The album features ten new balls-to-the-wall hard rock anthems, written during and drawing inspiration from the thousands of miles the band has spent on the road. One for the Road 2. Blood Money Blues 3. Sinking Ship 4.
The Fall 5. Made of Stone 6. Destination Somewhere 7. Up in Smoke 8. Circus 9. The Way It's Always Been Posted by Digby at AM No comments:. Due to be released on April 22nd, the follow-up to the band's debut album 'Full Throttle' features ten new balls-to-the-wall hard rock anthems, written during and drawing inspiration from the thousands of miles the band has spent on the road. Destination Somewhere was written everywhere from hotel rooms in Europe to the tour van in outback Australia, so going back to Go The Distance - The White Buffalo - Love And The Death Of Damnation (Vinyl studios with Ricki Rae was a way to bring all our experiences home to a familiar place.
We couldn't be more pumped about the end result. It's an album we're proud to put our name to, and we're sure you're gonna fucking love it. This album is a snapshot of who we are at this point in time. It's high-energy rock 'n' roll best served loud with an ice cold beer. The band will be playing a string of headlining UK shows, as well as a number of festivals around Europe, including in Spain, Italy and the Netherlands, with more shows due to be announced soon. Have one to sell?
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Learn More - opens in a new window or tab Any international postage and import charges are paid in part Go The Distance - The White Buffalo - Love And The Death Of Damnation (Vinyl Pitney Bowes Inc. Little Eva. That opening drone was really just a signifying hook to introduce one of the all-time catchiest dance tunes: you just put your hands on the hips of the person in front of you, wiggle your ass and make a train.
Carole and Gerry were looking for a singing babysitter. Eva passed the audition when the two songwriters caught Eva doing a strange engineer conductor-type dance around the house. They wrote a song about it and even asked the young girl to sing on the demo. King and Goffin followed this success with another. Don Gardner and Dee Dee Ford. The Four Seasons. Beginning their career in as The Four Lovers, these guys worked together through the mids and, until the Beatles came along to America inValli, Bob Gaudio, Joe Long and Tommy DeVito were among the few consistent hit-makers of the early s.
Anthology contains their best work. But what makes or saves most of these tunes is how well the unit worked with Crewe and he with them. The harmonies are always crisp, the drums accentuate but never dominate, and the songwriting is never shallow.
Crewe would go on to work with the fabulous Mitch Ryder and the Detroit Wheels, where he shined, and then off on his own with the Bob Crewe Generation, where he was beyond dull.
Chris Kenner. Side one is the song you hear nowadays on some beer commercial geared toward people who grooved when they were kids. Side two was the second part and in its own way was a completely different song. Wilson Pickett, Cannibal and the Headhunters, the J.
The Kingsmen. All-Time Greatest Hits. Like any number of strange white southern teenagers in the mids, Roy Orbison got his professional start at Sun Records.
Some may numb it and others may damn it, but between the thick lines and sotto voce dum-dee-doo-wahs of "Only the Lonely," the singer admits the paralyzing pain that shatters each of us. Accordingly, some take the kick in the chest more often than others.
For them, such songs may provide the ultimate solace. The recovery is short-lived, however. Within a year, Orbison returned with "Crying," a one-man opera with the Orb playing the role like a man aging in fast forward. The orchestra pit is just as busy as the singer, with marimba, guitar, tympani, and strings howling like trumpets while the possessed chorus dips and swells.
Orbison permitted no pause in the psychological pugilistics. In "Blue Bayou," his spurning of the weight of pain is a simultaneous prayer to the gods of inevitability. No such quandary pervades the final big hit, "Oh, Pretty Woman," a song filled with stairstep bass and marching snare which together out-value the stylistic degenerations of either Mr.
The beauty of the songs in this collection lies in the perfect interplay of bass and drums, and even more so in the decidedly peculiar attitude Orbison touts. He struggles to control the situation in nearly every scenario he relates and yet laughs at himself or at anyone foolish enough to take him up on his offer of eternal love.
