Jeff Buckley - Mystery White Boy: Live '95-'96 (2000)

Jeffrey Scott "Jeff" Buckley (November 17, 1966 – May 29, 1997), was an American singer-songwriter and guitarist. He is the son of Tim Buckley, also a musician.

"Mystery White Boy" is a live album by Jeff Buckley released in 2000. This is a compilation of live recordings that Buckley's mother Mary Guibert compiled from DAT recordings of his supporting tour for Grace.
It's hard to judge Jeff Buckley's live collection "Mystery White Boy: Live '95-'96" without thinking of what might have been, without realizing that he never fulfilled the extent of his potential. If that sounds harsh, it's not meant to be  it's more of an acknowledgment of the tragedy of his premature death. After all, "Mystery White Boy" simply wouldn't exist if Buckley was alive when it was released in the spring of 2000. That wasn't the case with Sketches for My Sweetheart the Drunk, the first posthumous release of his unreleased recordings. Those tapes were the foundation of what would have become his second album; the tapes that formed "Mystery White Boy" were DAT recordings of his supporting tour for "Grace" (which the album was named after), many of which weren't intended for release at any time. Once Buckley unexpectedly passed away, they became a core part of his legacy, particularly because his concerts were notoriously unpredictable and thrilling, sometimes transcendent (at least according to partisan fans). "Mystery White Boy" doesn't quite convey that sense of majesty, largely due to the uneven sound quality and the fact that it's a compilation, thereby lacking the ebb and flow of a real live show. Buckley's mother Mary Guibert claims in the liner notes that the compilation worked better than any individual concert, and she may well be right, since the album has a consistency that a full concert may not have. Still, it's hard not to slightly miss the dramatic rhythm of a real show. Even so, "Mystery White Boy" is a valuable document, since it does prove that Buckley could transcend time and place with a live show. That might only be of interest to hardcore fans, but they'll still thrill to this, all the same.


01.  Dream Brother  (Jeff Buckley, Mick Grondahl, Matt Johnson)  - 8:48
02.  I Woke Up in a Strange Place  (Jeff Buckley)  - 5:05
03.  Mojo Pin  (Jeff Buckley, Gary Lucas)  - 6:06
04.  Lilac Wine  (James Shelton)  - 5:19
05.  What Will You Say  (Carla Azar, Jeff Buckley, Chris Dowd)  - 7:34
06.  Last Goodbye  (Jeff Buckley)  - 4:58
07.  Eternal Life  (Jeff Buckley)  - 5:57
08.  Grace  (Jeff Buckley, Gary Lucas)  - 5:39
09.  Moodswing Whiskey  (Jeff Buckley, Michael Tighe)  - 5:37
10.  The Man That Got Away  (Harold Arlen, Ira Gershwin)  - 3:46
11.  Kanga-Roo  (Alex Chilton)  - 10:23
12.  Hallelujah/I Know It's Over (medley)  (Leonard Cohen / Johnny Marr, Morrissey)  - 9:18

Bonus Australian disc
1.  That's All I Ask  (Nina Simone) (live Price Patrick Hotel, Sydney)  - 5:26
2.  Lover, You Should've Come Over  (Jeff Buckley) (Live À L'Olympia, Paris)  - 7:32
3.  So Real  (Jeff Buckley, Michael Tighe) (live Nighttown Hall, Rotterdam)  - 5:17

Bonus Japanese disc
1.  So Real  (Jeff Buckley, Michael Tighe) (live On Air Azabu Studios, Tokyo)  - 4:25
2.  Last Goodbye  (Jeff Buckley) (live On Air Azabu Studios, Tokyo)  - 4:38
3.  Lover, You Should've Come Over  (Jeff Buckley) (live On Air Azabu Studios, Tokyo)  - 7:21

Released:  May 9, 2000
Recorded:  February 22, 1995 - February 28, 1996
Label:  Columbia
Genre:  Folk, Singer/Songwriter
Length:  78:29
Producer:  Mary Guibert, Michael Tighe

Credits
Jeff Buckley - vocals, guitar
Michael Tighe - guitar
Mick Grondahl - bass
Matt Johnson - drums
 

Shiloh - Shiloh (1970)

In the  mid sixties Richard Bowden, Don Henley, Jerry Surratt and Freddie Neese formed a band called the Four Spreeds. Freddy Neese replaced by Joey Brown and they change their name to Felicity around 1965, In 1969 Joey Brown left Felicity and Richard Bowden took over the guitar duties from him. Mike Bowden, the cousin of Richard Bowden came in to play the bass.
Later the same year Felicity wanted to augment their line-up by adding another guitarist.When they attended a concert by a group called Foxx they found the musician they were looking for: The guitarist of Foxx was a guy who also played a pedal steel guitar. This was exactly the person they were looking for, so they asked that musician, he was a certain Al Perkins, whether he was interested in joining Felicity. Perkins came over to jam a little bit with the group and he really liked the group's approach to music. So he decided to join.
Now Felicity changed their name to Shiloh.
Shiloh had been formed at a time, when the members were still at college. When they were out of college they were in the lucky situation that the popularity of their group already was big enough to earn a living out of music. They were able to concentrate on writing and performing. In 1969 they met Kenny Rogers, who encouraged them to go to Los Angeles.

There they recorded an album, which was produced by Kenny Rogers. Out of the recording sessions they released two singles. The first single, presenting two tracks that were not included on the later album, was a regional hit but the album and the second single were unnoticed by the record buying public.

