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Move is the eponymous debut album by The Move, released on the Regal Zonophone label. The only one which was recorded by the group’s initial line-up before bassist Ace Kefford left, it includes both sides of their third and fourth singles ('Flowers In The Rain' and 'Fire Brigade'). The last track, 'Cherry Blossom Clinic', was intended as a single at the end of 1967, and an acetate, with 'Vote For Me' (a song which remained unreleased until 1997), was pressed. Release was cancelled, as the lyrics were about the inmate of a mental home, and in the wake of the controversy which had dogged 'Flowers In The Rain', with its promotional postcard featuring an allegedly libellous drawing of Prime Minister Harold Wilson, it was felt that to risk further allegations of bad taste and scandal would harm their career irreparably.
The remainder of the album consisted of Roy Wood originals, and three cover versions that had featured prominently in their live set. 'Weekend' was an Eddie Cochran song, and 'Hey Grandma' had originally been recorded by US psychedelic band Moby Grape. 'Zing Went The Strings Of My Heart' was an old James F. Hanley standard, with an arrangement copied from The Coasters. It was their only album to chart, reaching No. 15.
There's a good reason why the Move's eponymous 1968 debut album sounds like the work of two or three different bands — actually, befitting a band with multiple lead singers, there's more than one reason. First, there's that lead singer conundrum. Carl Wayne was the group's frontman, but Roy Wood wrote the band's original tunes and sometimes took the lead, and when the group covered a rock & roll class, they could have rhythm guitarist Trevor Burton sing (as they did on Eddie Cochran's "Weekend") or drummer Bev Bevan (as they did on the Coasters' "Zing Went the Strings of My Heart"). Such ever-changing leads can lend excitement but it can also lend confusion, especially when the group enthusiastically mixes up Who-inspired art pop with three-chord rock & roll oldies and more than a hint of British eccentricity. Add to that, the album had a long, convoluted birth of 14 months, a long span of time in pop music, but it was an eternity in the mid-'60s, when styles and sounds were changing monthly. The Move were releasing singles during this time so they weren't absent from the scene, but they did happen to be set upon a course of cutting singles when their peers were crafting album-length epics, something that separated them from the pack, making them seem eccentric...and the Move needed no help in seeming eccentric. In an age filled with outsized originals, the Move may have been the most peculiar, not quite fitting into any particular scene or sound.
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Shazam is the second album by The Move, released in the UK in February 1970. The LP marked a bridge between the band's quirky late '60s pop singles and the progressive, long-form style of Roy Wood's next project, the Electric Light Orchestra. It was the last Move album to feature the group's original lead vocalist, Carl Wayne.
Like Led Zeppelin's debut album, "Shazam" was basically a snippet of the Birmingham group's 1969 stage act captured on vinyl. A crunchy mix of California psychedelia, heavy metal riffs, thundering drums and quotations from classic composers, the disc was generally praised by critics -- "Rolling Stone" gave a glowing review in the spring of that year -- and is generally regarded as the band's best LP.
The band had spent most of 1969 on the cabaret circuit in England, much to the delight of lead singer/crooner Wayne and to the disgust of guitarist/composer Roy Wood. When the group finally toured the United States in the autumn for the first -- and only -- time, they let down their hair and cranked up the volume.
Thus, "Shazam" is a classic split-personality album -- one side of originals, another of covers -- from a band wrestling with split musical personalities. Wayne, who picked some of the songs on Side 2, delivers touching, tender ballads (Wood's "Beautiful Daughter") and serves as a compere on spoken-word tracks between the songs; you almost can imagine him in a tie and tux, working the audience like Viv Stanshall. 'Beautiful Daughter' was under consideration for release as a single, the follow-up to 'Curly', in 1969.
