In The Land Of FREE we still Keep on Rockin'

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Plain and Fancy

Music gives soul to universe, wings to mind, flight to imagination, charm to sadness, and life to everything.

Plato

Friday, August 15, 2025

Leslie's Motel - Dirty Sheets (1972 us, stunning blues psych jam rock, 2009 edition)



In 1971 three musicians with very different backgrounds came together to form The Leslie's Motel Band. The founding members were Richard Bush, Mike Seibold, and myself, Bill Tullis. Richard had been a long time keyboard player with the blue eyed soul band Tom Dooley and the Lovelights. Mike moved to Louisville from Baltimore to attend college, and had family connections to Felix Pappillardi, the producer of several Cream albums and bass player with Mountain. This gave him a very edgy style that landed him the job of lead guitarist in one of the first "heavy" blues bands in Louisville, Conception. 

I got my start as a folk singer playing in clubs around town like The Arts of Louisville House. This club later became Changes Unlimited and then Kaleidoscope, the first psychedelic nightclubs in Louisville, Ky. I spent many exciting nights playing in these clubs with Jay Petach, the engineer of this CD, while we were members of The Oxfords. The most memorable evening was when we opened for Frank Zappa and got to spend some time talking with him about the music business. After leaving The Oxfords I formed the group Conception and that is when Mike and I first started playing together. At the urging of a friend, I went to see a band in Nashville at a club called The Briar Patch and saw, what I thought at the time, was the best live band I had ever heard. Their name was The Allman Joys, which later became The Allman Brothers Band, and I knew my musical path was going to change. 

After the release of ABB's first album Mike and I disbanded Conception and sought out some new musicians to be a part of this southern rock sound. We went to a club called The Zanzibar and explained to Richard, during one of his breaks, what we had in mind. He was instantly excited and we began searching out other local musicians to complete the band. Even though over the five years Leslie's Motel was together we went through many different lineups, I believe the group on this CD was LMB at its peak. Before I get into the other three fabulous musicians here, I think the story of the naming of the band needs to be told. When we started rehearsing in a garage off of Dixie Highway in Louisville, every day we would pass by Leslie's Motel. The rumor was that it was a house of "ill repute" (mainly for the soldiers coming and going from Fort Knox) and according to how the sign was lit, meant they were open for business. The sign became a topic of conversation at rehearsals on a regular basis until one day Mike suggested we should call the band Leslie's Motel. After quite a bit of laughter we decided it was as good a name as any and the name stuck! At those first rehearsals we did several Allman Brothers covers, and it greatly influenced our writing. 

Ray Barrickman and Jay and I all went to the same high school and had a band called The Specters. That group later became the second generation of The Oxfords. Ray and I once wrote a song together that we performed at a senior assembly. It was suppose to be a tribute to our "wonderful" high school experience. Instead it was a swipe at the school's principal and staff, remembrances of smoking in the boy's room, suspensions for cutting school and growing our hair too long. We almost got expelled for that song so Ray and I "had a past"!! At the time of writing these notes, Ray has been the was also the singer on The Oxfords only nationally released single, so he was an excellent addition to LMB. Paul Hoerni was the drummer for the third generation of The Oxfords with Jay when they did the majority of their recording. He had also played drums in several outstanding bands around town and had that Butch Trucks kind of feel. Jay and I had spent time with Butch at Changes Unlimited when he was playing gigs with his band, The Tiffany System, before he was with ABB. We both recognized the similarities and the talent. So Paul joined the band and we started off as a five piece. 

The Windmill Club in Louisville became our home base to hammer out our ideas, and The Belle Starr Saloon in Buffalo, New York became our home away from home. We played the club circuit from as far north as Boston to as far west as St. Louis and south to Florida. Many times we also got the opportunity to open for national recording artists, that I will list in a minute, and that leads us to the last member to join LMB. One night we were opening for a reunion tour of the ground breaking Blues Project, when the drummer Roy Blumenfeld came up to us after the show and asked if he could join the group. We were all floored by his request and jumped at the opportunity. This rounded out the lineup you will hear on this CD. Leslie's Motel Band opened for guitarists Ted Nugent, Charlie Daniels, Freddie King, Harvey Mandel, Rory Gallagher, Harvey Brooks, Mike Bloomfield (where the reviewer wrote "The home town boys seemed to be more in the favor of the audience than Mr. Bloomfield"), organist Billy Preston, singer Mitch Ryder, and The MC5. But the show that stands out the most for me was the highlight of my musical life. We were opening for the legendary John Lee Hooker at The Brass Rail in Orchard Park, NY, just outside of Buffalo, when Mr. Hooker came up to me after our set and said "Son, I don't have a harp player with me tonight. Would you like to sit in?". 

Looking back, I cannot remember how many songs I played or how long I was on stage. All I remember is floating out onto the stage when he called my name!! Well, I hope you enjoy reading these liner notes half as much as I have enjoyed remembering all of these GREAT times! It is an honor that Gear Fab Productions is releasing this CD over thirty years after these sessions. And my thanks to Jay Petach, Marvin Maxwell, Roger Maglio and all the past residents of Leslie's Motel for making it happen!!!
by Bill Tullis, October, 2008


Tracks
1. Step Down Baby (Mike Siebold, Bill Tullis) - 3:40.
2. Interlude (Richard Bush, Mike Siebold) - 0:32.
3. My Sweet Woman (Richard Bush, Bill Tullis) - 5:45.
4. Blister (Richard Bush) - 7:48.
5. Reason Why (Mike Siebold, Bill Tullis) -  4:19.
6. Windmills (Richard Bush) - 4:28.
7. Latino Motel (Prelude/lnterlude/Qualude) (Bill Tullis, Barrickman, Mike Seibold, Richard Bush, Paul Hoerni, Roy Blumenfeld) - 8:52.
8. Movin' Rock 'n' Roll (Bill Tullis) - 3:18.
9. Dirty Sheets (Bill Tullis, Ray Barrickman, Mike Seibold, Richard Bush, Hoerni, Roy Blumenfeld) - 5:31.
Track 9 Live At The Morefill South

Leslie's Motel
*Bill Tullis- Lead Vocals, Rhythm Guitar, Tambourine
*Mike Seibold - Lead Guitar, Vocals
*Richard Bush - Hammond C3 Organ, Fender Rhodes Piano
*Ray Barrickman - Bass, Vocals 
*Paul Hoerni - Drums
*Roy Blumenfeld - Drums, Congas, Hand Clapping

Related Acts

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Tuesday, August 12, 2025

The Tarney • Spencer Band - Three's A Crowd (1978 australia, nice melodic power pop, 2009 bonus tracks digipak remaster)



Tarney-Spencer Band was an Australian rock band composed of Trevor Spencer and Alan Tarney in the late 1970s. The band recorded three albums, and is notable for the song "No Time to Lose" which received substantial air-play in the USA on album- oriented rock radio stations, and charted twice on the Billboard Hot 100 singles chart.