If it is true that the thicker the armor the more fragile the man wearing it, then it must require some deeper strength to carry all that armor. The tension is electric. Breath is held.
Sparks erupt. And we fall—together—back and forward through the darkest and richest dreams ever shared. Del Shannon. Perhaps dread is its own reward. It is entirely possible, as some have argued, that I am reading far too much into what are, after all, pop songs, and further, that my evident fascination with the psychology of the singer is a secondhand, at best, and b irrelevant because the songs continue to appeal to people who have not given the personality of people such LP) Del Shannon any thought in decades, if ever.
That is a good argument. Maybe all these side trips are just trivia and I should leave psychoanalysis to Karen Horney. All I can say in my defense—and this does come up from time to time—is that certain performers and especially certain male performers in the pre-Beatles U.
One might as well try to separate the fact of Frank Sinatra being a quick-tempered saloon brawler from the indelible emotional imprints he leaves on listeners—part of what makes one aspect of his personality so pronounced is what also factors into his ample humanitas, from which we thirstily drink. All I know is that their music makes the statement true in the context of their art. Further, deponent sayeth not. The Trashmen. It was, attorneys believed, a very good reason for a lawsuit against copyright infringement, however.
Lesley Gore. What with all the emphasis on the role of the producer as auteur over the works of presumably anonymous female singers, it may come as a surprise to learn that the esteemed Quincy Jones who produced among the best tracks for Michael Jackson, Anita Baker, Peggy Lee, New Order and, of course, Lesley Gore contributed very little to what is great about these recordings.
It is only when she comes to the subject of Judy, her lifelong nemesis, does the life return to her vocal. Lonnie Mack. Two Buffalo, New York, disc jockeys wrote a theme song words included for their local radio show. While appearing at a local station promotion, a high school band known to no one as The Rebels asked if they could play an instrumental version of the tune.
And no wonder! The stairstep guitar trades off with powder puff sax blasts, and both are accentuated with the cackiest drums ever recorded. After all, amateurs plagiarize.
Artists steal. His pop success ran from up until the British Invasion. However, the KRC arrangement was heavily cloaked in the rowdy side of the New Orleans sound, an often unremorseful celebration of all aspects of life, including the violent ones. The fact that the song described the impulsive yet calculating murder of one gambler by another earned the song a banning from many radio stations.
Price cleaned up the tale a bit and the inferior remake shot to Number One for four weeks. But even a little can be a blast. Better was a wild song co-authored by lead singer Lynn Easton. Appropriately, the group disbanded shortly after, having stuck together for little more than two years.
Flaming Ember. With the consolidation of the recording industry and studios in Los Angeles and New York, it may seem peculiar to many readers that not so long ago a lot of cities between the coasts hosted music as good or better than that being cut in LA or NYC. Listening to the singer rail about the hypocrisy of Deacon Jones in a voice that sounds like Alex Chilton of the Box Tops after somebody woke him up with a nose full of coke, nearly outclassed by the ravaging rhythm section, the easy assumption is that this group was a hard-ass band of Chairmen of the Board wanna-be's.
The Chairmen of the Board. Everything's Tuesday. Carolina Beach Music is hard-edge rhythm and blues with a bass line that by turns raises and dips. Prior to that success, his most laudable achievement was an homage to rock 'n' roll called "It Will Stand. Unlike the slick sheen of Motown, this music was porous. It didn't sound fractured; it sounded as if it could fracture.
Even though the Chairmen found their biggest commercial success while working out of Detroit, their sound was precisely what the North Carolina crowds had been waiting for.
Johnson sang as if he had just dislodged a wad of latex from his throat and was freely toying with all the wonders his voice could suddenly convey. Plus it was danceable soul music. The Chairmen even had the nerve to release a great hit single named after themselves! At the time, panoramic paranoia was all the rage in soul music. Yet here these four were, just wanting to get everybody down on the floor--er, beach. Oh, it was glorious: stuttering, swaggering, chewing on the words and giving them the sweet roll out, like Italian rock of the 's in reverse and twice as fast.