Tracks like 'Hello Susie' and 'Don't Make My Baby Blue,' meanwhile, with their distorted riffs and monster drum fills, would not have sounded out of place on Black Sabbath's debut album. 'Susie' had previously been a hit for Amen Corner, though their faster, more pop-oriented version was very different from the Move's heavy metal treatment. 'Cherry Blossom Clinic Revisited' was a variation on 'Cherry Blossom Clinic', a track from the group's debut album, taken at a slower pace, the first verse diffidently spoken by Wayne, recorded without any strings or brass, and interpolating a medley of classical tunes including works by Bach and Tchaikovsky, played on guitars.
While drummer Bev Bevan regards this as his favorite Move album, Wood's memories were more bittersweet. 1969 had been a roller-coaster, draining year for the band. The "Blackberry Way" single hit No. 1 in the UK to open the year; Bassist Trevor Burton quit shortly thereafter. The early 1969 American tour was canceled because of Burton's departure; When it finally happened later that year, it was a financial failure and a logistical farce -- because of shoddy planning, the band basically had to race across the entire country by car (and a U-Haul trailer) to make very few dates. Wood and Wayne always had different personalities and temperaments, but the relationship was quickly fraying at the edges. The two dynamic creative forces in the band were frequently at odds with one another over style and content -- Wood reckoned The Move had gone as far as it could go, short of breaking through in America, and wanted to launch a new strings-and-rock project with Jeff Lynne.
Returning to the cabaret circuit after the debacle in the United States was the last straw for Wood. One night, in Sheffield, he infamously chucked a glass at a mouthy cabaret patron who'd called him "a poofta." Wayne blew up at him backstage, and the original Move was all but finished. Wayne quit the band in January 1970, just before "Shazam" was released.
While not a commercial success in the UK -- it was overshadowed by the hit single, "Brontosaurus," which debuted a fortnight after "Shazam" hit the stores -- or in the US when it debuted on A&M Records, the heavy feel, tight harmonies and extended solos made it a cult favorite and the record that introduced most American fans to the band. It also proved to be a stylistic template for successful '70s bands such as Cheap Trick and Kiss. In the 1990s, a group called The Shazam -- a power-pop outfit from Nashville who were huge fans of The Move -- took their name from this album.
Compared to the Move's long-gestating 1968 eponymous debut, their 1970 sophomore effort Shazam is unified. It was not culled from sessions from a period of 14 months but instead largely made at one time...but that doesn't necessarily mean that it's any easier to get a handle on the album. The Move changed greatly in the period between their first albums, with original bassist Chris "Ace" Kefford leaving in a cloud of acid in 1968. In his absence, rhythm guitarist Trevor Burton jumped over to bass, beginning an odd period where the group was cutting songs, most penned by Roy Wood but a few written by David Morgan, a fellow Birmingham-based songwriter signed to the publishing company of Move lead singer Carl Wayne. Pulled between these two camps, the Move finally had a true hit single with Wood's gorgeous, watery psychedelic epic "Blackberry Way," not long after Burton left the band and Richard Price was pulled in as his replacement so the band could earn money by touring cabarets in Europe.
Here, the band grew muscular and weirder, traits that are showcased on the short-yet-sprawling Shazam. Throwing out the concise constructions and meticulous miniatures of their psychedelic singles, the Move concentrate on heavy progressive rock on Shazam. With the exception of the gentle, string-laden "Beautiful Daughter" — quite clearly a holdover from previous sessions due to both its sweetness and brevity — none of the six songs here clock in under five minutes, with two sprawling over seven and "Fields of People" inching toward the 11-minute mark. To what extent this was an intentional experiment or a way of coping with a lack of material is hard to tell; of these six, only the thunderous opener "Hello Susie" truly qualifies as a new Wood original, as "Beautiful Daughter" dates earlier and "Cherry Blossom Clinic Revisited" itself is a reworked, expanded version of a song from the debut. "Hello Susie" also points the way to the heavy, hooky rock & roll the Move would patent on Message from the Country, and it does feel different than either this new "Cherry Blossom Clinic Revisited" or the three covers that make up the second side of Shazam.