Alan Tarney met Trever Spencer while playing in an Australian group called Johnny Broome and The Handels. In 1969, Alan and Trevor moved to the UK. They formed a band called Quartet, releasing 2 singles on Decca and an unreleased album. The two also occasionally played on on numerous sessions for artists including Olivia Newton-John, Chris Squire, Bonnie Tyler, Charlie Dore, New Seekers, The Real Thing and many others.

About the same time as Tarney and Spencer were working under the name Quartet, they were also sitting in on sessions for Cliff Richard. Alan Tarney eventually joined The Shadows on bass in 1973, staying until 1977.

Alan and Trevor began working as a duo in 1975. Their first, self titled album was released in 1976 in the UK on the Bradley's label. Shortly after, the Tarney-Spencer Band signed a deal with A&M Records for 10 albums. The band's second album (1st for A&M), was titled "Three's a Crowd" and featured cover art with rounded corners, shaped like an American style cafe menu card. The album received modest airplay on AOR radio station in the US and reached #174 on Billboard Magazine's album chart. A single from the album, "It's Really You" hit #86 on the Billboard Hot 100.

"Run For Your Life" appeared in 1979. Again, with airplay at AOR radio, the album charted in the US reaching #181. One of the album's tracks, "No Time To Lose" was released as a single and rose to number #84 on the singles chart.

After the release of a non-LP single, "Cathy's Clown" in 1979, the band was released from their contract with A&M and discontinued their work together as Tarney-Spencer Band. Two years after the band broke up, the track "No Time To Lose" got the attention of MTV. In 1981, when MTV launched, the channel occasionally aired a video clip for "No Time To Lose". A&M reis- sued the track as a single. The song charted a second time on Bill- board's Hot 100, fairing slightly better that the first time around, reaching #74. Their biggest achievement, "No Time To Lose" has never officially seen mainstream release on CD, either as part of the Run For Your Life album or on a various artist compilation. Trevor Spencer left the UK and returned to Perth to help start Sh-Boom studios. Recent work with Hank Marvin's 1990's solo albums.

Alan Tarney began working as a producer and achieved nota- ble success with A-Ha. Alan produced their first three albums, including their hit single "Take On Me". Additional production work included sides for Squeeze, Bow Wow Wow, Leo Sayer, Pulp, Cliff Richard, Thomas Anders, The Hollies, Voice of the Beehive, The Bluebells, Dream Academy and others.
Liner-Notes


Tracks
1. Bye Bye Now My Sweet Love - 3:21
2. Takin' Me Back (Alan Tarney, Trevor Spencer) - 3:01
3. It's Really You (Alan Tarney, Tom Snow, Trevor Spencer) - 3:53
4. We Believe In Love - 3:49
5. Maybe I'm Right (Robert Wachtel) - 3:34
6. I Can Hear Love - 3:26
7. Set The Minstrel Free (Alan Tarney, David Kershenbaum, Trevor Spencer) - 4:00
8. Magic Still Runs Through Your Head - 3:02
9. Capital Shame - 5:08
10.Easier For You - 3:13
11.Making A Bad Boy Good - 3:17
12.Can't Get By Without You - 3:06
Songs written by Alan Tarney except where stated

Personnel
*Trevor Spencer - Drums, Syndrums, Percussion
*Alan Tarney - Guitars, Keyboards, Synthesizers, Vocals 
*Lynton Naiff - Strings Arrangements

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Thursday, August 7, 2025

Chicken Shack - O.K. Ken? (1969 uk, remarkable blues rock, 2014 remaster)



The exact source of the phrase "O.K. Ken ?" is somewhat obscured by time. Stan Webb was well known for being something of a comedian and was a keen follower of many of the professionals of the day. Many of those top line performers had their own little catch phrases and also very distinctive vocal styles. Names such as Max Wall, Peter Sellers, Spike Milligan, Kenneth Williams and Tommy Cooper immediately spring to mind. Stan was always alert to the possibility of a "quick one liner" as they were known. 

They were rarely at the expense of anyone's feelings but almost always raised a giggle or two. Stan also had the gift of making just the right facial expression to go with the lines being delivered. Had he not been such a good guitarist and strong vocalist he might have made a career of impersonating others. Anyway, now armed with some inside information as it were, you can judge for yourself his capabilities. Sandwiched in between the musical elements you will hear the various voices of John Peel, Hughie "and I mean this most sincerely, folks" Green. Max Wall, Kenneth Williams and the former Prime Minister, Harold Wilson - amongst others. The Stan Webb Appreciation Society is to be heard in support. The results have their appeal although there are those who have said they found the spoken introductions irritating and annoying to the point of distraction. Well, as with most things - this is a matter of personal choice. "O.K. Ken ?"

The music contained on this, The Chicken Shack's second album, might lack some of the earthy freshness of their first effort but nonetheless represents the band just the way they were in a club situation - few frills, plenty of thrills and lots of honest, good rockin' blues! The song-writing chores are once again shared between Stan and Christine Perfect (soon to be McVie) with Stan taking the lion's share. There are a handful of non-originals amongst which are renditions of Howlin' Wolf's "Tell Me" and B.B. King's "Sweet Sixteen". Both these songs had become very popular in the band's "live" show. Once again the horn section is in evidence and there is also a guest appearance of Walter "Shakey" Horton who plays harmonica behind Christine's plaintive vocal on "Little Walter's "Mean Old World". As with "40 Blue Fingers" This album saw some chart success but did not achieve all that could have been wished for. Of course, the release of the single "I'd Rather Go Blind" was only months away which would give the band their biggest chart success to date but which would also result in the parting of the waves for Christine and the remaining members of The Shack. 

Once again, a great deal of care was taken in the final selection of material. the actual recording sessions were spread over a period of three days - one in June of 1968 and the other two back to back in October of the same year. As always Mike Ross was in charge of engineering matters whilst the off-beat photographic work of Terence Ibbott is again in evidence. I well remember the skeleton "hanging" around (with and without shower cap) but to this day I do not know where Terry got it from. The cover photograph was taken in front of the National Gallery in London's West End (I think) but who is the young boy also featured? Where did Terry find this little chap and how in God's name did he persuade him to sit next to a skeleton of all things! He looks, to say the least, somewhat perplexed. Well, wouldn't you ?.
by Mike Vernon, August 1993