If this doesn't fit your idea of Beach Music, maybe you haven't been to the Atlantic Ocean lately. The Detroit Emeralds. Early Seventies soul outfit led by Abrim and Ivory Tilman. Moving up north from Little Rock, the Detroit Emeralds arrived just in time for Motown to relocate to Los Angeles, thereby allowing the brothers to briefly fill an enormous soul gap in the Motor City.
But this small Little Rock funky soul outfit stirred up more of a traditional southern stew than any of their label-mates. Laura Lee. The arrangement is strictly Honey Cone pop-rock. What gives this song its edge is the gutsy yelp she picked up from Aretha Franklin when both were working at Rick Hall's Hall of Fame in Muscle Shoals. None of this may bode accurately for male-female relationships then or now personally, we'll take Loretta Lynn's more durable and action-oriented hostility any daybut just for the guts required to raise such a rucuss, this song is worth coveting.
Marvin Gaye. What's Going On? Maybe because he had been everywhere and done everything; maybe because the instinct of middle age was fast approaching; maybe because he intuited that black music was about to experience an opportunity to do things the brain-damaged leftovers from late 's psychedelic misanthropy never could--for whatever reason, Marvin Gaye ran the ultimate risk of alienating himself from brother-in-law and tyrannical boss, Berry Gordy Jr.
Then again, if the hit-obsessed Gordy considered gambling on anything, this album of pained, funky-town slow down slap back had to be the most convincing long shot of either man's career. It is nothing less than the ideal, if unintentional, answer record to John Lennon's Plastic Ono Band. There may be some autobiography in a few places "I can't pay my taxes," for instancebut mostly this is Marvin drawing a sound scape of world misery and confusion that all the parties and exhortations of "brother, brother" won't rectify, while only referencing himself as a frustrated observer to an apocalypse he'd like to avoid if only he had the energy.
The Dramatics. Stax Records carried on into the s with this Ron Banks quintet who, no matter what they earned for the title track, it wasn't nearly enough. Who but the Dramatics could pull off a parody of a fashion trend and a Sly Stone single all in the same song, much less expose dancing for the sexual prelude it had always been?
The Undisputed Truth. Producer Norman Whitfield linked up singers Joe Harris, Billie Rae Calvin and Brenda Jorce Evans, forming this loosely tight single that went Top Five at a time when people were suspecting that all those hippie aphorisms were just some corporate lackey's idea of soup in rubber pockets on a food line. The Undisputed Truth said that people who smile in your face just might be looking out for Number One.
For all those who felt that Lou Reed's original version of this song sounded like it was sung and played by a band of sedated toads not that that was a bad thingthis is what you were waiting for: Mitch Ryder reunited with bad ass drummer John Johnny Bee Badanjek, and with some rave up guitarists they formed this one-album wonder combo that sounded like the life the radio had saved was worth the bother.
This wasn't the Detroit Wheels, but it was the last great leap of a local legend. Honey Cone. When the crack songwriting and production team of Holland-Dozier-Holland left Motown to form their own record company, they wanted a harder sound that retained the pop whistle of their former label.
That may be why both of these songs sound very much like the Jackson 5. Lead singer Edna Wright proves talent's in the genes Darlene Love is her sisterand so is enthusiasm. We absolutely guarantee that Katrina and the Waves learned everything they'd ever know from "Monkey," including between-line vocal trills. The absolute golden age of black pop music was never better than in the period, when a none-too-friendly competition existed between Invictus, Stax, and Motown, all aiming to be the sound of young America.
Here it comes! I said to myself, "Let's give it to em, right now! It is one of those shames that used to happen every so often that a great group like this would release a spectacular single, only to have its popularity sidetracked by a more popular yet inferior performer releasing his own version of the song at the same exact time.
That's what happened here. Tom Jones, of all people, released his version on the same exact day that these Englishmen released theirs, effectively confusing the public about whose version was the good one. A few more hits like this and there would have been no misunderstanding. Rod Stewart. Rod Stewart is a remarkably talented singer, songwriter and interpreter who has on occasion made some remarkably horrible recordings.
