Second Helping by Lynard Skynard

Second Helping by Lynyrd Skynyrd

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Second Helping by Lynard SkynardAfter their acclaimed, classic 1973 debut album, Lynyrd Skynyrd returned with the equally impressive Second Helping, where they continued to forge the emerging genre of Southern-fried rock. Like the first album, this record was produced by Al Kooper, who followed the same basic formula but with a little more leanings toward the geographic roots music which influenced the young band. For this album, the group grew to seven members as original bassist Leon Wilkeson returned to the lineup and Ed King moved from bass to become the third guitarist, giving the group a nearly unprecedented mixture and chorus of rock textures.

Kooper got his start in the music business as a fourteen-year-old guitarist for The Royal Teens in 1958. As a low level session man seven years later, he improvised the famous organ riff that marked that classic song. Kooper later started many groups, including Blood, Sweat, & Tears, and eventually started the Sounds of the South label in affiliation with MCA. In 1972, Kooper signed Lynyrd Skynyrd after catching a club gig in Atlanta and personally took the reins in producing their first few albums, starting in 1973.

Led by the direct, storytelling lyrics of composer and front man Ronnie Van Zant, the group entered the studio in early 1974 determined to avoid the “sophomore slump” after their stellar debut. Musically, the tracks were composed by King along with original guitarists Allen Collins and Gary Rossington, who each used remarkable restraint in avoiding competition for the limited space in the mostly standard-length tracks on this eight song LP.

Second Helping by Lynyrd Skynyrd
Released: April 15, 1974 (MCA)
Produced by: Al Kooper
Recorded: Record Plant Studios, Los Angeles, January 1974
Side One Side Two
Sweet Home Alabama
I Need You
Don’t Ask Me No Questions
Workin’ for MCA
The Ballad of Curtis Loew
Swamp Music
The Needle and the Spoon
Call Me the Breeze
Group Musicians
Ronnie Van Zant – Vocals
Allen Collins – Guitars
Ed King – Guitars, Bass
Gary Rossington – Guitars
Billy Powell – Piano, Keyboards
Leon Wilkeson – Bass
Bob Burns – Drums

The album kicks off with “Sweet Home Alabama”, a simple song has become indelible over its 40 years of existence. Unlike everything else on the album, this track was recorded in Georgia in late 1973 with just King, Wilkeson, and drummer Bob Burns laying down the basic backing track (with full band overdubs to follow later). The famous opening riff was one of the first King developed after switching from bass to guitar. With a great locked-in bass line, fantastic dual guitars, and plenty of other sonic candy, Van Zant’s vocals tell stories of contemporary and historical importance, including both tributes and scorns. One of the more famous comes at the beginning of the second verse with a literal calling out of Neil Young in response to his songs “Alabama” and “Southern Man”, which Van Zant (a close friend of Young’s) felt unfairly indicted a whole culture and region.

The moody “I Need You” is like a continuation of the “Tuesday’s Gone” and “Simple Man” tracks from the 1973 debut album. This long and slow blues ballad contains screaming and whining guitar leads by the trio of guitarists. “Don’t Ask Me No Questions” is direct rocker with a crisp, blended guitar riff, composed by Rossington. Kooper added some horns for effect on this popular track with a great and direct hook that is easily catchy. The original first side winds down with “Workin’ for MCA”, which seems at once to be a tribute and indictment of the group’s record label. This jam-based rocker literally tells story of group’s signing two years earlier and features a great electric piano lead by Billy Powell, followed by trade-off leads by each of the three guitarists.

The original second side of Second Helping starts with one of the best tracks on the album, “The Ballad of Curtis Loew”. This touching tribute to an unsung blues man contains calm and moody country guitars by Collins and, although the song gradually builds with more rock-oriented arrangement, it maintains its pure vibe all the way along until the slowing slide guitar in the outro. While the song is based on a composite of people, it paints a vivid picture of Van Zants’ original neighborhood in Jacksonville, Florida and the inspiration to play music. “Swamp Music” is pure Southern blues, with an upbeat, underlying rhythm, This song never really deviates from its basic structure and contains good, short jams with vocals mocking the guitar licks. “The Needle and the Spoon” may be the weakest song on the album, as it sounds like a shallow knock-off of “Sweet Home Alabama” in riff, rhythm, and melody but probably could have developed into something better if it had been given the time to grow. The only cover on the album is J.J. Cale’s “Call Me the Breeze”, which worked out to be a really good fit for Lynard Skynard. Powerful double riffs, the return of the horns, an upbeat rhythm by Wilkeson and Burns, blues-based jamming by all three guitarists, and a honky-tonk piano Powell all shine on this upbeat album closer.

Second Helping reached #12 on the Billboard album charts and was certified Gold within a few months of its release, eventually reaching Platinum status. This turned out to be the high-water mark of Lynyrd Skynyrd’s commercial success. Subsequent years were marked with lineup shifts and personal tragedy, making these few years of the band’s original existence all the more precious and important.


1974 images

Part of Classic Rock Review’s celebration of 1974 albums.

Amorica by The Black Crowes

Amorica by The Black Crowes

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Amorica by The Black CrowesAlthough not a particularly strong seller, The Black Crowes may have reached the quality peak of their career with their third album, Amorica. After two commercial blockbusters in the early nineties, the band was not able to sustain their commercial momentum. However, they may have strongly elevated their artistic credibility as they completed their evolution towards quasi-improvised, groove-constructed tracks that improve with each listen. Produced by Jack Joseph Puig, the album is also a sonic masterpiece, has just enough rock elements are strategically placed in the cracks between the funk and blues inspired structures.

The group’s 1992 album, The Southern Harmony & Musical Companion, saw them expand their sound with a chorus of backup singers and two new permanent band members. On this album, the six-piece band went “old school”, finding plenty of space for each musician to exercise their respective chops, while guitarists Rich Robinson and Marc Ford stayed firmly above the fray. Lyrically, vocalist Chris Robinson wrote highly introspective lyrics.

On the popular music front, Amorica is noted for the controversy over its racy original album cover (taken from a 1976 cover of Hustler magazine). As a result, early pressings were banned from many retail outlets and an alternative cover (pictured above) was put together for later releases.