All these four songs are arranged so the band can dabble in color and texture, shifting from guitars as heavy as their Brummie cohorts Black Sabbath to fragile harmonies. It's wildly inventive music and, as pure sound, the Move may never have been better than they are here, as there are more ideas in each of these long, languid jams than most bands have in a career. Once again, the sheer number of ideas can be intimidating upon first listen and there may be so many that some listeners may never get past this rush of invention, but Shazam rewards repeated spins many times over.
01."Hello Susie" (Wood) – 4:55
02. "Beautiful Daughter" (Wood) – 2:36
03. "Cherry Blossom Clinic Revisited" (Wood) – 7:40
04. "Fields Of People" (Day/Pierson) – 10:09
05. "Don't Make My Baby Blue" (Mann/Weil) – 6:18
06. "The Last Thing on My Mind" (Paxton) – 7:35
Bonus Tracks:
07. "So You Want to Be a Rock & Roll Star [Live]"
08. "Stephanie Knows Who [Live]"
09. "Something Else [Live]"
10. "It'll Be Me [Live]"
11. "Sunshine Help Me [Live]"
12. "Piece of My Heart [Previously Unreleased Live EP Outtakes]"
13. "Too Much in Love [Previously Unreleased Live EP Outtakes]"
14. "(Your Love Keeps Lifting Me) Higher and Higher [Live]"
15. "Sunshine Help Me [Previously Unreleased Live EP Outtakes]"
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Looking On is the third album by The Move, released in the UK in December 1970. The LP is their first to feature Jeff Lynne, their first containing entirely original compositions, and the first on the Fly label, its catalogue number being FLY 1. It includes both their 1970 singles, the Top 10 hit "Brontosaurus," released on Regal Zonophone in March, and the less successful "When Alice Comes Back To The Farm," released on Fly in October.
Looking On" is generally regarded as the hardest rocking, least popular and most eclectic album in the Move's catalogue, as it presents the band dabbling in heavy metal ("Brontosaurus," "When Alice Comes Back To The Farm"), blues ("Turkish Tram Conductor Blues"), prog-style epics ("Open Up Said The World At The Door"), soul ("Feel Too Good"), or, in the case of the title track, all four styles mashed together.
It's also the first LP to feature both Roy Wood and Jeff Lynne as a tandem, with Wood’s use of cello and woodwinds and Lynne's vocals anticipating the work they would later pursue in the Electric Light Orchestra, whose debut album they were starting to record at around the same time. The jazzy fills on the title track also serve as a signpost of the style that Wood would later develop in Wizzard and the Wizzo Band.
The Move was effectively a dead band walking when Lynne joined in February 1970 after fronting (and producing) The Idle Race. Wood had wanted to launch a new group with Lynne that would feature rock and strings -- to pick up, in theory, where the Beatles' "I Am The Walrus" had left off -- and retire the Move immediately. But despite mainstream media reports that the Move were finished -- with Wood's blessing -- contractual obligations and management pressure kept the brand name kicking, regardless of the drastic changes in sound and personnel.
Undaunted, Wood and Lynne took the opportunity to begin work on the embryonic ELO project in the studio and get the Move off the road, for the most part -- the occasional live set in 1970 usually featured most of the tracks on "Looking On," a cover of the Beatles' "She's A Woman," and just one of Wood's classic singles, "I Can Hear The Grass Grow."
Both composers saw the forthcoming album as a chance to experiment with motifs that they could apply to future recordings. Indeed, in July, during the "Looking On" sessions, the band recorded "10538 Overture," a Lynne composition that was originally intended to be a Move 'B'-side. It never got there. When Wood overdubbed a monster cello riff over the basic track 15 times over, he and Lynne decided they'd found the template for something even better than they'd originally planned -- a ground-breaking hit that could launch the ELO with a bang. Their instincts were eventually proven right, although the "10538 Overture" didn't wind up crashing the UK charts until the summer of 1972.
