At number 29 in my countdown of the 30 best live albums in history, I have chosen Waiting for Columbus by Little Feat.
Many considered Little Feat to be over their golden age by 1977, but I think this live album shows them wrong. This is a band at its peak!
Willin’ 1977, Rockpalast:
Waiting for Columbus is the first live album by the “swamp rock” band, Little Feat. The album was recorded during seven performances in 1977. The first four shows were held at the Rainbow Theatre in London on August 1–4, 1977. The last three shows were recorded in George Washington University’s Lisner Auditorium on August 8–10 that same summer in Washington, D.C.
The band was backed by the Tower of Power horn section with whom they had recorded in previous studio sessions. And they really fill out the sound!
Dixie Chicken (w/Emmylou Harris, Bonnie Raitt and Jesse Winchester):
Gene Clark will always be best remembered for years as a vocalist with the Byrds. A fine legacy to be sure, but the shame of it is that there was far more to Clark’s body of work than that; he was a superb songwriter, one of the founding fathers of country-rock, and recorded a number of fine albums with an impressive array of collaborators whose quality far outstripped their modest sales figures. (Read more at allmusic.com)
This is an album that has been difficult to get. But now it is finally beeing rereleased on cd (according to Uncut magazine), it was planned released in the summer of 2011, sadly it didn’t happen. I’m hoping all legal issues have been solved now, and that we finally can get a new and, hopefully, remastered version of this forgotten masterpiece. Update: I read somewhere that august 2013 is the new release month for the re-issue, fingers crossed!
Edit: I have done a bit research on different releases, and there appears to have been at least two cd releases before. Well, I cannot find them and have to wait for the much talked about re-release.
I have an old vinyl lp that I have ripped to digital format (I have put the record player away on the loft somewhere…), it doesn’t sound as good but it’s what I got at the moment. I really look forward to getting the re-issue.
Two Sides was Gene Clark’s last solo album for a major label. Signed to RSO Records shortly after his wildly experimental (and occasionally engaging) 1974 Elektra album, No Other, which is often cited as his masterpiece, Clark and producer Thomas Jefferson Kaye released this. Two Sides is a much lower-key affair, and it succeeds on many more levels than the more heralded No Other. Clark’s explorations into country music are much more at home on this album, as tracks such as “Mary Lou” and “Kansas City Southern” demonstrate. Oddly, one of the highlights of this record is a non-Clark composition, the traditional “In the Pines,” which showcases Clark’s brilliant (and underrated) vocal ability. The following year would see Clark team up with ex-Byrd mates Roger McGuinn and Chris Hillman on the forgettable McGuinn, Clark & Hillman project. Two Sides shows Clark in full command of his awesome gifts. Essential for Gene Clark enthusiasts.
– Matthew Greenwald
Two Sides To Every Story came out in January 1977 (exact date ?), and for the most part offered more characteristic Gene Clark country-rock. The ballads are the highlights on the records, especially “Give my love to Marie”, “Hear the wind” and the last two songs on the album are outstandig.
“Home Run King” (Clark)
“Lonely Saturday” (Clark)
“In the Pines” (Traditional)
“Kansas City Southern” (Clark)
“Give My Love to Marie” (James Talley)
“Sister Moon” (Clark)
“Marylou” (Obie Jessie, Sam Ling)
“Hear the Wind” (Clark)
“Past Addresses” (Clark)
“Silent Crusade” (Clark)
Give My Love to Marie:
The Critics then didn’t fare well with the album, they were , as always, extremeley negative towards Gene Clark. This didn’t help with his self esteem, and the terrible review in Rolling Stone must have felt like the last nail in the coffin of his career. He never released an album on a major label after this.
Rolling Stone Magazine:
To those who admire Gene Clark, Two Sides to Every Story is a heartbreaker—in the worst way. (“Is this the dullest album ever made?” was my original opening sentence. “Probably” would have been the second.) Lugubrious to the point of laughableness, the once-classy Clark creeps through a series of Gibranian ballads that is so Antonioni-slow the songs actually seem to stop. Dead. Like this. Bereft of either interest or ideas, this plodding work can only be described as California-liturgidical.
