By the time Grand Funk Railroad came to make Survival in January 1971, Cleveland Recording had moved to new quarters, and the group had become a national phenomenon, its last two albums Top Ten million-sellers.
Like the sublimely seedy roadside joints of America’s rural South — where you can shoot pool, buy fishing worms and have your lawnmower repaired all in the same room — Fetchin Bones are dedicated to the sort of unexpected variety that somehow seems to work. On their debut album, the North Carolina quintet peddles an exciting mix of revved-up rock, country twang, folk, blues and swing, driving it all home with unrestrained energy and unpolished charm. The crazed quaver in singer Hope Nicholls’ voice provides the heart of the Bones’ sound; three songs without her lead vocals are the album’s weakest cuts. Producer Don Dixon admirably translates the group’s wild-eyed persona to vinyl, but this is a band that must be seen live for a full grasp of their eclectic frenzy. Delightfully different graduates of the R.E.M.-inspired school of Southern pop. (The CD and cassette add three tracks.)
Having scored four consecutive Top Ten albums in the previous two years, Grand Funk Railroad may not have seemed to casual observers like a band who needed to rise phoenix-like from the ashes, but the title of the band's seventh album referred to its re-emergence after a litigious split from manager/producer Terry Knight.
Featuring "Mainstreet" and… "Night Moves"
Bob Seger recorded the bulk of Night Moves before Live Bullet brought him his first genuine success, so it shouldn't come as a surprise that it's similar in spirit to the introspective Beautiful Loser, even if it rocks harder and longer.
This is the album that Hendrix "owed" Capitol for releasing him over to Reprise Records and significantly, it isn't a studio effort, as his Reprise albums have been. Which is not to imply that it is any better than those Experience albums. The context of the album is vital — Band of Gypsys was one of Hendrix' 1969 amalgamations consisting of Buddy Miles on drums and Billy Cox on bass, among others. They hadn't been together very long when this session was recorded live at the Fillmore East, New Year's Eve 1969/70, and the music shows it.
The claim to fame for America's 1982 album, View From the Ground, is that it yielded the soft rock duo's last Top Ten hit, "You Can Do Magic." Vocalist/guitarist/keyboardist Gerry Beckley and vocalist/guitarist Dewey Bunnell scored big with this infectious, hook-riddled single. It was written and produced by Argent guitarist and solo artist Russ Ballard, who is most famous for penning songs that others have hit with.
This is classic material. 4 CD's loaded with one song after another of magic guitar playing. The sound is terrific and Mary Ford adds great vocals to many of the cuts although there are also many instrumentals. The years covered here are from 1948 - 1957 and includes some portions of the Les Paul Radio Show with songs and dialogue between Les and Mary. In addition to being a guitar genius, Les Paul was also an inventor who developed a variety of techniques still used today (such as multi-tracking) and they are on display in this set of music. Wonderful music, great sound, terrific vocals. This is music made in a different era before rock took over the airwaves. There is nothing in your face about it and there is a 40's feel to the pop tunes but great music stands the test of time and this certainly qualifies. Highly recommended.
After racking up their biggest success to date with We're an American Band, Grand Funk Railroad decided to keep a good thing going by retaining Todd Rundgren as their producer and continuing to push their sound in a pop/rock direction. The end result has its moments but is not as strong as We're an American Band.