Tracks
1. Baby's Got Me Crying (Stan Webb) - 2:34
2. The Right Way Is My Way (Stan Webb) - 2:33
3. Get Like You Used To Be (Christine Perfect, Stan Webb) - 3:48
4. Pony And Trap (Stan Webb) - 3:20
5. Tell Me (Chester Burnett) - 4:49
6. A Woman Is The Blues (Christine Perfect, Stan Webb) - 3:27
7. I Wanna See My Baby (T-Bone Walker) - 3:52
8. Remington Ride (Hank Penny, Herb Remington) - 3:02
9. Fishing In Your River (Stan Webb) - 4:40
10.Mean Old World (Walter Jacobs) - 3:46
11.Sweet Sixteen (B.B. King, Joe Josea) - 6:22
12.Tears In The Wind (Stan Webb) - 2:42
13.I'd Rather Go Blind (Billy Foster, Ellington Jordan) - 3:16

Chicken Shack
*Dave Bidwell - Drums
*Stan Webb - Vocals, Guitar
*Christine Perfect - Vocals, Piano
*Andy Sylvester - Bass
With
*Roderick Lee - Trumpet
*Steve Gregory - Tenor
*Buddy Beadle - Alto, Baritone
*Johnny Almond - Tenor (Tracks 3,6)
*Walter "Shakey" Horton - Harmionica (Track 10)
*Terry Noonan - Trumpet (Track 6)
*Don Fey - Tenor (Track 6)

Related Act

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Friday, August 1, 2025

rep> The Elders - Looking For The Answer (1971 us, pleasant funky psych rock, 2010 release)



These four boys are self-contained - which means they never lose their tempers. They open their mouths only when they sing. Hometown - Dayton, Ohio and the surrounding. To their credit as writers: LOOKING FOR THE ANSWER, IT'S TOO LATE TO CHANGE, EVERYBODY SAY YEAH, YOUR MOTHER CHEWS TOBACCO, and FORT LAUDERDALE. 

The gentleman that has been guiding them, although they are sighted and have no need for a seeing-eye dog is Gordon Neal, a triple threat talent, producer, writer and arranger. Contributing writer is solo talent Linda Bari; Women's Lib is opting for her equal rights.

The Elders have been working night clubs and one-night stands. With the help of this album they hope to play two-night stands throughout the Midwest, also the West, North, South and East. They have a unique sound and each in his own right can be a lead singer. (Judges, 21:24, "Every man did that which was right in his own eyes.") Selective Service please note they prefer not to lead any military bands or marches. Although The Elders are young they live their lives in double time and have written about fifty tunes. This is their first album and with it they hope to take up the slack left by The Beatles.

In addition to their original materiai they perform the great. standards of today, TWENTY-FIVE MILES, SISSY STRUT, and HIP HUGGER. To the non-initiated a standard is a song which has been on the charts longer than twenty-four hours. They feel they are better than many of the groups around and would like you to remember them and not forget this album or the songs therein. As an added note of non-sequitur interest, Linda Bari is a major in psychology and thus THE ELDERS may well be the only group that carries a traveling psychiatrist-in-residence.
Original Liner Notes


Tracks
1. Looking For The Answer (Ron Skinner, Linda Bari) - 5:01
2. Too Late To Change (Pat Smith, Gordon Neal) - 4:11
3. Sissy Strut (Art Neville, Zigaboo Modeliste, Leo Nocentelli, George Porter Jr.) - 3:58
4. Fort Lauderdale (Pat Smith) - 0:59
5. 25 Miles (Edwin Starr, Johnny Bristol, Harvey Fuqua, Bert Berns, Jerry Wexler) - 3:32
6. By The Size Of My Shoes (Larry Weiss, Jimmy Williams) - 3:15 
7. Everybody Say Yeah (To The Call, Freedom For All) (Rod Budeliney, Gordon Neal, Linda Bari) - 3:21 
8. Hip Hug Her (Steve Cropper, Booker T. Jones, Al Jackson Jr, Donald "Duck" Dunn) - 3:25
9.Your Mother Chews Tobacco (Pat Smith) - 1:04

The Elders 
*Jerry Behring - Bass
*Rod Budeliney - Rhythm Guitar
*Ron Skinner - Drums
*Pat Smith - Keyboards

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Tuesday, July 22, 2025

Small Wonder - Small Wonder (1976 canada, wonderful soft symphonic yacht rock, 2023 korean remaster)



West coast symphonic band featuring former Scrubbaloe Caine frontman Henry Small. Released two albums for Columbia 'Small Wonder' in 1976 and 'Growin'' in 1977. Bill King was not featured on the second record and drums were done by legendary session drummer Ed Greene.

Henry Small would later join Burton Cummings' touring band followed by a stint as the new lead singer for Prism following the death of Ron Tabak in the early '80s. He also wrote material for Eddie Money and was a member of Who bassist John Entwhisle's band The Rock. In 2000 Small was the morning radio voice for CIFM in Kamloops and was playing in a band called The Shift who released a CD entitled 'Out Of The Darkness' in 1999. A proper Henry Small solo album called 'Time' was released in the spring of 2002. In recent years Small launched an advertising/jingle company with Gary Fridell called Small World Studios.
by Greg Simpson, Sue Markowski, Bruce Atkinson


Tracks
1. It Was Meant To Be (Jimmy Phillips, Henry Small) - 3:45
2. Time Is Passing Me By (Jerry Morin, Henry Small) - 3:37
3. I'm A One Way Train (Jimmy Phillips, Henry Small) - 3:46
4. Pray For The World (Jimmy Phillips, Henry Small) - 3:02
5. Be Yourself (Jerry Morin) - 4:23
6. Why Walk When You Can Dance (Jimmy Phillips, Henry Small, Jerry Morin) - 4:38
7. You And I (Jerry Morin) - 3:44
8. Midnite Plane Ride (Henry Small) - 5:01
9. Atlantis (Jimmy Phillips) - 5:27

Small Wonder
 *Jimmy Phillips - Vocals, Keyboards, Clavinet, Moog, Synthesizers, Piano, Organ, Mellotron
 *Jerry Morin - Vocals, Double Neck Guitars, Bass, Violin 
 *Henry Small - Lead Vocals, Electric Violin, Mandolin
 *Bill King - Drums

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Thursday, July 17, 2025

Clancy - Every Day (1976 uk, fascinating energetic funky jazzy rock, 2024 korean remaster)



Clancy’s follow-up album, Every Day (1976), continued in a similar vein but showed a band that was more confident and cohesive in its sound. Every Day was well-received by fans of the band and critics alike, who praised its more polished production and tighter songwriting. 

Clancy was primarily known for their energetic and improvisational live performances, which were a major draw for fans. Their live shows often featured extended jams and re-interpretations of their studio material, showcasing the band's musicianship and their ability to interact dynamically on stage. They toured extensively in the UK, playing small dubs and opening for more prominent acts. Despite their relatively low commercial profile, Clancy developed a dedicated following, particularly among fans of more progressive and experimental rock.