Interlarded among the endlessness are some lame bluegrass (“Home Run King,” “In the Pines”), listless rock & roll (“Marylou”) and the worst train song ever (“Kansas City Southern”). Producer Thomas Jefferson Kaye is a great help, offering an interminable supply of nothing but the moldiest clichés.
This is terribly unjust and a review that is not possible to understand when listening to the album. This is an undiscovered treasure, a record that sometimes even surpasses No Other, his masterpiece.
Even with the chaos and missteps, this is a record that overcomes its flaws, offering moments of hard-won beauty and open-hearted grandeur from an artist fighting for his career.
Sister Moon (audio) with Emmylou Harris:
Featured guest musicians include Emmylou Harris, Byron Berline, Doug Dillard and Al Perkins. Like most of Clark’s albums, it failed to get far on the charts.
“Elvis has come out with a record which gives us some of the very finest and most affecting music since he first recorded for Sun almost 17 years ago” – Peter Guralnick (Rolling Stone Magazine 1971)
Elvis Country (I’m 10,000 Years Old) is the thirty-seventh studio album by Elvis Presley, released on RCA Records (LSP 44600 in January 1971. Recorded at RCA Studio B inNashville, it reached #12 on the Billboard 200. It was certified Gold on 12/1/1977 by the RIAA. It peaked at #6 in the United Kingdom, selling over one million copies worldwide.
The lead single for the album, “I Really Don’t Want to Know” b/w “There Goes My Everything” was released on December 8, 1970 and peaked at #21 on the Billboard Hot 100.
Tomorrow Never Comes:
Elvis Presley started a great run with his 1968 Comeback Special, then went on to the brilliant From Elvis in Memphis , and then the “bonus” album, Back in Memphis), the very good live abum On Stage, and the studio/live That’s the Way It Is in 1970.
In January 1971 Elvis Presley returned with Elvis Country: I’m 10,000 Years Old, and again the artist was addressing his roots, though with some more modern sounds. This is Elvis at the top of his game and it is one of his best albums.
It is available in several editions, theoriginal single Album version, The FTD version with many outtakes and the Legacy edition that includes the album, Love Letters from Elvis. Love Letters was drawn from the same four days of Nashville sessions as Elvis Country.It also has a few bonus tracks and good liner notes on both the albums, written by Stuart Coleman in 2011.
“…Elvis was at his peak when he cut Elvis Country. Actually, Elvis Presley was positively on a roll at the time. A decade after the end of what were thought to be his prime years, he was singing an ever-widening repertory of songs with more passion and involvement than he’d shown since the end of the 1950s…”
I rank this as the third best Beatles album, and it is of course a rock masterpiece.
When I coverted to CDs this was my very first purchase, I love it!
The Beatles is the ninth official album by the Beatles, a double album. It is commonly known as the “White Album” as it has no graphics or text other than the band’s name embossed (and, on the early LP and CD releases, a serial number) on its plain white sleeve.
The album was written and recorded during a period of turmoil for the group, after visiting the Maharishi Mahesh Yogi in India and having a particularly productive songwriting session in early 1968. Returning to the studio, the group recorded from May to October 1968, only to have conflict and dissent drive the group members apart. Ringo Starr quit the band for a brief time, leaving Paul McCartney to play drums on two tracks. Many of the songs were “solo” recordings, or at least by less than the full group, as each individual member began to explore his own talent.
Gene Clark (1944-1991) was one of the founding members of the legendary The Byrds, and this is what he is known for among the majority. This is too bad…In 1974 he made a solo album “No Other”. It was released on David Geffen’s Asylum Records. Apparently, after spending more than 100 000 $ to record the album (with an all-star cast of musicians, singers, and Thomas Jeffereson Kaye at the helm producing), the album was named “uncommercial” , it was considered the “Heavens Gate” of records.
When it finally came out it was not appreciated by his contemporaries and sold very poorly. Before 1976 it was out of distribution.
Today, most critics will agree that this is a so-called “Lost Masterpiece” or “Burried Treasure”. They are certainly right about that.
I had heard and read about the album for nearly 20 years, before I finally bought it after having heard it in passing in a local record store.