Chris Hillman – Slippin’ Away (1976)

FrontCover1Along with frequent collaborator Gram Parsons, Chris Hillman was the key figure in the development of country-rock, virtually defining the genre through his seminal work with the Byrds and the Flying Burrito Brothers. Hillman was born on December 4, 1944, in Los Angeles, where he grew up listening to Spade Cooley and Cliffie Stone and taught himself to play guitar. In 1961, he and a pair of high school friends formed the Scottsville Squirrel Barkers and cut an album; a year later, he joined the Golden Gate Boys, a bluegrass band featuring Vern Gosdin. In honor of their new vocalist’s prowess on the mandolin, the group renamed itself the Hillmen; after recording a self-titled LP with producer Jim Dickson, they broke up in 1963.

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In 1964, the Beefeaters, an L.A. folk trio comprised of guitarists Jim (later Roger) McGuinn, David Crosby, and Gene Clark, released a single, “Please Let Me Love You”; after its commercial failure, they decided to add a bassist and drummer to their lineup. Their producer, Dickson, suggested Hillman for the bass position; although he had never picked up the instrument before, thanks to his bluegrass background he was able to quickly develop his own unique, melodic performance style. After the addition of drummer Michael Clarke, the quintet renamed itself the Byrds. At their label’s insistence, they cut their first record with sessionmen, which meant that Hillman and Clarke sat on the sidelines during production; the resulting single, a jangly cover of Bob Dylan’s “Mr. Tambourine Man,” was a tremendous hit that marked the birth of the folk-rock form.

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During the mid-’60s, the Byrds ranked as one of the most successful and influential American pop groups, issuing a string of massive hits like “Turn! Turn! Turn!,” “Eight Miles High,” and “So You Want to Be a Rock ‘n’ Roll Star” along with acclaimed albums like 1967’s Younger Than Yesterday and 1968’s brilliant The Notorious Byrd Brothers. Internal strife dogged the band, however, and by late 1967, only Hillman and McGuinn remained from the original roster. At about the same time, Gram Parsons entered the picture, and in December 1967, McGuinn invited him to join the group as a jazz pianist for a planned project embracing the history of American popular music. However, Parsons’ mastery of country soon became the sessions’ dominant focus, much to Hillman’s delight, and the album the Byrds ultimately recorded, 1968’s Sweetheart of the Rodeo, became the blueprint for all country-rock efforts released in its wake.

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A tour followed, and so did disaster; Parsons did not agree with the group’s decision to play apartheid-torn South Africa and subsequently quit the Byrds in July 1968. Three months later, Hillman followed suit and joined Parsons as a vocalist and guitarist in the re-formed Flying Burrito Brothers along with bassist Chris Ethridge, pedal steel player “Sneaky” Pete Kleinow, and drummer Jon Corneal. Further honing their hybrid sound by combining the energy and instrumentation of rock with the issues and themes of country, the Burritos recorded the landmark Gilded Palace of Sin, followed in 1970 by Burrito Deluxe. After Parsons left the group in 1971, Hillman stayed on for two less successful records, a self-titled 1971 effort and the following year’s Last of the Red Hot Burritos. After they disbanded, Hillman joined Stephen Stills’ Manassas, where he remained until 1973, when he briefly rejoined the Byrds.

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In 1974, Hillman teamed with singer/songwriters John David Souther and Richie Furay to form Souther Hillman Furay; after recording two LPs with the trio, Hillman issued a pair of solo albums, 1976’s Slippin’ Away and 1977’s Clear Sailin’. By 1978, he had rejoined McGuinn and Clark to record a 1979 album under the name McGuinn, Clark & Hillman, producing the Top 40 pop hit “Don’t You Write Her Off.” The album City followed a year later, this time as “Roger McGuinn and Chris Hillman featuring Gene Clark.” They soon went their separate ways, and in 1982 Hillman issued a straightforward country record, Morning Sky. Two years later, he released Desert Rose, which contained the minor country hits “Somebody’s Back in Town” and “Running the Roadblocks.” The album’s title proved indicative of things to come, and in 1986 he formed the Desert Rose Band, a country-rock outfit featuring Nashville session aces Herb Pedersen, John Jorgenson, Jay Dee Maness, Steve Duncan, and Bill Bryson.