He has been the lead singer for some of the most passionately inspired hard rock acts in history and has also strutted amid a myriad of hack session players. Perhaps the most frustrating aspect is that he has displayed an internal conflict between being one of the sharpest, most insightful performers of our time and being a celebrity who loves to wile away the hours with fashion models, no doubt for the conversation.
Before he had become so reprehensible that nothing he could do afterwards would ever compensate, he recorded several fine albums for Mercury, the two supreme highlights of which are these sensitive yet willful singles.
Harry Nilsson. The story isn't just sad; it's downright depressing. After quickly and eloquently summing up space exploration as just another extension of Manifest Destiny that the astronaut had bought into, he discovers to his horror that the public no longer cares about such lunacy. Within a controlled swirl of Richard Perry orchestral production, this song conveys the hopeless inevitability of the ideology that leads to such consequence. Elton John. Honky Chateau. Elton John was far and away the most commercially successful artist of the first half of the s.
He came on a whole lot like the way he went out: a bit cocksure, a bit timid, kind of geeky, kind of sleek. Cool, then, in a nerdish way. And that was the initial reason for his success. It was simple, much like the singer, who then emoted the way old people do. Despite his success as a singles act, EJ was ultimately an album artist.
Elton John, the U. In the meantime, the hits just kept on coming. This album featured two: "Honky Cat," about about a city boy needing to return to rural heartache, and "Rocket Man," the first great song about the space program. Best of all, this album rocked the way not much else was doing at the time and "Hercules" shimmered. When some people insist that Elton opened up their minds, this album is why. Ringo Starr. At the time of this single's release, most of my friends tried to convince me that something dirty was happening here.
Twas no such thing. What they didn't know then, but what I discovered later, was that this slaughtering song for guitar and drums was actually a coded attack upon Paul McCartney. The irony is that McCartney would contribute to Stop and Smell the Roses' best song, one that featured a medley that included a redone version of this very tune.
Thunderclap Newman. Hollywood Dream. By the time this album hit the States, the band that made it had ceased to exist. Released as a single years before the U. The various Hollywood tunes ambiguously tease the superstar motif these guys never came close to experiencing for themselves. Everything else maintains a pastoral militancy that's more rare than commonly believed about the presumably enlightened s.
Paul McCartney. Band on the Run. After the artistic and commercial success ofRam, McCartney was positioned to create anything he wanted and his credibility was assumed before the first song began. Unfortunately, he gave us trash. But after wading in a kiddie-pool of lame albums, he fired back with Band on the Run, complete with three rocking hit singles, some very pleasant pastoral meanderings, a soft parody of his one-time creative partner, a damned fine drunken ode to Picasso, and an over-all production feel that suggested the act of being freed from The Beatles unleashed opportunities for creativity that someone outside his immediate family might actually enjoy hearing.
Band on the Run has come to bethought of as Paul's testament, his sole proof that he could produce something artistically solid without John Lennon. After a few shoddy albums, it appeared that Ringo might be the exception among the ex-Beatles in not releasing a single album that spoke of his triumph. Then he met producer Richard Perry, a man who had already made his bones with both Carly Simon and Harry Nilsson, capitalizing on those artist's best qualities and yielding their most successful albums.
So when he and Ringo joined forces, the producer's confidence balanced with the drummer's frustrated ambitions to assemble the album of a lifetime. A big part of this success was due to the accompaniment, which included Messrs. McCartney, Lennon and Harrison. Still, this is Ringo's show, leading off with the realistically boastful chant "I'm the Greatest," and carrying through with sprite pop songs that didn't require long-held notes, allowing the singer to emphasize the percussive aspects of his voice.
Apple released three of these ten songs as singles, each of which hit the Top Forty, two of them taking over at Number One, a feat unmatched by his former band mates. Kiki Dee. Talking about Kiki Dee without mentioning Elton John would be like talking about the Ronettes and neglecting to say something about Phil Spector. And that list is important because aside from whatever degree of talent they may have possessed, their public personas stipulated that show business was as much their lives as their art.
Or so it seemed at first. But listening again it is possible to hear the lie between the stated facts of having no trouble in her life and the tension in the music and vocals.