Amorica by The Black Crowes
Released: November 1, 1994 (American)
Produced by: Jack Joseph Puig
Recorded: May-June 1994
Track Listing Group Musicians
A Conspiracy
High Head Blues
Cursed Diamond
She Gave Good Sunflower
P.25 London
Ballad In Urgency
Wiser Time
Downtown Money Waster
Chris Robinson – Lead Vocals
Rich Robinson – Guitars
Marc Ford – Guitars
Eddie Harsch – Keyboards
Johnny Colt – Bass
Steve Gorman – Drums, Percussion

Amorica by The Black Crowes

A percussive start by drummer Steve Gorman leads into the opening track “Gone”, a raw, slightly out of tune guitar jam that sounds rough and unrehearsed track, but still carries cool charm. “A Conspiracy” is similar but a bit more refined, after starting very choppy with the illusion of being highly unfocused. The guitar arrangement between Ford and Robinson provides the thrust behind lyrics laced with a sense of dread. “High Head Blues” is really the first really accessible song on the album, as an upbeat and entertaining track reminiscent of Eric Burden and War. The percussion is provided by guest Eric Bobo and drives the long verse sections before the driving rock of the refrain.

“Cursed Diamond” is the first of several ballads, although this includes some loose and wild instrumentation which really picks up in intensity as it goes along. “Nonfiction” has a country feel and features picked acoustic with sweet overtones of slide guitar, accordion, bass, and fine keyboards by Eddie Harsch. Harsch starts “She Gave Good Sunflower” with a cool, 70’s-inspired distorted electric piano before meandering into a more standard Black Crowes-style rock and soul arrangement, although most of the remainder of the song is a simple, upbeat jam with flailing wah-wah guitars. “Ballad in Urgency” is another completely unique track on the album, with calm but potent guitar tones and phrasing and decidedly downtrodden lyrics. The song dissolves into a piano section with fine bass added by Johnny Colt.

The highlight of the latter part of the album, “Wiser Time” is driven by the excellent beat by Gorman, slide guitars by Rich Robinson, and duo lead vocals. The extended verses are carried by this fine three chord repetitive sequence, with sparse rock chorus sections breaking up the song. Later on the track there is a great four-part lead section, starting with a bluesy acoustic, followed by electric piano, then a single wailing electric guitar, and finally soaring harmonized guitars, giving this song buckets of variety. “Downtown Money Waster” contains ragtime piano and slide acoustic with scat percussive effects, while Chris Robinson does a great Delta blues impression vocally. The closer, “Descending” is a long ballad with more great slide guitars. The thumping bass riff of Colt picks things up a bit in the middle section before a true piano solo brings song and album to a calm ending.

Amorica eventually reached Gold status by selling 500,000 copies and the band enjoyed a successful tour the following year. In 1996, the group followed up with Three Snakes and One Charm, the final album with this lineup before several members parted ways in subsequent years.


1994 Images

Part of Classic Rock Review’s celebration of 1994 albums.

American Recordings by Johnny Cash

American Recordings by Johnny Cash

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American Recordings by Johnny CashReleased in Spring 1994, American Recordings was (incredibly) the 81st overall album by Johnny Cash and was the ignition point for the second great comeback of his long career. Like the first great comeback, which initiated with the live , At Folsum Prison in 1968, Cash made a radical pivot to spark this new musical chapter. This time, he stripped bare any external production and recorded songs “old school” with a simple acoustic guitar and vocal arrangement. With this core arrangement, Cash shines brightest and the listener is struck by how one man and one guitar can still fill the sonic universe at that moment with utter beauty and creativity.

After a successful stretch through the 1970s where he expanded beyond recording and into television and film, Johnny Cash became the Country Music Hall of Fame‘s youngest living inductee (at age 48) in 1980. However, the 1980s were a less than stellar decade for Cash where his multiple records failed to make any impact on the charts and Cash himself admitted that a lot of the “magic” was missing from the music and he was just going through the motions. Cash also relapsed into a painkiller addiction as he suffered with several health-related issues. Cash’s relationship with the Nashville establishment and his label Columbia records were also strained during this era and in 1988, after three decades with the label, Columbia dropped Cash from his recording contract.

Enter producer Rick Rubin, who sought out Cash to work on a project for his brand new label American Recordings. Rubin recorded Cash in his living room, with Cash selecting from a long list of originals and covers that he had long desired to record. In fact, Cash stated that he had wanted to do an album in this fashion for “about 20 years”, but the producers he was working with always wanted to forge his sound in this direction or that and Cash ended up frustrated the the general overproduction of his releases. The result was the beginning of another strong stretch of accolades and commercial success for Cash (who also found a whole new generation of audience), as well as a revival of the Americana genre which continues to this day.

American Recordings by Johnny Cash
Released: April 26, 1994 (American)
Produced by: Rick Rubin
Recorded: May 17, 1993–December 7, 1993
Track Listing Primary Musician
Delia’s Gone
Let the Train Blow the Whistle
The Beast in Me
Drive On
Why Me Lord
Oh, Bury Me Not (Introduction: A Cowboy’s Prayer)
Bird On a Wire
Tennessee Stud
Down There by the Train
Like a Soldier
The Man Who Couldn’t Cry
Johnny Cash – Lead Vocals, Guitars

American Recordings by Johnny Cash

The songs on American Recordings can be categorized in one of three categories – cover songs, new originals, and revamped versions of older Johnny Cash songs. The opener “Delia’s Gone” fits into the latter category, as a roots County/Western song that was originally recorded by Cash in 1962. It nicely fits his well-forged “man in black” outlaw image as a light and entertaining song on the surface that is really dark in the core. Another remake of earlier material on this album is “Oh, Bury Me Not”, originally recorded by Cash in 1965 as a Western spiritual.

The newly recorded cover songs really spotlight Cash’s talent and diversity as a performer. “The Beast in Me” was written by his ex-son-in-law Nick Lowe, as a song about internal rage, the unextinguished fire, which can be used for good or for ill if not kept in check. “Why Me Lord” is a country waltz by Kris Kristofferson that is a song of thanks and a prayer as well as one of regret and wasted opportunities. Cash met heavy metal artist Glenn Danzig in Rubin’s living room and recorded his song “Thirteen” that very day. Of all the covers, Leonard Cohen‘s “Bird On a Wire” is the one which really doesn’t work with Cash’s style, while the Tom Waits track “Down There by the Train” is done masterfully as Cash steps out of his signature style and performs like a true folk artist. This latter song starts very mellow but quietly builds in intensity throughout as the lyrics speak of some of history’s villains boarding a slow train to Hell.