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The Desert Rose Band proved to be Hillman’s most commercially successful post-Byrds project; their first LP, an eponymously titled 1987 outing, generated a pair of Top Ten country hits in “Love Reunited” and “One Step Forward,” which peaked at number two. Released in 1988, “He’s Back and I’m Blue” topped the country charts, as did “I Still Believe in You,” from the album Running. Two other singles from the record, “Summer Wind” and a cover of John Hiatt’s “She Don’t Love Nobody,” reached the Top Five. The follow-up, 1989’s Pages of Life, was also highly successful, with two more Top Ten hits, “Start All Over Again” and “Story of Love.” Subsequent releases like 1991’s True Love and 1993’s Traditional failed to achieve the same degree of popularity, however, and after one final LP, Life Goes On, the group called it quits in 1994.

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At the peak of the Desert Rose Band’s success, Hillman had also begun appearing infrequently with McGuinn, releasing the Top Ten country duet “You Ain’t Going Nowhere” in 1989. Soon, the pair joined Crosby in a re-formed Byrds, playing a handful of club dates. In 1990, they appeared at a tribute to the late Roy Orbison, performing “Mr. Tambourine Man” along with the song’s composer, Bob Dylan. The same year, the Byrds cut four new songs for inclusion in a career-spanning box set and in 1991 were inducted into the Rock and Roll Hall of Fame.

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In 1996, Hillman reunited with Desert Rose alum Herb Pedersen for Bakersfield Bound. Like a Hurricane followed in 1998. After a short hiatus, Hillman returned in 2002 with Way Out West, a sprawling 17-track collection of country, roots rock, Americana, and folk that reunited the artist with Pedersen and the Desert Rose Band. It was followed by The Other Side in 2005. Continuing to work with Pedersen, Hillman released At Edwards Barn, a sort of live career retrospective recorded at Edward’s Barn in Nipomo, California, on Rounder Records in 2010. Hillman would tour through the 2010s with Herb Pedersen, who also served as the executive producer for the Tom Petty-produced 2017 album Bidin’ My Time. (by Jason Ankeny)

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And here´s his first solo-album:

Having recently departed Souther, Hillman, & Furay, this album more heavily reflects his association with Manassa than anything he did with SH&F. A nice batch of songs overall but the high point for me is the killer version of the bluegrass standard “Take Me in Your Lifeboat” that closes the album. (by Jim Worbois)


Chris Hillman has been a member of so many bands that it’s easy to forget he has a solo career as well. This first offering was noticeably slicker than anything he’d recorded with the Byrds, the Burritos or Manassas, and the ’70s sheen pointed the way towards McGuinn, Clark & Hillman’s work. That said, the pop production doesn’t get in the way of the material, which is sometimes excellent and never less than very good. Hillman’s folk and country roots are evident in “Midnight Again”, a cover of Stephen Stills’s “Witching Hour” and a solid reworking of the Burritos’ own “Down in the Churchyard”. “Step On Out” provides some light boogie while “Slippin’ Away” is one of Hillman’s best ballads. The real showstopper, though, is “Take Me In Your Lifeboat”, which closes out the album with a superb reminder that Hillman was a bluegrass mandolinist before picking up the bass. An excellent addition to his discography. (by Noah Miller)


Howard Albert (marimba on 07.)
Byron Berline (fiddle, vocals on 10.)
Sam Broussard (guitar on 06.)
Steve Cropper (guitar on 01., 05.,07., 09.,  leadguitar on 02.+ 08.
Donnie Dacus (slide guitar on 04. + 06.)
Donald “Duck” Dunn (bass on 05.)
Jim Fielder (bass on 03., 04., 07.)
Flo And Eddie (background vocals on 02.)
Albhy Galuten (synthesizer on 06. + 09.)
David Garibaldi (drums on 06.)
Jim Gordon (drums on 01., 03. – 05., 07., 09.
Ivory Joe Harris (keyboards on 08.)
Paul Harris (keyboards on 01., 02., 04. – 07.., piano on 03. + 09,)
Chris Hillman (vocals, bass, guitar)
Russ Kunkel (drums on 02.
Joe Lala (percussion on 01., 03. – 06., 08..)
Bernie Leadon  (guitar, vocals on 10.)
Herb Pedersen (background vocals on 01, 03., 07. 08., guitar on 08., banjo, vocals on 10.)
Al Perkins (pedal steel-guitar on 02., 03., 05., 08., guitar on 04., 07., lead guitar on 09.)
Rick Roberts (background vocals on 04. – 06., 09.)
Tim Schmit (background vocals on 01., 07.
Lee Sklar (bass on 02., 08. + 10.)
George Terry (lead guitar on 01. +07., guitar on 03.)


