ULI JON ROTH- “Guitar Fans Rock to Roth”
By SARAH DE CRESCENZO
The Porterville Recorder
June 24, 2009
While Uli Jon Roth may not be a household name, Central Valley guitar enthusiasts gathered Tuesday night in droves at Exeter’s Orange Blossom Junction restaurant and events venue to witness his musical prowess. In true rock n’ roll style, Roth showed up late, but his fans were willing to wait.
Maybe his biggest fan – Orange Blossom owner and guitarist Doug Long – nearly vibrated with excitement as he discussed Roth’s legendary guitar skills.
“Uli is one of the greatest guitar players in the world,” Long said. Roth, previously the lead singer and songwriter for the ’80s rock band Scorpions, has had a long and varied career.
Following a stint as lead singer and songwriter with the Scorpions, Roth retreated from the music scene and explored different ways of using the guitar to make music, including playing sevenstring guitars in order to hit the highest notes. Roth has performed at the Orange Blossom before, most recently in 2008. That performance, while not a Hendrix tribute like Tuesday’s concert, also incorporated guitar riffs inspired by Roth’s favorite musical legend.
Roth strolled in casually one hour after the slated beginning of the show sporting a sequined black fanny pack, tight black pants, and a blazer and headband in bright red velvet holding back his long locks. Raucous applause and howls of appreciation greeted Roth’s arrival on stage.
Tuesday night’s show, called “In Celebration of Jimi Hendrix”, attracted a crowd of both Roth and Hendrix fans alike. The audience, while mainly made up of ’80s rock fans, incorporated people of all age groups. “We have people from 16 to 60 here to see Uli play,” Long said.
One of the people closer to 16 than 60 was his son, Christian Long, who attended with his friend Randall Shahan. Long – the younger – described his respect for Roth’s musical talents.
He described Roth’s prior performance as a mix between a “German war song” – in reference to Roth’s penchant for incorporating classical music from the likes of Wagner – and “serious hard rock.” When word got out that Roth had arrived, cries of “The king is here!” inspired an exodus of diners from the restaurant tables to the folding chairs set up around the stage. The audience, sitting closely crowded in a half circle around the small stage, were treated to an intimate, live experience as Roth sang and strummed on his electric guitar.
The sound of the guitar echoed warmly throughout the wooden building, as fans cheered and raved about Roth’s song selection. “This set is different [from my last performance] as you would expect from any self-respecting musician,” Roth said by way of introduction. “We’ll do some other songs too, but tonight is about Jimi Hendrix,” Roth added. His rendition of Hendrix’s lesser known “If Six was Nine” inspired a respectful silence as he sang throatily. But, when Roth dove into “All Along the Watchtower,” many members of the audience couldn’t help bouncing around in their chairs along to the catchy tune.
Even when Roth broke a guitar string, his band mates picked up the slack and entertained the audience with Hendrix melodies until the calamity was averted. As Roth returned to the stage, a full house held its breath to see what their musical icon would treat them to next. They weren’t disappointed.
ULI JON ROTH DISCOGRAPHY:
1974 Fly to the Rainbow (Scorpions)
1976 In Trance (Scorpions)
1977 Virgin Killer (Scorpions)
1978 Taken by Force (Scorpions)
1978 Tokyo Tapes (Live Scorpions)
1979 Earthquake (Electric Sun)
1981 Fire Wind (Electric Sun)
1985 Beyond the Astral Skies (Electric Sun)
1991 Aquila Suite
1996 Sky of Avalon
2000 Transcendental Sky Guitar Vol. I & II
2008 Under a Dark Sky
TOMMY BOLIN- “WHIPS & ROSES” (2006) (REVIEWS)
“Finally the World Can Hear Him”
By Joe (Denver, CO)
April 27, 2006
This is a remarkable (and completely authorized) compilation. Every track is nothing short of a masterpiece. No release has ever done a better job of demonstrating what Tommy was capable of a musician and we should all be grateful that these recordings were discovered and presented here in the finest form.
Some songs are familiar, although very fresh and taken from different versions not heard quite like this before. “Teaser”, “Wild Dogs”, “Savannah Woman” and “Dreamer” all make stunning appearances showing Tommy in top form as both a singer and a guitarist. “Marching Powder”, one of Tommy’s trademark instrumental jams is featured here with bursts of guitar magic that will knock you off your feet. A new mix of “Crazed Fandango” (titled here as simply “Fandango”) is sure to have jaw-dropping effects on any listener.