While Lynne was trying out longer and more complex songs and harmonies (foreshadowing the "ELO 2" album by a few years), Wood was trying to play (and successfully) every instrument he could get his hands on. He's credited with handling no fewer than seven of them on "Looking On" -- including the oboe, sitar, cello, bass, saxophone, and the 'banjar,' a banjo rigged to sound something like a cross between a pedal steel guitar and a sitar (featured on "Turkish Tram Conductor Blues"). In addition to guitar and piano, Lynne plays drums on the album's closer, "Feel Too Good," a track that also features P.P. Arnold and Doris Troy on backing vocals and ends with an (uncredited) doo-wop-style coda, "The Duke Of Edinburgh's Lettuce."
Just as "Shazam" had gotten lost in the wake of Carl Wayne's departure and Wood's new, wild on-stage persona, "Looking On" was not a hit. Nor was it extensively promoted by Fly, in part because the Move had fled the company to join EMI's new Harvest label shortly after sessions for the album were completed.
Not surprisingly, the final product was regarded by some critics as uneven, noodling, and self-indulgent. Four of the record's seven tracks are longer than six minutes in length, and drummer Bev Bevan recently told journalist Mark Paytress that even he felt the LP was "ploddy."
Nevertheless, the high points of "Looking On" are widely rated among Wood's most beloved compositions. "Brontosaurus" was eventually covered by Move fans Cheap Trick, and "Feel Too Good" was later featured on the soundtrack of the movie "Boogie Nights."
"Looking On" has been reissued on CD with various combinations of bonus tracks, including in 1998 by Repertoire, and most recently by Salvo in 2008.
01."Looking On" (Wood) – 7:48
02."Turkish Tram Conductor Blues" (Wood) – 4:38
03."What?" (Lynne) – 6:42
04."When Alice Comes Back to the Farm" (Wood) – 3:40
05."Open Up Said The World At The Door" (Lynne) – 7:10
06."Brontosaurus" (Wood) – 4:25
07."Feel Too Good" (Wood) – 9:30
Bonus Tracks
08. "Wild Tiger Woman" (Wood)
09. "Omnibus" (Wood)
10. "Blackberry Way" (Wood)
11. "Something" (Dave Morgan)
12. "Curly" (Wood)
13. "This Time Tomorrow" (Morgan)
14. "Lightning Never Strikes Twice" (Price/Tyler)
15. "Something (Italian)" (Morgan)
16. "Wild Tiger Woman Blues" (Wood)
17. "Curly Where's Your Girlie" (Wood)
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Mike Cooper (born Michael Cooper, 1942, Reading, Berkshire, England) is a British guitar player, singer and songwriter. Cooper started playing guitar shortly after leaving school in 1958. In 1962, as a singer and harmonica player, he co-founded an R&B band The Blues Committee, with guitarist Paul Manning, guitarist Dicky Reeves and drummer Eddie Page. They played alongside many visiting American blues players in their home town: John Lee Hooker, Jimmy Reed, Howling Wolf and others as well as British r&b and blues bands such as Alexis Korner's Blues Incorporated.
At the same time Cooper was playing and singing folk and country blues as a solo artist in local folk clubs. In 1966, together with singer/guitarist Derek Hall, they recorded their first record, a 7inch four track independent release, titled "Out Of The Shades". The title referred to the coffee house where Cooper and Hall played regularly during that period.
From the mid until the late 1960s, Cooper was one of the handful of players who pioneered the acoustic British blues boom, playing with and alongside other British players such as Jo Ann Kelly, Dave Kelly, Tony McPhee and Ian A. Anderson, as well as with visiting musicians such as Son House, Mississippi Fred McDowell and Bukka White. His 1969 album Oh Really!? on Pye Records is acclaimed as one of the best acoustic blues albums of the period.
