Can we talk about early-mid70s West Coast post-psych/pop/rock/folk-rock/country-rock?

Show review and video in this too:
http://www.latimes.com/entertainment/music/posts/la-et-ms-review-michael-nesmith-monkees-solo-tour-canyon-club-20130325,0,3065721.story

Sid Selvidge (father of the Hold Steady guitarist) did an album in the 70's that's now being re-issued by Omnivore. Worth it?

https://soundcloud.com/omnivore-recordings/ive-got-a-secret-didnt-we

Maybe. This latest ep of Beale Street Caravan has some excerpts, and backstory re the album---Selvedge was a co-founder and producer of longruning BST, which usually has a bluesier headliner than, er, Jake Bugg (who starts strong, anyway). Selvedge turns out to have a graceful, fluid folk-blues vocal style, a bit like prime time Jesse Winchester to my ears: http://bealestreetcaravan.com/listen/shows/2014-02-26

On the other hand (come to think of it, one of the later tracks he likes, "Tell Me Why You Like Roosevelt," was also covered by Winchester--not saying they sound just alike; JW is closer to Lyle Loveless) http://www.robertchristgau.com/get_artist.php?name=Sid+Selvidge

None of which has anything to do with the subjects of this thread, but worth mentioning somewhere.

I've been on a serious buzz with this stuff lately, as the weather has suited it - I've been cycling up nearby small mountains late in the evening and looking west and over the water as the sun sets, and also watching early 70's downer desert films like Vanishing Point and reading about some of the cult/dropout/back to the land stuff like The Farm (whose founder just died) and The Source Family.

I've been looking for more recent stuff that fits too - after being slightly indifferent to it for a while I fell hard for The Ornament by Gold Leaves (the album, not the song - this is an album genre), it has that wistful but zonked feel and there aren't really any harmonies but the man can sing.

i just came to post

https://www.youtube.com/watch?v=4KklBhatssU

and the abridged version of the thread cut out the unicorns mentions, so i thought i had something new to add. oh well, it's still pretty sweet in this vein.

https://41.media.tumblr.com/e9e3e9c33e44e4d7723b515b5bd83cf4/tumblr_mmp14dDbe71s3w3ano1_1280.jpg

thank u

John York -> disappeared

hmmmm

idgi where are Poco's 1, 2, 3, and 4

Because no connection to anyone else on the chart? Poco #5 provides Tim Schmit to the Eagles, which seems to be the only connection.

Richie Furay was in Buffalo Springfield

Yeah, pretty sad to go to all that trouble, and then leave out Poco (Homer: "D'oh!") Oh well, we can make our own edit(s).
Posted this on Rolling Country last night:
Charles EstenVerified account ‏@CharlesEsten
So honored to sing the beautiful "The Rivers Between Us Are Deep" by our friend, Hall of Fame songwriter @JDSouther & Erik Kaz. #ThanksWatty
Watty, Souther's character, was Rayna's mom's secret musical lover, may have gotten her killed by jealous dad or "dad," since on Nashville the immortal series, musical biologicals are not uncommon. Blah-blah, but note the co-write with Eric Kaz, once known as Eric Justin Kaz. Never as well-known as Souther, I guess, but he's written or co-written a bunch of hits, ones most relevant to this thread are "Love Has No Pride," and several others recorded by Raitt and Ronstadt, maybe especially the former. He released several solo LPs before and after teaming up with Pure Prairie League's Craig Fuller in American Flyer, they also did a duo album. Think he was not considered such a good singer, but he can write good melodramatic vehicles, especially for denim divas. Anybody heard him on records?

That's so crazy. I've been trying to construct a chronological playlist of those interconnecting acts and I'm clearly falling waaaaay short.

Meissner and messina also in poco fwiw

Altho i guess messina isnt on there, i dont see him

Pete Frame's pre-internet family trees were heroic. I don't see Longbranch Pennywhistle or Shiloh on there--Henley's and Frey's pre-Eagles bands--but then I'd never heard of either till a year ago.

the longbranch pennywhistle album is actually more cohesive than most eagles albums. it feels fairly organic. it doesn't have memorable songs though. neither did the shiloh album.

I'm always amused that there's a Longbranch song in Vanishing Point.

Altho i guess messina isnt on there, i dont see him

― Οὖτις, Sunday, March 8, 2015 6:55 PM (3 hours ago) Bookmark Flag Post Permalink

he's in Buffalo Springfield #2. (and was a session player and/or producer in Buffalo Springfield #1 as well)

"Re-Fried Burritos" lol

That last reminds me: as long as we're digging that deep, I got an album by Burrito Deluxe back in '07. Walter Egan of F.Mac etc. ("Magnet and Steel") involvement played lead, sang and contributed some songs; also I think their Richard Bell played keyboards for Janis Joplin; guests incl. Sneaky Pete, the only first-generation Burrito here, but also a lot of A-list Nashville session cats, like Cindy Cashdollar, Dan Dugmore, and singer Joy Lynn White (who made some good records of her own). Seemed like it was pretty decent, but was also a promo; dunno if I'd rec. buying it, esp. not having heard it since '07.
http://www.angelfire.com/music6/walteregan/disciplesoftruth/disciplesoftruth.html#details
This tells about previous line-ups of Burrito Deluxe (somebody else owned the original name), involving for inst. Garth Hudson, but haven't heard any of that:
http://www.burritobrother.com/fbb12.htm This site tries to track the whole torturous Burrito sagga er saga, though I stopped listening between the departure of Parsons and the arrival of Egan---oh, except for when they hired Byron Berline and some other members of Country Gazette, then everybody else left, and Byron's guys *were* the Burritos, for a while, cool enough.