Two of the covers on American Recordings were recorded live during a historic performance at the Viper Room in Los Angeles. Jimmy Driftwood‘s “Tennessee Stud” is moderate Americana, a perfect fit for Cash, and offers a direct passage to Cash’s core beginnings in the 1950s. Composed by Loudon Wainwright, “The Man Who Couldn’t Cry” closes the album almost like a spoof of the “traditional” country song with just about everything going wrong, but with the protagonist eventually getting to Heaven and getting it all back, along with slight tinge of revenge on all who did him wrong.

Still, the best songs on this album are the four new original compositions by Cash, which doubtlessly prove that 40 years into his career, Johnny Cash could still reach a whole new level of artistic genius. “Redemption” is a poetic and quasi-religious masterpiece that harkens back to the best of Bob Dylan’s classic early work. While maintaining a a deep and ethereal vibe sonically, this track really strikes the soul lyrically;

“and the blood gave life to the branches of the tree and the blood was the price that set the captives free, and the numbers that came through the fire and flood, clung to the tree and were redeemed by the blood…”

“Like a Soldier” is another retrospective original and comes closest to being the “theme song for this album (and overall, multi-album “American Recordings” project). Cash’s vocals are particularly excellent on this track, making it an instant classic. The two other originals are similar in tone and vibe, with “Let the Train Blow the Whistle” being a spiritual song of remembrance and “Drive On” examining the “turning away” from life’s horrors and tragedies and continuing on your individual path.

American Recordings did not chart well after its release, failing to reach the Top 100 on the album charts, but it was recognized with a Grammy for Best Contemporary Folk Album of the Year and was a major critical success. Cash and Rubin successfully repeated this formula with five more “American” albums through the remainder Johnny Cash’s life, with the final one being released posthumously in 2003.


1994 Images

Part of Classic Rock Review’s celebration of 1994 albums.

Monster by REM

Monster by R.E.M.

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Monster by REMR.E.M. found great commercial success with their two early nineties releases, Out of Time and Automatic For the People. Still, the group made a concerted effort to rapidly evolve their sound on 1994’s Monster, which is drenched with distorted guitars, high energy arrangements, and minimal overdubs. on this front, the album is distinct in the long and impressive R.E.M. collections and marks the point where they finally realized a full-fledged rock and roll record. Powered by Peter Buck‘s layered guitars and sonic proficiency along with more simple and direct compositions and melodies, Monster was the last high-water mark for the group.

The members of R.E.M. vacation in Acapulco, Mexico early in 1993 to map out a strategy for the next few years. At that point, the group had not toured at all during the decade and drummer Bill Berry was eager to tour and implored that the group produce a more “rock” oriented album for the tour to support. On the past two relatively slow-paced albums (which the band did not tour to support) the band had been using more acoustic instruments, pianos and mandolins, and often “switching” instruments to keep things interesting, but now that would put together something made for live, raw rock shows.

With about 45 songs originally written for the album, the group started pre production at Kingsway Studio in New Orleans to sort out the best material. Co-producer Scott Litt next brought the band to Crossover Soundstage in Atlanta where most of the album’s basic tracks were recorded live. Production later moved to Criteria Studios in Miami Litt’s home studio in Los Angeles, but was delayed due to health issues with lead vocalist and lyricist Michael Stipe and internal tensions which actually broke up the band for a few tense days in early 1994. However, the group reconciled and finished the album which was met with great commercial and critical success.

Monster by R.E.M.
Released: September 26, 1994 (Warner Brothers)
Produced by: Scott Litt & R.E.M.
Recorded: in New Orleans, Atlanta, Miami, & Los Angeles, April–May 1994
Track Listing Group Musicians
What’s the Frequency, Kenneth?
Crush with Eyeliner
King of Comedy
I Don’t Sleep, I Dream
Star 69
Strange Currencies
Bang and Blame
I Took Your Name
Let Me In
Circus Envy
Michael Stipe – Lead Vocals
Peter Buck – Guitars, Organ
Mike Mills – Bass, Keyboards, Vocals
Bill Berry – Drums, Percussion, Vocals

Monster by REM


The original, non-CD release of the album was separated into the “Head” and “Tail” sides. The first side starts with the sonic saturation of the lead single “What’s the Frequency, Kenneth?”, where Buck’s guitar presence through the whole track carries it to the heights along with slight effects and riffs enhancing the song. The song’s title was was inspired by an incident in 1986, where news anchor Dan Rather was the victim of an assault by an assailant who, between beatings, would ask, “Kenneth, what is the frequency?”. Inspired by the group New York Dolls, “Crush with Eyeliner” is total new-wave glam with quasi-shock lyrics and potent music throughout. “King of Comedy” takes another turn in genre, towards alternative rock complete with vocal effects and a steady drum beat which makes it somewhat  of a rave dance song.

The sizzle and snarling distortion of Buck’s over-driven amps and cut by Berry;s rolling drumbeat on “I Don’t Sleep, I Dream”. Like the group’s earliest material, Stipe’s vocals, are buried deep in the mix and difficult to decipher due the greater presence of the musicians. “Star 69” is a direct garage rocker with rapid-fire vocals which became a minor radio hit, while “Strange Currencies” finished off the “head” side as a slight tribute to Stipe’s friend River Phoenix, who had recently died of a drug overdose.

The “Tail” side starts with the soulful and unique “Tongue”, which Stipe performs in falsetto throughout. While it is doubtless that Monster is guitarist Buck’s finest hour the melodic bass of Mike Mills is also integral to many tracks along with his piano and organ textures, which are prevalent on “Tongue”. The most traditional sounding R.E.M. song on the album, “Bang and Blame” is steady and hypnotizing and another a real showcase for Mills. Also potent are melodies of Stipe, who restrains the flourishes in favor of lyrical potency, and the fine, strategically placement of background vocals of Rain Phoenix.

The remainder of the album is less than spectacular with further songs dealing with the overall theme of identity problems in the face of growing fame. The highlights here include “Let Me In” where guitars fill the atmosphere throughout the song and “Circus Envy”, which has extra buzzy guitars, pretty melodic hooks and methodical drums that don’t quite match the underlying frenzy of the rest of the arrangement.

Upon its release, Monster debuted at number one on both sides of the Atlantic and R.E.M. set out in January 1995 on their first tour in six years. On the strength of this third consecutive blockbuster album, the group re-signed with Warner Bros. for what was rumored to be the largest recording contract in history to that point. However, fortunes soon turned with further member health problems, trouble with management, and eventual cooling of the band’s popularity.