In the early 1970s, working with record producer Peter Eden for Pye/Dawn Records, he recorded four solo albums which chronicle, through his own songwriting, a shift from pure blues through to free jazz. Collaborating with jazz, improvising and avant-garde musicians, in particular South Africans Dudu Pukwana, Harry Miller, Louis Moholo and Mongezi Feza, Zimbabwean composer and arranger Mike Gibbs and British saxophonist Mike Osborne he produced perhaps some of the first rogue folk. For the last of these albums he formed the band Machine Gun Company with Geoff Hawkins on sax, Alan Cook on keyboards, Les Calvert on bass and Tim Richardson on drums. A group that mixed rock, folk and free jazz. Cooper moved to live in Spain briefly before returning to the UK to record a fifth album, Life and Death in Paradise with Harry Miller, Mike Osbourne and Louise Moholo for Tony Hall's short lived Fresh Air label. He moved to live in Germany, Spain and France shortly after its release. 30 years later these recordings, along with those by Wizz Jones, Roy Harper, The Incredible String Band and Davy Graham have inspired the recent 'New Weird America' or 'Free Folk' explosion in the U.S., with Thurston Moore and Jim O'Rourke from Sonic Youth and the No-Neck Blues Band.
Returning to the UK in the late 1970s he began to develop a parallel career and establish himself on the avant-garde and free-improvised music scene, working initially with members of the London Musicians Collective, such as Eddie Prévost, Keith Rowe, David Toop, Steve Beresford, Max Eastley, Paul Burwell, dancer Jo-Anna Pyne, and vocalist Viv Corringham. With saxophonist Lol Coxhill and drummer Roger Turner, they formed The Recedents, a free improvising trio now in its third decade.
01. Song For Abigail
02. The Singing Tree
03. Midnight Words
04. So Glad (That I Found You)
05. Lady Anne
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This was a short-lived heavy psychedelic outfit whose album is now quite rare and sought-after by some collectors. They had earlier been known as Skin. Tracks like Mystic Man, Brush With The Midnight Butterfly and Reality Presented As An Alternative typify the heavy psych genre, but the two outstanding tracks are slow and in the classic psychedelic mould; Appearance Is Everything Style Is A Way Of Living, which brings to mind US Boston band Beacon Street Union and has fine Eastern - influenced guitar work and the more acoustic than electric Maybe Someday, which had a good hypnotic melody and a certain Eastern feeling.
01. Mystic Man
02. Appearance Is Everything, Style Is A Way of Living
03. Brush With The Midnight Butterfly
04. Maybe Someday
05. Reality Presented As An Alternative
06. Naked Breakfast
07. Circle Of The Night
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"The Gods" were an English group founded in 1965. The bandmembers included Mick Taylor (later with John Mayall's Bluesbreakers and the Rolling Stones), Brian Glascock and John Glascock (later of Jethro Tull). They were schoolmates from Hatfield and had been playing together as The Juniors (or The Strangers), a band they formed in 1962. Also part of this band were Malcolm Collins and Alan Shacklock. They had a record deal with Columbia. Their first 7" single (Columbia DB7339) appeared in 1964 (There's a pretty girl/Pocket Size). In 1965 the line-up was changed. Mick Taylor continued to play guitar and teamed up with Ken Hensley (organ/vocals) (later guitarist with Uriah Heep). They also added Joe Konas (guitar/vocals) and changed their name to "The Gods". In 1966 The Gods opened for Cream at the Starlite Ballroom in Wembley, London. A single (Come On Down To My Boat Baby/Garage Man) was recorded in early 1967. At this point the line-up included Mick Taylor, Ken Hensley, John Glascock, Brian Glascock and Lee Kerslake.
In May 1967 Mick Taylor got a call from John Mayall who was looking for a new guitarist. When Taylor joined the Bluesbreakers, he left behind a faltering bluesband. The band sought to revive their fortunes on the club/college circuit. They relocated to London and secured a residency at The Marquee. John Glascock (bass) was replaced by Greg Lake in June 1967. The problem was that Greg Lake was too talented for the background role the rest of the band had in mind for him and in the Summer of 1968 he split to join King Crimson. The band had to re-group again and John Glascock was asked to return.
