Hillbilly band (The Marshall Tucker Band) (LP 894 - 897)

The Marshall Tucker Band  The Marshall Tucker Band (Vinyl, Capricorn Records, 1973) *****

The Marshall Tucker Band  A New Life (CD, Capricorn Records, 1974) *****  

The Marshall Tucker Band  Where We All Belong (Vinyl, Capricorn Records, 1974) ***  

The Marshall Tucker Band  Searchin' For A Rainbow (Vinyl, Capricorn Records, 1975) ***  

Genre: Southern rock 

Places I remember: Amoeba Records (San Francisco); Real Groovy Records (A New Life); Slow Boat Records (Where We All Belong)

Fab, and all the other pimply hyperboles: Can't You See (from the debut album)

Gear costume: Blue Ridge Mountain Sky (A New Life), Bound And Determined (Searchin' For A Rainbow)

Active compensatory factors: The Marshall Tucker Band is a perfect blend of country and rock sensibilities, plus they have a sweet sound so I have turned into a rabid completist for this band.

It happened slowly. First came hearing Carolina Dreams (it's coming) while working at Marbecks Records and then a cassette copy of Long Hard Road (yes - it's coming too) was thrashed in the car. Two superb albums. Third purchase was A New Life - included in this threesome, and another unbelievably great set of songs.

That did it. Three great albums in a row was telling me something. I needed to get everything else!!

Debut album, The Marshall Tucker Band sets out their stall superbly. 

There's Toy Caldwell's songs (Can't You See, sung by Toy, is an anthem), Doug Gray's terrific lead vocals*, the easy brilliance of the rest of the band which includes Jerry Eubanks adding jazzy sax and flute, and that country rock cool swing from Tommy Caldwell, George McCorkle, and Paul Riddle. All up - a great combination of sounds.

* My two highlighted songs above both feature Toy on vocals but it's actually Doug's smooth approach that is used most frequently on songs, to great effect.

Second album, A New Life, carries on the feel from that debut while adding new jazzy flavours and has a great cover (the cowboy on his horse playing a violin is from the debut cover). No difficult second album syndrome happening here.

Third album, Where We All Belong, is a double album - half live and half studio songs. So, something of an addendum to A New Life.

I'm not sure which band/artist did the first half studio/half live album. I've owned a few in my time - The Rolling Stones Gimme Shelter, ZZ Top's Fandango and Jackson Browne's Running On Empty, which intermingles studio and live to tell a specific story, all spring to mind. Those were single albums though; I'm not aware of any other double albums although Rory Gallagher's Irish Tour '74 has three live sides and a studio jam 4th side.

I'm also not sure what the marketing concept is behind the idea. Nor am I sure whether I like it or not as a concept. Rory had enough great material for a 4th side so that was obviously strategic.  

It works well for The Marshall Tucker Band although the studio songs aren't as strong as on A New Life. The live album has four songs - and these lengthy workouts effectively display another side of the band.

Searchin' For A Rainbow is studio album number 4, and a move into a more laid back country rock sound. It includes a big song for them - Fire On The Mountain and ends with a live version of Can't You See which was mistakenly credited on Where We All Belong. It's magnificent!

Where do they all belong? A lot more to come. To be fair to the chronology and trace their development I've decided to mix the vinyl and CDs together for The Marshall Tucker Band. Next group of their albums starts with Long Hard Ride.

Buenas noches from a lonely room (Dwight Yoakam) (LP 891 - 893)

Dwight Yoakam  Buenas Noches From A Lonely Room (CD, Reprise Records, 1988) ****

Dwight Yoakam  If There Was A Way (CD, Reprise Records, 1990) ****  

Dwight Yoakam  This Time (CD, Reprise Records, 1993) *** 

Genre: Country

Places I remember: The Warehouse (Cambridge, NZ)

Fab, and all the other pimply hyperboles: You're The One

Gear costume: Ain't That Lonely Yet, The Streets Of Bakersfield (Buenas Noches)

Active compensatory factors: The third, fourth and fifth studio albums from Dwight see him navigating the late eighties/early nineties with aplomb and continuing the ever so slight moves towards a poppier sound.

