Gary Wright's debut solo album, EXTRACTION, heard here including all nine orignial album tracks.
While lacking the heaviness of Spooky Tooth, Gary Wright's first solo effort was not all that different in structure from his parent band. "The Wrong Time" was predominantly riff-oriented, with a catchy, melodic chorus. Also of note was "Sing a Song," with nice falsetto vocals. Altogether, a good first showing. ~ James Chrispell
2003 reissue of the soft-rock star's 1971 debut album. Digipak. Repertoire.
THE FIRST ALBUM Many folks may not realize that Gary Wright started his solo career with two classic rock albums before the widely acclaimed synth-rock "Dream Weaver" album. "Extraction" is an interesting peak back into the artist's pre-synth solo career. The familiar pop/rock sensibilities and interesting compositions are here, but not the moody keyboard-laden sound that characterizes Gary's more popular work. Submitted by discsanddrums (Midwest, USA) Was This Review Helpful? YesNo
$9.69 Richie Furay is best know as an original member of Buffalo Springfield, Poco and The Souther, Hillman, Furay Band. He issued three solo albums for Asylum Records in the mid-70s. I've Got A Reason features Steve Cropper & Tom Stipe. I Still Have Dreams features J.D. Souther, Randy Meisner & Timothy B. Schmit. ...
$6.15 All tracks have been digitally remastered using HDCD technology.
Released right after the career albums TONIGHT'S THE NIGHT and ZUMA and right before the big-selling COMES A TIME and RUST NEVER SLEEPS, this country-rocky 1977 album is often forgotten. But it introduced the sensational "Like A Hurricane," which has remained a staple ...
$8.99 After working his way through loss and chaos on the brilliant TONIGHT'S THE NIGHT (recorded in 1973, but not released until 1975), Neil Young deftly exorcised any lingering demons with 1974's ON THE BEACH. The album opens with the saunter of the aptly titled "Walk On," followed by the utterly gorgeous, ...
$14.09 Personnel Josh Ritter, Zack Hickman, Jason Humphrey, Darius Zelkha.
Few young singer/songwriters have quite so quickly won the sort of acclaim that Idaho-born Josh Ritter gained with his first self-released album, which won rave reviews, earned him slots opening for Bob Dylan, and made him a minor celebrity in Ireland, where he's already headlined several tours. Ritter's second disc (and first nationally released album), Golden Age of Radio, makes it clear that his ...
$18.09 Rumored to be The Ramones' final album, ADIOS AMIGOS isn't so much a summing up as it is a quick trip down memory lane, a farewell message or two, and a whole bunch of parting gifts from the kings of American punk rock. You didn't expect them to get all teary-eyed, but then you probably never figured them for the smart guys they are either. The Ramones have always had a way of sounding brainless no matter how clever they were, and now they manage to slip some sentimentality into the act as well.
ADIOS AMIGOS includes an ode to a pro wrestling loser ("The Crusher") and a brilliantly dumb anthem for burn-outs ("Got A Lot To Say"), along with such classic Ramones-isms as "I don't wanna open a can worms and I don't want any Spaghetti-O's," which newest Ramone C.J. utters during "Makin' Monsters For My Friends." Dee Dee Ramone, whom C.J. replaced, emerged from the shadows to co-write six of these songs. Johnny Ramone's guitar hammers along joyously--his punk and hardcore riffs constantly running up against pop changes in classic Ramones style. But here The Ramones save their biggest pop moments for pointedly life-affirming messages: "Life's A Gas," for example, consists of Joey la-la-la-ing and crying out the title over and over in his thick Queens accent, while Johnny power-chords his way through innocent 1950s pop changes.
But, hey, these are still The Ramones, and elsewhere on ADIOS AMIGOS they warn you not to believe anyone who tells you to "Have A Nice Day." And Dee Dee's seemingly ...
$16.45 Liner Notes: “Dirt Road Blues”When we were kids growing up in southern Indiana we’d travel a few hundred miles south to Hazel, Kentucky a few times a year and visit my great aunt Marjorie. This was dad’s birthplace straddling the Kentucky – Tennessee state line. It was the surrounding land that helped the family stave off the grinding effects of the Great Depression. Both sides of my family were farmers – folks who dug their fingers into the soil. The land was their music. My adopted Aunt Eva hummed her way through a variety of daily chores from sloppin’ the hogs to bringing in firewood. I’d tag along just to listen to her address her thoughts. My grandmother Era moved to the more urban environs of Jeffersonville, Indiana after World War 11 and looked after the grandchildren while my parents worked. All day long she sang hymns and played away on the upright piano. I’d sit at her feet and listen as she turned a mournful phrase while peering straight ahead through wire framed glasses at a hymn book opened to the appropriate page. The tones and words she uttered scattered about the house and found there way inside me. I heard it on radio in those bleeding country tunes where each bend of a note and crooked phrase spoke of great sorrow and loss. Dad called it hillbilly music- I heard it as our language.As the Vietnam War was closing in on us boys about to graduate high school a buddy of mine brought Bob Dylan’s recording ‘Freewheelin’ by the house. Both of us were wary of being carried off to war. The news was all bad – everyday or so some young man from the area died on foreign soil – a place we couldn’t even locate on the map. Music offered refuge.Dylan’s songs – ‘Blowin’ In The Wind, Masters of War – The Times They Are A- Changin’ A Hard Rain’– connected every young person from coast to coast. We soon became a fraternity quoting lines and trading opinions. This wasn’t something you took home to the family. Peter, Paul and Mary were all over the planet singing ‘Blowin In The Wind’. Dad would remind us Mary Travers was from Louisville the biggest celebrity since Lionel Hampton.As the war intensified Dylan’s message rang clear. “We have to stop killing each other and wasting young lives. Let the politician’s fight their own conflicts.”The summer of 1964 President Lyndon Johnson visited my home town and gave one of those ‘war is us’ speeches. Johnson didn’t garner the same enthusiastic hoorahs lavished on Harry Truman who motored down Main Street a few years prior. I just happened to be standing outside Ragwood School of Music – the local accordion academy – as Truman’s hat lifted off causing the crowd to scramble into action. None of us students had yet to embrace any politician after the loss of JFK. It’s now forty-three years later and Dylan’s music still rings true. ...
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