However, Clancy struggled to break into the mainstream. The band's refusal to conform to the commercial pressures of the music industry meant that they remained somewhat of a cult band, appreciated by those who discovered them but largely overlooked by the broader public. Their eclectic style, while artistically fulfilling, may have contributed to their limited commercial success, as it didn't easily fit into the more rigidly defined genres that were popular at the time. Clancy disbanded in late 1976, couple of years after their formation, having failed to achieve the level of success that would sustain them in the long term. The members went on to pursue various other musical projects, with Colin Bass achieving significant success as a member of the band Camel. Ernie Graham also continued to work in music, though he never achieved the same level of recognition he had with his earlier projects.

Despite their brief career, Clancy left a lasting impact on those who heard them. The band is often cited as an example of the richly diverse music scene of the 1970s, where musicians were willing to take risks and explore new territories. Over the years, their albums have gained a certain cult status among collectors and fans of the era's more obscure bands. In retrospect, Clancy's music can be seen as a reflection of a time when the boundaries of rock music were being pushed in all directions. While they may not have achieved widespread fame, their work remains a testament to the creativity and adventurous spirit of 1970s British rock
Liner-Notes


Tracks
1. Working Together (Ernie Graham) - 6:21
2. Timetaker (Dave Skinner) - 4:23
3. Seconds Out (Dave Vasco) - 1:53
4. You Have Made My Life So Sweet (Barry Ford) - 5:55
5. Jeka José (Gaspar Lawal) - 5:39
6. You Don't Understand (Colin Bass, Dave Vasco) - 6:24
7. Good Judgement (Dave Skinner) - 6:40
8. Jealousy (Colin Bass) - 4:38

Clancy 
*Barry Ford - Drums, Vocals, Chinese Gong, Flute, Cymbals
*Colin Bass - Bass, Vocals
*Dave Skinner - Fender Rhodes, Hammond Organ, Wooden Piano, Clavinet, Synthesizers, Vocals
*Dave Vasco - Electric, Acoustic Guitars, Vocals
*Ernie Graham - Acoustc, Electric, Wah Wah Guitars, Vocals
*Gaspar Lawal - Percussion, Vocals, Congas, Talking, Agba Drums, Finger Cymbals, Seke Seke
With
*Sammy Mitchell - Dobro (Track 2)


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Saturday, July 12, 2025

Jackson Highway - Jackson Highway (1980 us, awesome southern boogie classic rock, 2014 reissue)



The Capitol album boasted the George Jackson-penned “Rock And Roll Man (Hung Up On A Disco Girl),” featuring a guitar cameo from Blackfoot’s Rickey Medlocke, later a longtime member of Lynyrd Skynyrd. It was a full-circle moment. Medlocke played drums on a pre-fame Skynyrd’s Muscle Shoals Sound demo. Rolling Stone gave Jackson Highway’s Capitol album a three-star review. Not bad.

Jackson Highway was enlisted for a big tour opening for wild man guitarist Ted Nugent, known for hits like “Cat Scratch Fever” and “Stranglehold.” Russell says Nugent, “had a reputation of being hard to deal with and pretty rough on opening acts. But for some reason he was always very kind to us.” 

Dennis recalled after a Jackson Highway show opening for Nugent, they ran into him at the hotel bar afterwards. “We walked up to us and said, ‘You guys sounded great. Was the crew good to you?’ We said, well, yeah. He said, ‘If there’s anything you need, I’ll make sure they do it for you.’”

Jackson Highway also opened arena concerts for coheadliners UFO, British melodic-rockers known for live album “Strangers in the Night,” and Triumph, the Canadian power-trio famed for hit “Lay It On the Line.” The headliners were embroiled in petty competition, the Gulley brothers said, that sucked the joy out of the run. UFO and Triumph traveled by airplane, Russell said. Meanwhile, Jackson Highway drove all night between shows in a Winnebago with a trailer behind.

Jackson Highway came from the Allmans school of live performing. Stand there and play your ass off. But from working with more physically active acts like Nugent, UFO and Triumph, they learned the value of putting on a show too. After those tours, Jackson Highway wrote harder rocking songs. This surprised their mentors Jimmy Johnson and David Hood when the band ran through the new material, bang-bang, back at Muscle Shoals Sound. 

Alas, the day Jackson Highway was scheduled to play a showcase for label execs, Russell’s dad died. “I couldn’t not go home and take care of business,” Russell said. “And our option was dropped. I blame myself for us losing the Capitol deal because it conflicted with my family.”

Jackson Highway split up. Some band members got more stable opportunities, like Patterson, who landed a salaried job as a piano tuner. At the suggestion of country band Alabama bassist Teddy Gentry, the Gulleys moved to Nashville, where Dennis resides to this day.

Dennis found work with the likes of John Schneider, the unfairly handsome “Dukes of Hazzard” actor who’s also a country-rock singer/songwriter. Russell toured with successful Canadian country singer Gary Buck. Russell has since returned to North Alabama, where he resides today, and is a mainstay of the state’s roots music scene. On August 23, he’ll play a set at Eutaw’s Black Belt Folk Roots Festival lineup.

There have been occasional Jackson Highway reunions, and a few years back, they released an EP. The brothers are currently working on their first Muscle Shoals-recorded project in decades. Dennis and Russell are also collaborating on music for a photography exhibit by Muscle Shoals music insider Dick Cooper August 25 - 29 at Auburn Arts Association . They might take that elsewhere, Russell said.

And that original “Old Time Rock and Roll” demo? Dennis still has a copy on cassette, and a digital file on his computer. He’s never released the demo publicly, though, because Capitol owns the rights, he said. “I’ve never even played it for anybody other than friends,” Dennis said. “If you and I were together, I wouldn’t mind playing it for you, but I wouldn’t give you a copy of it. Because I’ve had people ask me for it and it’s not mine to do that with.”
by Matt Wake, Jun. 12, 2025


Tracks
1. Drive Me On Home (Matthew Jones, Dennis Gulley, Russell Gulley, Tommy Patterson) - 3:25
2. Rock And Roll Man (Hung Up On A Disco Girl) (George Jackson) - 3:57
3. Circles (Russell Gulley, Tommy Patterson) - 3:46
4. Hook, Line And Sinker (Dennis Gulley, Russell Gulley, Tommy Patterson) - 4:38
5. Rave On (Bill Tilghman, Norman Petty, Sonny West) - 3:13
6. Knee Deep In Love (Collins Kirby, Dennis Gulley, Russell Gulley) - 2:56
7. You're Looking Good (Dennis Gulley, Russell Gulley) - 3:50
8. Nobody To Love (David Weatherspoon Jr., Thomas Earl Jones) - 2:36
9. Cold Chill Out Of The Blue (Dennis Gulley, Russell Gulley) - 4:43

Jackson Highway
*Dennis Gulley - Piano, Organ, Bass, Acoustic, Electric Guitars, Lead, Background Vocals
*Britt Meacham - Acoustic, Electric Guitars, Background Vocals
*Tommy Patterson - Piano, Synthesizers, Harmonica, Lead, Background Vocals
*Ronny Vance - Drums, Percussion, Background Vocals
*Russell Gulley - Bass Guitar, Background Vocals
With
Jimmy Johnson - Guitar
Randy McCormick - Keyboards
Roger Hawkins - Drums
Charlie Hargrett - Backing Vocals (Track 2)
Duncan Cameron - Backing Vocals (Track 9)
Greg T. Walker - Backing Vocals (Track 2)
Rickey Medlocke - Backing Vocals (Track 2) 


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Monday, July 7, 2025

Joe Walsh - But Seriously Folks... (1978 us, wonderful insightful, melodic classic rock, 2017 japan SHM remaster)



Joe Walsh's fourth album, ... But Seriously Folks, is best known for producing the hit single "Life's Been Good." But that's just the most obvious starting point of a record that proved to be one of Walsh's most durable LPs.