He's remarkably consistent with his albums - all are worthwhile for various reasons. Having producer/arranger/ guitarist Pete Anderson on board for these albums (as he was the first two) also helps, plus the musicians are roughly the same as well.

I do prefer the more straight country sounds of the first two albums in this threesome to some of the tracks on This Time. To prove he hasn't strayed too far from his roots though, he ends that album with Lonesome Roads - a glorious slice of pure country.

Where do they all belong? A few more CD's to come yet - three to be precise, as Dwight moves into the late nineties and 2000's.

Paper tigers (Tom Cochrane) (LP 890)

Tom Cochrane  Songs of a Circling Spirit (CD, EMI, 1997) ***  

Genre: Folk rock 

Places I remember: Real Groovy Records

Fab, and all the other pimply hyperboles: I Wish You Well

Gear costume: Paper Tigers

Active compensatory factors: Tom is a Canadian musician who is reasonably well known thanks to his hit Life Is A Highway from his 1991 Mad Mad World album.

This is an acoustic album, a relook at his career, and features songs from his solo years and as a band member of Red Rider. Tom is joined by other musicians on guitars and drums but it's definitely a solo approach here.

As such it has a cohesion of, yes, spirit, plus, as I'm not familiar with his work with Red Rider, it all sounds like a seamless collection.

My favourite song of his is I Wish You Well in whatever format he wants to deliver it (listen to the rock version here).

Interesting to note that he doesn't redo Life Is A Highway on this acoustic album. Instead there's a more introspective, downbeat tone that further unifies the album.

Where do they all belong? A bit of a stretch calling this folk rock, I know, but the use of acoustic instruments including mandolin swayed me. 

Reach for the night (Jack Bruce) (LP 888 - 889)

Jack Bruce  Shadows In The Air (CD, Sanctuary Records, 2001) ****  

Jack Bruce  Silver Rails (CD, Cherry Red Records, 2014) ***

Genre: Blues rock 

Places I remember: Slow Boat Records, HMV Oxford St.

Fab, and all the other pimply hyperboles: Keep It Down (Silver Rails)

Gear costume: Out Into The Fields (Shadows In The Air).

A remake of the West Bruce and Laing song.

Active compensatory factors: These are late period solo studio albums. Silver Rails was his final album - he died seven months after it was released.

Shadows In The Air has a formidable cast, with Eric Clapton, Dr John, Gary Moore, Vernon Reid all making appearances during the album.

Clapton appears on the remakes of White Room and Sunshine Of Your Love. Of course musicians have every right to redo their songs in different settings but both of these revisits are nice to haves, not essentials. 

Silver Rails has a decidedly frail Jack on vocals which lends a weight and poignancy to the songs. 

Last ever sequenced final album track is No Surrender. That about sums up the attitude of this mighty bass playing G.O.A.T.

Where do they all belong? A slew of live albums to come yet. Plus I still have a few late period studio albums to collect: Monkjack; More Jack Than God and a 'lost' album that was finally released - Jet Set Jewel. There's also an excellent live album with Robin Trower that I need to find a physical copy of (it's on Spotify). Plus if I feel like a completist after all those - the synth album Automatic. He was prolific!

Missing you (Murray McNabb) (LP 887)

Murray McNabb Trio  Waiting For You (CD, Ode Records, 1987) ****

Genre: Jazz piano

Places I remember: JB Hi-Fi (Palmerston North)

Fab, and all the other pimply hyperboles: Gone Country

Gear costume: Open House (sounding a bit like a Vince Guaraldi tune)

Active compensatory factors: This has a lot of things going for it - a brilliant recording by engineer Graeme Myhre, memorable compositions, and superb playing by Frank Gibson (drums), Andy Brown (bass) and Murray (piano).

It really pops! Take a listen to the drums and some fantastic cymbal work on Persian Cowboy (composed by Gibson) - a superb sound!

I don't know the back story to the cover image but I'd say this album is a tribute to that person (the 'you' in the title). There is a sadness and wistful tone to some of the songs here and in jazz, song titles reveal a lot. Here we have - Waiting For You, Letting Go, and Missing You.