After all, how can you dismiss dreams as foolish unless you've had some of your own thwarted? Venus and Mars. While the fans and critics may have agreed about the success of Band on the Run, the time of universal acclaim for McCartney soon ran out.
The abundance of romantic music on Venus and Marswas met by such vitriol by the music press that Paul fought back with "Silly Love Songs," a soft-spoken yet direct and powerful response. While his artistic credibility started sliding with Venus, as an album it gives us some of the ex-Beatles' best music. The sound is separated and mixed better than any effort he made before or since, and the songwriting is tremendous. Despite the success of the single "Listen to What the Man Said," the best tune is actually "Call Me Back Again," with its sloppy link back into and out of the verses and its Little Richard on amyls vocals and song construction.
Roxy Music. The original line-up of Roxy Music was nothing more than Art Rock, which is to say avant garde, which in turn is reactionary, the antithesis of good music and good times. But leader Bryan Ferry was too smart and talented to become a bad joke, an easy thing to do when you are the opening act for Jethro Tull.
The group's luck changed when Brian Eno left in Instead, they released Country Life, an album notable mainly for the smidgen of pubic hair shown on the cover. Siren was the real gem. Still Art Rock in the sense that it had sounds washing all over like waves against a Malibu ranch house and songs that blended into one another, Siren managed to remain rock.
You could dance to it, stomp, bang your fists and even sing along. Ferry let himself go wild here, exploring his own sarcasm, his own internal debates, his life-enhancing self-destruction. Snakes and Ladders. Warner Bros. Some people prefer A Nod is as Good as a Wink. But for this incarnation of the band, the click clock punch of the more commercial sound strikes me as highly appropriate. Together they made some of the best stumbling rock ever recorded.
All You Need is Cash. Monty Python meets the Bonzo Dog Band and demystifies the Beatles while making one album that contained everything the Fabs ever did, hilariously. But beyond that essence, they and their ever-changing band of musical cohorts inflected and infected pop-rock on both sides of the Atlantic Ocean for the first LP) years of the Me decade. That this music's very reach sowed the seeds of its own destruction--that is, as the demand for this music tore apart the musical and matrimonial partnership of Delaney and Bonnie--in no way detracts from the power and relevance of that axis of bliss.
Bonnie, Delaney, Duane Here, then, are the greatest recordings made either directly by, or tangentially connected to, that most glorious of pop duos, Delaney and Bonnie and Friends.
Joe Cocker. Mad Dogs and Englishmen. While I would give the movie of which this album is the purported concert soundtrack the worst of all possible ratings, the music itself is quite exciting stuff.
While it remains annoying that most of the Friends who were touring with Delaney and Bonnie deserted that couple to hook up with gyrating Joe, the fact is that for such a horribly big band, they were very tight, and so songs like "Feelin' Alright," "The Letter," "Bathroom Window" and especially "Cry Me a River" could certainly be used as arguments in favor of drug abuse in the right minds.
All of the million smiling lunatics who appear on this album make some contribution, mostly as a backing chorus. The glorious Ray Charles-style call and response is everywhere, but it teeters constantly, creating a double tension because you expect each song to break down at any second--although none of them do. But subsequent recordings were so bad that maybe such rollicking self abuse insures a limited artistic span.
Delaney and Bonnie. With Delaney and Bonnie, it was heaven. These two singles were studio versions of the songs that most are more familiar with in a live context. Both of these songs represented a step up for the duo from their Elektra-era love songs of which "Never Ending Song of Love" was typicalmost of which boasted a decided lack of production sophistication and nearly minimalistic song construction. These two tracks, however, asserted social as well as personal commitment through the time-honored process of rocking out.
Dave Mason. This former Traffic guitarist, solo artist and occasional record producer is perhaps better known for his late-Seventies easy listening hit, "We Just Disagree," a song that would never make any connection to his earlier work. His guitar work is arguably sharper and certainly more strident than Delaney's. The more limited vocal Mason offers balances the instrumentation smack dab in the supine position. Delaney and Bonnie On Tour. Delaney and Bonnie Bramlett met in Los Angeles and seven days later married in a bowling alley.