Comparisons to the Eagles for the album came early and often – and not just because this was the first stand-alone project Walsh released after he joined the group before 1976's Hotel California. All four of his bandmates appeared on ... But Seriously Folks, though they're mere footnotes on an album that strikes a more considered balance of introspection and biting wit, and of smart balladry and tough rockers, than the reconstituted Eagles' deflating finale The Long Run.

Walsh moves with cunning and verve through the expected joys of country rockers like "Second Hand Store" and the surprising reggae rhythms of "Over and Over," from the incisive nostalgia of "Indian Summer" to the fully realized instrumental wit of "Theme From Boat Weirdos."

Even casual fans will notice signature elements of the Eagles sound throughout, from the soaring background vocals of Glenn Frey, Don Henley and Timothy B. Schmit on "Tomorrow" to Don Felder's pedal steel on "Second Hand Store." Walsh and Felder then reanimate their twin-guitar "Hotel California" entanglement on "At the Station."

Still, ... But Seriously Folks arrived on May 16, 1978, as a Walsh record at its core, dominated not by the Eagles but by his vision. Don't let the winks and nudges fool you. As with Walsh's other must-buy solo album, The Smoker You Drink, the Player You Get, he's in complete command of his muse, something that becomes utterly clear on the hilarious album closer "Life's Been Good."

A comic depiction of the "hardships" of rock stardom, the song appeared on ... But Seriously Folks not in the zippy four-minute version that went to No. 12 on the pop chart but as an extended anthem of double that length.

Along the way, it earned fame separate from the charts when Walsh ran for president in 1980 as a lark. He suggested, tongue firmly in cheek, that "The Star-Spangled Banner" be replaced by "Life's Been Good." That didn't happen. But it certainly became Walsh's personal good-time anthem – and a staple of his concerts, with and without the Eagles.

Many fans understandably listen to ... But Seriously Folks decades later to relive that moment in time. But there's an entire album's worth of Walsh to enjoy here.
by Nick DeRiso, May 16, 2023


Tracks
1. Over And Over - 4:53
2. Second Hand Store (Joe Walsh, Mike Murphy) - 3:35
3. Indian Summer - 3:03
4. At The Station (Joe Vitale, Joe Walsh) - 5:09
5. Tomorrow - 3:39
6. Inner Tube - 1:25
7. Theme From Boat Weirdos (Bill Szymczyk, Jay Ferguson, Joe Vitale, Joe Walsh, Willie Weeks) - 4:42
8. Life's Been Good - 8:56
All songs written by Joe Walsh except where stated

Musicians
*Joe Walsh - Guitars, Synthesizers
*Joe Vitale - Drums, Percussion, Flute, Synthesizer, 
*Jay Ferguson - Keyboards, Background Vocals
*Willie Weeks - Bass
*Joey Murcia - 2nd Guitar
*Don Felder - Pedal Steel, Vocals (Track 2), Guitar, Vocals (Track 4)
*Bill Szymczyk – Tambourine, Vocals (Track 4), Background Vocals (Track 8)
*Jody Boyer - Background Vocals (Tracks 2,3,8)
*Don Henley - Background Vocals (Track 5) 
*Glenn Frey - Background Vocals (Track 5)
*Timothy B. Schmit - Background Vocals (Track 5)  


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Thursday, July 3, 2025

McGuinness Flint - Rainbow (1973 uk, splendid county classic rock, 2020 korean remaster)



Third album for McGuinness Flint, titled "Rainbow", released in September 1973. It features individual compositions by Tom McGuinness “High Again,” with a country feel, “Bye Bye Baby” a piano-heavy ballad, Lou Stonebridge's “Rocking Chair,” pedal steel guitar driven rockin' beat, “Dear Folks at Home” a honky tonk hybrid. The album also includes one song each by Hughie Flint “If You Love Me” hello pedal steel, we already know each other, Jim Evans cajun “This Song” with Harmonica and banjo and handclapping in a quick tempo. Evans again co-wrote the true rocker “Berry Blue Tuesday” with Dean, who co-wrote the opening track “Ride On My Rainbow” with outside partner McGann.


Tracks
1. Ride On My Rainbow (Dixie Dean, Mike McGann) - 2:58
2. If You Love Me (Hughie Flint) - 3:13
3. High Again (Tom McGuinness) - 2:25
4. Berry Blue Tuesday (Dixie Dean, Jim Evans) - 3:35
5. Rocking Chair (Lou Stonebridge) - 5:50
6. Take It Down (Dixie Dean) - 3:55
7. Dear Folks At Home (Lou Stonebridge) - 3:23
8. Bye Bye Baby (Tom McGuinness) - 4:51
9. Just One Woman (Dixie Dean) - 3:37
10.This Song (Jim Evans) - 2:48

McGuinness Flint
*Dixie Dean - Vocals, Bass, Horns, Harmonica
*Tom McGuinness - Vocals, Guitar, Banjo, Mandolin
*Hughie Flint - Drums
*Lou Stonebridge - Vocals, Keyboards, Guitar, Harmonica
*Jim Evans - Vocals, Guitar, Steel Guitar

 

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Sunday, June 29, 2025

The Jess Roden Band - Blowin' (1977 uk, fascinating funky groovy blues rock, 2019 korean remaster)



Jess Roden was born on December 28, 1947, in Kidderminster, England. Jess Roden's first band was The Raiders, followed by Shakedown Sound from Worcestershire. In 1966, Jess Roden joined the soul-rock-jazz band Alan Bown Set. Here he participated in the recordings for "The Alan Bown – Second Album ." The Alan Bown Set included Robert Palmer and John Anthony Helliwell (Supertramp), among others.

Jess Roden In 1970, Jess Roden founded his first band, Bronco. The other members were Robbie Blunt (guitar, vocals), John Pasternak (bass), Kevyn Gammond (guitar), and Pete Robinson. “Country Home” and “Ace Of Sunlight” were recorded. Ian Hunter, Terry Allen, and Paul Bennet, along with several other musicians, helped out on “Ace Of Sunlight.” After two albums, Bronco was over.