01. Step On Out (Hillman/Knobler) 3.16
02. Slippin’ Away (Hillman) 3.28
03. Falling Again (Hillman) 4.05
04. Take It On The Run (Hilllman) 3.25
05. Blue Morning Hillman) 3.51
06. Witching Hour (Stills) 4.24
07. Down In The Churchyard (Hillman/Parsons) 4.03
08. Love Is The Sweetest Amnesty (Douma) 3.43
09. Midnight Again (Hillman) 3.36
10. (Take Me In Your) Lifeboat (Hillman) 2.45



The official website:

Flying Burrito Bros (Brothers) – Flying Again (1975)

FrontCover1Flying Again is the fourth studio album by the country rock group The Flying Burrito Brothers, released in 1975.

After Gram Parsons’ death in 1973, posthumous interest in the Burrito Brothers’ music grew. This interest caused the band’s original label, A&M Records, to release the compilation album Close Up the Honky-Tonks. Since Rick Roberts had dissolved the Flying Burrito Brothers after a brief 1973 European tour with no original members, former manager Eddie Tickner started to think about the possibilities of reviving the band.

After Tickner received booking interest from a number of clubs, founding members “Sneaky” Pete Kleinow and Chris Ethridge agreed to re-form the Burritos. They hired former Byrds drummer Gene Parsons, Joel Scott Hill from Canned Heat, and Gib Guilbeau to round out the “refried” Burritos. Tickner then got the new band a deal with Columbia Records, of which Flying Again was their label debut.

Despite having two original members, the sound of this album is markedly different from the albums released by the original incarnation. The best examples of this are on the tracks “Dim Lights, Thick Smoke (And Loud, Loud Music)” and “Hot Burrito #3”. “Dim Lights” is much faster and more rocking than the version recorded by the original lineup that would appear in 1976. While bassist Chris Ethridge had a significant hand in the writing of “Hot Burrito #1” and #2, Part 3 is a jarring departure from the style of the first two songs. The lyrics are written more as a caricature of the first two. “Building Fires” was released as a single. (by wikipedia)


The last that had been heard of the Flying Burrito Brothers was a 1973 European tour organized by Rick Roberts, replacement for founding member Gram Parsons, with a few hired guns. But with Parsons’s growing posthumous legend, the band’s name retained currency, and former bassist Chris Ethridge and former pedal steel guitarist “Sneaky” Pete Kleinow retained legal rights to that name. They brought in guitarist/fiddle player Floyd “Gib” Gilbeau, guitarist Joel Scott Hill, and former Byrds drummer Gene Parsons, and relaunched the Burritos with this album of competently played country-rock. Words like “travesty” and “insult” have been used to describe it, on the grounds that Ethridge and Kleinow were trading on Parsons’s reputation, but on its own, the album is an adequate, if unremarkable set. (by William Ruhlmann)