This perfect progression of their musical acculturation bubbled up from unlikely pre-matrimonial experiences. Together the Bramletts found a strength that was greater, yet lighter, than the sum of their parts.
Others heard it too. Eric Clapton invited the duo to be the opening act on the tour for Blind Faith. By the time that tour was over, Delaney and Bonnie headlined. That was bad news for Mr. The good news for the public was that many popular performers had absorbed the Delaney and Bonnie feel, yielding music which sprinkled down through a bleak winter the warm sensations of intoxicated butterflies, rejuvenated Lazarus, and the St. Derek and the Dominos. Eric Clapton playing electric diving to the center of the earth guitar, Bobby Whitlock stretching elastic keyboards, Jim Gordon pounding cascading lava drums, Carl Radle churning undersea bass, and Duane Allman melting overdubbed electric and slide guitar: producer Tom Dowd layered these individual yet unified performances like shifting levels of total agony.
If Eric Clapton had never been with any of his previous groups, if Duane Allman had been an only child, and if the other session players had done nothing before or after recording this LP, their names would still live forever as the temporary purveyors of the greatest of all living rock and suicide blues albums.
And while biography is usually superfluous, here it matters. Eric Clapton and George Harrison had been friends for years, a fact that benefited both artistically. George Harrison. All Things Must Pass. Dave Marsh called this recording a monumental album that makes a nice signpost for the Seventies, and he was right. After this one extended moment of glory which featured incredible playing by Ringo Starr, Billy Preston and Eric Claptonlonesome George saw his commercial career drop notch by notch, from concerts for starving people, to half-baked politico-religious noodlings, through inspired songs about dead friends.
He finally tired of public indifference to his oft-threatened retirement and --sproing! As far as this album goes, All Things Must Pass has a calming effect on laboratory mice, although "Wah-Wah" and "Apple Scruffs" retain some of the magic from his days with the Beatles. Far and away the best songs on the recording are on the often condemned third "bonus" disc, which was actually nothing more than five heavily edited jam sessions. There, instead of the overly polished production courtesy of Phil Spectorwe get Raw George, wailing away with his friends and neighbors where everyone is clearly having a great time escaping the rather heavy-handed philosophizing that preceded it.
Eric Clapton. In the same way that Layla reached transcendence through its weight, Eric Clapton transcended through a spiritual levity. In the same way that the political and social explosions of the Fifties and Sixties resonated real Art through Seventies cinema, the excitement and freedom of the previous decades shook out a tempered discipline--at least in the early 's--of which this album is perhaps the most striking example.
With guitar, songwriting and production assistance from Delaney, the core of the Derek and the Dominos musical line-up, and the first real sense of commaraderie he'd known in years, Clapton popped out the poppiest album of his career, one that even managed a great Top Forty single with a cover of J.
Cale's "After Midnight. Leon Russell. As the prime mover behind the Mad Dogs and Englishmen tour and consequently the driving force in relocating the core of the Friends who backed the BramlettsLeon Russell's career appeared to be ripe for a massive solo excursion.
And this solo effort--which was about as solo as any of the other recordings here, since it featured two Beatles, a pair of Rolling Stones, a former Yardbird, most of the Mad Dogs and about two dozen backing singers of varying renown--was powerful enough to permanently enshrine the idea that Russell was a major talent. His prematurely silver hair, Oklahoma inflections, train whistle voice, and tight yet unpredictable arrangements all merged on this recording and wafted down through our depleted lungs like fresh air in a coal mine.
While "Prince of Peace" and "Pisces Apple Lady" suffer somewhat from the "cosmic consciousness" that would mar much of the singer's later work, "Give Peace a Chance" not a cover of the Lennon song"Delta Lady," and particularly "I Put a Spell on You" not a cover of the Hawkins song retain their power to this day. To Bonnie From Delaney. After a pair of nice as in merely nice albums for Elektra, this dynamic duo switched to the preeminent soul label, Atlantic, where they'd always belonged in the first place.