That, along with the steady personnel, gives the album some unity and cohesiveness.

Where do they all belong? A great addition to the piano jazz sub genre in my collection. It stands as a fitting tribute to Murray's abilities - he passed away in 2013. More to come from him too as he was in Space Case which I'll get to in the jazz fusion genre eventually.

Horizon beyond (Passport) (LP 884 - 886)

Passport  Passport (CD, Atlantic Records, 1971) *** 

Passport  Second Passport (CD, Atlantic Records, 1972) ***

Passport  Looking Thru (CD, Atlantic Records, 1973) ***    

Genre: Jazz fusion

Places I remember: Variety of music stores in the UAE (Abu Dhabi, Dubai, Al Ain)

Fab, and all the other pimply hyperboles: Schirokko (Passport)

Gear costume: Nexus (Second Passport) 

Active compensatory factors: These are the first three albums from the German jazz fusion group led by saxophonist Klaus Doldinger. He's  the only constant through their career, so remember the name.

I was first drawn to the group by seeing a layout of their covers in Roger Dean and Hipgnosis' Album Cover Album book (all of these early Passport covers were by the same Hamburg studio).

So I snapped up copies when I came across them and was delighted to find them occupying space in the jazz fusion genre. That blurring of jazz and rock sensibilities suits me (sir).

At times the band sounds like King Crimson lite - as in - the intensity that Robert Fripp whips up isn't present in Passport, but the questing evolving music sure can be there.

The first album sets out their stall - Zappa-like sinewy horn driven instrumentals with a funky bottom end. There are two tenor-men on this first one - Klaus plus Olaf Kubler, and three others. Only Klaus would continue onto the Second Passport album but the sound is similar to the blueprint drawn up for the debut. 

Given the use of synths and electric piano the sound does flirt (at the best of times) with the prog rock genre, and really jazz fusion and prog rock and close siblings. At other times, it has to be said, that combo of instruments can drift into easy listening territory as well.

Second Passport features Klaus with three more members playing drum/bass/electric guitar/electric piano. Although, only Wolfgang Schmidt would be retained for third album Looking Thru.

No difficult second album syndrome for Passport - they sound even more assured on this set. Just check out Nexus above, as exhibit A.

Difficult third album, Looking Thru, continues the sound. By this stage the sound is pretty set into a format but, for the band, it's a case of 'if it ain't broke, don't fix it'. Tarantula, with some Zappa-esque moves is my favourite track on this one.

Where do they all belong? A lot more to come from Passport on the countdown - I got a tad carried away while overseas. If proggy jazz fusion is your thing - give Passport a go.

How about you? (Stan Getz) (LP 882 - 883)

Stan Getz  The Steamer (CD, Not Now Music, 1956) ****  

Stan Getz  Imported From Europe  (CD, Not Now Music, 1958) *** 

Genre: Jazz 

Places I remember: JB Hi-Fi (Palmy)

Fab, and all the other pimply hyperboles: There Will Never Be Another You (The Steamer)

Gear costume: Honeysuckle Rose (Imported From Europe)

Active compensatory factors: This is a two-for CD under the umbrella title 'The Cool Sound Of Stan Getz'. That sums up Stan - absolutely the coolest hep cat out there. 

The two albums present different cool sides to Stan - simple quartet (The Steamer) and a big band version. Imported from Europe was recorded in Sweden with a slew of locals - two additional tenor men, trumpet and trombone join piano/bass/drums. 

Whatever the setting, Stan's cool style is unmistakable, but I do prefer the smaller combo with simple piano, bass, drums accompaniment. It simply leaves room for each musician to excel and there is space in the arrangements that these guys just love to occupy.

Nothing wrong with the music on Imported From Europe, it just takes a moment to adjust to the fuller sound.

Where do they all belong? That makes 13 albums so far from Stan in the collection countdown and we're not done yet!

