Tony Iommi and Ozzy Osbourne of Black Sabbath. Photo by Ben Upham.
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“Black Sabbath Scores”
by Deniese Kusel
The Press Telegram
Long Beach, Ca.
September 10, 1975
Black Sabbath’s claim to fame was that they were louder than any other rock band around. That was in 1970 when they first got together.
Sunday night at the Long Beach Arena they proved, once again, that if you pump out the decibels with enough force, people will cheer for anything.
In their first concert in two years, Black Sabbath kept the audience on their feet well after the second selection, “Hole in the Sky.”
It was obvious that the fans had missed the flamboyant group and were excited to have them back.
With the exception of a good lick sprinkled here and there and some rapid rhythmic changes on the lead guitar, Black Sabbath is just “another loud rock
band.” They were colorful, but prerdictable. The audience response was tremendous and the band worked. Their driving, hard rock sound was reminiscent of early Led Zeppelin.
Tony lommi, lead guitar, is one of few really good left-handed leads around on his customized Gibson. Vocalist Ozzy Osbourne, hot after a successful
European tour, spiked his lyrics with shouts and screams. The audience ate up the fleecy costumes and theatrics.
“Snow Blind” and “Symptom of the Universe” — the latter featuring lommi — were highlights of the concert. Bass player Geezer Butler’s fluid movements and showy stage style was a dynamic force in creating the visual imagery for Black Sabbath. Drummer Bill Ward falls into the same league as the hard-hitting Ginger Baker during his days with Cream. Hanging above his drum kit, an acoustical shell captured the sound and held it together.
Clearly, a lot of effort was put into putting the group back into action.
They drew heavily from their new album “Sabotage” for their concert material. Black Sabbath is a working band and seems destined to continue their present success. If hard rock is your bag, then dig them. They go deep.
BLACK SABBATH DISCOGRAPHY:
1970 Black Sabbath
1970 Paranoid
1971 Master of Reality
1972 Black Sabbath Vol. 4
1973 Sabbath Bloody Sabbath
1975 Sabotage
1976 Technical Ecstasy
1977 We Sold our Souls for Rock ‘N’ Roll
1978 Never Say Die
1980 Live At Last
1980 Heaven and Hell
1981 Mob Rules
1982 Live Evil
1983 Born Again
1986 Seventh Star
1987 The Eternal Idol
1989 Headless Cross
1990 Tyr
1992 Dehumanizer
1994 Cross Purposes
1995 Forbidden
1995 Cross Purposes Live
1998 Reunion
2002 Past Lives
2007 Live at Hammersmith Odeon
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PAT TRAVERS ROCKING OUT IN SEATTLE, WA. ON 2-23-78. PHOTO/ART BY BEN UPHAM.
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Pat Travers-
“Standing on the Threshold of Rock Stardom”
by Andy Mellon
Winnipeg free Press
Winnipeg, Manitoba, Canada
January 21, 1978
Recent years have seen the emergence of a growing number of hot Canadian rock guitarists capable of holding their own alongside their many talented American and European contemporaries.
In addition to veteran axemen like Domenic Troiano and Walter Rossi, whose latest studio albums contain some of their most inspired playing to date, this country has begun to develop a solid nucleus of exciting young players.
Both Alex Lifeson of Rush and Rik Emmitt of Triumph have been commanding considerable attention outside of Canada, while several other lesserknown guitarists are finally beginning to make a name for themselves.
Pat Travers’ reputation is already well-established among many Winnipeg hard rock funs. Although he hardly qualifies as a household name elsewhere, the Ottawa-born guitarist has been building a loyal following simultaneously in North America and Europe the past couple of years.
Travers left Canada several years back and relocated in London, England. He eventually assembled his current band, which consists of drummer Nicko McBrain and bassist Peter “Mars” Cowling, landed a recording contract and quickly released a pair of records, “Pat Travers” and “Makin’ Magic”.
With the release of his third album, “Putting It Straight”, Travers stands on the threshold of stardom. From the opening “Life In London”, a timely commentary on the current British scene, through the final notes of “Dedication”, this talented 23 year old puts everything he has into every track.