But it’s the new songs, the songs we’ve never heard before, that will prove what a legendary player Tommy should be. A rough jam called “Cookoo” finds Tommy leading the way through heavy jazz/rock territory with lightning speed and fierce energy. Tommy seems to lay down the most intricate and beautiful guitar lines with effortless precision. And “Cookoo” is only a taste of the energy to come.
With “Flyin’ Fingers”, Tommy casts the rules aside and blazes through the 16 minute jam picking up every style you could imagine along the way. He uses elements of rock and jazz and Latin rhythms as stepping stones, blending them all into a style all very much his own before leaping into something new. By this point it is more than obvious how much Tommy’s genius has been ignored by history almost entirely. His sheer virtuosity is immeasurable and “Flyin’ Fingers” is proof of just that.
Rounding out the amazing set on Whips and Roses are two live tracks capturing Tommy in his best setting. “Just Don’t Fall Down” is a song from his most undocumented and underrated band Energy. Generally known as “Hok-a-Hey”, this track is Tommy’s playground, as he leads the band around mind-bending grooves, wrapping the monstrous riff around his own unmistakable style.
On “Blowin’ Your Cookies”, Tommy does just that. This track is taken from a jam with a hotel band at the Seven Seas Lounge in Miami just one night before his untimely death. It’s sad to imagine that night when you hear how remarkable his playing is. Tommy was in perfect form and his presence on this jam is felt very deeply. It is a fitting end to this amazing compilation, and an even better showing of what this master guitarist was capable of.
Tommy Bolin was one of the greatest guitarists to ever pick up the instrument. His playing is sadly forgotten, but if the world hears Whips and Roses, then he will surely be recognized for his genius. The world lost an incredible artist when Tommy died, and it would be a disgrace to music itself if he continues to go unnoticed. Listen to Whips and Roses and you will understand how profound his playing was. If you know who Tommy is, then you will be blown away by these rare gems now unearthed for all to hear. If you do no know Tommy, then do not continue to ignore some of the finest music you will ever have the chance to hear.
By Vincent Sciglio (Putnam, NY USA)
May 23, 2006
Tommy Bolin is undoubtedly the most underrated and forgotten guitar hero of all time. Nobody covered the scope of guitar playing better than Tommy as he effortlessly shifted gears from rock to jazz to blues to funk to reggae not only within an album, but within a single track. This CD showcases many of Tommy’s guitar stylings in a new light, bringing them sonically into today’s standards. I have been listening to Tommy for 20 years and own all of his studio releases as well as all of the Tommy Bolin Archives releases and this is the best quality yet. As other reviewers have stated, this material isn’t new but the versions presented here are stellar. Tommy was a master at jamming and some of his best work is captured on this CD. I have been turning people on to Tommy for years and they are blown away when they hear his playing. This CD will serve the same purpose for the younger generation today who have never heard playing of this calibur as it is non existent in today’s music scene. Tommy was a musician’s musician and was way ahead of his time, hopefully this CD will give new exposure to his timeless music. In sum, buy this CD, enjoy it and turn your friends and family onto this great musician.
“Whips and Roses for Mott’s delight”
By Kim Fletcher (Pattaya, Chonburi Thailand)
December 8, 2006
In 2006 we were given this collection ‘Whips and Roses’. The music is stunning. Tommy Bolin’s singing and guitar playing is simply jaw droppingly good. The album opens with a rockin’ version of ‘Teaser’ which fairly rocks out of your speakers whilst retaining that trademark Bolin funky backbeat. A lot of the other songs are works in progress for the Teaser album, this does not mean that they are inferior versions in fact I think every song on this album is absolutely at it’s zenith, and the title of the songs is irrelevant. Second track on the album is ‘Fandango’ which was called ‘Crazed Fandango’ when the studio version was released. ‘Cookoo’ is a jam based on the Tommy Bolin classic ‘Homeward Strut’, but boy what a jam. The version of ‘Wild Dogs on this album is the best I have ever heard, and is worth the price of the album alone. Starting with it’s downbeat vocals of a drifter on the road, before Tommy makes the six strings howl as the song builds to a shattering climax. Why this song has not been covered by other bands I do not know, but somebody like Bon Jovi could do a cracking version. There is also Jeff Cooks beautiful ballad Dreamer here. Tommy Bolin must have burnt his fingers his playing is so fast on ‘Marching Powder’. You can almost hear the sweat running down the fret board. The fifteen minutes of Flyin’ Fingers speaks for itself. The album finishes with two jam work out’s with Tommy Bolin letting the music carry him away. ‘Just Don’t Fall Down’ clocks in at nearly eleven exciting minutes, the aptly titled ‘Blowin’ Your Cookies’ was recorded the night before Tommy Bolin passed away, when Tommy got up and played with the house band at his hotel in Miami. It is a twelve minute drop into what was obviously a longer jam, but the guitar work is staggeringly good. There is no information on who played what on what track as most of these recordings have been taken from unmarked boxes, but whoever they were they were very good. The album comes with a fine booklet with some informed liner notes by Simon Robinson. The production was handled by Greg Hampton in association with Tommy Bolin’s brother John. The work they have done should be applauded, a second volume of ‘Whips and Roses’ is promised for early 2007, I personally will look forward to that.
