Stylistically, this album is a bit of a departure from his last couple of releases, which have emphasized a full band sound a bit more. The tracks on Eagle Rock Fire are intentionally all very warm, very sparse, and very simple.
1. End Of The Line [04:39]
2. Bad Rain [05:35]
3. Nobody Knows [10:59]
4. Desert Blues [05:04]
5. Get On With Your Life [06:59]
6. Midnight Man [04:40]
7. Kind Of Bird [08:27]
8. Come On In My Kitchen [06:18]
Gregg Allman – organ, lead vocals;
Dickey Betts – lead guitar;
Warren Haynes – lead guitar;
Allen Woody – bass;
Jaimoe – drums, percussion;
Butch Trucks – drums.
It was in the spring of 1974, having just released his forth studio record, Paradise and Lunch, that Ry Cooder took to the stage within the intimate surrounds of Ebbetts Field in Denver, Colorado – a venue which holds just 200 at full capacity. With KCUV FM on hand to broadcast the whole event to those not lucky enough to gain entry, 20th May ‘74 was an inspired evening regardless of which end of the radio you were listening to.
Sara Curtin’s debut album Fly Her And Keep Her is wondrous and enchanting, a presentation of a personality as strong and unique a conundrum of confounding, confusing depths that one can hardly make sense of it. The music itself is folk(ish), the instrumentation provided mostly by Curtin’s acoustic guitar or ukulele playing, as well as the occasional glockenspiel, accordion, electric guitar, and often a forest of ribbony, velvet voices. While the album seems to draw from traditional folk- and pop-song form, there is an eclecticism that combines clichés into half-yearning for familiarity and this other drive to hear Curtin’s experimentalism.The lyrical content of the songs is varied. It is metaphorical: “Fetch the Broom” pleads for someone to hide her embarrassed, dissolving, ashamed self. And it is literal: “I Knew All Along” is about a going out in Manhattan turned furiously idyllic love-mantra, the feelings portrayed metaphysically in the whispy angelic chorus of anger, fear, regret, disregard, lust and love. Curtin’s voice can retain something of Jeff Buckley or Nina Simone’s emotive direction, but she hardly copies either.
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