1994 Images

Part of Classic Rock Review’s celebration of 1994 albums.

Under the Table and Dreaming by Dave Matthews Band

Under the Table and Dreaming
by Dave Matthews Band

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Under the Table and Dreaming by Dave Matthews BandIn 1994 the Dave Matthews Band released and impressive debut album with Under the Table and Dreaming, a record where Matthews developed a unique method of composing and a distinct sound. This sound had been developed over several years of playing live, while thematically the album’s lyrics deal with the topics covering topics concerning everyday life, personal choice and freedom.

A native of South Africa, Matthews was working as a bartender in Charlottesville, Virginia in 1990 when he recorded a demo of songs he had written. In the hopes of forming a band, he contacted jazz drummer Carter Beauford as well as saxophonist LeRoi Moore. Through 1991, the trio worked on Matthews’ original songs and playing live. However, they decided to pursue a fuller sound and turned to the conductor of the University of Virginia orchestra who suggested then 15-year-old bassist Stefan Lessard, who originally signed on as a session player but later joined the group. Violinist Boyd Tinsley was the last member to join the band in 1992. The band released the five-song live EP, Recently, in early 1994.

Produced by Steve Lillywhite, the core tracks on Under the Table and Dreaming were built on the acoustic guitars of Dave Matthews and guitarist Tim Reynolds to get a thick rhythmic track upon which the rest of the arrangements were built. During these recording sessions, several tracks were recorded but omitted from the final album. Among these is the popular live song “Granny”, which was added to later special editions of the album.

Under the Table and Dreaming by Dave Matthews Band
Released: September 27, 1994 (RCA)
Produced by: Steve Lillywhite
Recorded: Bearsville Studios, New York, May 1994
Track Listing Group Musicians
The Best of What’s Around
What Would You Say
Rhyme & Reason
Typical Situation
Dancing Nancies
Ants Marching
Lover Lay Down
Jimi Thing
Pay for What You Get
Dave Matthews – Lead Vocals, Guitars
Boyd Tinsley – Violin, Vocals
LeRoi Moore – Saxophone, Flute, Vocals
Stefan Lessard – Bass
Carter Beauford – Drums, Percussion, VocalsDave Matthews Band album


The bright and bouncy track “The Best of What’s Around” bursts in with no real intro and Lessard’s bass right up front. Moore provides a slight sax solo which is interrupted too quickly before he is given room to soar with a proper lead later on. “What Would You Say” was the album’s lead single and it eventually reached the Top 10 on the pop charts. Built on a nice slide acoustic riff, a cohesive melody and a fine harmonica solo by guest John Popper this track is a quintessential nineties pop song.

The most interesting overall song on the album, “Satellite” features an odd-timed acoustic and violin riff which meshes beautifully with the vocal melodies. Beyond this, song is completely original and complex yet somehow accessible enough to make it popular as it reached the Top 20 on the Modern Rock Tracks chart. Lyrically, this song was an early observation on how communication was becoming more electronic than in-person. “Rhyme and Reason” follows as another oddly-timed piece with slight Afro rhythms during the verses and a more straight-ahead rock approach during the choruses, while “Typical Situation” starts with a soft and dark finger-picked acoustic but works its way into a stronger and more melodic song of non-conformity. “Dancing Nancies” is a multi-part, quasi-jazz song with fine bursts of sax and violin through unexpected parts within its structure, sounding like it could have some mid seventies Joni Mitchell influence. A definite highlight for Tinsey throughout, “Ants Marching” features a distinct violin riff as well as a few mini solos. A strong radio hit and concert favorite, this song sees Matthews’ vocal range stretched throughout the verse sections.

Dave Matthews Band

After the climax of “Ants Marching”, the album seems to lose a little steam through its latter part with solid but partially baked tracks. “Lover Lay Down” is a mellow, soft rock ballad built on a shuffling acoustic along with a persistent saxophone throughout, while “Jimi Thing” features unexpected musical twists and flourishes and has a kind of regal vibe to it throughout. “Warehouse” is an early jam song for the band but doesn’t seem to work cohesively, albeit still interesting and slightly entertaining. “Pay for What You Get” features subtle and soft jazz song with minimal arrangement beyond Matthews’ vocal and acoustic, while the instrumental closer, “#34”, is almost an afterthought track as really loose and slow jazz with plenty of mood and vibe.

By the end of the century, Under the Table and Dreaming was certified 6× platinum and had propelled the band to international fame and helped build a dedicated following. Through the late nineties and into the present day Dave Matthews Band found continued success and accolades.


1994 Images

Part of Classic Rock Review’s celebration of 1994 albums.

Cracked Rear View by Hootie and the Blowfish

Cracked Rear View by Hootie & the Blowfish

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Cracked Rear View by Hootie and the BlowfishCracked Rear View was a debut album that found phenomenal commercial success for Hootie & the Blowfish. Released in 1994, it went on to be the highest selling album of 1995 and tallied over ten million total copies sold over the next two decades. While the material isn’t all that innovative, the simple and direct songs with memorable hooks and easy, bright melodies struck a chord with the garden variety audience of the mid nineties. Almost as a backlash to the grunge and neo-punk movements, the group found a “common man’s” niche. As a review in AMG stated, “At their core, Hootie & the Blowfish are a bar band, but they managed to convince listeners that they were the local bar band…”

Eight years prior to the release of Cracked Rear View, Hootie & the Blowfish was formed in South Carolina after guitarist Mark Bryan heard his freshman dorm-mate Darius Rucker singing in the shower and invited him to start a group. They began playing cover tunes and eventually bassist Dean Felber and drummer Jim Sonefeld signed on. After independently releasing two cassette demos in the early 1990s along with a self-released EP, Kootchypop, the group gained interest from major labels.

After signing with Atlantic Records, the group teamed up with producer Don Gehman and headed to Southern California to record their full-length debut.

Cracked Rear View by Hootie & the Blowfish
Released: July 5, 1994 (Atlantic)
Produced by: Don Gehman
Recorded: N.R.G. Recording Services, North Hollywood, CA, 1994
Track Listing Group Musicians
Hannah Jane
Hold My Hand
Let Her Cry
Only Wanna Be With You
Running From an Angel
I’m Goin’ Home
Look Away
Not Even the Trees
Darius Rucker – Lead Vocals, Guitars
Mark Bryan – Guitars, Mandolin
Dean Felber – Bass, Keyboards, Vocals
Jim Sonefeld – Drums, Percussion, Vocals

Cracked Rear View by Hootie and the Blowfish


The album starts strong with the driving and upbeat “Hannah Jane”, highlighted by vocal variations, musical rudiments, and well-placed bass phrases by Felber. This is followed by the album’s first single and the group’s first Top Ten single, “Hold My Hand”,a song which starts off very melodic and catchy but quickly gets repetitive. Written in 1990 and originally released on the group’s first cassette demo, this song features David Crosby.