“Life In London” is a sheer blast of energy with some fiery guitar work and a tough, gritty vocal which is astonishingly reminiscent of the great Johnny Winter. It also provides ample evidence of Travers’ dramatic improvement as a songwriter in general and as a lyricist in particular on lines like “Life in London is bittersweet, Spray canned slogans along the street, Some kind of revolution in the town, Oh razor blades and safety pins you look like a clown. What’s going down, It’s just the same old sounds, You know that energy has always been the drug for me . . . ”
Travers and the band set a relentless, pace on fast-paced rockers like “Runnln’ From The Future” and funky, blues-flavored numbers such as Gettin’ Betta”.
He’s joined by Thin Lizzy’s Scott Gorham for some lively guitar interplay on “Speakeasy”, and gets in plenty of flashy playing on an instrumental called “Off Beat Ride”.
Now that he has upgraded his material (all eight selections are Travers originals) to the point of respectability, there’s no doubt In my mind that Pat Travers is well pn his way to a place of prominence in the hearts of hard rock fans everywhere.
Travers spent much of the latter part of 1977 in and, around. Toronto, which will serve as the base for a full-scale assault in North America, which should be starting up very soon. Here’s hoping that his extensive tour schedule will include his first-ever Winnipeg appearance.
PAT TRAVERS BAND DISCOGRAPHY:
1976 Pat Travers
1977 Makin’ Magic
1977 Putting It Straight
1978 Heat In The Street
1978 The Pat Travers You Missed Mini-Album (EP)
1979 Live! Go for What You Know (live 1978)
1980 Crash and Burn
1981 Radio Active
1982 Black Pearl
1984 Hot Shot
1990 School Of Hard Knocks
1991 Boom Boom (live 1990)
1992 BBC Radio 1 Live In Concert (live 1977 & 1980)
1992 Blues Tracks
1993 Just A Touch
1994 Blues Magnet
1995 Halfway To Somewhere
1996 Lookin’ Up
1997 King Biscuit Flower Hour (live 1984)
1998 Blues Tracks 2
2000 Don’t Feed The Alligators
2000 Boom Boom – Live At The Diamond Club 1990 (CD & DVD)
2003 Etched In Stone (2-CD live 2002)
2003 P.T. Power Trio
2003 From The Front…Live! (DVD-Audio live 1984)
2005 PT=MC2
2006 P.T. Power Trio 2
2007 Boom Boom (Out Go The Lights) (live)
2008 Stick With What You Know – Live In Europe (live 2007)
2009 Travelin’ Blues
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Angus Young of AC/DC Live in Spokane, Wa. on 7-26-78. Photo/Art by Ben Upham
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AC/DC-
“Powerage” (1978)
Reviews and Thoughts…
Released in May of 1978 “Powerage” had quite an act to follow! That being the release of “Let There be Rock” 11 months earlier.
Let there be Rock was a huge blast of powerful Rock that was one of the best Rock releases of 1977.
1978 was a tough time for the Classic rock sound as it was being challenged by the sounds of Disco, Punk and New Wave.
AC/DC were true to their roots and kept pounding out crucial and quality hard rock during this time period. Bon Scott seemed to have more and more cnfidence with each release and the band relentlessly continued to create fresh material that was worthy of cranking up as loud as you could!
I saw the band on the “Powerage” Tour and the were opening the show for Aerosmith. They played a Loud and energetic set that really knocked me out. So much that I had to retreat to the balcony seats for Aerosmith (who sounded like they were playing in another room altogether).
Here are some selected reviews of this great record:
#1-
“Not Just AC/DC’s Best Album”….
By Bill M. (Salt Lake City, UT)
August 8, 2005
Ah, how far to go here? Well, I’m older now, and I’m as ‘Zen’ on this subject as any other. Sooo…
Powerage is the best rock ‘n roll of album of all time. Not the most important or most influential; not with the widest variety nor highest reach(although this IS AC/DC’s widest & highest album); not the most seductive or inspiring; but the best.
Sgt Pepper, Exile On Main Street, and Physical Grafitti are all timeless masterpieces too, but whatever Elvis, Chuck Berry, Buddy Holly, Little Richard & Jerry Lee Lewis were aiming at all those years ago, Powerage hit dead center.
An amazingly raw, blistering sound, but at the same time incredibly tight grooves. Hard rock you can headbang AND dance to, indeed. Like someone once said, AC/DC does what no one else can do, better than anyone else.