The first link(from Walternative, a Walter Egan fan site) has more info about the album they sent me, Disciples of Truth; the second has info about previous Burrito Deluxe line-ups.

That's before Walter Egan & The Burritos, who have toured, but don't know of any albums.

As I said upthread, first heard JD Souther a few years ago, when he toured behind a cool li'l Nashville cats album with jazzy tendencies---even moreso live, with some of his Eagles contributions revealing latent Steelyness I hadn't noticed before, maybe because I tried to avoid the Eagles whenever possible, for most of the 70s. But given this belated revelation, and that Scott Seward heartily endorsed Souther Hillman Furay (also upthread, probly), think I'll check these:
http://d31hzlhk6di2h5.cloudfront.net/20151208/5a/b0/05/4e/1a7748c6c523208b1fb21e6d_180x180.jpg
http://d31hzlhk6di2h5.cloudfront.net/20151208/c9/3a/4c/ba/6530dbc3287101dbc333277f_180x180.jpg
http://d31hzlhk6di2h5.cloudfront.net/20151208/35/a5/83/8d/9a47028111dbab82b0c7a13d_180x180.jpg

D SOUTHER’S FIRST AND SECOND SOLO ALBUMS,
JOHN DAVID SOUTHER AND BLACK ROSE,
PLUS ONLY ’80S ALBUM, HOME BY DAWN,
RECEIVE EXPANDED EDITION REISSUES
FROM OMNIVORE RECORDINGS
John David Souther out on January 8,
while Black Rose and Home by Dawn hit streets on February 12.
NASHVILLE, Tenn. — John David Souther, better known as JD Souther, is a singer-songwriter and actor best known as writer of hit songs by the likes of the Eagles and Linda Ronstadt. While his own albums failed to gain the commercial traction of those of his songwriting clients, they’ve long been viewed as cult classics, prototypes of the Americana movement. Omnivore Recordings will launch a JD Souther expanded reissue initiative after the first of the year, with the debut album — John David Souther — set for January 8, 2016 release while Black Rose and Souther’s sole ’80s album, Home by Dawn, will return to stores on February 12, 2016.
Before he was co-writing #1 Eagles hits like “Best of My Love,” “New Kid in Town,” and “Heartache Tonight” with Glenn Frey and Don Henley, Souther formed Longbranch/Pennywhistle with Frey when they were roommates. Their downstairs neighbor was a fellow by the name of Jackson Browne, who took Souther to audition for his boss, David Geffen, who had recently formed the Asylum Records label. After hearing two songs, Geffen told Souther to “go make a record.” And that’s exactly what he did.
John David Souther arrived in 1971, and was immediately a critical success and established Souther as a, if not the songwriter to watch. (He would be inducted into the Songwriters Hall of Fame 42 years later.)
Co-produced by Souther and Fred Catero (who had recently finished Santana’s Abraxas), John David Souther featured 10 originals — all stunning, and many of which would be covered by artists like Bonnie Raitt (“Run Like a Thief”) and his old friends the Eagles, who released “How Long” as the first single from their 2007 comeback and multi-platinum smash, Long Road Out of Eden.
For its January 8, 2016 expanded re-release of Souther’s debut, Omnivore has added seven previously unissued bonus tracks. John David Souther was, and is, the perfect introduction to the singer and performer behind the songs.
After his impressive debut, Souther worked with Chris Hillman (Byrds, Flying Burrito Brothers) and Richie Furay (Buffalo Springfield, Poco) in the short-lived Souther/Hillman/Furay Band, which yielded two more Asylum LPs, The SHF Band and Trouble in Paradise. During that time, his songwriting reputation grew, as friends and colleagues took his material to commercial heights. To date his writing has been recorded by other artists as diverse as Hugh Masekela, Tricia Yearwood, Raul Malo, Bernadette Peters, Brooks and Dunn, Glen Campbell, Taiwanese girl group S.H.E., Michael Bublé, India Irie, and his longtime friend and collaborator Don Henley.
Five years after John David Souther, Black Rose appeared. Beautifully helmed by Peter Asher, the album was not only full of incredible songs, but a who’s who of musicians including Lowell George (Little Feat), Joe Walsh, Waddy Wachtel, Jim Keltner, Andrew Gold, Russ Kunkel, Donald Byrd, and Stanley Clarke — with David Crosby, Art Garfunkel, Don Henley and Glenn Frey adding their voices. In addition to the lush production and instrumentation, Souther’s ten songs were again exceptional. Linda Ronstadt had previously recorded “Faithless Love” on her breakthrough Heart Like a Wheel album, and would tackle “Simple Man, Simple Dream” in 1977 — even basing that year’s album title and her 2014 memoir Simple Dreams on the song. (For the record, Ronstadt has recorded 10 Souther tracks, a relationship that began with his production on her 1973 album Don’t Cry Now, also named for a Souther composition. That album includes “I Can Almost See It” — presented as a bonus track here in Souther’s demo version.)
This expanded edition of Black Rose, due out February 12, 2016, is made even more impressive by the addition of seven bonus tracks including six previously unissued live performances and demos — the other taken from the only solo album from the Little Feat leader, Thanks I’ll Eat It Here.
“Black Rose was an ambitious undertaking, and it took a long time,” Souther states in the new liner notes. “I wanted to use more of my musical influences, and I had to dig a bit deeper. But when we were finished, I was almost as pleased with it as if it had sold a million copies. Almost.”
Now is the time for those million copies to bloom.
After hitting the Top 10 twice with “You’re Only Lonely” and his duet with James Taylor, “Her Town Too,” Souther released his only album of the 1980s — Home by Dawn, produced by David Malloy (Eddie Rabbitt, Kenny Rogers, Reba McEntire).
As Souther took distinctive creative turns with each release, Home by Dawn emerged at the beginning of the new wave of country music. In fact, legendary producer/engineer, and David’s father, Jim Malloy (Townes Van Zandt, Eddy Arnold, Sammi Smith) told Souther, “You were about 15 minutes ahead of your time!” That timing was confirmed when Dixie Chicks covered “I’ll Take Care of You” on their 12x platinum-awarded Wide Open Spaces in 1998.
Home by Dawn has steadily earned a reputation as the groundbreaking and important statement it was, and continues to be. From rock to roots-rock to rockabilly, that release took Souther in a direction reflecting his Texas upbringing.
For its Omnivore reissue, the album’s original nine songs are joined by four bonus tracks — a demo of “I’ll Take Care of You,” two outtakes from the original sessions and his Urban Cowboy duet with Linda Ronstadt, “Hearts Against the Wind.”
Home by Dawn has proven to be an important and influential album released before its time. Now is the perfect time to discover, or rediscover it.
All three reissues feature expanded artwork, and new liner notes by Scott Schinder, based on recent interviews with Souther.
John David Souther track listing:
The Fast One 