“In a word – Brilliant!”
By B. Worth
May 2, 2006
This CD has been long anticipated and it does not disappoint. As was the case with Tommy’s two solo albums, there is something for everyone here. There a few alternate versions of songs that ended up on his Teaser album. For example, the song “Teaser” is much more aggressive than the version that ended up on the album of the same name and, in my opinion, is better for it. And there are a handful of superb in-studio jamming that will make the hair on your arms stand up. There is so much of Tommy’s guitar buzzing around these tracks that any fan of his (and/or fans of rock/jazz-rock) will be satisfied.
I have only two negative comments (and the reasons why I can’t give it a full 5 out of 5 stars): the last 2 songs are not relevant to the bulk of material contained herein. The song “Just Don’t Fall Down” is clearly Energy running through their epic instrumental “Hoka Hey” live on stage somewhere in 1972 and “Blowin’ Your Cookies” is an excerpt from Tommy’s jam with the house band at the Seven Seas Lounge in Miami, FL (a night or two before his untimely death in Dec 1976). Its all good music to have in the collection but some more detailed sleevnotes would be helpful for Bolin fanatics such as myself. Which segues nicely to my 2nd issue: the sleeve notes lack any identification of the musicians accompanying Tommy and that is a shame because whomever the uncredited persons playing the bass and drums were, they were doing a marvelous job.
Thank you to the Bolin family and everyone who has worked on this set. I can’t wait for the next installment.
“Amazing . Radical. Revelation. SUPREME GUITAR!”
By herb “nice name huh?”
I don’t think it is too much of a stretch to say that this disc contains the most radical soloing ever heard from Bolin. You must buy it if you are a fan of great guitar playing. It is surprisingly like John Mclaughlin at times, yet, still totally Bolin. I thought i’d heard it all having owned all the Ebbetts field stuff, as well as the Mouzon/Cobham albums. The liner notes may be a bit lacking, but that is almost appropriate as this stuff almost seems too good to be true. There are 10 minute plus jams of pure guitar madness. How often does it happen that someone un-earths material like this.??..I am not sure it has ever happened. Yeah, never before has an artist been unveiled like this before, so long after they are gone. And this is the first of a series! Wow.
TOMMY BOLIN DISCOGRAPHY:
1976 Private Eyes
1996 From the Archives, Vol. 1
1997 The Bottom Shelf
1998 From the Archives, Vol. 2
2002 Naked II
2004 After Hours: The Glen Holly Jams – Volume 1
2006 Whips and Roses
2006 Whips and Roses II
2011 Teaser Deluxe
1997 Live at Ebbets Field 1974
1997 Live at Ebbets Field 1976
1997 Live at Northern Lights Recording Studio
1998 The Energy Radio Broadcasts
2000 First Time Live
2001 Live 9/19/76
2002 Live in Miami at Jai Alai: The Final Show
2003 Alive on Long Island
2003 Tommy Bolin and Energy Live
2004 Albany 9/20/76
2004 Live at the Jet Bar
1971 Going Back to Colorado
1996 Live at Art’s Bar and Grill
1998 The Energy Radio Broadcasts 1972
1999 Energy (1972)
2003 Tommy Bolin & Energy, Live in Boulder / Sioux City 1972
2002 The Spectrum Sessions
1975 Mind Transplant
1999 Tommy Bolin & Alphonse Mouzon Fusion Jam (Rehearsals 1974)
Come Taste the Band (1975)
1977 Last Concert in Japan
1995 King Biscuit Flower Hour Presents: Deep Purple in Concert
1995 On the Wings of a Russian Foxbat – Live in California ’76
2000 Days May Come and Days May Go (The California Rehearsals Volume 1)
2000 1420 Beachwood Drive (The California Rehearsals Volume 2)
2001 This Time Around
CLICK THE LINKS BELOW FOR TOMMY BOLIN PHOTOS & ART:
TOMMY BOLIN FINE ART AMERICA IMAGES BY BEN UPHAM
TOMMY BOLIN CONCERT PHOTOS FROM WINTERLAND BY BEN UPHAM
ORDER TOMMY BOLIN “WHIPS & ROSES” CD
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:
“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.