This was the first album w/Cliff Williams and he kicked the band up to a whole new level. Fantastic production by Vanda/Young, the last one they did before Mutt Lange took over. The remastering is indescribably brilliant, showcasing the equally brilliant interplay between Angus & Malcolm. The lead & rhythm guitars are distinct, loud, and powerful. No way you’d believe this album was released in 1978 if you didn’t already know.
And what rhythms and leads they are. Nine incredible riffs, instantly memorable. Easy to play(the riffs NOT the solos, of course), perhaps, but almost impossible to write. And the seven solos are among Angus’ best, especially on Gone Shootin’. Fast solos, medium solos, slow solos, and on Damnation & Bullet no solo at all.
There is simply not a wasted or extraneous second here. Yngwie, Satriani, Vai, and all the rest of the shredders never wrote anything close to Sin City or Riff Raff. This album is the one that clearly places Angus alongside Hendrix, Page, & Gibbons.
Bon’s best lyrics, devastating beats from Cliff & Phil. Highway To Hell’s production sounds thin & poppy(despite the great songs), and Back In Black’s writing seems somewhat uninspired and derivative in comparison. Imagine the best qualities of Overdose, Touch Too Much, and Shoot To Thrill wrapped together and you have Powerage.
Back In Black has a great sound and all the legendary anthems, no question, but this is the real apex of the “cooler than a body on ice, hotter than the rolling dice, wilder than a drunken fight” ideal. And all topped off by Bon giving you a wink/nudge and offering you another beer after each track.
I have friends that aren’t into heavy music at all, but I always tell them that like Miles Davis’ Kind Of Blue is to jazz, Powerage is the hard rock album for people that don’t like hard rock.
Buy this album and you WILL burn tonight.
#2-
“Power…Full”!!!
By Erick Bertin (Santo Domingo, Heredia Costa Rica)
August 23, 2007
Before going any further, I must say for the record, that this is my favorite Bon Scott-era AC/DC album. And I’ll tell you why right now: it was the first one I got, and therefore, it was my introduction to Bon. From that perspective, no other record could ever have that impact on me. See, I was born into the Brian Johnson-era AC/DC (being born in ’78), and therefore, as far as I was concerned, Brian Johnson was THE voice of AC/DC. Hearing “You Shook Me All Night Long” on the radio is one of my earliest memories.
For years, I didn’t know that AC/DC had ever had ANOTHER singer, and for me it was difficult to imagine someone other than Brian fronting the band and singing those songs. That changed with the release of “Live” in ’92, where I finally got my chance to hear some of the Bon-era songs. “Dirty Deeds…” soon became one of my favorites. And so my interest was peaked.
It might seem odd, then, that I’d choose to start my exploring of that era with the one record that yields the least songs to the band’s set list, seldom performed and rarely mentioned, even by devoted fans. But the truth is that it was pure luck: that was the only Bon-era CD that was available at the store that day (believe it or not, “Highway to Hell” wasn’t there…Heretics!!!).
So I picked it up, not knowing what to expect. What I got was a 40 minute roller coaster ride that changed my life…Really! Say what you will about the songs not being as strong as in other releases (more on that later…), the production, blah, blah, blah. But once Bon starts singing…boy, he could really make you feel those lyrics! I had never heard anyone sing with such conviction before in my life, and I never have since. “R n’ R Damnation” opens the album in a slower pace than I’d have expected, but nevertheless, its rollicking groove really gets you going, I tell ya. “Down Payment Blues” is just pure genius: the lyrics are simply hilarious, and yet they pack a huge punch; it is one thing to write and sing about life on the streets and what not (any geezer with a lyric sheet in front of him can do it…), but it is a WHOLE `nother thing to sing convincingly about it, to make you feel that those lyrics come from somebody who’s “been there”. And just when you might start wondering why they called this a blues, comes the ending… it is an awesome track!
Next is “Gimme a Bullet”, which again, sounds so honest, so real, that it gives me goose bumps to this day! Listen to it, and then tell me if you can’t relate…if you can’t…oh well…”Riff Raff” is more the kind of song I was expecting: fast, furious, aggressive and downright nasty; “Sin City” is another one of those “truer than truth” tales from Bon, and you can really hear that he means every word that he sings…the track is powerful too from the musical point of view, with a sophisticated arrangement, different from the expected.