Run Like a Thief 

Jesus in 3/4 Time 

Kite Woman 

Some People Call It Music 

White Wing 

It’s the Same 

How Long 

Out to Sea 

Lullaby 

Bonus Tracks: 

Kite Woman (Alternate Version) 

Jesus in 3/4 Time (Demo) 

The Fast One (Demo) 

Run Like a Thief (Demo) 

How Long (Demo) 

One in the Middle (Demo) 

Silver Blue (Demo)


Black Rose Track Listing:
Banging My Head Against the Moon 

If You Have Crying Eyes 

Your Turn Now 

Faithless Love 

Baby Come Home 

Simple Man, Simple Dream 

Silver Blue 

Midnight Prowl 

Doors Swing Open 

Black Rose 

Bonus Tracks: 

Faithless Love (Live) 

Songs of Love (Band Demo) 

Can Almost See It (Demo) 

Cheek to Cheek – Lowell George 

Border Town (Solo Demo) 

Texas Nights and Mexican Moons (instrumental piano demo) 

Songs of Love (Solo Demo)


Home by Dawn Track Listing:
Home by Dawn 

Go Ahead and Rain
Say You Will
I’ll Take Care of You
All for You
Night
Don’t Know What I’m Gonna Do
Bad News
All I Want
Bonus Tracks:
Hearts Against the Wind –
Linda Ronstadt/JD Souther
I’ll Take Care of You (Demo)
Little Girl Blue
Girls All Over the World 

# # #
Watch (and feel free to post) the JD Souther trailer:
http://youtu.be/takuJJCJPZI

(Oh yeah, and speaking of Eagles-related news, Henley's Cass County not only actually doesn't suck, it's pretty good!)

TAKE A WILD RIDE DOWN LITTLE KNOWN
BACKROADS OF EARLY AMERICANA ON
WAYFARING STRANGERS: COSMIC AMERICAN MUSIC
ON MARCH 18
The acclaimed archival record label Numero Group unearths nineteen fascinating twangy obscurities from 1968-1980.

CHICAGO, Ill. — Spurred by superstars like the Eagles and Linda Ronstadt, country-rock became, in the words of music historian Peter Doggett, “the dominant American rock style of the 1970s.” But for every Eagles mega-success, there was a big-label bust like American Flyer. And for every one-hit wonder like the Amazing Rhythm Aces, there were one-shot never-weres such as Angel Oak and Deerfield. These acts, whose albums are hard to find for even the most dedicated thrift-store bin hunters, now get their belated time in the spotlight on Wayfaring Strangers: Cosmic American Music compilation, due out on Numero Group on March 18, 2016.