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.
“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.
“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…
High Voltage (Australia) (1975)
High Voltage (International) (1976)
Dirty Deeds Done Dirt Cheap (1976)
Let There Be Rock (1977)
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)
Stiff Upper Lip (2000)
Black Ice (2008)
THE MARSHALL TUCKER BAND-
“A NEW LIFE” (1974)
Reviews and Comments about an Amazing Album!
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
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
Paul Hornsby – keyboards
Charlie Daniels – fiddle
Jaimoe – conga, conductor
Earl Ford – horn
Oscar Jackson – horn
Todd Logan – horn
Harold Williams – horn
“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.
“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.
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.
“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.
“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
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
MARSHALL TUCKER BAND ART BY BEN UPHAM
MARSHALL TUCKER BAND FINE ART AMERICA IMAGES BY BEN UPHAM
PURCHASE MARSHALL TUCKER BAND “A NEW LIFE” REMASTERED CD
ALLEN COLLINS BAND-
“HERE, THERE AND BACK” (MCA RECRDS 1982)
Allen Collins- guitar
Randall Hall- guitar
Derek Hess- drums
Leon Wilkeson- bass
Billy Powell- keyboards
Barry Harwood- guitar
Jimmy Dougherty- vocals
1. Just Trouble
2. One Known Soldier
3. Hangin’ Judge
4. Time After Time
5. This Ride’s On Me
6. Ready To Move
7. Chapter One
9. Everything You Need
The Allen Collins Band only produced one record. But it’s a winner! I was living in Redding, Ca. when it came out and remember the first time I heard it after walking in to a local record store that had it on. They were playing “One Known Soldier” and I was really blown away. The store sold 3 copies of the record while the song was playing.
I think that this band could have really gone on to do great things had they been more successful with this record. As far as I know they only did one short tour, opening for Molly Hatchet.
When you listen to this Music you will automatically draw the comparisons to Lynyrd Skynyrd due to the simple fact that there are three survivors in the band. That’s not a fair thing to do when listening to this Music though, as it holds a bar up way to high for anyone to jump over.
Jimmy Dougherty cannot be compared to Ronnie Van Zant…Their styles and approach to vocals just aren’t comparable. Dougherty has a good voice and is very articulate. His sound fits well.
Derek Hess and Barry Harwood had been in this band already for years as the Rossington Collins Band and sound great. Randall Hall was Allen’s personal choice to play his parts in the Lynyrd Skynyrd Tribute Band in 1987, which says a lot! Billy Powell is all over this record with his excellent piano work and of course Leon was the Man on the Bass.
This album is very easy to listen to and contains some fine playing and singing. “Everything you need” for a great listen.
Here are some others thoughts on the record:
“Bona fide Southern Rock”
By L. Lawhead “LSquared” (SW Illinois)
June 2, 2004
Allen Collins Band was an offshoot of Rossington Collins Band, which was an offshoot of the original southern rock masters Lynyrd Skynyrd. RCB had all of the surviving members of Skynyrd, except Artimus Pyle (drums). ACB has 5/7 of RCB, replacing Gary Rossington (guitar) and Dale Krantz Rossington (vocals) with Randall Hall and Jimmy Dougherty, respectively. Allen Collins (after becoming paralyzed) suggested Randall Hall as his replacent in the “post-crash” Skynyrd. Bottom line, these guys have the “bona fides”, they certainly know what they’re doing.
I really enjoy this album a lot. All of the songs are solid, with great sound. The songs of the songs are mostly mid-tempo, with a couple of slower pieces. There’s not really any “kick A**” songs, no “Freebird”, no bar-fighting music. There’s not really any “blistering guitar”, but there is a lot of guitar, and plenty of licks and fills. The songs stick in your head, and the lyrics are an improvement over some of the RCB songs. Think of Skynyrd’s 4th album: “Gimmie Back My Bullets”. If you like that, you’ll like this. Billy Powell’s piano is particularly evident, he remains one of the signatures of the Skynyrd sound, and it’s various offshoots.
Allen Collins co-wrote 4 of the 8 songs here, including the standouts “One Known Soldier” and “Chapter One”. This is more than any of the Skynyrd albums, except “Gimmie Back My Bullets”. Jimmy Dougherty is fine as a singer, if not outstanding. He’s not as “gruff” as either Ronnie Van Zant (Skynyrd) or Dale Krantz (Rossington Collins Band). His style fits the songs though.
