Catchy lead git riff and great keys, bass drums, and rhythm git.
Great sophisticated (lots of frets used). Blues power Schoolgirl,Same Thing and Hurt Me too.īaby Blue is the first real electric version of Dylan acoustic tune.(forget anything the Byrds did). Ballroom dance on Lindy as good Chet Atkins. Who the hell did that in 66? No one,ĭancin' puts anybody's idea of what acid rock is to shame. A Banjo jam, acid solo, motown solo, blues solo and spot on ending at 18:21 minutes. Jerry's solo have no lost sequeways on this version.
The question and answer adlib between the drums/lead git/pig would make any black sole stop in his tracks. This is best Midnight Hour I have ever heard. The scale work is 12 to 14 frets of movement like a master jazz man with all balzy blues, and high speed bluegrass scales one song. The Grateful Dead by Rock band (Vinyl, 2022, Rhino Records) (2) 115.00 New Workingman' Dead by The Grateful Dead (Record, 2020) (4) 34.95 New From The Mars Hotel by Grateful Dead (Record, 2019) (3) 115.95 New 32.00 Used American Beauty by Grateful Dead (Record, 2014) (2) 159. To this day I new I never would witness Jerry at his finest hour which is this recording. No syrup.Ĭolor image courtesy of Salim’s website.I first heard this recording in 73 (releases by Pride Records in 72). But for the most part, it’s a nice introduction to their musical world - five cherry-covered chocolates with real cherries. Musicians – Joe Reyes (electric guitars), Richard Martin (electric piano/organ/Farfisa), Jason Garner (bass/keys/pizza box), John Dufilho (drums) & Paul Averitt (backing vocals). Salim Nourallah poses for a photograph at his home recording studio in Dallas, TX, on Friday, August 17, 2007. It could fall into categories once occupied by Marshall Crenshaw, Ian Gomm & definitely the late Emit Rhodes. The music has a sprightly Elvis Costello approach at times without his lyrical bite. It’s appealing without being lame, mindless & repetitive with lines that gnaw at the memory. This is what commercial mainstream should sound like. “Hold On To The Night,” skips along at a delightful pace. It’s whiskey with plenty of ginger ale & ice to make it palatable. The music doesn’t challenge the mind as much as the senses. A cheery upbeat devil-may-care melody that once was the trademark of other lesser-known bands such as Stackridge, The Korgis, Squeeze, Nick Lowe’s early solo LPs & maybe even Brinsley Schwartz’s early material. “Not Back To Sad,” has a Beatlesque ’67 feel. The songs are simple, the production colorful – the way many songs by The Church had been years ago. It doesn’t have an overwhelming country flavor. There’s a breezy country feel that runs through the tunes but little to suggest this is 100% proof country music. The first tune “See You In Marfa,” – (an actual city in Texas & not a foreign country). They’re individually constructed with what’s expected – hooks, good lyrics, memorable melody, short. Fortunately, Salim’s lead vocals (acoustic guitar) are not typical commercial dribble. The songs are basically pop-oriented but not necessarily dipped in syrup like so many songs are today. This new collection was a collaboration between Salim & Marty Willson-Piper (electric guitar) & is considered a bit of a teaser for their eventual full-length album together. The 16-minute See You In Marfa (Drops Aug 19– Happiness Records) was created by a young man who produced music for the Old-97s, Rhett Miller & the 9th LP by Diesel Park West. Produced by Marty Willson-Piper (former member of Australian band The Church) & Salim Nourallah. And don’t let the foreign-sounding name fool you – before he came to Texas he was born in that foreign country known as Illinois. The majority of songs were recorded in Nashville with one in Dallas, TX.
Grateful dead vinyl full#
Full color, bright die-cut 4 panel quite impressive. I must say for a 5 song EP the packaging is beautiful.
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