The second single from the album was “Let Her Cry”, which nearly topped the charts, peaking at #2. This ballad also went on to win the 1996 Grammy Award for Best Pop Performance by a Duo or Group with Vocals. Completing the trifecta of Top Ten hits is “Only Wanna Be with You”, a song which got the band an all-star sports cast for their MTV video as well as a lawsuit by Bob Dylan for quoting his lyrics. As for the song itself, this acoustic driven tune is not a terrible listen, but the corny video takes away any musical dignity that may have existed.

Getting beyond the radio-saturated tracks, Cracked Rear View contains a handful of decent tracks. “Running from an Angel” is a sonic treat, with a violin riff by guest Lili Haydn and great percussion by Sonefeld. There is also more natural drama in Rucker’s voice than the overly melodramatic tracks that precede this track. “I’m Goin’ Home” starts with a jazzy acoustic accented by fine electric riffs from Bryan, and some soaring Hammond organ by session man John Nau, who also later contributes some piano to the track. “Drowning” has an interesting time signature in the rhythm and a quasi-rap rhythm in the melody, all with strong rock guitars, while “Time” contains a dramatic intro with slowly picked electric riff during the first verse, giving way to a full band arrangement starting with the second. Later in this song is a short but pretty interesting lead by Bryan and alternating call and return vocals by Rucker and the other group members.

Unfortunately, the album closes with three less than inspiring songs. After Haydn returns for the short track “Look Away”, the basic ballad “Not Even the Trees” does include some interesting sonic elements provided by the acoustic and bass guitars. The closer “Goodbye” is a melancholy piano ballad which never really goes anywhere sonically, save for the short hidden rendition of “Motherless Child” at the very end of the album.

The success of Cracked Rear View won Hootie & the Blowfish the “Best New Artist” Grammy and gave them enough momentum that their second album, 1996’s Fairweather Johnson, quicky topped the charts. However, sales of that album soon waned and the group’s next three releases hardly made a ripple at all, making this debut a true shooting star situation.


1994 Images

Part of Classic Rock Review’s celebration of 1994 albums.

1989 Album of the Year

Full Moon Fever by Tom Petty

1989 Album of the Year

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Full Moon Fever by Tom PettyThis week marked the 25th anniversary of Full Moon Fever, which is listed the first official “solo” album by Tom Petty. However, the circumstances surrounding the production of this album are far too unique to really classify it as solo, especially when you consider the large contributions by members from both of Petty’s (then) current groups – The Heartbreakers and The Traveling Wilburys. From that latter group came Jeff Lynne, who co-wrote and co-produced the album, which became Petty’s greatest critical and commercial success of his career, spawning seven radio singles which kept material from the album on the airwaves for years to come. More impressively, the material from this album has stood the test of time.  This was the major deciding factor in our naming Full Moon Fever as Classic Rock Review’s Album of the Year for 1989.

While Tom Petty and the Heartbreakers had found top-level fame in the early 1980s, they began to stagnate a bit by the middle part of the decade. Their 1987 release Let Me Up (I’ve Had Enough) had crept towards the metallic eighties pop style, deviating from the Southern-flavored roots pop/rock which had forged the band’s earlier sound. Early in 1988, Petty decided to record a solo album in the vein of what Bruce Springsteen and Phil Collins were doing outside of their respective groups. Petty brought in Lynne as a collaborator, but soon after they got started on this album, they were asked by George Harrison to help him record some B-side material for singles from his most recent album, Cloud Nine. This simple goal soon ballooned into the forming of the “super-group” Traveling Wilburys, to which Petty and Lynne dedicated much of the remainder of that year in producing the fantastic album, Volume One (which also happened to be our Album of the Year, from 1988). The experience of working with this group of legendary musicians had a profound effect on the direction of Petty’s solo album once work on that resumed.

The third producer and major contributor to Full Moon Fever was Mike Campbell, Petty’s guitarist from the Heartbreakers. Although Petty’s decision to do a solo album outside of the Heartbreakers was not received very well by the group members, all but one contributed in some way to this album. The recording process was reportedly laid back and low-key, with Petty finding contributing roles for many musician friends that stopped by Campbell’s garage studio where much of the recording took place. Like many great albums, there were some recorded tracks which did not make the final cut. These included the single b-sides “Down the Line” and “Don’t Treat Me Like A Stranger”, “Waiting for Tonight” featuring the female group The Bangles, and “Indiana Girl”, an early version of “Mary Jane’s Last Dance”, which became a hit five years later.

Full Moon Fever by Tom Petty
Released: April 24, 1989 (MCA)
Produced by: Jeff Lynne, Tom Petty, ↦ Mike Campbell
Recorded: Various Studios, Los Angeles, 1988-1989
Track Listing Primary Musicians
Free Fallin’
I Won’t Back Down
Love Is a Long Road
A Face in the Crowd
Runnin’ Down a Dream
I’ll Feel a Whole Lot Better
Yer So Bad
Depending On You
The Apartment Song
Alright for Now
A Mind with a Heart of Its Own
Zombie Zoo
Tom Petty – Lead Vocals, Guitars, Keyboards
Mike Campbell – Guitars, Mandolin, Keyboards
Jeff Lynne – Bass, Guitars, Keyboards, Vocals
Phil Jones – Drums, Percussion
Full Moon Fever by Tom Petty


The album commences with “Free Fallin'”, which would ultimately become the most popular song associated with Petty. With beautifully blended acoustic guitars and wistful, sarcastic lyrics. Using vivid scenery from California’s San Fernando Valley, Petty speaks of breaking free from a past love, but is freely falling a good thing or not? Although the song never leaves the core chord structure, there is much variety to vocal inflections and various guitar riff variations and arrangements.