Through many shifting line-ups, the original run of the Flying Burrito Brothers had ended by 1973. However the band name was soon to be resurrected. After the release of some posthumous compilation albums, interest in the band actually grew, so that their original manager Eddie Tickner decided to organise a reunion of sorts. However most of the original members were not interested at the time.
So instead Tickner turned to Gene Parsons. Parsons already had a long history in the country-rock field, most notably being drummer for The Byrds in their latter years. He persuaded original bassist Chris Ethridge to join, along with guitarist Joel Scott Hill, who had played in bands with both of them (and had also been a member of Canned Heat from 1970-72). Pedal steel guitarist Sneaky Pete Kleinow soon joined them as well, and the final member was Parson’s old friend and musical partner Gib Guilbeau. The new five-piece went on tour as the Flying Burrito Brothers – having two of the original Burritos allowed them to use the name. Parsons was the drummer, but also contributed guitar and harmonica, and Guilbeau played his signature cajun fiddle as well as rhythm guitar. The result was a diverse lineup in terms of instruments, vocals and songwriting, and a strong live unit.
The appropriately named Flying Again album came out in 1975, with guest musician Spooner Oldham handling keyboards. Now as it was released under the Burrito Brothers name, expectations of course were high, and it has often been unfairly dismissed as being mediocre. The truth is that it is an absolutely fantastic album. The songs, performances and production are all top notch. Alongside great original songs by Parsons and Guilbeau there are covers of George Jones’ “Why Baby Why”, Joe Maphis’ “Dim Lights, Thick Smoke”, and a couple of Dan Penn numbers (the band’s 1969 debut had also featured two Penn songs). Hill performed most of the lead vocals admirably, with both Parsons and Guilbeau singing on a few too. The results is a great fusion of rock, country, soul and R&B. (


Chris Ethridge (bass)
Gib Guilbeau (vocals, fiddle, guitar)
Joel Scott Hill (vocals, guitar)
“Sneaky” Pete Kleinow (pedal steel guitar)
Gene Parsons (vocals, drums, guitar, harmonica)
Spooner Oldham (keyboards)

01. Easy To Get On (Brown/Hill) – 3:18
02. Wind And Rain (Parsons/Guilbeau) – 4:28
03. Why Baby Why (Jones/Edwards) – 2:24
04. Dim Lights, Thick Smoke (And Loud, Loud Music) (Fidler/J.Maphis/R.Maphis) – 2:16
05. You Left the Water Running” (Dan Penn, Oscar Frank, Rick Hall) – 2:23
06. Building Fires (Penn/Christopher/Dickinson) – 4:18
07. Sweet Desert Childhood (Parsons) – 3:44
08. Bon Soir Blues (Guilbeau/Maxwell) – 4:11
09. River Road (Guilbeau) – 2:59
10. Hot Burrito #3 (Ethridge/Guilbeau/Hill/Kleinow/Parsons) – 2:07



Levon Helm – American Son (1980)

FrontCover1American Son is a studio album by American country rock musician Levon Helm, who is most famous for his work as drummer for the rock group the Band. It was released in October 1980 on MCA Records and was Helm’s third studio album. It has been generally considered Levon Helm’s best solo work until the release of Dirt Farmer in 2007.

Helm played the part of Loretta Lynn’s father in 1980 film Coal Miner’s Daughter and was asked to record a version of Bill Monroe’s “Blue Moon of Kentucky” for the film’s soundtrack. The session went well, and producer Fred Carter, Jr., decided to cut more tracks. Using a band of veteran Nashville session players, Carter and Helm recorded 20 tracks over two weeks, half of which ended up on American Son. (by wikipedia)

While recording a few songs for the movie Coal Miner’s Daughter, in which he played Loretta Lynn’s father, Levon Helm and friends just kept the tape rolling. American Son offers ten songs (the single “Blue Moon of Kentucky” b/w “Working in a Coal Mine” offers two more) from those productive sessions. A band of Nashville veterans replaces the superstar lineup of Helm’s first two albums. The resulting record has a relaxed groove that kicks in with “Watermelon Time in Georgia” and doesn’t let up. The terrific “Hurricane” evokes the Band’s second album, while “Violet Eyes” and “China Girl” are highlighted by engaging harmonies. American Son is considered by many to be Levon’s best solo album. (by J.P. Ollio)

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After much digging through used bins I came across a copy of Levon’s American Son – his third solo album (not released on CD) a few months ago and I have been listening to it regularly since. It really is very good, especially side 2 (side 1 starts strong, but I am less enthusiastic about the last few). So you can have better sense of where this opinion is coming from, you should know that I found both of the first two solo albums from Levon to be pretty ho-hum. Pleasant but no thrills. But this one really is worth hunting down. It never slips below adequate and at times (i.e. “Watermelon time in Georgia” – the opener to side one, and the fantastic three song sequence closing side two “Nashville Wimmen”/a sublime “Blue House of Broken Hearts” and a charming “Sweet Georgia Wine”) it really does have the “base of the backbone thrills” that I once complained Levon’s solo work lacks. (Well, I take it back now.)