In addition to the aforementioned "Free the People"--a minor hit--To Bonnie From Delaney is a virtual update of the best sounds of the previous fifteen years. The Allman Brothers Band.
Many of us who suffer a terminal fascination about such things have claimed that the honor of best in-concert recording rightfully belongs to Live At Fillmore East. Nevertheless, this is the best live recording by a band whose subsequent work failed to live up to the expectations generated by one specific recording. The improvisational components to this album are a lot like the best post bop jazz sessions of John Coltrane or Miles Davis.
Artistic success only exists when such improvisation reveals an inherent respect among the players. While no one crowds anyone during the solos, no one leaves the stage for a smoke break, either. When one musician senses the moment for his contribution arriving, the others recognize the same instant for what it is, and, rather than battle it out, they support the soloist.
With Gregg Allman on keyboards and vocals, brother Duane on killer slide, drums by both Butch Trucks and Jai Johanson, plus bassist Berry Oakley and Dickey Betts on guitar, southern rock was reinvented by bluesing down the rhythm and inserting what would come to be thought of as boogie in the hands of lesser talents. With the loss of Duane Allman and Berry Oakley in separate motorcycle fatalities, it became clear that the remainder of the Allmans accepted the role of practitioners rather than continuing to aspire as innovators.
We never had all that much use for this song until years later when we heard it sung by Lulu. Suddenly we were able to make out the words. At that point we got it: even though Dave Mason wrote the song, this was always a Cocker tune, the last big body spasm that predicts the hastening of his performance demise. Who are we to reject such prescience? John the Night Tripper.
What's embarrassing lo these many years is the image of Russell on the cover of his album Carney with clown make-up, the ugliest shirt ever made, and a dingy dressing room right behind him.
He wasn't. But this song captures the ambience of its title as well as any song ever recorded. It also made for a gentle end to the time when Del and Bon wielded influence on pop radio. Duane Allman. While most anthologies suffer from a certain lack of substance, this, the first of two retrospectives to successfully encapsulalize Duane's status as the premier white Southern blues aficiando, locks horns with the essence of pain and never lets up.
Beginning with a devastating medley of B. King numbers recorded with an early incarnation of the Allman Brothers back then they were called The Hour Glass, and before that, the Allman Joysthis two disc set reinvents slap back soul with Wilson Pickett's version of "Hey Jude" and Aretha Franklin's interpretation of the indecipherable "The Weight. But with talent like this all around him, the real question is: how could he not?
If not quite the end of an era, this album certainly served as the culmination of a musical relationship, but without the eerie pseudo-implications of Richard and Linda Thompson's Shoot Out the Lights.
Country and Western Contemporary rock music denies through its attitude, format and style the influence of Country and Western music. Travis Tritt, to cite an easy example, may model himself after the more overblown aspects of Elvis Presley, but he absorbs none of the vocal nuances or unintentional humility that Presley himself borrowed from --among others--Bill Monroe.
No value judgment is implied in this observation. Just as current hip hop and hard rock aspire to spring from an origin that never existed, so Contemporary Country yearns to display a freshness that owes nothing other than to the image of whichever soul-patch sporting ten-gallon hat-wearing original has sped up Hank Williams songs to make them unrecognizable.
This fact does not make one period's music inherently better than the other. It does, however, make an unmistakable distinction between the two styles of country. Bill Doggett. Doggett, along with pals Clifford Scott, Shep Sheppard and Billy Butler, not only made a great instrumental with this, they made the best ever strip joint song of all time. Shuffle, bump, sproing has never sounded so appropriate on a country single.
Not that public disrobing was the only effect of this song. Dressed or undressed, "Honky Tonk" awakened more than just the loins. And that's kind of funny because Bill actually believed his Hammond organ to be the source of sacred delights.
The idea that being associated with such earthly pleasures could defile such an instrument was anathema, at least, to him. Ernest Tubb. My father introduced our household to this song. My Dad's obsession with Country and Western was as boundless as my own rock-mania would soon become. This song played a lot in our house, and for good reason. Tubb's voice was a little flat, but he packed an innate charm. You could hear the thoughtful smile enliven tales of heartache and yearned-for revenge.