Then comes the crown jewel of the album, the hidden treasure: “What’s next to the Moon”, a story about a relationship gone sour told the way that only Bon could; again, while profoundly sarcastic, the song really rings true `cause we’ve all been there. This is not only my favorite track of the album, but also one of my favorite AC/DC songs altogether, and I’d give anything in this world to hear it live someday, somehow.
Many critics (including the one who reviewed this on All Music Guide) consider the last 3 tracks to be “filler”. I beg to differ: are they as strong as the previous tracks? Maybe not, but that doesn’t mean that they are “filler”. Filler for me means songs that are not as good as they could be IN and BY themselves, not in comparison to other songs. That is why I don’t think that the slower, groovy, change of pace of “Gone Shooting” falls in that category: I think that it is a great track that is exactly where it should be within the record, changing the pace after a succession of faster songs.
“Up to my neck in you” picks up the pace again, and it has a simple, catchy melody that is a joy to sing along to; and last but certainly not least, closing “Kicked in the Teeth” is a blast, fast and pounding rocker to close the album with a high octane note, perfectly exploiting Bon’s flair for story telling, and a little reminiscent of “Whole Lotta Rosie”.
All in all, this is an awesome record that follows the standard AC/DC formula (up to that point) of mostly great songs + a few lesser known tracks = Great Album. (By the way, my actual rating would be 4 ½ stars, but since I can’t put that…) Sure, it is not regarded in the same light as “Let There Be Rock”, let alone “Highway to Hell”, but I truly believe that “Powerage” is a hidden treasure for any and all rock fans wishing to enjoy good, rocking music. Of course, if you’re an AC/DC diehard, you already know this, but if you’re a newcomer, just let me finish by saying this much: this is the album that got me hooked on Bon Scott’s era.
Try it, you won’t be disappointed.
#3-
“AC/DC’s greatest album”
By Scott Hedegard (Fayetteville, AR USA)
April 25, 2005
The gazillion-seller “Back In Black” broke one of rock’s greatest bands into the big time for good, but on sheer power and songwriting, nothing compares to “Powerage”, the best album ever recorded by AC/DC.
Unlike the other Bon Scott-era albums that followed the predictable goofy AC/DC mold (reminding us that rock n’ roll was originally intended to be fun), some serious thought to hooks and a tad bit of experimenting with the tried and true formula went into “Powerage”.
The opener “Rock N’ Roll Damnation” is a typical rocker that gets the album off to a good start, but as soon as “Down Payment Blues” begins, we see a sense of dynamics and a build-up to a furious climax that, prior to this song, was not a typical Young brothers element. Other cuts like “Gimme A Bullet” and “What’s Next To The Moon” show off hooks that are more melody oriented than we’re used to, but still have the vintage AC/DC power-chording and tempo that keep them from being wimpy. The standout cut is “Riff Raff”, a complicated lick and hook that is reminiscent of the heaviest Rick Derringer. Bon screams for all it’s worth over titanic guitars at a breakneck pace. For those who are just now exploring earlier AC/DC work, it simply must be heard to be believed.
“Sin City” offers a riff that is a sign of things to come, primarily “What Do You Do For Money Honey” and “Touch Too Much”, and the closers, “Up To My Neck In You” and “Kicked In The Teeth” are in the “Whole Lotta Rosie” vein.
What makes this band great is a tenacious clinging to a winning and consistent formula, and most important, obviously loving every minute of it. Poseurs will always burn out quickly, but those bands who truly believe in their music have the lasting power that enables them to reach across multiple generations, ala AC/DC, ZZTop, Iron Maiden and Judas Priest, to name a few. “Powerage” is the premier Bon Scott-era album.
#4-
“Genius comes in different forms”………
By Rob (Ridgeland, MS. United States)
September 7, 2007
…..And this is one of them. It’s simply astonishing what this band can do with anywhere from 2 to, at absolute most, 4 power chords. I mean, they take a couple of chords……literally two or so notes…..and create unforgettable, compulsively listenable, great music.
Powerage is one of those albums whose music is almost an ‘ah ha’ experience. What I mean is, it’s as if these riffs, their rhythm and sound, just deserve to exist. To me, great music is something that is there waiting to be uncovered and exposed to the world. Obviously the Young Brothers and Bon Scott created this music….but it’s as if these are tunes that were meant to be….and through their creation…..they were brought into the world.