Long after it’s release, “Here There and Back” remains one of my favorite southern rock albums. Yet I never heard anything about it when it came out. I just happened across it in a record store several months after it’s release, and snapped it up because of the Skynyrd lineage. It remaines one of the great discoveries in my collection. If it had recieved any publicity at all, it would probably have been much better known.
Good songs, good playing!
“Excellent Southern Rock”
October 24, 2005
This CD happens to be an excellent combination of vocals, crystal clear guitar and drums. One can readily hear the influence of Lynyrd Skynyrd thanks to Allen Collins. And, yes, I too have been to several of Skynyrd’s concerts, and this CD just illustrates the influence that they had through Allen Collins.
If you want to hear some great music, you can’t go wrong with this CD.
“Anytime, Anyplace, Anywhere”
By William Walters (West Palm Beach, FL)
December 2, 2007
This is a VERY rare LP. I had a chance to see Allen Collins perform this record in North Carolina in the early 1980′s. It was one of his first live performances outside of playing with the Rossington Collins Band. The album suffers from poor vocals but the unmistakable AC guitar dominates the album. I have the tour T-shirt and was able to meet the band and get autgraphs since so few people showed up for the show (with the Outlaws). As far as I know this was the first live performances of Skynyrd standards such as ‘That Smell’ and ‘Gimme Three Steps’. The album, like I stated, may be disapointing to some but a real keepsake to die hard Skynyrd fans. If it every becomes available I will buy it in a heartbeat and suggest all Allen Collins fans do as well. Classsic Southern Rock at its best!!
By Gary Pierce “Southern Man” (Northeast Tennessee)
July 30, 2007
This record is the best of the Lynyrd Skynyrd solo artist. It has Allen, Billy Powell, Leon Wilkerson and future member Randall Hall. I have all of the solo records and this one sounds the most like Skynyrd. Allen plays some of his best guitar work and Billy is featured even more than with Skynyrd. Thank You Allen for some great music.
May 14, 2004
Although it’s true that the blistering guitar work Allen was known for is not here, this is still a very enjoyable CD. In my opinion, one of the better ‘post Skynyrd’ releases. Much in the same style as the ‘Alias – Contraband’ album. As stated, no blistering solos here, but every solo is as tasty as can be. In addition, Billy Powell has some fine moments, adding a little more of that old Skynyrd feel to the album. This is long out of print, but worth tracking down. It stands the test of time.
The Allen Collins Band was a spinoff of Southern Rock bands Lynyrd Skynyrd and The Rossington-Collins Band. It existed from 1983 to 1984 and was formed shortly after the dissolution of the Rossington-Collins Band.
The band’s name was originally Horsepower, but executives at MCA (whom the band released their only album through) wanted a name that would make the band stand out. So, the band was re-christened “The Allen Collins Band.” Most of the band members carried over from RCB, with the exceptions of Dale Krantz and Gary Rossington, who had both married and decided to raise a family. Jacksonville guitarist Mike Owings joined The Allen Collins Band in 1984, and wrote several unreleased songs with Allen Collins, and he later went on to play guitar in Molly Hatchet (1999–2000).
Vocalist Jimmy Dougherty died January 20, 2008 (born November 3, 1951).
ALLEN COLLINS DISCOGRAPHY:
WITH LYNYRD SKYNYRD:
1973 Pounounced Lynyrd Skynyrd
1974 Second Helping
1975 Nuthin’ Fancy
1976 Gimme Back My Bullets
1976 One More From the Road (Live)
1977 Street Survivors
1978 First and Last
1982 Best of the Rest
1991 Box Set
1998 Skynyrds First (Complete Muscle Shoals)
2009 Live at Winterland 3-7-76
2009 Live at Cardiff 11-4-75
WITH THE ROSSINGTON COLLINS BAND:
1979 Anytime, Anyplace, Anywhere
1981 This is the Way
WITH THE ALLEN COLLINS BAND:
1983 Here, There & Back
CLICK THE LINKS BELOW FOR ALLEN COLLINS STUFF:
LYNYRD SKYNYRD PHOTOS FROM WINTERLAND 3-6-76
LYNYRD SKYNYRD PHOTOS FROM OAKLAND, CA. 9-20-75
LYNYRD SKYNYRD FINE ART AMERICA IMAGES BY BEN UPHAM
ORDER THE REMASTERED CD OF ALLEN COLLINS BAND