In 1973, Keef Hartley tried to get back into the business without Miller Anderson. Jess Roden was hired as the singer for "Lancashire Hustler .“ Around the same time, another band, The Doors, was looking to continue without their late frontman Jim Morrison. John Densmore and Robbie Krieger brought Jess Roden to Jamaica for their Butts Band. The album ”The Butts Band“ was created. The following album, ”Hear & Now," was recorded without Jess Roden.

In 1974, Jess Roden worked on a solo project in New Orleans. Allen Toussaint was the producer and The Meters were his backing band on the self-titled “Jess Roden.” The interpretation of “On Broadway” is superb. Art Neville (Neville Brothers) and Rebop Kwaku Bahh (Traffic, Free) also dropped by the studio. The last track, “What The Hell,” was recorded in London with his friends Simon Kirke, John ‘Rabbit’ Bundrick, Mick Weaver, and Pat Donaldson. The album received consistently good reviews. As early as 1972, Jess Roden contributed to Paul Kossoff's album “Back Street Crawler” as a singer and composer.

Jess Roden was looking for a tour band. The Iguana from Southampton was found. This new Jess Roden Band went on tour with Roxy Music and Herbie Hancock. The albums “Keep Your Hat On” and “Play It Dirty, Play It Class” were recorded in the studio. The Jess Roden Band included: Bruce Roberts (guitar), John Cartwright (bass), Pete Hunt (drums), Chris Gower (horns), Ronnie Taylor (saxophone), and Steve Webb (guitar).

Jess Roden Fed up with constant touring, Jess Roden disbanded the band in 1976. The concert recording “Blowin'” was released later, but by then the Jess Roden Band no longer existed. Jess Roden became a guest singer with Stomo Yamashtas Go Too, in The Who's “Tommy” musical, with Jim Capaldi, Sandy Denny, and others.


Tracks
1. The Ballad Of Big Sally (Bruce Roberts, John Cartwright) - 5:56
2. In A Circle (John Cartwright, Steve Webb) - 5:51
3. Can't Get Next To You (Barrett Strong, Norman Whitfield) - 9:20
4. Me And Crystal Eye (Jess Roden) - 7:11
5. Blowin' (Jess Roden, John Cartwright) - 5:14
6. Jump Mama (Jess Roden) - 4:45
7. Blowin' Reprise (Jess Roden, John Cartwright) - 2:45

Musicians
*Jess Roden - Vocals, Guitar
*John Cartwright - bass, harp
*Pete Hunt - Drums
*Steve Webb - Guitar, Vocals
*Bruce Roberts - Guitar, Vocals
*Billy Livsey - Keyboards, Vocals
*Chris Gower - Trombone
*Ron Taylor - Saxophone


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Wednesday, June 25, 2025

The Kudzu Band - Chittlin' Circuit (1976 us, awesome hard southern rock, 2017 remaster)



I tried to get a job and settle down. Worked at a musical instrument distribution house for a while, then for Rhythm City for a while but the music bug had me. I wound up in a couple of bands just trying to find my way back to music. I think there was Southern Comfort, The band that got me back on the road, but through much trial and tribulation lol! Then there was Snagglepuss, a band I enjoyed very much. I played with Danny Miller in that band and enjoyed his playing a lot! He was the first to introduce me to playing in an improvisational blues style. I was new to it then since everything in The Apolloes was largely memorized. Then there was Osmosis. But I have no recordings from those bands unfortunately. One important thing happened here though. I had always wanted to play bass and in Osmosis I played bass for the first time in a band. I had always wanted to play with Spencer Kirkpatrick of Atlanta Vibrations fame and he was the guitar player in that band. I loved it! But it wasn't time yet.

Again I tried to settle down and got a job in a record distribution company where I worked for Gwen Kessler who basically ran the place. My job was to send records that had been returned when they didn't sell, back to the manufacturers. I replaced two guys who had had the job before. I soon had it organized well enough to keep up, but Jimbo called me about this time and asked me to come play bass for his band at the time called Beggar's Opera and I accepted. It was 1970.

The line up was Jimbo Thornton on guitar, OT Hewitt on guitar, Jimmy Martin on drums and I played bass. We had three Jim's in the group and Mojo from the Apolloes had taken to calling me "Birdlegs" one summer when the Apolloes were playing an extended stay at the pier in Daytona FL. So needing to simplify this "Jim" situation, I became Birdlegs more less permanently. We now had a Jimmy, a Jimbo, and a Birdlegs.

Jimmy, our drummer, decided to leave the group and we replaced him with Nathaniel. And a group from England called, you guessed it, Beggars Opera, released an album in the states. So we needed a name change.

Enter Kudzu. If I remember correctly, OT's girlfriend had a little dog she named Kudzu and since it was a vine that had spread all over the south, we decided to call ourselves Kudzu. We were all past school or college age and it was us against the world so to speak. Jimbo was into booking the band and He and I did a lot together to build the band along with the other members. 

Nathaniel looked a lot like Jimi Hendrix and he started learning to play guitar and he got good at it. So before long he set off to conquer new worlds. He was a good one though. Tons of energy. His replacement would prove to be the other corner post in the band. Enter Creig Harber.

Creig had gone to school at Jacksonville State University as a music major. Double bass drums and ability to spare. We were now complete. We had double guitars that had been working together 7 or 8 years prior to Kudzu, a drummer with fire, a singer that could definitely keep up and I was loving playing bass. Full Time!!

Soon we were booked most of the time either week ends or clubs at first but more and more we got to play festivals and opening act for several headliners. We were starting to write, but something started to happen. We could jam. We would just start to play and things would begin to happen. It's a shame we didn't record more of that and then make things from it. Though in retrospect, I guess that's how we wrote most of our stuff anyway. Jimbo was becoming a good writer as well as OT. I wrote some and so did Creig. But when we jammed, Phil could ad lib words like we did music. It's a shame we did not have the equipment to record this early version of the band a bit better like we did when we finally ended up a trio.

However, we were driving home through Nashville one night, and Creig mentioned that a friend of his that he had played with in his previous band was working at Colmubia studios in Nashville. We stopped several miles out of Nashville and called him. He asked Creig what we were up to and Creig told him about the band and the new music etc and to our surprise he asked Creig if we could record some that night. We did and that turned out to be the only studio recordings I remember doing with the five piece Kudzu.

He took us to New York and introduced us to the people at Columbia and we got to meet Carlos Santana who was there at the time making an album with John McClaughlin. Columbia heard the demos and sent reps to see us at Funochio's in Atlanta but said they wanted to see us again in about 6 months.

Time went on and one night we were playing at Richard's in Atlanta. It was one of the very first large venue Rock night clubs in Atlanta to install a truly professional sound system. As it turned out, Frank Zappa was in town and unbeknownst to us, he made a practice of going to the best clubs in town after their concerts in various cities. Turned out that for Atlanta it was Richards. We were at our peak about this time and there was some buzz that he might come by. We went out to play our set, and sure enough, there he was. Our music had different time signatures in places and one piece was even in 7/4. But it was still rock with a hint of Allmon Brothers. I guess he heard something he liked.