Not far behind in popularity is “I Won’t Back Down”, a simple song about things worth fighting for with a syncopated bass line, vibrant guitar licks and good harmonies on the chorus. Harrison joins in along with Howie Epstein, making the lineup simultaneously three-fifths Wilburys and three-fifths Heartbreakers on the recording. The first single released from Full Moon Fever, the song reached the Top 20 on the charts. Co-written by Campbell, “Love Is a Long Road” employs classic Heartbreakers’ style rock and roll. With driving guitars backed with hard driving drum and bass and sharp production, the song continues the theme of salvation through fighting for things worthwhile.

After the calm and steady Americana of “A Face in the Crowd”, a song of anonymity with little variation, the album reaches its dynamic climax with “Runnin’ Down a Dream”. Frenzied rock compared to the rest of this album, this riff-driven tune sounds like a relentless car chase with some outstanding guitar solos and a signature reference to Del Shannon. The song reached the top of the Billboard Album Rock Tracks and has since found a residency on classic rock stations. Following “Running Down a Dream” on CD versions, Petty gives a tongue-in-cheek monologue about the marking of the end of the first side of the LP.

While not as punchy and driven as the original “Side 1”, the songs on the second side shift towards more personal themes. The cover “I’ll Feel a Whole Lot Better” is a nod to one of Petty’s favorite bands, The Byrds, with doubled vocals and twangy guitars, its nothing new or different from the original, but it does introduce younger Petty fans to one of his influences. The Wilburys sound returns with “Yer So Bad”, an upbeat acoustic folk tune with layered guitars, harmonized vocals, some sarcastically cute lyrics and a catchy chorus. “Depending On You” is a bit Beatlesque, with its toe tapping beat and a chorus that sticks in your head, while “The Apartment Song” is a throwaway,  but fun with an interesting ‘interlude’.

Tom Petty

“Alright for Now” may be the best forgotten gem on the album, as a short and sweet lullaby performed on acoustic. The song shows the true range of compositions Petty and Lynne utilized on this album. “A Mind With a Heart of It’s Own” is another highlight of side two, with a jangly Bo Diddley beat and an overall retro feel to the production and vocals. The lyrics on this song are glimpses of memories and connections tangentially strung together. The closer ,”Zombie Zoo” ,may be considered Tom Petty’s “Monster Mash”. Set in a nightclub with an overall theme of substance vs. style, with modern sock-hop rock, penny whistle organ, and rich sound and vocal arrangements. The late Roy Orbison even joined in on backing vocals on this song.  This is the closest the production comes to having an ELO-type vibe, showing Lynn’s great restraint at refraining from past production practices.

Full Moon Fever peaked in the Top Ten on both sides af the Atlantic and has gone well past 5× platinum on both continents. The following year, Petty returned to the Wilburys, releasing their second album oddly titled ,a href=”/1990-traveling-wilburys-vol-3/”>Volume 3 (leaving many to call this album “Traveling wilburys, Volume 2”). In 1991, Petty reunited with the Heartbreakers and found renewed success with Into the Great Wide Open, as Petty’s success cascaded well into the next decade.


1989 Images

Part of Classic Rock Review’s celebration of 1989 albums and our Album of the Year.


The Allman Brothers Band 1969 debut album

The Allman Brothers Band

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The Allman Brothers Band 1969 debut albumAs a group that became known for their live performances, The Allman Brothers Band did put out a handful of excellent studio albums. The first of these was their self-titled debut which fused blues, soul, and jazz into a potent rock and roll mixture. The album was produced by Adrian Barber with the original compositions written by lead vocalist and keyboardist Gregg Allman and features the inventive lead guitar work of Duanne Allman. Led by the brothers that gave the group its name along with a rich ensemble of six talented musicians, The Allman Brothers broke new ground in the very fertile music year of 1969.

Originating from the coast of Florida, the brothers Allman formed many groups through the 1960s. Starting with The Escorts in 1963, when the brothers were in their mid-teens, they went on to form the Allman Joys in 1965 and Hour Glass in 1967. Finally, The Allman Brothers Band was formed as the fourth incarnation of an Allman led group. Dickey Betts was enlisted as a second lead guitarist along with bassist Berry Oakley and the twin drummer/percussionists of Butch Trucks and Johanny “Jaimoe” Johnson.

After forming in early 1969, the group worked out their sound by playing throughout the South and building a dedicated audience. They also migrated their base from Jacksonville, Florida to Macon, Georgia during this time, as illustrated by the album cover photo at Mercer college. Once they worked out a record deal, the Allman Brothers recorded their debut album in New York City in September 1969.

The Allman Brothers Band by The Allman Brothers Band
Released: November 4, 1969 (Atco)
Produced by: Adrian Barber
Recorded: Atlantic Recording Studios, New York, September 1969
Side One Side Two
Don’t Want You No More
It’s Not My Cross to Bear
Black Hearted Woman
Trouble No More
Every Hungry Woman
Whipping Post
Group Musicians
Gregg Allman – Lead Vocals, Keyboards
Duane Allman – Guitars, Vocals
Dickey Betts – Lead Guitars
Berry Oakley – Bass, Vocals
Butch Trucks – Drums
Jai Johanny “Jaimoe” Johanson – Drums, Percussion

Perhaps an odd selection for the opening track of a debut album, the Spencer Davis Group instrumental cover “Don’t Want You No More” takes the lead.  The track thunders in through a rudimentary first section with excellent drum beats by the duo drummers of Trucks and Johanson, and acts as a perfect overture and intro to the weeping blues of “It’s Not My Cross to Bear”. The most striking thing about this tune isthe soulful vocal by Gregg Allman in the type of intense blues rock which would soon be echoed by Led Zeppelin, especially on 1970’s “Since I’ve Been Loving You”.

With a joyous intro riff with odd timing in rhythm, “Black Hearted Woman” may be the quintessential Allman Brothers composition from this album. While the verses are funk/rock in nature, the song is the most rock-oriented song with catchy riffs, a cool percussion section, and vocal wailing to match the guitars. After a false ending, the song gets even more frantic for the final 30 seconds. “Trouble No More” ends the first side with the second and final cover song, originally recorded by Muddy Waters in 1955. It starts with straight-up drum beat and contains acoustic and electric guitar interplay between Duanne Allman and Dickey Betts throughout, which works to bring the blues standard into the stratosphere.