Cosmic American Music was the name Gram Parsons coined to describe the blend of rock, country and soul that he played in the Byrds, the Flying Burritos Brothers and on his own solo albums. Although widely acknowledged as the “Father of country-rock,” Parsons hated the term “country-rock.” As he once said, “We are playing roots music . . . It’s a form of love music, a binding type of music between people.” Cosmic American Music’s eclectic lineup of unknown performers might not have strictly followed Parsons’ musical path but they did share the heartfelt spirit behind his Cosmic American Music.
The nineteen songs on this collection, recorded between 1968-1980, come from albums that were privately pressed, released on tiny labels like Sugarbush and Hobbit or, worse, entrusted to scam artists. It was a world away from today, when CDs can be created in a bedroom, uploaded it to the Internet and discovered by like-minded fans. The indie acts on Cosmic American Music had to sell their albums at bar gigs, street corners, college bookstores and, in the case of one Dan Pavlides, on the road while hitchhiking.

Every act here has its own fascinating story. There are bands like Jimmy Carter and the Dallas Country Green and the Black Canyon Gang, composed of farm and ranch hands who just liked making music. Others, such as Mistress Mary and Mike & Pam Martin, harbored dreams of record deals only to see them dashed when their demo albums were ignored. Sandy Harless’s tale is particularly heartbreaking. After financing his album through his fish breeding business, he got duped by a sham record label. Then there is a case of the mysterious Kathy Heideman, a San Jose session vocalist who recorded an album of songs written by one Dia Joyce; however, not even the experts at Numero Group could dig up info on her.
One thing that all of this acts unfortunately have in common is that their albums flopped. Many wound up never recording again. The disappointment hit Kenny Knight so hard that he tossed his master tapes in a dumpster. As the one-time Southern California singer-songwriter F.J. McMahon reflects: “My concept of record albums and musicians was, you came out with an album and went on T.V. and you had some money and you lived off it and you made another album. I had no concept of you make an album and it goes nowhere, which it did. It was a harpoon to the heart for a long time.”

Black Canyon Gang
It’s not that the musicians found on Cosmic American Music lacked talent. The tunes by Plain Jane’s “You Can’t Make It Alone” and Doug Firebaugh’s “Alabama Railroad Town” wouldn’t sound out of place on a record by Firefall or some other major label ’70s country-rock group. Ethel-Ann Powell’s politically tinged “Gentle One” impresses as a beguiling folk-rocker. Mistress Mary’s “And I Didn’t Want You” projects a raw Lucinda Williams-like quality and the Houston outlaw country outfit Deerfield achieves a Flying Burritos Brothers feel on “Me Lovin’ You.” Strands of Nick Lowe’s twangy pub rock sound surface in Jeff Cowell’s rollicking “Not Down This Low,” while White Cloud’s “All Cried Out” suggests a laidback Buffalo Springfield track.
White Cloud also is one of the few groups with a band-member of some small renown. Frontman Thomas Jefferson Kaye was a music biz vet who had success as a Brill Building songwriter and also helmed albums by Loudon Wainwright III, Gene Clark and Dr. John. The North Carolina band Arrogance, represented here with the revved-up twang rocker “To See Her Smile,” was co-founded by Don Dixon, who later co-produced R.E.M. and made several critically acclaimed solo albums.
Cosmic American Music contains some unexpected guest appearances as well. Pure Prairie League’s John David Call contributed his pedal steel prowess to Sandy Harless’ “I Knew Her Well,” and White Cloud’s 1972 cut “All Cried Out” features the picking of Eric Weissberg, who did the breakout Deliverance soundtrack the same year. And that distinctive guitar playing that weaves through Mistress Mary’s “And I Didn’t Want You” is the handiwork of then-Byrd Clarence White.
Cosmic American Music marks the fifth compilation in the Numero Group’s Wayfaring Strangers series, following the critically praised titles Ladies From the Canyon, Guitar Soli, Lonesome Heroes and Darkscorch Canticles. Since starting in 2003, the Chicago-based archival record label has quickly achieved acclaim for their extraordinary reissue releases. They received a 2009 Grammy nomination for their Light: On the South Side compilation, while Syl Johnson: Complete Mythology garnered two Grammy nominations: Best Album Notes and Best Historical Album.
Track Listing:
1. Jimmy Carter and Dallas County Green: Travelin’
2. Mistress Mary: And I Didn’t Want You
3. Plain Jane: You Can’t Make It Alone
4. Dan Pavlides: Lily of the Valley
5. Angel Oak: I Saw Her Cry
6. Kathy Heideman: Sleep a Million Years
7. Deerfield: Me Lovin’ You
8. Arrogance: To See Her Smile
9. Jeff Cowell: Not Down This Low
10. Kenny Knight: Baby’s Back
11. The Black Canyon Gang: Lonesome City
12. Allan Wachs: Mountain Roads
13. Mike And Pam Martin: Lonely Entertainer
14. Bill Madison: Buffalo Skinners
15. White Cloud: All Cried Out
16. Ethel-Ann Powell: Gentle One
17. Sandy Harless: I Knew Her Well
18. F.J. McMahon: The Spirit of the Golden Juice
19. Doug Firebaugh: Alabama Railroad Town

https://www.youtube.com/watch?v=3bZGspbgOgE

that new wayfaring strangers comp is fannnntastic. you'd think the bottom of the barrel would be scraped by this point, but it is pretty much all killer no filler.

