| | Gerry Goffin Back Room Blood CD Gerry Goffin Discography of CDs
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straight-forward blues rock & Dylan-esque melodies from veteran songwriter w. 1 track produced & co-written by Bob Dylan & 5 tracks produced & co-written by Barry Goldberg + guests Gerald Albright, Jimmy Evans, Peter Carr, Jack Sherman +
Personnel: Gerry Goffin; Jack Sherman (guitar); Gerald Albright (saxophone); Tony Marsico (bass); Gary Mallaber (drums); Ted Perlman (programming); Tal Bergman, Peggy Blu, Peter Carr, Tim Drummond, Bob Dylan, Jimmy Evans, Darren Falcone, Chris Garcia, Barry Goldberg, Mark Goldberg, Eddie Hinton, Paul Hornsby, Lev, Jerry Masters, Greg Morrow, Tim Pierce, Ralph Schuckett, Michael Sherwood, Vicki Thomas, Ian Wallace.
Producers: Gerry Goffin, Barry Goldberg (tracks 1, 4, 8, 10, 12); Gerry Goffin, Ralph Schuckett (tracks 2, 5, 7); Gerry Goffin, Ted Perlman (track 3); Gerry Goffin, Tim Drummond (tracks 6, 9); Gerry Goffin, Bob Dylan (track 11).
Engineers: Matt Gruber, Nick Brophy, Ted Perlman.
Includes liner notes by Denise Tapp.
Audio Mixers: Gerry Goffin; Nick Brophy.
Liner Note Author: Denise Tapp.
Recording information: Buffalo Sound; Cherokee studios; Cherokee Studios, Motown and Br; Electric Lady Studios, New York, NY; Motown and Brooklyn Studios; Muscle Shoals Sound; Randor Studios; Rondor Studios.
Editors: Gene Rosenthal; Lawrence Packer.
Photographer: Petrie Alexandra.
Unknown Contributor Roles: Chris Garcia; Eddie Hinton; Vicki Thomas; Gary Mallaber; Gerald Albright; Jack Sherman; Greg Morrow; Darren Falcone; Jimmy "BeBop" Evans; Jerry Masters; Lev; Michael Sherwood; Paul Hornsby; Peggi Blu; Pete Carr; Tim Drummond; Tim Pierce; Tony Marsico; Ian Wallace; Tal Bergman; Mark Goldberg.
Back in the early 1960s, when Bob Dylan was writing protest songs and inventing folk-rock, Gerry Goffin was penning such pop lyrics as "Will You Love Me Tomorrow?" More than three decades later, Goffin, with help from Dylan and some of his sidemen, made a creditable Dylan-style album in Back Room Blood and filled it with lyrics as embittered as any Dylan ever wrote. The similarities began with Goffin's voice, as hoarse and tuneless as Dylan's, though the closest approximation may be to say that Goffin sounded like Billy DeVille after chain-smoking a pack of Camels. Goffin threw down the gauntlet with the opening track, a by-the-numbers rocker called "Never Too Late to Rock and Roll," and then went through a laundry list of concerns, from relationships to politics and religion, all in a tone of serious-as-death pessimism. Unlike Dylan (who co-wrote two songs, co-produced one of them, and was a sideman), Goffin didn't leaven the vitriol with either humor or any of the pop elements he knew so well, which made the record an extremely sour message from a man with a demonstrated ability to be sweet. Still, if you're looking for the otherwise nonexistent 1996 Bob Dylan album, here it is. ~ William Ruhlmann
Musician (10/96, p.86) - "...He hasn't forgotten how to write, how to be indirect and still have the song mean something, how to be direct and not bore you....always compelling. Singing falls about halfway between Dylan and Randy Newman, which is to say he can phrase his own nifty melodies." Gerry Goffin Back Room Blood Songs | 1. | Never Too Late to Rock & Roll |
| 2. | Woman Can Be Like a Gangster, A |
| 3. | Elysian Fields |
| 4. | Tragedy of the Trade |
| 5. | Sacred Heart of Stone |
| 6. | Rough Theology |
| 7. | One She Ass |
| 8. | Death to the Printed World |
| 9. | Organized Crime |
| 10. | Relief |
| 11. | Masquerade |
| 12. | I've Got to Use My Imagination |
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