With John Glascock back in the fold they recorded a couple of interesting progressive rock albums and a few 45s. Of their 45s, "Hey! Bulldog", the Beatles track, is their best known, and both sides have been included on compilation CD "The Great British Psychedelic Trip Vol. 3". The band played an imaginative amalgam of psychedelia and progressivism. Tracks like "Towards The Skies" and "Time And Eternity" from their 1968 album Genesis are full of heavy ploughing Hammond organ and distorted guitar riffs and Ken Hensley's unique and rather dramatic vocals add a further dimension.
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"The Gods" were an English group founded in 1965. The bandmembers included Mick Taylor (later with John Mayall's Bluesbreakers and the Rolling Stones), Brian Glascock and John Glascock (later of Jethro Tull). They were schoolmates from Hatfield and had been playing together as The Juniors (or The Strangers), a band they formed in 1962. Also part of this band were Malcolm Collins and Alan Shacklock. They eventually signed with EMI / Columbia Records. Their first 7" single (Columbia DB7339) appeared in 1964 ("There's a Pretty Girl"/"Pocket Size"). In 1965, the line-up changed. Mick Taylor continued to play guitar and teamed up with Ken Hensley (organ/vocals) (later guitarist with Uriah Heep). They also added Joe Konas (guitar/vocals) and changed their name to "The Gods".
In 1966, The Gods opened for Cream at the Starlite Ballroom in Wembley, London. A single (Come On Down To My Boat Baby/Garage Man) was recorded in early 1967. At this point the line-up included Mick Taylor, Ken Hensley, John Glascock, Brian Glascock and Lee Kerslake.
In May 1967, Mick Taylor got a call from John Mayall who was looking for a new guitarist. When Taylor joined the Bluesbreakers, he left behind a faltering bluesband. The band sought to revive their fortunes on the club/college circuit. They relocated to London and secured a residency at The Marquee. John Glascock (bass) was replaced by Greg Lake in June 1967. The problem was that Greg Lake was too talented for the background role the rest of the band had in mind for him and in the Summer of 1968 he split to join King Crimson. The band had to re-group again and John Glascock was asked to return.
With John Glascock back in the fold they recorded a couple of progressive rock albums and a few 45s. Of their 45s, "Hey! Bulldog", the Beatles track, is their best known, and both sides have been included on compilation CD "The Great British Psychedelic Trip Vol. 3". The band played an amalgam of psychedelia and progressivism. Tracks like "Towards The Skies" and "Time And Eternity" from their 1968 album Genesis are full of heavy ploughing Hammond organ and distorted guitar riffs and Ken Hensley's unique and rather dramatic vocals add a further dimension.
Most of The Gods' material is fairly typical late sixties pop/rock, epitomised by songs like "Radio Show" and "Yes I Cry". There are shades of Vanilla Fudge on their cover of West Side Story extract "Maria". On a few tracks like "Candlelight" and "Real Love Guaranteed" there is an inkling of the heavier sound Hensley and Kerslake would propagate in their next venture, Uriah Heep.
The Gods were the successors of the Rolling Stones at the famous Marquee Club in London. After recording two albums, Genesis (1968) and To Samuel a Son (1969), they signed with a new record company, recruited Rebel Rousers singer Cliff Bennett and changed their name to Toe Fat which also lasted two years and two albums.
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The Gilded Palace of Sin is an album by the country rock group The Flying Burrito Brothers, released in 1969. It continued Gram Parsons' and Chris Hillman's pioneering work in modern country music, fusing traditional sources like folk and country with other forms of popular music like gospel, soul, and rock & roll.
Album details
After the release of the The Byrds' groundbreaking Sweetheart of the Rodeo, Gram Parsons left The Byrds on the eve of a South African tour. Chris Hillman, the group's bass player, soon left as well and eventually joined Parsons in a new band, The Flying Burrito Brothers, as guitarist.
Their first album as The Flying Burrito Brothers was The Gilded Palace of Sin. Most of the songs were written by Parsons and Hillman at a house in the San Fernando Valley dubbed "Burrito Manor." Parsons and Hillman delivered some of their most celebrated compositions. The two R&B standards covered on the album, "Dark End of the Street" and "Do Right Woman", are examples of a country-soul fusion that Parsons would often refer to as "cosmic American music."