I grew up on AC/DC…..my teenage years totally encompassed within the decade of the 80′s. My first of their albums was purchased with a $ 10 bill I found in a K&B Drugs parking lot while going back to the car with my mom. I was 12. I used that $ 10 to buy Back in Black ( record of course )
A short time later, my aunt asked me what I wanted for Christmas and I said ” an AC/DC album” still not knowing enough about the band to be specific. Well, on Christmas morning at my relative’s, I opened up the record for Powerage. I’d never heard of it and only knew the band with Brian Johnson. I was a bit confused because the letters ‘AC DC’ were written in a different way on the album’s cover than the ‘new’ way, which is that angular, geometric presentation with the lightining bolt in the middle that everyone is familiar with. Anyway, once I got home and listened to it, I was blown away.
Only recently, did I start listening to them again. I lost interest for the last 15 or more years. Now, I realize why I’m so picky about music. I now realize why I don’t really care for 80 percent or so of the junk that passes for music these days. The reason: I was brought up on real music. I listened to actual talented musicians who created serious meaningful riffs as a young person. Being exposed to AC/DC basically spoiled me and , as a result, music has to really be good for me to like it. Don’t get me wrong – I’m not some kind of snob, I have everything in my CD collection now from Hank Williams, The Beatles, some choice modern pop-rock, 70s and 80s classics, all the way to Mozart. That being said, I also have AC/DC and they have the most of any to do with the way I look at and enjoy music these days.
Enough for my history, as for the album….it’s an incredible virtuoso of hard rock with tinges of blues intermingled. From the steady rhythmic cadence of “Gone Shootin’” to the almost Westernish, yet also hard rock- wailing guitar of “What’s Next to the Moon”, this collection of songs represents an iconic band at the peak of their talent.
I’d forgotten how much Bon Scott puts himself into the songs. I mean, he gives everything he’s got into the vocals. I’m not talking about being loud and screaming. What I mean, is the emotion and the “I’ve lived what I’m singing about here” presentation. His lyrics are sometimes sarcastic, sometimes humorous, but always the perfect compliment to the hard-edged music that thrums along. Speaking of humorous, and there are frequent examples on Powerage, Here’s one : ” Riff Raff….it’s good for a laugh….(then he adds ) “haw haw haw” in a kind of sarcastic manner. I was driving around the other day listening to this line, not having heard the song in over a decade, just laughing out loud in my truck. I’m sure other songs had me smiling stupidly as I made my way to my destination, but that’s what quality music does. It engrosses you and makes you feel good.
I know it’s a bit of nostalgia…..but more than that, it’s true talent and a special form of musical genius on display. That’s what Powerage is. It’s Hard Rock par excellence…
AC/DC DISCOGRAPHY:
High Voltage (Australia) (1975)
T.N.T. (1975)
High Voltage (International) (1976)
Dirty Deeds Done Dirt Cheap (1976)
Let There Be Rock (1977)
Powerage (1978)
If You Want Blood You’ve Got It (1978) (live album)
Highway to Hell (1979)
Back in Black (1980)
For Those About to Rock We Salute You (1981)
Flick of the Switch (1983)
74 Jailbreak (1984 USA) (compilation album)
Fly on the Wall (1985)
Who Made Who (1986) (soundtrack album)
Blow Up Your Video (1988)
The Razors Edge (1990)
AC/DC Live (1992) (double live album)
Ballbreaker (1995)
Stiff Upper Lip (2000)
Black Ice (2008)
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Be Bop Deluxe Rock Out in Spokane, Wa. on 11-19-76. Photo by Ben Upham.
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Be Bop Deluxe- “Fast Paced Delightful Show”
by Johnny Holmes
The Corpus Christi Times
Corpus Christi, Texas
September 19, 1977
Every time the music world threatens to dissolve itself into nothing more than a smouldering heap of mindless disco, relentless boogie and saccharine ballads, along comes a group like Be Bop Deluxe to stand it on it’s ear. More simply, Be Bop was dee-luxe in its performance last night at the Ritz.