When our set was done, he came back and introduced himself. We talked for a good long time. He was curious as to my background and such and I enjoyed talking to him. It's like we instantly related to each other. I went home that night and told my wife that I felt like I had been interviewed for a job. Again time moved on.

Once again things were about to change. Before Columbia could get back to see us we lost OT, one of our guitar players. Where do you go to get another guitarist that has been playing with Jimbo for all those years. You don't, so we were able to get Ted Straton a super Hammond Organ, Keyboard player who later went on to play with Les Dudak. And then we lost Little Phil. Now either of these changes would radically change things, but both, well it was quite a different band.

We went into a more conventional song mode as opposed to jam band mode. We went back and this time actually recorded in Columbia's main studios in Nashville, but the magic was gone. It was clean and pretty and all that, but no real fire. But then we lose Ted. We're down to Jimbo, Creig and me. What do we do. We briefly added another bass player and I began to play different instruments on different songs, mostly keyboards and guitar and doubled at times with Creig on drums. We even did a show on one of the PBS stations at that time with that line up. But then we lost the bass player. Again, what to do.

I had a Wurlitzer piano and we had purchased an Aarp synth for Ted to play so we still had it and I had an idea. I had been playing bass for about 6 years full time by now but had grown up playing piano. I told the guys that I thought I could play keys and bass at the same time if given a short period of time to work on it. It took about a month or so but I learned to do it well enough that we could play. But as we began to work more and more again, it got smoother and soon became automatic.
by James Youman "Birdlegs"


Tracks
1. Chitlin Circuit - 6:11
2. Believe In Yourself - 5:21
3. Words - 5:05
4. Give Your Love Again - 3:59
5. I Need You - 2:40
6. Go On Go Away - 3:59
7. Back Door Man - 5:13
All songs by "Jet" Jimbo Thornton 

The Kudzu Band
*Jimbo Thornton "Jet" - Slide, Electric Guitars, Piano, Bass (Track 3)
*Creig Harber "Uzduk" - Drums, Percussion, Flute
*James Youman "Birdlegs" - Arp Bass, Piano, Synthesizer, Acoustic Guitar

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Friday, June 20, 2025

Jackson Highway - Jackson Highway (1977 us, awesome southern rock with funky vibes, 2024 remaster)



In 1977, Muscle Shoals Sound Studio cofounder and Swampers guitarist Jimmy Johnson offered a local band called Jackson Highway a song called “Old Time Rock and Roll.”

The band, named after Muscle Shoals Sound’s 3614 Jackson Highway address, centered around songwriting brothers: singer/guitarist Dennis Gulley and bassist/backing vocalist Russell Gulley. Dennis had sung lead vocals on the original demo for “Old Time Rock and Roll,” penned by Shoals songwriters George Jackson and Thomas E. Jones.

“Our first record was already in Nashville being mastered,” Russell recalled, referring to final sonic adjustments on a recording. “I told Jimmy, ‘It’d be kind of like the movies where you run in and say, ‘Stop the presses!’ I don’t know if we do it or not. But then the next thing, of course …”

Detroit singer Bob Seger ended up recording “Old Time Rock and Roll.” Initially, Seger wasn’t into the song. But after his manager insisted it was a hit and a trial live performance in Europe got a huge crowd response, Seger saw the light. He tweaked the lyrics some.

Dennis Gulley said, “The original demo is about a girl. ‘She takes those old records off the shelf …’ And there was a whole verse about Little Richard and Jerry Lee Lewis. He [Seger] took that verse out, made it first person, and rewrote the verse. ‘Call me a relic, call me what you will, say I’m old fashioned, say I’m over the hill,’ that was Bob’s lyric.” According to Dennis, he was paid $75 for singing on the demo. It’s worth nothing that Seger didn’t take a songwriter’s cut on “Old Time Rock and Roll.”

It took Seger a couple tries to decide the right recording to release, eventually settling on one anchored by Swampers drummer Roger Hawkins and bassist David Hood. In 2016, Hood told me Seger was the most profitable artist the prolific Swampers, aka Muscle Shoals Rhythm Section, ever worked with. “Because we got to share in the production, publishing and then played on his stuff,” Hood said.

“Old Time Rock and Roll” became Seger’s signature hit after his version’s 1979 release. “And that’s the way it should have been,” Russell said. “I’m so glad that George Jackson and Tom Jones got that song to Seger because it was great for all of them and helped us in the long run, too.” According to Russell Gulley, Seger later recommended Jackson Highway to Capitol Records, who released the band’s 1980 sophomore album and major label debut, which like their 1977 Muscle Shoals Sound Records debut, was self-titled. “He returned the favor,” Russell said. 

Jackson Highway wasn’t destined for stardom. But the band -- also featuring guitarist Britt Meacham, keyboardist Tommy Patterson and drummer Ronny Vance -- got to tour with ‘70s stars like Ted Nugent, Triumph and UFO. And, according to Russell Gulley, Meacham’s guitar licks from the “Old Time Rock and Roll” demo appear uncredited on Seger’s hit version. Today, Jackson Highway’s two classic era albums hold up well. They’re an “almost famous” band more Southern rock fans should know.

“We were at our peak like when we split up,” Dennis said. “We recorded live on a cassette that I have now. I’ve listened to it recently and I was amazed at how tight and how good we were playing. It was like geez, we should’ve hung together another year, and we probably would have gotten another record.”

Dennis and Russell grew up in Fort Payne, the humble North Alabama municipality that also produced Country Music Hall of Fame band Alabama. In their youth, the Gulleys crossed paths with future Alabama members like guitarist Jeff Cook, and performed at the same local talent contest Cook did. Russell says the Gulley family was “poor but we were rich in other ways. I didn’t get a record player until I was in eighth grade.”

Like many kids back then, Russell fell under the spell of The Beatles, Rolling Stones and other British Invasion bands. Younger brother Dennis introduced him to psychedelic rockers like Jimi Hendrix Experience and Cream. Rock pioneers like Elvis Presley, Buddy Holly and Bo Diddley in their ears too. Even pop bands like Herman’s Hermits. A bit later, Southern rock vanguards Allman Brothers entered the mix. Russell played in local bands with names like the Decades.

There was a seismic change when Russell was drafted to serve in the Vietnam War. He was a member of the U.S. Army’s 101st Airborne Division. He spent around two years in a combat zone, stationed about 50 miles south of the DMZ. “I’m one of those guys that came home,” Russell said.

Back in Alabama, his marriage went kaput. “We both had changed completely since we were very young.” Russell said he and his wife parted amicably, “I found myself in a position with nothing to keep me back from chasing whatever my dream was.” That dream was music.