I will check that Cosmic American Music out, thanks for the encouragement. Haven't heard the most recent prev. releases in the Wayfaring Strangers series, but the first two, Ladies From The Canyon and Guitar Soli are certainly worth hearing.
As for the John David Souther expanded reissues mentioned above, the self-titled debut has at least a couple decent tracks as is, and maybe some still-promising raw material, but funny that he says he consciously avoided making records like those of his friends, cos it certainly keeps coming back to the scrawny early Eagles-y template, especially vocally, and the hired help don't get much to do. Though the bonus solo demos are actually kind of better, minus the flimsy filigree, and he digs at his close-mic acoustic guitar (got mab hands).
Black Rose sounds better from the get-go, with some supple, percussive rhythm guitar on "Banging My Head Against The Moon," where he's even got a certain wryness in the warning of the latest shift from self-pity to prowliness. And the overall flower-shirted imagery gets a break from terser phrasing, like the opening of track 2 "If you've got crying eyes/Bring 'em along." That one makes good use of Linda Ronstadt, who starts firing up the chorus, and gets a heated response from JDS--no way is he gonna let his ol' lady steal this---one of several songs he def outsings Don, Glenn, and his imitative debut self. He opens the live solo performance of "Faithless Love" by admitting he can't top her version, but this 'un turns out pretty well. The studio version's okay too, brings its own breathing room, compared to the production of some other tracks.

Speaking of the production, it can seem too subdued, but, although "Silver Blue" goes on a bit, does have some of the same breathing room/ spare clarity as "Faithless Love, " at least in the way it spotlights Souther's voice and Stanley Clarke's double bass.

Joe Walsh and Waddy Wachtel are back in there somewhere, and yes I hear you, Croz and Garfunkel, Don and Glenn, not too terribly much though, and did I mention prowlienss yes, reminding me that "Midnight Prowl" is the car tape bait, bringing Lowell George and Donald Byrd into one for the fans of Little Feat and Steely Dan. "Doors Swing Open" starts like it's going to be a relatively wimpy follow-up, but, although it doesn't ever swing, it does build its own kind of momentum. Then the title track has plenty yachty verve, the bonus "Border Town" gossips and tsk-tsks naughty events, with a pre-Mellen hippity strum.
Overall it's not that great, but several keepers even for non-specialists.

not mab hands, MAN HANDS.

Well alright! Souther describes Home By Dawn as an 80s rockabilly album, which it really isn't---past the opening title track, which is a coked-up married-guy-rompabilly scenario, not too far from Glen's "Party Town," "The Heat Is On" lyrically, music more like Kenny's "Footloose"---but the 80s-salute-the-50s bit usually works out in more or differently appealing ways: lyrics are mostly reassuring--- representing a truly steady boyfriend, who has largely outgrown elaborately sentimental/horndawg self-involvement tendencies of the 70s reissues--and musically, the rompabilly is quickly followed by the Everlys-esque soulful jangle-glide "Go Ahead and Rain," the urgently calling-Buddy-Holly (with dang near motorik or anyway speedy rhythm guitar)"Say You Will", which is also a real good duet with Ronstadt. Then the released version of more like a standard 80s-soundtrack piano ballad, "I'll Take Care of You," unpretentious but seems like it really needs Ronstadt--'til the demo, just him and the piano, works out fine. "Night" and another one (blanking on the title) could still be good for the Bangles and vice-versa (ditto "Go Ahead and Rain"), "Bad News Travels Fast" is propelled by his thin, tuneful voice at its strongest, also Mellenchords at their sternest.
Best bonus tracks are "Little Girl Blue, " which here seems like Souther-as-Holly at apex, but is actually Rodgers & Hart (Joplin did it her way; JDS might've learned something from that), and the original"Pretty Girls All Over The World," which is droll and prowly, also with the jazzy tinge of his more recent albums, and brings us back to the 50s just enough, as it grows a slight Elvoid quiver in the vocals, and a doo-wop shuffle in the backing.
The sound is def Big 80s (especially re the drums, always played by JDS) but dialed back just a bit in discreet remastering, and there are no synths, no sax, no shoulderpads (well maybe a couple).
This reissue demanded and rewarded my attention much more consistently than the first two.

"Mellenchords at their sternest": like the durr, durr in "Jack and Diane, " epitome-wise.

this has been destroying me lately: https://en.wikipedia.org/wiki/Bradley%27s_Barn

https://www.youtube.com/watch?v=7ClS5_wyt-c&list=RD7ClS5_wyt-c

that new wayfaring strangers comp is fannnntastic. you'd think the bottom of the barrel would be scraped by this point, but it is pretty much all killer no filler.