Allman Brothers Band 1969

Side two starts with “Every Hungry Woman”, a cool sixties electric rock track. After an intro slide guitar, a rock riff, meanders its way into the verses, accented by Gregg Allman’s overloaded organ sound and single guitar notes squeezed out with the urgency of a car horn. The rhythm is also excellent with the bouncy bass by Oakley and twin drummers hitting every jazz and blues button. The best overall song on the album, “Dreams” rolls in with methodical sound scape of sustained organ and savored guitar notes. It soon morphs into a high-class blues rock tune with a masterful musical interlude during the refrains with a rapid guitar rotation and matching rhythm. The long middle guitar lead starts prior to the two minute mark and takes up the bulk of the middle of the song before the group returns with another two verses divided by sections which feature a much stronger organ presence and a descending guitar riff.“Dreams” is a nice slow blues song that, at seven minutes, gives Duane some room to improvise

The album closes with “Whipping Post” and the doomy, picked bass intro which has become one of the more famous riffs in rock music. The song illustrates Gregg Allman’s travails in the music business, although he was only 21 at the time of composition. By far, this is Berry Oakley’s best performance on the album and definitely its most popular song.  The tune does tend to get melodramatic towards the end, but not to the point of tackiness. While only five minutes long on this studio version, “Whipping Post” would swell to over twenty minutes when performed live, as illustrated on the side-long epic on the 1971 live album,  At Fillmore East.

The Allman Brothers Band was in no way successful commercially, as it received little beyond the Southern region of the United States and would only peak at number 188 on the album charts. However, it set the table for the vastly more popular material of future years and established the Allman Brothers Band as a musical force.


1968 Images

Part of Classic Rock Review’s celebration of 1969 albums.

The Band 1969 album

The Band 1969 album

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The Band 1969 albumAs a perfect counterpart to Music from Big Pink, their 1968 debut album, The Band embarked on part two of their new musical, North American roots journey with their eponymous second album in 1969. It was as if to say that the debut was no mistake, the group upped the ante by declaring in the liner notes that “the songs focus on people, places and traditions associated with an older version of Americana…” This recording was a critical and commercial success on all fronts, reaching the Top 10 on the pop album charts and eventually preserved into the US National Recording Registry due to its “cultural and historical importance”.

The album that would eventually become known by some as “The Brown Album” was recorded between gigs as the group played their first live shows, starting in early 1969 through an appearance at the Woodstock Festival in August which happened to be named after the town adjoining their “big pink” dwelling which gave the Band’s debut album its title. The album was recorded in Los Angeles and featured songs mainly written by guitarist Robbie Robertson and produced by John Simon, who also provided much of the brass instrumentation on the album.

With this second, strong album, the Band came into their own as a viable, independent group, breaking out of the shadow of Bob Dylan, who they had previously backed up and began their debut album with. The blend of rural Americana and urban-centric rock really struck a chord with listeners as the mature musicians who began their musical journey in the 1950s found broad appeal in the post-psychedelic era.

The Band by The Band
Released: September 22, 1969 (Capitol)
Produced by: John Simon
Recorded: West Hollywood, CA, Early to Mid 1969
Side One Side Two
Across the Great Divide
Rag Mama Rag
The Night They Drove Old Dixie Down
When You Awake
Up On Cripple Creek
Whispering Pines
Jemima Surrender
Rockin’ Chair
Look Out Cleveland
The Unfaithful Servant
King Harvest (Has Surely Come)
Band Musicians
Robbie Robertson – Guitars, Vocals
Richard Manuel – Piano, Keyboards, Saxophone, Vocals
Garth Hudson – Piano, Organ, Clavinet, Saxophone
Rick Danko – Bass, Fiddle, Vocals
Levon Helm – Drums, Percussion, Vocals

“Across the Great Divide” starts as a spiritual before breaking into a steady rocker. There are effective keyboards bass and drums from Rick Danko and Levon Helm. The shortest song on the album, this acts as a nice intro track for The Band. The title “Rag Mama Rag” leaves no mystery to the song’s style and features Helm on mandolin and Danko on fiddle. The song was released as a single and reached the Top 40.

Although not released as a single, “The Night They Drove Old Dixie Down” has become one of the most popular songs by the group. While written by the Canadian born Robertson, the song convincingly tells of the last days of the American Civil War and the culture of Antebellum. Musically, the song paints a vivid picture perfectly of the human sense of history and aura of authenticity.

Pianist Richard Manuel co-wrote and sang, “When You Awake”, a steady and melodic ballad. In contrast, the choppy, upbeat rhythms of “Up on Cripple Creek”, paired with the ever-present clavichord of Garth Hudson helps make this song indelible. The multi-verse format leaves signs of Dylan influence but, overall, The Band’s sound makes this undeniably original. Helm’s lead vocals, from barking out the verses to yodeling the outro are constantly loose and carefree while Hudson tactfully applies a wah pedal to his clavichord during the breaks after the choruses. “Whispering Pines” is a unique ballad with dark, almost psychedelic organ accompanying the minor key piano by Manuel. There is a definite Grateful Dead influence, making it both haunting and beautiful.

The Band in 1969

The second side opens with “Jemima Surrender”, co-written by Helm with a melody very similar to “Up On Crippled Creek”. However, it is musically much different, driven by ever-present piano licks along with other musical motifs on guitar and horns. “Rockin’ Chair” is bluegrass to the core. Acoustic guitar, mandolin, and fiddle sets the rustic mood and paints the perfect picture of a porch jam, while providing great variety for this album, as nothing else is quite like this on The Band. “Look Out Cleveland” is the most rock-oriented song on the second side with interesting rhythms and fills, especially Danko’s sizzling bass and Robertson’s bluesy guitar riffs.

“Jawbone” is a very interesting hybrid of a song – from spiritual to waltz to a rock-riff oriented verse. The song has diverse qualities which barely jive, but jive nonetheless, to make it an excellent listen and the best song on side two of the album. The mood is then brought down a bit with “The Unfaithful Servant”, an acoustic and piano ballad where Simon’s horns add a wild, almost spooky element to the otherwise typical country-waltz. The closer “King Harvest (Has Surely Come)” provides yet one more surprise, being funky and jazzy musically like nothing else preceding it. Although credited solely to Robertson, this was really a group effort and a very strong selection to finish the album.

Following the release and success of The Band, the fame and attention to the group, along with the press anointing Robertson as the “leader”, started to take toll on the band’s chemistry. Still, they continued to tour and make great music right through The Last Waltz in 1976, when they retired from touring with a massive farewell concert.


1968 Images

Part of Classic Rock Review’s celebration of 1969 albums.