From a pebble thrown (Ian Anderson) (LP 881)

Jethro Tull's Ian Anderson  TAAB 2: Whatever Happened To Gerald Bostock? (CD, Chrysalis/EMI,  2012) **

Genre: Progressive rock 

Places I remember: FOPP (Covent Garden)

Fab, and all the other pimply hyperboles: A Change Of Horses

Gear costume: Confessional

Active compensatory factors: I have written about this album before but it was years ago, before I started my album collection countdown (you can read my thoughts here).

Jethro Tull and Ian Anderson have become closely intertwined now - so much so that the two are pretty much inter-changeable and good musicians flesh out recent albums under either brand name, but I really miss the classic lineup with Jeffrey, Clive, John, Barriemore and Martin who made the first TAAB album. 

I particularly miss Martin Barre. His singular guitar sound is a shorthand for that classic seventies sound of Tull. There's quite a bit of electric guitar on TAAB 2 but it pales in comparison to the real deal.

Was he available for this album? Probably. I guess it's complicated - he toured with Anderson and a version of Jethro Tull the year before but he's not on this album or the 2017 anniversary Tull tour. A real pity and a lost opportunity as it would have given a further tangible link to the original album, aside from Ian Anderson obviously.

The concept behind this sequel is a series of what ifs. What if Gerald was a...? etc. Okay. I guess so. But, I can't help being a bit - mmmm, so what?

The music is polished and good and all, but it's not Jethro Tull is it and I realise that's really unfair, but he does open himself up to that criticism by linking this sequel back to one of my favourite albums of all time without any of the original blokes.

And there lies the rub. TAAB is a five star classic album. The sequel struggles to have any memorable tunes in comparison.

Where do they all belong? I have positioned this one with in the prog genre CD racks with Anderson's solo albums. Seems more appropriate. 

Blame it on the boom boom (Black Stone Cherry) (LP 879 - 880)

Black Stone Cherry  Folklore And Superstition (CD, Roadrunner Records, 2008) ***  

Black Stone Cherry  Between The Devil And The Deep Blue Sea (CD, Roadrunner Records, 2011) ***  

Genre: Pop/ rock music 

Places I remember: Dubai (Virgin Megastore)

Fab, and all the other pimply hyperboles: Blind Man

Gear costume: Killing Floor, Won't Let Go

Active compensatory factors: The boys in Black Stone Cherry come from Kentucky but their hard rock style is not in the southern rock style of bands like Lynyrd Skynyrd - although they have toured with bands playing within that sub genre.

Instead, the band has more in common with hard rock outfits like Rival Sons, Alter Bridge and The Answer. I am drawn to this kind of classic rock/melodic heavy metal music - Ritchie Blackmore and Deep Purple have influenced a huge number of groups.

In common with those other bands is the feeling of authenticity and purpose that hundreds of other hard rock bands don't have. They've become very successful within the limited scope of the genre, so the appeal is surely there for a lot of music lovers.

Where do they all belong? I think two albums is enough for me. Albeit good, the sound is similar on both of these albums and, after twenty plus years together, I can't see them progressing beyond this really. As in - there are other bands that morph towards other sounds that interest me more. It's a very successful sound and they rock hard so all power to them.

We're all men (ALT) (LP 878)

ALT  altitude (CD, EMI, 1995) ***  

Genre: NZ music

Places I remember: Vinyl Countdown (New Plymouth)

Fab, and all the other pimply hyperboles: Penelope Tree

Gear costume: I Decided To Fly 

Active compensatory factors: A weird one this. Tim Finn and two musician mates/drinking buddies head to the studio, have a strum along and lay down some grooves. Call themselves ALT (after their first initials - Andy, Liam and Tim), release an album without a lot of fanfare and move on quickly to their day jobs.

So it's loose and funky and groovy and there's no over-thinking stuff.

Result? Well, although it's uneven, it's pretty cool actually in a matey, David Crosby's first solo album all get together and jam kind of way.

Tim in particular benefits from the trio formation, and the looseness. He is blessed with a great voice and he doesn't have to do all the heavy lifting here. Plus it sounds like he's having fun!

Where do they all belong? As I said, they quickly moved on to their regular bands or solo careers so this is a one off.