The album is much more of a country effort than the first two albums. The production/arrangements by Fred Carter Jr. are much simpler and more effective than the horn-laden Duck Dunn production of Levon Helm. (Carter was the Ronnie Hawkins guitarist whose slot Robbie moved into when Carter went off to Nashville session work.) Carter plays lead guitar, some Nashville session people fill in behind him. (Also Levon in his book says that the Cates came down to pitch in. I think it is one of the Cate brothers singing harmony on “Blue House of Broken Hearts”. Whoever it is, he is fantastic!)

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Among the many things that stand out about this album is the drumming. Levon is really doing very interesting things. (I am not usually prone to notice drumming, so it says something that I noticed here.) I remember reading in a drumming magazine interview (with some Really Famous Drummer – can’t remember who) some time ago which described Levon as a remarkable drummer in part because of a unique syncopation of the bass drum – an “independent right foot thing”. I had no idea what he was talking about, but after listening to American Son, I do. The bass drum is off carrying a beat that has just a heartbeat’s syncopation relative to everything else. Really effective. Normally, I guess, this is less obvious because of three possible things:

Playing with a distinctive bass guitarist like Rick or Duck Dunn masks the distinctive bass drum.
Sometimes – like on the Muddy Waters Woodstock Album – Levon is trying to just power a song forward in a simple way, and so he just leaves aside the fancy tricks.
Maybe these sessions just took place on one of Levon’s best weeks.

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I might add that for all I know, the bullet Levon put in his butt, severing all sorts of nerves and stuff, may have ended his his ability to manage the bass drum with this kind of finesse – so this may be the only place to hear Levon at his drumming peak.

The circumstances of the recording of this album were apparently this: Levon went to the Bradley Barn recording studio in Nashville (where Ronnie Hawkins, with Levon and assorted sessionmen had recorded Ronnie Hawkins Sings the Songs of Hank Williams over twenty years earlier) to record “Blue Moon of Kentucky” for the Coal Miner’s Daughter soundtrack. Things really clicked in the studio, so as Levon put it, they decided to “put some hay in the barn” by recording a bunch of less-known standards. (None of the songs is original, unless you count “Stay With Me” written by producer Carter.) The musical chemistry is infectious: even the weaker songs are redeemed by the lively and subtle musicianship of Levon, Fred Carter, and whoever else is playing. (by James Tappenden – from the Usenet newsgroup, December 1995.)


Beegie Adair (piano)
Kenneth Buttrey (drums)
Jerry Carrigan (drums)
Buddy Emmons (pedal steel-guitar)
Steve Gibson (guitar)
Levon Helm (drums, vocals, harmonica)
Mitch Humphries (organ, background vocals)
Bobby Ogdin (keyboards)
Buster Phillips (drums)
Hargus “Pig” Robbins (piano)
Clifford Robertson (organ)
Billy Sanford (guitar)
Steve Schaffer (bass)
Jerry Shook (guitar, mandolin)
Henry Strzelecki (bass, background vocals)
background vocals:
Todd Cerney – Buzz Cason

01. Watermelon Time In Georgia (Howard) 3.45
02. Dance Me Down Easy (Henley/Burnette) 2.51
03. Violet Eyes (Kimmel) 3.11
04. Stay With Me (Carter) 3.02
05. America’s Farm (Rogers) 3.07
06. Hurricane (Stegall/Harris/Schuyler) 4.01
07. China Girl (New/Silbar) 3.15
08. Nashville Wimmin (Howard) 4.08
09. Blue House Of Broken Hearts (Martin/Cerney) 3.29
10. Sweet Peach Georgia Wine (Reynolds) 3.48



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Mark Lavon “Levon” Helm (May 26, 1940 – April 19, 2012)

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. (

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


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)

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
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



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.


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)


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)


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




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.



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.

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.


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

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 !


The inlet

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)
David Fraser (piano on 04., 08. + 10.)
Tiny Moore (fiddle, mandolin on 06. + 09.)
Kenneth Nash (percussion on 01., 05., 06. + 08.)
background vocals:
Debbie Moore – George Hullin


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



Tom Phillips

Tom Phillips today