| | Anatomy Of The Spirit - The Seven Stages Of Power And Healing Audio Book CD Caroline Myss CDS
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He's been called one of the greatest rock guitar players. Ever. He's known on Nashville's Music Row as one of those elite writers of country songs who consistently pens hit after hit. Over 200 cuts at last count. Is he country or is he rock and roll? The answer is yes. Big Al Anderson is both--not to mention a healthy measure of blues, soul and pop. Larger than life in person and in music, Big Al encompasses all these sounds and does it with a style and a genius that's never been more apparent than on his latest release with his band (The Balls), Pawn Shop Guitars. Guitars is a big, juicy album, chock full of gutsy country, meaty rock and roll, sunny guitar pop and a good, greasy streak of blue funk. Best known for his 23-year stint playing guitar in the iconic and notoriously eclectic rock band NRBQ (New Rhythm and Blues Quartet), Anderson reaches even farther back in his history to find the roots of his far-ranging musical influences, noting that when he was a kid "a lot of rock and roll and country were the same thing." Raised by his piano teacher mother in Windsor, CT (his father, a bass player died when he was 10), Al was inspired by his sister's guitar-playing husband. "At first, I think I just liked the look of the thing." But soon a very young Al was devouring all manner of records--the Everly Brothers, the Ventures, Chet Atkins, Ray Charles--and paving the way for what would be a giant life in music. While Big Al was still in high-school, he was coming up in the black clubs of Hartford, playing with the blue-eyed soul and r &b group, the Wildweeds. Though he remembers his junior year as "the worst three years of my life," that period would also stay with him as one of the best times musically. "There was a camaraderie, a brotherhood, among all the musicians--black or white, it didn't matter. If the music was good, you were in." The band's regional hit "No Good To Cry" (just the third song Al had ever written) was picked up in 1967 by Cadet--a subsidiary of the legendary soul and rock label Chess--and climbed the national charts to #88. A few years later, with a switch to Vanguard and a change in musical direction towards Al's early country influences, the Wildweeds--and especially Al--came to the attention of NRBQ. They were looking for a guitar player to replace the legendary Steve Ferguson--a guitar hero of Al's--who had help define the NRBQ sound. Thus, in 1971, Al left Connecticut for New York City to enroll at the University of 'Q--a 23-year planetary course in all things musical."I got a precious education [from NRBQ]. You learn what to do and maybe more importantly what not to do," says Al. "There are only two kinds of music: good and bad." Al's early exposure to a wide range of musical genres served him well in 'Q. In a single show, they might play rock, country, soul, surf, not to mention playing songs from the "Magic Box," requests from the audience for any song, by any group, from any genre. This eclectic approach afforded them a nearly fanatical following, yet served them less well in the music industry machine. Unwilling to "play the game," ...
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