Buddy Miles had been scheduled to open the show but was nowhere to be found, so the chore was accomplished by an impressive young band from San Antonio named Heyoka. Cranking out a couple of good ol’ rock and roll tunes, Heyoka sounded as if they knew what they were doing, but really shined during a triumvirate of original
compositions which must be their theme. The songs, “Restriction,” “Passage” and “Revelation” illustrated the group as a hybrid Black
Sabbath/Pink Floyd with a little Jethro Tull thrown in for goud measure. Like Sabbath, the vocals were always high, sometimes
screechingly so, and the rhythm low, with the keyboards adding an eerie, Floydish feel. And the band sported not one, but two flutists to
transport it beyond the realm of the ordinary. Like all new bands, Heyoka needs some work, cultivation and refinement, but there is remarkable potential, and one would hope to hear from Heyoka in the future.
True to form, Be Bop brainchild and lead guitarist Bill Nelson appeared onstage, nattily dressed in red V-neck top and matching pants, and exchanged pleasantries with the crowd. The lights went down, the volume went up and we were “Live In The Air Age.”
Be Bop Deluxe isn’t exactly your basic rock and roll band, the main difference being Nelson’s immense talent and mastery of the guitar. Not that the rest of the group is shabby — but Nelson could stand head and shoulders above most any rhythm section — and this became quite obvious as Be Bop proceeded into its show.
Deluxe’s pacing and presentation was delightful, speeding and slowing, never dwelling too long on any one tempo or style. And they kept the crowd in the palm of their hand throughout the 90-minute set. But it was Nelson’s wizardry with the guitar that caused the amazement.
From time to time, Nelson sounds like someone you know, a Jeff Beck or a Jimmy Page, but mostly he sounds like himself, a soaring, floating, streaking master of his art. Song after song, Nelson demonstrated the styles and techniques which establish him as perhaps one of the top five guitarists in the world today.
The band marched through “Fair Exchange,” the idea of which sums up Nelson’s feelings toward his music as well as his love life — instead of the body, he’s after the brain, and his heady, thoughtful performance reflected this superbly all evening long.
Nelson even played the blues, opening an extended version of “Ships In The Night” movement that could have been played by Johnny
Winter if you’d had your eyes closed before completing the regular version. Nelson’s handpicked showcase group especially shined here
particularly keyboardist Andrew Clarke the newest full-time Be Bopper, whose classy jazz-like contributions do nothing but enhance the already masterful music.
Be Bop closed out the evening with exerpts from side two of their latest studio album “Modern Music,” which details a ‘West Side Story’ of sorts. “Modern Music,” “Forbidden Lovers and “Down On Terminal Street” comprised the suite which left patrons on their feet.
The main thrust to the ending of the “Modern Music” sequence is a short but sweet song called “Make The Music Magic.” That’s exactly what Be Bop Deluxe did last night.
BE-BOP DELUXE DISCOGRAPHY:
1974 Axe Victim
1975 Futurama
1976 Sunburst Finish
1976 Modern Music
1977 Live in the Air Age
1978 Drastic Plastic
1978 The Best of and the Rest of
1981 Singles A’s and B’s
1987 Raiding the Divine Archive
1994 Radioland- BBC Radio One Live in Concert
1997 Air Age Anthology
1998 Tramcar to Tomorrow
2002 Tremulous Antennae
2002 Postcards from the Future
2011 Futurist Manifesto
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TOY AND TOMMY CALDWELL CREATING MAGICAL MUSIC IN THE WOODS. PHOTO/ART BY BEN UPHAM.
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PURCHASE MARSHALL TUCKER BAND “A NEW LIFE” REMASTERED CD
THE MARSHALL TUCKER BAND-
“A NEW LIFE” (1974)
Reviews and Comments about an Amazing Album!
Songs:
1-”A New Life” (Toy Caldwell) – 6:44
2-”Southern Woman” (Toy Caldwell) – 7:55
3-”Blue Ridge Mountain Sky” (Toy Caldwell) – 3:37
4-”Too Stubborn” (Toy Caldwell) – 3:58
5-”Another Cruel Love” (Toy Caldwell) – 3:58
6-”You Ain’t Foolin’ Me” (Toy Caldwell) – 7:03
7-”24 Hours at a Time” (Toy Caldwell) – 5:04
8-”Fly Eagle Fly” (Toy Caldwell) – 4:25
Musician Credits:
Toy Caldwell – guitar, steel guitar, slide guitar, vocals
Tommy Caldwell – bass, vocals
Doug Gray – guitar, percussion, lead vocals
George McCorkle – guitar, banjo
Paul Riddle – drums
Jerry Eubanks – flute, saxophone, keyboards, vocals
With:
Paul Hornsby – keyboards
Charlie Daniels – fiddle
Jaimoe – conga, conductor
Earl Ford – horn
Oscar Jackson – horn
Todd Logan – horn
Harold Williams – horn
*************************************************************
Review #1-
“A New Life is a Great Life”
By B. E Jackson (Pennsylvania)
June 14, 2011
The album cover perfectly sums up what to expect. A horse walking down a path on a high mountaintop and looking down at a few small homes in the fields, with a beautiful and colorful image of distant mountains in the background. It’s not only a fantastic cover to analyze, but there may actually be a few ways to interpret it, too.