"My Uncle" and "Hippie Boy" address then-contemporary countercultural concerns: the draft and the 1968 Democratic National Convention riots. Rather than playing in an orthodox fashion, pedal steel guitarist "Sneaky" Pete Kleinow often utilized a fuzzbox and/or played the instrument through a rotating Hammond Leslie amplifier, adding a psychedelic touch to several songs.
Influence
Like Sweetheart of the Rodeo, The Gilded Palace of Sin was not a commercial success -to date, the RIAA has not certified it gold. However, its impact on popular music has grown over the years, influencing, for example, the Eagles. During the 1980s, the New Traditionalist movement in mainstream country music was clearly influenced by the The Gilded Palace of Sin, with artists such as Travis Tritt, Vince Gill, Alan Jackson, Clint Black, and Randy Travis.
Even today, the influence of The Gilded Palace of Sin remains the alternative-country movement, often referred to as 'alt-country.' Bands like Wilco, Son Volt, Whiskeytown, and the Jayhawks as well as individuals as Dwight Yoakam, Lucinda Williams, Emmylou Harris (Parsons' one-time singing partner), and Steve Earle all have recorded music that bears traces of The Gilded Palace of Sin. Even non-country artists like Elvis Costello have cited the album as a particular favorite, with Costello covering several cuts during his career.
For many years, the album was never re-issued in its entirety on compact disc in the United States. However, in 2000 the complete album was finally re-issued as part of a two-disc set, Hot Burritos! The Flying Burrito Bros. Anthology 1969-1972. In 2002, a new mastering was issued on a single-disc two-fer, Sin City: The Very Best of the Flying Burrito Brothers, which packaged The Gilded Palace of Sin with its successor, Burrito Deluxe, as well as a few outtakes from the same period. In 2003 the album was ranked number 192 on Rolling Stone magazine's list of the 500 greatest albums of all time.
01. "Christine's Tune" (Parsons, Hillman) - 3:04
02. "Sin City" (Parsons, Hillman) - 4:11
03. "Do Right Woman" (Chips Moman, Dan Penn) - 3:56
04. "Dark End Of The Street" (Chips Moman, Penn) - 3:58
05. "My Uncle" (Parsons, Hillman) - 2:37
06. "Wheels" (Hillman, Parsons) - 3:04
07. "Juanita" (Hillman, Parsons) - 2:31
08. "Hot Burrito #1" (Ethridge, Parsons) - 3:40
09. "Hot Burrito #2" (Ethridge, Parsons) - 3:19
10. "Do You Know How It Feels" (Parsons, Barry Goldberg) - 2:09
11. "Hippie Boy" (Hillman, Parsons) - 4:55
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Burrito Deluxe is the second album by the country rock group The Flying Burrito Brothers, released in 1970. In between The Gilded Palace of Sin and Burrito Deluxe, the band underwent some personnel changes. Bassist Chris Ethridge left the band out of frustration at the band's lack of success. In his place, Chris Hillman moved over to bass, and Bernie Leadon was hired to play guitar. Also, ex-Byrd Michael Clarke was hired as the band's full-time drummer.
The Flying Burrito Brothers was an early country rock band, best known for its influential debut album, 1969's The Gilded Palace of Sin. Although the group is most often mentioned in connection with country rock legends Gram Parsons and Chris Hillman, the group underwent many personnel changes.
The "Flying Burrito Brothers" "borrowed" their name from the original "Flying Burrito Brothers", which consisted of bassist Ian Dunlop and drummer Mickey Gauvin, Parsons's bandmates from the Boston-based International Submarine Band, plus any of a loose coalition of musicians. In 1968, the original Brothers moved from Los Angeles to New York City to concentrate on creating and playing music without the distractions of the music industry. From New York they continued to tour the Northeast United States, playing their eclectic traditional/rockabilly/blues/R&B-oriented version of rock, using the name "The Flying Burrito Brothers East" after Parsons' group became famous.