At Folsum Prison by Johnny Cash

At Folsom Prison by Johnny Cash

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At Folsum Prison by Johnny CashClassic Rock Review only covers studio albums, not compilations or live albums. But there will be one exception to this rule – At Folsom Prison by Johnny Cash. This totally unique and legendary record, by one of the legendary founders of rock and Americana, may be the most honest album of all time. The album was recorded in one day at Folsom State Prison in California, where Cash performed two nearly identical shows during the morning and afternoon of January 13, 1968, with 15 tracks chosen for the album. We mentioned this during our Feature on Live Albums, when we proclaimed the studio album exclusivity. But again, this is an exception due to the artist and its place in time.

Cash had the concept of recording an album live in a prison since he wrote “Folsom Prison Blues” in 1955 and he finally got the go-ahead in 1967 from Columbia Records and producer Bob Johnston. Still, Cash mainly financed the project himself. Accompanying Cash on stage were “The Tennessee Three”; guitarist Luther Perkins and bassist Marshall Grant, who had worked with Cash since he moved to Memphis in 1954, and drummer W.S. Holland. The performers rehearsed for days, an uncommon occurrence for them, and were even visited by California governor Ronald Reagan during a rehearsal.

A few of the songs recorded but not released on the original album were the country waltz and farmer’s lament “Busted” and “Joe Bean”, a song about a prisoner falsely accused who faces a hanging on his birthday. “The Legend of John Henry’s Hammer” is a theatrical song, written by Cash and his future wife June Carter, from the 1963 album Blood, Sweat, and Tears. With metallic hammer sounds throughout, this recording  suffers from too many tempo changes (which is probably why it was ultimately left off the album).

Cash himself was no stranger to run-ins with the law. Having struggled with drugs and alcohol, he was arrested several times in the late fifties and early sixties. Although he never served a prison sentence, these incidents helped cultivate his outlaw image which he embraced throughout his career. Still, Cash credits this album and the ensuing fame as helping turn his life around.

At Folsum Prison by Johnny Cash
Released: May, 1968 (Columbia)
Produced by: Bob Johnston
Recorded: Live at Folsom State Prison, January 13, 1968
Side One Side Two
Folsom Prison Blues
Dark As a Dungeon
I Still Miss Someone
Cocaine Blues
25 Minutes to Go
Orange Blossom Special
The Long Black Veil
Send a Picture of Mother
The Wall
Dirty Old Egg-Suckin’ Dog
Flushed From the Bathroom of Your Heart
Give My Love to Rose
I Got Stripes
Green, Green Grass of Home
Greystone Chapel
Primary Musicians
Johnny Cash – Lead Vocals, Guitar, Harmonica
Luther Perkins – Guitars
June Carter – Vocals
Marshall Grant – Bass
W.S. Holland – Drums

The performances actually began with performances by Carl Perkins and The Statler Brothers, who also joined Cash during the latter part of the performance. A prison MC encouraged the prisoners to “respond” to Cash’s performance, but also made personal announcements for prisoners (by number) when they had a visitor, making this all the more real. Cash breaks right into his performance with his signature “Hello, I’m Johnny Cash” before breaking into “Folsom Prison Blues”. Cash was inspired to write this after seeing the movie Inside the Walls of Folsom Prison while serving in the Air Force in West Germany. While it wasn’t a big hit originally, this live version became a Top 40 pop hit in 1968 and topped the Country charts.

Many of the remaining  songs on the album fit well with prison, sorrow, and longing for freedom. Merle Travis’s “Dark As a Dungeon” is a slow,  country waltz about Appalachian coal miners, while “I Still Miss Someone” is a short and sweet song with melodic vocals, written by Cash and his nephew Roy Cash Jr. Red Arnall’s “Cocaine Blues” is perhaps the most intense and exciting part of the first side, with the music again employing the famous “train” rhythm and fast shuffle throughout with the two note bass line of Grant, never really deviating until the very end.
Johnny Cash on stage at Folsom Prison
Shel Silverstein’s “25 Minutes to Go” is a countdown to execution, performed very similar (albeit inverse) to Cash’s famous flood song “Five Feet High and Rising” with a few key changes for effect. On this song, Cash sells the desperation well with lyrics like;

Well I’m waiting for the pardon that well set me free, with 9 more minutes to go, but this ain’t the movies so forget about me, 8 more minutes to go…”

On the traditional fiddle song “Orange Blossom Special”, Cash plays harmonica and sings all the parts in this frantic and breathless song with great drum rolls by Holland.

Cash then performed several ballads and folk songs solo, with just his acoustic guitar. “The Long Black Veil” is a haunting folk song, with haunting but beautiful vocals by Cash, which tell a story about a man falsely accused but refuses to provide an alibi in order to save the honor of his best friend’s wife. “Send a Picture of Mother” is a Johnny Cash original and pure folk song which shows that Cash’s originals are still the best songs in this collection. Harlan Howard’s “The Wall” is a song about escaping prison;

Well, the warden walked by and said son don’t try, I’d hate to see you fall, well, there is no doubt, they’re carry you out if you ever touch that wall…”

…lyrics to which Cash comments “they’re mean bastards, aren’t they?” A couple of novelty songs from his album Everybody Loves A Nut follow, “Dirty Old Egg-Sucking Dog” and “Flushed from the Bathroom of Your Heart”, adding comic relief to the show.

June Carter and the Tennessee Three bring the level back up with the recent hit from 1967, “Jackson”, one of the highlights of the second side. The album then concludes with a quartet of songs specifically about prison. “Give My Love to Rose” is a Cash original in the traditional tragic country form about a prisoner and his lament of not seeing his wife and son. This has a much larger chord set than most Cash songs, with guitarist Luther Perkins doing a great job with the subtle changes. “I Got Stripes” gets back to the upbeat train rhythm, while Curly Putman’s popular worldwide sixties tune “Green, Green Grass of Home” features the Statler Brothers and June Carter returning to the stage.

The album concludes with “Greystone Chapel”, an original composed by Glen Sherley, who was then an inmate at Folsom. Sherley made a recording of the song and passed it on to a pastor who regularly visited inmates at Folsom, who then got it to Cash. The inclusion of this song solidifies the authenticity of the album and its intent.

At Folsom Prison reached the Top 20 in several countries and really revitalized Cash’s career, with several of his earliest recordings making a popular comeback in subsequent years. Cash would record two more live albums at prisons; San Quentin in California in 1969 and Österåker Prison in Sweden in 1972. He also soon took on the persona of “The Man in Black” to show his solidarity with all the downtrodden.


1968 Images

Part of Classic Rock Review’s celebration of 1968 albums.