― tylerw, Wednesday, February 17, 2016 7:56 AM (2 weeks ago)

yes

Anybody know any current stuff that mines this vein successfully? I was listening to the album The Ornament by Gold Leaves and a lot of it nails the weary grandeur, the sense of looking west past the canyon over the ocean as the sun sets.

Does anyone have a digital version of Sandy Harless - Songs they could share with me?

Oh wow I actually didn't realize Numero Group was selling the entire record... dammit google. Maybe it was there and I missed it on the first search attempt.

This album is so good. On a certain level it's like the Cass McCombs album I always wanted.

scott briefly mentioned Heads Hands & Feet way upthread, but their earlier incarnation as Poet and the One Man Band fits this thread better and is my most enjoyable discovery of the year, thank you WFMU.
https://www.youtube.com/watch?v=9Vz54oqdtbE
Plus the American pressing has cool hot dog themed artwork
http://thumbs3.picclick.com/d/l400/pict/371712510574_/POET-AND-THE-ONE-MAN-BAND-s-t-LP.jpg
http://disk-market.sakura.ne.jp/jk/2L-04416a.jpg

the song about how the singer's feelings have been hurt (it's called Now You've Hurt My Feelings) is pretty lame though.

Think we mentioned some relatively recent(this century) Michael Nesmith tours, somewhere upthread---anyway he's reportedly now reforming the or a National Band (after The First and Second), so Aquarium Drunkard is celebrating with this mixtape: https://aquariumdrunkard.com/2018/01/18/the-grand-ennui-michael-nesmith-1970-1975-a-mixtape/
Have not yet made it through Hillman's The Asylum Years, but will give it another shot. Some nice tracks on the new one, especially "Walk Right Back," one of the many under-covered Every Bros seeds of WCCR at its best (he credits inclusion of this to producer Tom Petty, who did what he could all over--Hillman's not the strongest solo artist among his peers, but has his moments, when the setting's just right, or just about).

Everly Brothers, I meant duh.

Earp---missed this Rhino press release, from a year ago:

Artist Name
Michael Nesmith
Release Date
Fri, 04/14/2017

MICHAEL NESMITH'S MUSICAL CAREER HIGHLIGHTED ON
INFINITE TUESDAY: AUTOBIOGRAPHICAL RIFFS

Rhino Serves Up The Audio Companion To Nesmith's Autobiography With
14 Of His Best Songs With The Monkees, The First National Band, And Solo

CD And Digital Versions Available On April 14

LOS ANGELES - Michael Nesmith tells the story of his eclectic life in his upcoming book, Infinite Tuesday: An Autobiographical Riff (Crown Archetype). In it, the artist retraces his journey from his childhood in Dallas - where his single mother Bette invented Liquid Paper - to the set of "The Monkees" in Los Angeles, as well as his pioneering work in music video and virtual reality.

Before the book arrives on April 18, Rhino will release an audio companion that showcases 14 of Nez's best from his days with The Monkees, The First National Band, and solo. INFINITE TUESDAY: AUTOBIOGRAPHICAL RIFFS will be available April 14 on CD ($14.98) and digitally.

The set flows in mostly chronological order, beginning in 1965 when Nesmith recorded "The New Recruit" using the pseudonym Michael Blessing. Monkee-mania took over a year later and he spent the next four years making history and music with the quartet. Two songs by the Monkees included here neatly bookend Nesmith's tenure in the group, with "Papa Gene's Blues" from the band's 1966 self-titled debut, and "Listen To The Band" from The Monkees Present (1970), Nesmith's last album with group for more than 20 years.

The collection focuses mainly on the numerous solo albums that Nesmith recorded during the Seventies. He started in 1970 with Magnetic South and Loose Salute, country-rock albums that featured Nesmith and The First National Band, a group he collaborated with for several years. INFINITE TUESDAY features a song from each album: "Silver Moon" from Loose Salute and "Joanne" from Magnetic South, Nesmith's first Top 40 hit as a solo artist.

Nesmith embraced a multimedia approach to making music in 1975 to create The Prison, an album that was to be played as the "soundtrack" to a novella that came with the music. Represented on this set by "Opening Theme - Life, The Unsuspecting Captive," that album was also the first released on Nesmith's record label, Pacific Arts.

Then in 1979 Nesmith created "PopClips," the first-ever music-video program, which aired years before the dawn of MTV. That same year, Nesmith also recorded Infinite Rider On The Big Dogma, which featured "Cruisin'" and "Light," which also appear on this set. Nesmith made videos for those songs and others and released them in 1981 as Elephant Parts. A mix of comedy sketches and music videos, this "video album" won the very first Grammy Award for Music Video.

INFINITE TUESDAY ends with a pair of tracks from albums released after Nesmith returned from an extended recording hiatus: "Laugh Kills Lonesome" from ...Tropical Campfires... (1992), and "Rays," the title song from his 2005 album.