Meanwhile, on the West Coast, Parsons and musician Chris Hillman thought this same moniker would be perfectly suited to the band they had been dreaming of since early 1968, when, as members of Roger McGuinn's band The Byrds, they created one of the first country-oriented rock albums, Sweetheart of the Rodeo. They immersed themselves in their vision in their house in the San Fernando Valley, dubbed "Burrito Manor", even replacing their wardrobe with a set of custom country-Western suits from Nudie's Rodeo Tailors, tailor to the C&W stars. Parsons' suit had marijuana leaf embroidery, as seen on The Gilded Palace of Sin album cover & on Nudie's Rodeo Tailors Online Museum Celebrity Photo Gallery. At this juncture, the band also included pianist/bassist Chris Ethridge, drummer Michael Clarke (of The Byrds), and pedal steel guitarist Sneaky Pete Kleinow.
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The Flying Burrito Brothers helped forge the connection between rock and country, and with their 1969 debut album, The Gilded Palace of Sin, they virtually invented the blueprint for country-rock. Though the band's glory days were brief, they left behind a small body of work that proved vastly influential both in rock and country. The Flying Burrito Brothers reunited later in the '70s, albeit without their founding members Gram Parsons and Chris Hillman, and continued performing and recording in a variety of incarnations into the '80s.
Originally, the Flying Burrito Brothers were a group of Los Angeles musicians who gathered together to jam. Gram Parsons and Chris Hillman took the band's name when they were forming their own band after leaving the Byrds. Parsons had helped steer the Byrds toward a country direction during his brief stint with the band, as captured on the 1968 album Sweetheart of the Rodeo. Following the release of Sweetheart, he left the Byrds, followed shortly afterward by Hillman. The duo added pedal steel guitarist "Sneaky" Pete Kleinow and bassist Chris Ethridge to the band and set about recording their debut album with a variety of session drummers.
The Gilded Palace of Sin, the Flying Burrito Brothers' debut album, was released in the spring of 1969. Although the album only sold 40,000 copies, the band developed a devoted following, which happened to include many prominent musicians in Los Angeles, Bob Dylan, and the Rolling Stones. Around this time, Parsons and Stones guitarist Keith Richards became good friends, which led to Parsons losing interest in the Burritos. Before the band recorded their second album, Ethridge left the band and was replaced by Bernie Leadon, and the group hired ex-Byrd Michael Clarke as their permanent drummer.
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Guitar-driven proto-prog-rock that is developed here. Flea is the second album of this band that recorded three albums with the same line-up but changed names.
Generally Italian bands are not remembered for guitar heroics but in this one and on Garibaldi's Nuda, this is like a guitar overdose but in the positive way. We are not in a typically prog format, although the longer tracks allowing for much musical interplay and the sheer musical abilities from the participants especially the drummer and the guitarist.
Side 1 has a side-long title track that is halfway into a long jam and a prog number including many lengthy but outstanding solos. The feeling is somewhere between Lard Free's debut and Black Sabbath's first two albums and you can feel the almost violent enthusiasm of the guys . It sure feels good. Exhilaration is around the bend....
Side 2 is made from three mid-length tracks, the first of which is probably the most prog in construction and the following one giving on a peek at their calmer/softer side. The final track is a great return towards the opening track and making you regret that this album is so short. The vocals, I would qualify as typically Italian can surprise with this high-powered rock but certainly do not shock: in fact they are fairly appropriate.
As I said above, this album is not that prog in terms of the usual/conventional definitions developed on all sides but is more than linked to it by sheer virtuosity and an almost Ramone-like enthusiasm that makes this album a 70's gem etiquette that should be discovered urgently by all progheads. Exhilarating and almost orgasmic.....
Very unusual to see a band like this keep the same lineup for three albums but change the name of the band each time. Not necessarily a great marketing idea. The other unusual thing is that each of these 3 albums are very different from one another. Regardless of the behind the scenes stuff this album is a keeper. And thankyou Todd for the recommendation.
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