When he sings "I hope and pray that your heart breaks right in two," you know he means it despite the fact that he'd take the woman back in two seconds. Curiously, I had forgotten all about this song until a few years ago when I heard a version by Fairport Convention.
Sandy Denny's lead and the almost studious dedication of the band awakened long dormant recollections. I raced home and found what I at first took to be two different versions of the Ernest Tubb original, one datedthe other Any distinction turned out to be the result of my hopeful imagination.
The song was simply released twice. That answered another question that had been troubling me: Where did Bill Doggett learn the honky-tonk style he came to despise? Dave Dudley. Dave Dudley never had another crossover hit, but his cowboy ode to getting back home warrants a shrine to this Wisconsin boy for single-hendedly kicking off the truck driving song.
Not only did the baritone Dudley capture the ambiance of what the good man will and won't do while eighteen-wheeling it--white crosses, si; cheating, no--his driving rhythms and command of the vernacular made country music embraceable to the young rockers who would later reinvent themselves as The Byrds, the Flying Burrito Brothers, and the Eagles.
Johnny Cash. Ring of Fire. Johnny Cash could sing anything. So when Johnny does a somewhat ornate version of Merle Travis' wondrous "Ring of Fire," I just shrug and dig it, thinking how surprised I am that we never had Disco Johnny. Even the album cover here is a blast. Sandy Posey. Because Posey was a country singer and because the words "I was born to be stepped on, lied to, cheated on and treated like dirt" came out of her mouth on this crossover hit, a lot of people found the tune vaguely insulting.
That opinion says a lot about the limited minds of many people who act as if they are liberated but who are just as chained to the past as Newt Gingrich. Posey was singing about a condition that some women accepted for themselves, a condition that goes far beyond mere servitude, a condition of reaping a few moments of psychological satisfaction from one's own misery.
So when she cries out "and I'm glad," she's making a statement as bold as James Brown asserting "I'm black and I'm proud. Loretta Lynn. Loretta Lynn's Greatest Hits. To be a traditionalist by vocation and a rebel by temperament is one sure-fire way to reconcile the most despicable aspects of the middle class with the more refined tastes of people who actually work for a living. That sense of reconciliation is more than apparent on this collection as Loretta tells everyone from her whiskey-guzzling paramour "Don't Come Home a-Drinkin'" to the federal government "Dear Uncle Sam" that she's far too tired to put up with anymore foolishness.
Had any such shenanigans been proffered from the more pompous pop stars, they would have been properly ridiculed as pseudo-enlightened bourgeois balderdash.
Coming as these songs do from someone who has actually known pain and who has developed the ability to sing convincingly about it, Loretta Lynn shares a dignity with that part of our population often dismissed as White Trash.
Jah War - SSHH (3) - Issues (CD, Album), Eclipsed By Ravenwings (Live Rehearsal) - Goatmoon / Ride For Revenge - In The Spirit Of Ultimate Sa, Tak Aby Bolo Jasné - Tina (35) - Original Albums 4CD (CD, Album, Album, Album, Album), Bob Dylan - Forever Young (CD), Whos Afraid (Of The Art Of Noise) - The Art Of Noise - Daft (CD), Hi-Heel Sneakers, 20 Eyes - Misfits - Halloween 1982 (DVDr), Forget About Heaven - Flotsam And Jetsam - Cuatro (CD, Album), Original - Leftfield - A Final Hit (Greatest Hits) (CD), More Than I Know - Leftfield - A Final Hit (Greatest Hits) (CD), Unknown - DJ Babu* - The Beat Tape Vol. 1 (CD), Crying In The Sun - Mylutin - Blues Singer In A Rough Experience (File, MP3, Album), Broilers Brew - The Missionaries - Alpha & Omega (CD), Unknown - DJ Babu* - The Beat Tape Vol. 1 (CD), One Way Street - Various - Rocky IV (Original Motion Picture Soundtrack) (Vinyl, LP, Album)