INFINITE TUESDAY: AUTOBIOGRAPHICAL RIFFS
Track Listing

1. "The New Recruit" - Michael Blessing
2. "Papa Gene's Blues" - The Monkees
3. "Different Drum"
4. "The Girl I Knew Somewhere" - First Recorded Version/Stereo Remix
5. "Listen To The Band" - Single Version
6. "Joanne"
7. "Silver Moon"
8. "Some Of Shelly's Blues"
9. "Opening Theme - Life, The Unsuspecting Captive"
10. "Rio"
11. "Cruisin'"
12. "Light"
13. "Laugh Kills Lonesome"
14. "Rays"

Rusty Young RIP---didn't get the memo on this 2017 solo debut, any of yall heard it?

LOS ANGELES, July 14, 2017 /PRNewswire/ -- Singer-songwriter-multi-instrumentalist and front man of the seminal West Coast country-rock band Poco Rusty Young will release his debut solo album for Blue Élan Records, Waitin' For The Sun, on September 15. The album comes after a five-decade career which began in 1967 when Young was invited to play steel guitar on what would become the final album by Buffalo Springfield. Soon after – along with Richie Furay, George Grantham, and Jim Messina – he would form beloved Americana band Poco. Over the next five decades – and alongside bandmates that would also include Paul Cotton, Randy Meisner, and Timothy B. Schmidt – he became not only the musical core of the band, but also the writer and vocalist behind hits including "Rose of Cimarron" and the #1 smash "Crazy Love."

...Produced by Rusty and longtime Poco bassist/vocalist Jack Sundrud – with assistance from the legendary Bill Halverson (Crosby, Stills & Nash, Eric Clapton, Emmylou Harris) – and mixed/mastered by Joe Hardy (ZZ Top, Steve Earle, The Replacements), the album's 10 songs first came together in the hours just before dawn. "I live in a cabin that overlooks the Mark Twain National Forest in southern Missouri, and got in the habit of waking early to watch the sun come up," Rusty explains. "Just sitting there with my guitar, loving where I live and thinking about how far I've come and how lucky I've been. After a while, the songs just poured out of me."

The album was recorded at Cash Cabin in Hendersonville, Tennessee, the former home recording studio of Johnny Cash and June Carter Cash. "June's old piano is all over the record," Rusty enthuses, "and I got to play Johnny's '57 Les Paul." Rusty also played steel and acoustic guitars, dobro, mandolin and banjo, with the current configuration of Poco – Sundrud, keyboardist Michael Webb, and former Flying Burrito Brothers drummer Rick Lonow – filling in the rest.

...Waitin' For The Sun opens with the shimmering title track that captures those early morning moments of inspiration. The vintage bounce of "Honey Bee" – featuring guests Jim Messina and George Grantham – pays tribute to the musical gifts of Rusty's grandparents. "Heaven Tonight" is lovely Beatles-esque balladry, "Innocent Moon" soars on gorgeous harmonies, and "Down Home" is fueled by Rusty's mountain music mastery. "Sarah's Song" is the heartbreakingly beautiful ode Rusty's wrote for his only daughter's wedding day, and "Gonna Let The Rain" is a potent dose of rock & soul. The driving guitars of "Hey There" are reminiscent of Poco at their very best, while the haunting instrumental "Seasons" showcases Rusty's distinctively melodic steel guitar. But the album's most talked-about track may be the warm and joyful "My Friend," featuring Richie Furay and Timothy B. Schmidt. "I could have done that thing where I asked everyone I've ever known to play on the record," Rusty says. "But I only wanted to work with a select few who were important to me. "My Friend" is about Poco over the years and the friendship we share to this day. That's why I called Richie and Timothy; the song is about them."

Today, Rusty is looking forward to touring in support of this new disc as well as planning a series of special concerts to celebrate Poco's 50th anniversary...
https://www.prnewswire.com/news-releases/pocos-rusty-young-to-release-debut-solo-album-waitin-for-the-sun---an-album-50-years-in-the-making-300488543.html

interview from a little later---this part is re the songwriters having left Poco:
I tried to be a full-rounded musician who played a lot of different instruments and did and did it well. Then it came to be that I needed to be a songwriter in the late seventies, 1978, and I did pretty good by that because I have over a million and a half downloads on Spotify and was #1 for six weeks so I’ve been pretty successful at this music thing (laughs).

Did it kind of shock you that one of your early attempts at a song did so well?

Yes! In 1978 when “Crazy Love” hit and went to #1, it was really, really great because the band Poco that I’d been in for ten years had never had a Top 20 hit and never sold a million records. And one of my first efforts at songwriting turned out to be such a huge hit and it was really great, you know. What can you say (laughs). And I still hear it at Home Depot and those places. It’s really high on the Home Depot chart (laughs).
https://glidemagazine.com/207387/rusty-young-still-has-stories-to-tell-interview/

there was an interesting article in the new ugly things about a 1970 release called "yellow hand," a band organized around a 17-year-old guitarist who -- via some odd connections -- wound up with a box full of half-finished buffalo springfield demos. the guitarist finished them, and at the time of its release the album had six previously-unheard neil young and stephen stills compositions. i think one of the stills songs has yet to be released in any other form.

sadly the whereabouts of the demo cassettes are unknown.

https://www.allmusic.com/album/yellow-hand-mw0000786959

Yeah, I reposted about them way upthread, from Rolling Country 2008:

Just got through my first listen to reissue of Yellow Hand's s/t from 1970.They do a bunch of Stills and Young songs from a Buffalo Springfield album that never did come out, it sez here (so they're on the bootleg of Stampede?) I think Neil did release a later version of "Down To The Wire." That's the one where the four-part close harmonies kinda crowd me, plus they sound particularly in there between the Grassroots and Three Dog Night, just this combination of by-the-numbers and overemphasis. But, if you've got any tolerance for Stills early solo and Manassas stuff, this is mostly like that (still chunky harmonies, but with a touch of plaintiveness/querulousness to balance the manliness, and allowing the lyrics to come through just enough, so personality simulated, but dumb complaints and inspiration not heard too clearly)(also get Neil's sufficiently stylish, punky bitchy folk-rock putdowns on "Sell Out)." And Delaney Bramlett/Mac Davis "God Knows I Love You," which coulda maybe shoulda been a hit for somebody. Also, the lead singer, Jerry Tawney, steps up front on some okay self-writs, and "My World Needs You" would be good for Gary Puckett. (After our recent exchange, I saw G.P. in an ad for Biloxi's Hard Rock Casino, with David Allan Coe and Stevie Nicks! All on different nights, dang it). Yellow Hand's drummer keeps rushing and then almost stumbling over the beat, and mostly they do seem more singers than players, but overall seems okay.

Michael Nesmith---Different Drum--The Lost RCA Victor Recordings

https://images-na.ssl-images-amazon.com/images/I/71ecD0cqAcL._SL1200_.jpg

Now, Real Gone Music and Second Disc Records are proud to present a major deep dive into the Nez archives. Different Drum: The Lost RCA Victor Recordings features 22 tracks drawn from the RCA Victor vaults, every one of which is previously unreleased in any physical format. Over six RCA albums released between 1970 and 1973, Nesmith blossomed as a singer, songwriter, bandleader, and producer under the aegis of RCA Nashville legends Chet Atkins and Felton Jarvis.
With bandmates including legendary pedal steel guitarist O.J. 'Red' Rhodes, John Ware, and John London, Nesmith pioneered country-rock with a spiritual and searching style all his own.
Different Drum premieres on CD some of his most remarkable musical explorations from this vivid period including cosmic reimaginings of Monkees-era favorites like 'Tapioca Tundra,' 'Magnolia Simms,' 'Circle Sky,' and 'Listen to the Band;' unheard outtakes like 'American Airman' and 'Six Days on the Road;' vastly different alternate takes of 'Different Drum,' 'Dedicated Friend,' and 'Tengo Amore;' and even an early version of 'Marie's Theme' from his cult classic multimedia project The Prison.
The mind-altering music on Different Drum has been mixed from the original multitracks by Andrew Sandoval and mastered by Vic Anesini at Sony's Battery Studios, while Papa Nez himself has contributed insightful new commentary to the liner notes by The Second Disc's Joe Marchese. Rare photos by renowned photographer Henry Diltz and previously unseen images round out this landmark package. Different Drum is a freewheeling, widescreen journey through the world of one of rock's greatest iconoclasts. Don't take our word for it: listen to the band!
1. Different Drum (Alternate Version)
2. American Airman
3. Bye, Bye, Bye (Alternate Version)
4. Dedicated Friend (Alternate Version)
5. Tengo Amore (Alternate Instrumental)
6. Texas Morning (Alternate Take)
7. Rene (Uncut Version)
8. Six Days on the Road
9. Circle Sky
10. Listen to the Band (Alternate Version)
11. Some of Shelly’s Blues (Alternate Version)
12. Keep On (Alternate Version)
13. Roll with the Flow (Alternate Version)
14. Marie’s Theme (Alternate Version)
15. Magnolia Simms (Alternate Version)
16. Born to Love You (Instrumental)
17. Hollywood (Alternate Backing Track)
18. Tapioca Tundra (Instrumental)
19. Roses Are Blooming – Come Back to Me Darling (Instrumental)
20. Tan My Hide (Instrumental)
21. You Are My One (Alternate Instrumental)
22. Loose Salute (Radio Spots)

Maybe some of those Alternates weren't first choices for good reason---? Real Gone usually does a real good job though, looking fwd to getting their curation of Dusty Springfield's he Complete Atlantic Singles 1968-1971 to-morrow.

Oh yeah, way upthread I mentioned that Byron Berline and Country Gazette got hired to fill out the Burritos, then the previous members left, and BB's boys *were* the Burritos, for touring and maybe other already-contracted purposes---also, they got to play with Ronstadt some, after she came off the early tour w Neil Young---complaining here, or on whicever taped performance I have (which is very good), about tour audiences more into partying, so she's really into kicking back with the deep holler sounds, in a much more attentive setting. Haven't tried all these links, but it gives you the annotations and pix at least, once you scroll past the Trio bit:
https://ronstadt.proboards.com/thread/1431/ronstadts-bluegrass-country"> https://ronstadt.proboards.com/thread/1431/ronstadts-bluegrass-country