phillips) 3.12
08. Angel Eyes (Floegel) 3.01
09. Give Me A Song (Phillips) 2.59
10. Rainbow Mountain (Floegel) 3.38

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Tom Phillips

Tom Phillips today