| | Jim & Jesse Today! CD Jim & Jesse Discography of CDs
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Virginia natives Jim & Jesse McReynolds began in the late '40s as serious-minded bluegrass players; however, throughout their career (and despite inevitable returns to bluegrass) they have flirted with mainstream country and even rock & roll. That nomadic attitude is well represented on this collection. They did a cover album of Chuck Berry songs in the late '60s, and one Berry song, "Johnny B. Goode," shows up here. Meanwhile, the McReynolds originals on this effort, while not exactly mainstream, do tend to tread near commercial country waters (particularly the heart-worn ballad "Where Do We Go From Here"). Nevertheless, whether meeting the precise expectations of the bluegrass idiom or not, what distinguishes a Jim & Jesse album is Jesse's syncopated, crosspicking mandolin style and Jim's unwavering tenor harmony. And the brothers are in fine form here. ~ Erik Hage
1st Time On CD;
All tracks have been digitally remastered.
Personnel: Jesse McReynolds (vocals, guitar, mandolin); Jim McReynolds (vocals); Weldon Myrick (dobro); Allen Shelton, Vic Jordan (banjo); Blaine Sprouse (fiddle); Jerry Whitehurst (piano); William Paul Ackerman, Buddy Harman (drums).
Audio Mixer: Billy Linneman.
Recording information: Hilltop Recording Studios, Inc., Nashville, TN.
Photographer: Ken Kim.
Personnel: Jim McReynolds (vocals, guitar); Jesse McReynolds (vocals, guitar, mandolin); Jimmy Capps (guitar); Vic Jordan, Allen Shelton (banjo); Weldon Myrick (dobro); Blaine Sprouse (fiddle); Jerry Whitehurst (piano); Billy Linneman (bass); Willie Ackerman, Buddy Harman (drums).
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$15.19 Two surprising thoughts occur upon the first listen to Let's Git It On: first, Jerry Reed sounds gruff and rough, the sum total of his age. Second, apart from that gravelly growl, it would be easy to mistake Let's Git It On for an album he recorded during his '70s peak -- not just because he cheerfully rewrites several of his classic songs, but because the music is as lively and vibrant as "Amos Moses." In particular, Reed's guitar playing sounds sprightly and nimble as it ever did, giving this music a genuine kick and more punch than anybody would expect from Reed in his sixties. But what's also surprising is that the songs are often quite strong. At times, the slower songs can get a little treacly, but there aren't many of them and they're far overshadowed by songs like "The Jerry Springer Show," which finds Reed's ribald wit as sharp and goofy as it was on "She Got the Goldmine." This is as silly and fun as anything he recorded in the '70s, and it makes for a fine latter-day effort from this living legend. ~ Stephen Thomas Erlewine
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$81.09 This expansive five-disc, 105-track box set contains virtually every note Doug Sahm and the Sir Douglas Quintet recorded for the Smash and Mercury imprints in the late '60s and early '70s before Sahm moved on to Atlantic Records. It brings back into print six now rare LPs, 1968's Sir Douglas Quintet + 2 (aka Honkey Blues), 1969's Mendocino and Together After Five, 1970's 1+1+1= 4, 1971's The Return of Doug Saldaña, and 1973's Rough Edges, and also includes the Mexican EP and a complete disc of mono radio mixes, making this not only a collector's delight but a vital survey of what many feel were Sahm's most creative and visionary recording years. It's probably way too much for the casual listener, but Sahm fans will find it indispensable. ~ Steve Leggett
Doug Sahm is one of the great figures in 20th century American music, which isn't quite the same thing as saying he's one of the best-known musicians. As the frontman of the Sir Douglas Quintet, he had a Top 20 hit with the garage rock classic "She's About a Mover" in 1966 and a Top 30 single with "Mendocino" three years later, but after that he settled into a small but intensely devoted cult following. Not that there weren't attempts to break him on a wider scale -- after the Quintet broke up, Atlantic launched a publicity blitz for a pair of solo albums in 1973 -- but they never quite clicked, probably because Sahm's music, no matter how ...
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