| | Bob Weir Ace CD Bob Weir Discography of CDs
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While it's ostensibly a Bob Weir album, the Grateful Dead singer/rhythm guitarist's solo debut is essentially a Dead record without any Jerry Garcia songs. All the members of the Dead back Weir on tunes written with the group's lyricists Robert Hunter and John Barlow. An overwhelming majority of the songs here would become staples of the Dead's live repertoire, and remain some of the finest either Weir or the band has ever produced.
The album opens with a blast, as a modified Buddy Holly feel accompanies biblical lyrics with a futuristic twist on "Greatest Story Ever Told." "Playing in the Band" has an expansive feel and unusual time signature that would make it a reliable vehicle for the Dead's improvisatory excursions. The sad, country-tinged ballad "Looks Like Rain" showcases Weir's often-underrated abilities as a vocalist, while the Chuck Berry-ish "One More Saturday Night" demonstrates his rock & roll roots. The record closes with the gorgeous, lilting "Cassidy," an uplifting tune indicating that the hippie dream was still alive and well in the Dead camp in the early 1970s.
All tracks have been digitally mastered using HDCD technology.
Live Recording
Personnel: Bob Weir (vocals, acoustic guitar, electric guitar); Donna Jean Godchaux (vocals); Jerry Garcia (electric guitar, pedal steel guitar); Keith Godchaux (piano); Phil Lesh (bass guitar, background vocals); Dave Torbert (bass guitar); Bill Kreutzmann (drum).
Rolling Stone (No. 969, p.117) - 4 stars out of 5 - "[ACE] is more than Weir's best album--it's one of the best Dead studio albums, featuring a number of the band's true standards..."
Mojo (Publisher) (p.152) - "[I]t's a Dead album in all but name....Weir's emergence from behind the formidable and prescient shadow of Jerry Garcia was sealed....Probably the Dead's best ever studio jamming." Purchase Ace CD To buy, Click on price to add to cart | CD-R - 700MB, 10 Pack (2009)
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Taking the place of the obligatory cd two-fer of GP and GREVIOUS ANGEL, Gram Parsons's THE COMPLETE REPRISE SESSIONS covers it all and then some for Grampires of all stripes. Produced by Emmylou Harris and Parsons cohort James Austin, this beautifully designed three-disc set includes one disc devoted to each solo record and a third featuring outtakes from each album's sessions. With fewer overdubs and Gram and Emmylou's vocals front-and-center in the mix, the final disc brims with the emotive soul and earthbound angelic vocals the two perfected. Among the final discs many highlights are looser alternate takes of "She" and "Streets of Baltimore" from GP and a "Hickory Wind" unadorned by the ridiculous fake crowd noise that mars the GRIEVOUS ANGEL version. The latter is the best and most stirring recorded performance of Parsons's signature song and alone worth the box's sticker price. Other features scattered on the first two discs include radio interviews (with Parsons's southern hippie charm in overdrive); captivatingly raw acoustic performances with him, Harris, and drummer N.D. Smart; and an instrumental version of "Return of the Grievous Angel" that reveals just how ace a country band the ...
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Combining layered vocals with a heavily looped guitar sound, "Until We Sleep" begins ABOUT FACE with an almost Byrds-like quality, while the gentleness of the acoustic opening to the ballad "Murder" disguises its homicidal subject matter. Both "Love On the Air," and "All Lovers are Deranged," are distinguished by lyrics written by Pete Townshend, and "Blue Light" is an attempt at funk with a Floydian flavor. Gilmour's strength at ballad writing is evidenced in "Out of the Blue," while the obligatory instrumental is "Let's Get Metaphysical." The album closer is, appropriately enough, the song "Near the End." All in all an essential album in any Floyd fan's collection.
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Before David Gilmour virtually "became" Pink Floyd he was always the most likely member of the band (with the possible exception of de-facto leader Roger Waters) to release a solo album. 1978's welcome eponymous debut showcased his multi-faceted performing talents.
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By the time of David Gilmour's solo debut, he had not only established himself several times over as an underrated, powerful guitarist in Pink Floyd, but as a remarkably emotional singer, his soothing approach perfectly suited to such songs as "Wish You Were Here." The self-titled album, recorded with journeyman bassist Rick Wills and Sutherland Brothers drummer Willie Wilson, later to be part of the touring Floyd lineup for its Wall dates, isn't a deathless collection of music in comparison to Gilmour's group heights, but is ...
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