Dennis had joined a popular Southeastern touring band called Cross, whose horn-powered sound echoed that of “25 or 6 to 4” hit-makers Chicago. Russell became a roadie for the band. The brothers also started writing songs together.

“When they went to Muscle Shoals to do their demos,” Russell said, “Jimmy Johnson asked, ‘Who wrote the song?’ And that opened a conversation about me.” At the time, Russell was touring with Southern soul singer Ruby Winters, who had a hit in the U.K. with the song “I Will.”

He got a call from Johnson to come to Muscle Shoals. “Muscle Shoals Sound had only been open a few years and Jimmy felt like it all starts with the song,” Russell said. “And if he could get the songwriters to move into Muscle Shoals the way they were congregating in Nashville that would be the future of the music business. So he recruited us first as songwriters.”

The band that became Jackson Highway, like many local musicians, made their bones playing in bars on the Alabama-Tennessee state line. The Gulleys’ songwriting publisher, Mike O’Rear, got them a house band gig at a place called Johnny’s Club. They played three or four nights a week, developing musical chemistry.

“He [O’Rear] was pitching our songs to other people,” Russell said. “But he came to a conclusion pretty quick, ‘You’re not writing songs for other people. These are Jackson Highway songs.’ He gave us that name, by the way, since the band formed around a dream of a bunch of guys going to Muscle Shoals and being taken in by Jimmy Johnson.”

Jackson Highway wrote their debut album at Muscle Shoals Sound’s auxiliary demo studio at 102 East Second Street. Johnson gave them the keys to the demo studio. They’d record there each night after the state line bar gigs.

The recording console, according to Russell, was the same one used to record Percy Sledge’s seminal Shoals ballad “When A Man Love A Woman.” Russell lauded Johnson for his support of the band. “He believed in musicians being in business for themselves. He wanted us to be our own bosses.”

Occasionally, Jackson Highway would be working out music and someone would come in to retrieve a microphone for Muscle Shoals Sound clients, like shaggy rocker Rod Stewart, who cut his 1975 “Atlantic Crossing” album at Muscle Shoals Sound.

The band shaped much of the first Jackson Highway album, including standout cuts like rocker “Wayne County, Tennessee” and the melancholic “Circles,” themselves. Johnson and Hood had a more hands-on approach to the Capitol Records follow-up.
by Matt Wake, Jun. 12, 2025

Tracks
1. Piece Of Good Earth (Russell Gulley) - 2:53
2. Pick-Up Truck (Tommy Patterson) - 2:31
3. Circles (Russell Gulley, Tommy Patterson) - 3:11
4. Honky Music (Dennis Gulley, Russell Gulley, Tommy Patterson) - 2:51
5. Hook, Line And Sinker (Dennis Gulley, Russell Gulley, Tommy Patterson) - 3:25
6. Wayne County, Tennessee (Mike Lawley) - 2:35
7. You Got Me Dancin' (Ronnie Brown, Dennis Gulley) - 2:40
8. Mississippi Funk (Doug Mays) - 2:48
9. Every Day Will Be A Holiday (Booker T. Jones, William Bell) - 2:57
10.Stick It Back In The Mud (Britt Meacham, Dennis Gulley, Russell Gulley, Ronny Vance, Tommy Patterson) - 2:31

Jackson Highway
*Dennis Gulley - Piano, Organ, Bass, Acoustic, Electric Guitars, Lead, Background Vocals
*Britt Meacham - Acoustic, Electric Guitars, Background Vocals
*Tommy Patterson - Piano, Synthesizers, Harmonica, Lead, Background Vocals
*Ronny Vance - Drums, Percussion, Background Vocals
*Russell Gulley - Bass Guitar, Background Vocals
With
*Jimmy (Bebob) Evans - Drums (Tracks 3,4)
*David Hood - Bass (Track 3)
*Tim Henson - Piano (Track 7), Arp String Ensemble (Tracks 3,9)
*Roger Hawkins - Additional Percussion

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Sunday, June 15, 2025

Elliott Murphy - Just A Story From America (1977 us, a foundation of indelible melodies commanding vocal work in a rich lyrical landscape, 2004 digipak)



For his fourth album, Just a Story from America, Elliott Murphy moved on to his third major label, appropriately finding a berth with Columbia Records, home of Bob Dylan and Bruce Springsteen. A follower of Dylan and a contemporary of Springsteen, Murphy also attempts to invest rock & roll with poetry and then sings it in an alternately husky and whiny tenor. For Just a Story from America, he traveled to London and recorded with a band including Genesis drummer Phil Collins and, for a bluesy solo on "Rock Ballad," former Rolling Stone guitarist Mick Taylor. "Drive All Night" sets the scene early, an uptempo rocker paced by a Farfisa organ reminiscent of Del Shannon, while the lyric reflects the same sense of youthful adventure via a fast car on a highway that Springsteen describes so often. Murphy's artistic vision is more urban and literary than Springsteen's, however, his short stories in song concern self-consciously arty characters bent on an escape as much spiritual as economic. 

Murphy is, as ever, up-front about his influences, putting a line from Raymond Chandler on the LP sleeve, crediting "Nick Caraway" (the narrator of F. Scott Fitzgerald's The Great Gatsby) for background vocals, and dropping movie names including Errol Flynn and Rhett Butler. If Dylan uses names like that for comic and absurd effect, and Springsteen is serious about the lives of his hometown heroes, Murphy is deliberately creating a rock & roll equivalent for the novels and movies he loves; he's serious, too, but he also has a perspective on the scenes he describes. Thus, when he writes a rock ballad, he calls it "Rock Ballad." He never lets his audience forget that it is watching a show, which may go against the supposed authenticity and emotional directness of rock. But that's the point. In Murphy's world, the great Gatsby is a rock star, and life is a movie. 
by William Ruhlmann


Tracks
1. Drive All Night  - 3:37
2. Summer House  - 3:20
3. Just A Story From America  - 2:32
4. Rock Ballad  - 5:04
5. Think Too Hard  - 3:30
6. Anastasia  - 5:10
7. Darlin' - And She Called Me  - 3:49
8. Let Go  - 3:43
9. Caught Short In The Long Run  - 4:49
Stories and Music by Elliott Murphy

Personnel
*Elliott Murphy - Vocals, Guitar, Harmonica, Farfisa Organ, Marimba, Tambourine, Harmonium, Portuguese Guitar
*Phil Collins - Drums, Backing Vocals
*Mick Taylor - Guitar (Track 4)
*Dave Markee - Bass
*Peter Oxendale - Piano, Organ
*Morris Pert - Percussion
*Chris Mercer - Saxophone (Track 1) 
*Steve Gregory - Saxophone (Track 1)
*Barry De Souza - Drums (Track 9)
*Mike Moran - Keyboards (Track 9)


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