Such as… maybe the horse riding high in the mountains is an indication of the bands quick rise to stardom? Or maybe I’m thinking about it too hard and the album cover simply illustrates the beauty and colorful creativity that can be heard in the music.
A New Life is a minor masterpiece and REALLY shows just how much further the Marshall Tucker Band were willing to push the boundaries as far as how far the southern rock formula can go. This album is a drastic step forward from their self-titled debut in terms of songwriting and instrumental variety.
“You Ain’t Foolin’ Me” has a very good verse melody and chorus, but that’s not *quite* what makes this song stand out so drastically. It’s shortly after the 2 minute mark when the song REALLY takes off and confirms (to me, at least) that the Marshall Tucker Band are the real deal. The saxophone solo is incredibly melodic and perhaps this is a total coincidence, but the first few lines of the sax solo totally remind me of a Roxy Music song from their debut released back in 1972. From here, well, images of the album cover noticeably come to mind as the saxophone takes a sudden departure and a dreamy guitar solo elevates the greatness of the song to even higher heights. This instrumental middle section resembles *no* other southern rock band. Not the Allman Brothers Band or Lynyrd Skynyrd. It’s completely unique.
If you enjoy the instrumental creativity in “You Ain’t Foolin’ Me” be prepared to have your socks totally knocked off upon experiencing “Southern Woman”. What starts off as a highly memorable vocal melody suddenly (eventually- 3 minutes later) sends me into total, unexpected shock as a straight up saxophone solo makes a VERY surprising appearance. Unlike in the song I mention above, this particular sax jam actually *jams* for a minute or so, and it sounds completely different from anything any other southern band had ever attempted, before or since. It’s flat out awesome. Perhaps it’s inspired by Van Morrison’s “Moondance” a little bit, but it’s certainly no ripoff or anything.
The title song brings me to tears, seriously. I actually cried the first time I heard it… alright make that the second time (because I wasn’t paying attention to it the first time, for some clueless reason on my part!) The verse melody is another quality piece of writing, the lyrics are touching and meaningful, but it’s the flute jam and the gradual morph into an electric guitar jam that BLOWS MY EMOTIONS COMPLETELY AWAY! There’s quite a few moments of this song that move me emotionally, but the jam takes the cake.
“24 Hours at a Time” is *another* fantastic highlight. I can’t exactly explain why, though. It’s a fairly fast-paced country rocker, but… there’s something special about it that makes it stand apart from the crowd. I think it’s the line “Woman you’re always on my mind, 24 hours at a time, somehow woman I’m hoping you feel the same” that really makes it attractive. Or perhaps the tasteful guitar jam at the end which immediately makes me think of a happy place is the reason for its ability to give me especially strong positive feelings, I don’t know.
“Fly Eagle Fly” ends the album on a fairly quiet note with a softly written track. It contains innocent lyrics and an attractive vocal melody, and not much else. Honestly it doesn’t need anything else.
I really hope you pick up what I consider a masterpiece in southern rock. I’ve had people tell over the years how much they dislike the southern rock genre. It’s honestly nearly impossible to hate THIS album, in my opinion. The arrangements are constantly beautiful and always played tastefully, and the amount of sincerity in both the vocal melodies and the lyrics is simply hard to ignore. Find a way to hear this album.
Review #2-
“A New Life”
By K. Carstens (Iowa)
May 27, 2006
I believe that this album, along with “Eat A Peach” by the Allman Brother Band, are the essential “Southern Rock Albums”. Tuckers sophomore album captures the spirit of the early 70s southern rock movement better than any other album. From the jazzy Southern Woman to the incredible Another Cruel Love, Toy Caldwell’s songwriting was never better. You Ain’t Foolin’ Me might be the purest “anthem” song that Marshall Tucker was so famous for in concert. The best album by maybe the most underrated live band ever.
Review #3-
By Thom Jurek
Perhaps the only reason that New Life isn’t quite as memorable as its self-titled predecessor is that the band’s debut was just so startling when it appeared. By the time New Life was issued in 1974, to the band’s credit, it seemed like the Marshall Tucker Band sound had always been a part of America’s rock & roll scene. New Life is earthier than the first album, and country music is less layered over by the trappings of jam-band rock. “Blue Ridge Mountain Sky” is only eclipsed by Dickey Betts’ “Ramblin’ Man” as the ultimate road song from the period. Likewise, the pedal steel blues of “Too Stubborn” echo an earlier era altogether, as the ghost of Bob Wills comes into Toy Caldwell’s songwriting. The whining guitars and lilting woodwinds of the title track bring the jazzier elements in the band’s sound to the fore and wind them seamlessly into a swirling, pastoral country music. The Muscle Shoals horns lend a hand on the Allman Brothers’ Brothers and Sisters-influenced “Another Cruel Love,” and guest Charlie Daniels’ fiddle cooks up a bluegrass stew on “24 Hours at a Time.” The sound is fantastically balanced and warm, and like its predecessor, this album has dated very well.
Review #4-
“Commercial success does not always equal the best”
By The Plunkster (Fairfield, OH United States)
January 5, 2005
OK. I realize people will disagree with me on this, and that’s fine. I have worked as a DJ for 35 years now, listened to a lot of music, and hopefully formed a lot of opinions.
In my opinion, “A New Life” is far and away the best release ever from The Marshall Tucker Band. So this isn’t the stuff you’re used to hearing on the radio. That doesn’t mean it is not their best stuff. This may just be the perfect Southern rock album. Put this thing on, and believe me you are IN the Blue Ridge Mountains, just soakin’ it up.
An incredible release. A must for Tucker fans.
Review #5-
“But I paid my time, and a new life is gonna be mine…”
By Eric S. Kim (Southern California)
April 1, 2011
The Marshall Tucker Band scores another big one. I wouldn’t necessarily call “A New Life” a perfect album, but it’s an excellent one nonetheless. The songs are pure gold: they can eclipse most mainstream songs that are released in the new millennium. “A New Life” and “Southern Woman” are constant reminders of why Marshall Tucker is one of those bands that just dominates the world of Southern Rock. “Blue Ridge Mountain Sky” sounds slightly generic, but it’s still a great song overall. “Too Stubborn” has a few fusions of reggae (a music genre that I strongly detest), but it’s not really that bad, anyway. “Another Cruel Love” and “You Ain’t Foolin’ Me” are brilliant beyond belief, while “24 Hours at a Time” is fun and catchy. “Fly Eagle Fly” makes for a splendid closer for the album.
I really enjoy their self-titled debut album, and I’ve enjoyed this one just as much. This one could easily stomp on today’s mainstream junk. I’m so glad that I’ve stumbled upon Marshall Tucker a few months ago.
MARSHALL TUCKER BAND DISCOGRAPHY:
1973 The Marshall Tucker Band
1974 A New Life
1974 Where we All Belong
1975 Searchin’ For A Rainbow
1976 Long Hard Ride
1977 Carolina Dreams
1978 Together Forever
1979 Runnin’ Like The Wind
1980 Tenth
1981 Dedicated
1982 Tuckerized
1983 Just Us
1983 Greetings From South Carolina
2003 Stompin’ Room Only (1976 Live)
2006 Live on Long Island 4-18-80
2008 Carolina Dreams Tour 1977
TOY CALDWELL DISCOGRAPHY:
1992 Toy Caldwell
1998 Can’t You See (Live)
2000 Son of the South
CLICK THE LINKS BELOW FOR MARSHALL TUCKER BAND PHOTOS AND ARTWORK:
MARSHALL TUCKER BAND PHOTOS BY BEN UPHAM
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MARSHALL TUCKER BAND ART BY BEN UPHAM
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MARSHALL TUCKER BAND FINE ART AMERICA IMAGES BY BEN UPHAM
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PURCHASE MARSHALL TUCKER BAND “A NEW LIFE” REMASTERED CD