Shiloh changes the squishy Little rock of ' Simple Down Home Rock & Roll Love Song For Rosie "and" Swamp River Country ' with the purest imaginable country rock of ' Same Old Story ' and ' I'm Gone '. In either case, excels All Perkins on slide guitar, pedal steel, respectively. The highlight of this only album of Shiloh is the heartbreaking beautiful valve ' God Is Where You Find Him '. But it is said to have fallen on deaf ears; Once in L.A. Is the band with guitarist, keyboardist Jim Ed Norman and Perkins the cousins Mike and Richard Bowden not last long.

The drummer, singer and song writer leaves for the band by Linda Ronstadt, Longbranch Pennywhistle meets there the half of the countryrockduo and a band with him on: The Eagles. The record spawned one regional hit single, but went otherwise unnoticed, and that, together with a bad management deal, caused the band to break up.

In April 1971 Shiloh disbanded. Don Henley explained the reasons for the break up: We had no work, we had a bad management and the record company didn't do anything for us.

Al Perkins replaced Sneaky Pete Kleinow in the Flying Burrito Brothers and Jim Ed Norman became a producer. Soon after the Shiloh break up, Richard Bowden, his cousin Mike Bowden and Don Henley together with Glenn Frey from the Longbranch Pennywhistle formed the Linda Ronstadt Band.

 

Track listing

 

01.  "Simple Little Down Home Rock & Roll Love Song For Rosie"  (Michael McGinnis)  - 3:30  

02.  "I'm Gone"  (Don Henley)  - 4:55  
03.  "Left My Gal In The Mountains"  - 3:08  
04.  "It's About Time"  (Richard Bowden) - 2:06  
05.  "Swamp River Country"  (Jim Norman) - 5:13  
06.  "Railroad Song" (Traditional)  (Don Henley)  - 4:02  
07.  "Same Old Story"  - 2:41  
08.  "Du Raison"  (Jim Norman, Richard Bowden)  - 3:13  
09.  "Down On The Farm"   - 2:25  
10.  "God Is Where You Find Him"  (Don Henley) - 5:55  
11.  "Jennifer"  (Don Henley, Jerry Surratt) - 3:41  
12.  "Tell Me To Get Out Of Your Life"  - 3:01

 

Credits

Acoustic Guitar, Electric Guitar – Richard Bowden
Bass Guitar – Mike Bowden
Drums – Don Henley
Keyboards – Jerry Surratt
Keyboards, Acoustic Guitar – Jim Norman
Lead Vocals – Don Henley, Richard Bowden

Steel Guitar, Electric Guitar – Al Perkins

Strings – Linden Philharmonic Orchestra
Adapted By, Arranged By – Shiloh
Arranged By – Al Perkins
Producer – Kenny Rogers

 

Notes

Recorded at Quantum Studios. Originally released as Amos Records AAS7015 in 1970 without tracks 11 and 12. Those tracks had previously been released as a single (Amos AJB140) in 1969.
Genre:  Country Rock
Length:  40:57
© 1969

 

Label - Amos Records

Airwaves - New Day (1978)

Airwaves, a British progressive rock group of the late 70s.

"New Day" is the debut album from Airwaves, a british rock band. A delighful record really, sort of  like 10CC lite and Klaatu without the progressive tendencies. To get a feel for the album, it is important to first note that they were a studio band. And second, that the album is really good. Half of the time, it brings oldies rock and roll "up to date" to the production smoothness of the late 70's. Think if Chuck Berry and Beach Boys were recording their music with super-slick 70's production. The Album begins with a "Kokomo" drum beat and "dirty bad-ass" synthesizers in "Love Stop". The song kinda sounds like Foreigner's "Urgent" backed with Bee Gee harmonized vocals. Its funky, but not what makes the album good. The next song sounds like typical 70's smooth rock, part Wings, part Beach Boys "Aren't You Glad". "The Cat" begins with a cat 'meow' and slinks into a slowed up "Footloose bounce" synthesized bass line. "The Cat" is like the first track in mood and delivery. "Keep Away the Blues" is a catchy folky lite-rock single. Echoed verse and harmonized backgrounds give tremendous depth to this positive, motivational track. Somewhat of a ballad, "Hope You Won't" is still bouncy, but the vocals slowly rise and fall along the melody, asking his new love to stay. Next, they slow it down even more, to deliver their most famous song (by internet search standards): the completely accapella "You Are the New Day." It has the feeling of a church choir singing a Christmas carol. Here is a sample of a cover by the Kings Singer. Side 2 picks up the pace slightly with the sadly inevitable sequel to "Hope You Wont:" "So Hard Living Without You." This could easily be an Air Supply song, except the production is more in line with the Beach Boys...this song is the link between those two bands. "Nobody Is" is their rendition of Chuck Berry's "Never Can Tell." This is a really great song, with a pleasant, quick tempo, and even a loud guitar solo, going in a completely different direction than the rest of the album. Because of this track, Let Me In is not the stand out track. The originality continues into "Hideaway." The chorus is very catchy, but creatively timed. A bit slower than "Nobody Is," but just as positively optimistic as "Keep Away The Blues." The next song, "Don't Let the Daylight In" is just like "The Cat" and "Love Stop," in musical style. Being another slowed up version of "Urgent, " it feels like background music to a poorly conceived early 80's detective TV show. Finally, like any good High-School essay, the album ends with a nice concise thesis, summarizing everything that came before it with "Go Better."

 

01.    Love Stop   (John David)  - 3:24
02.    Let Me In   (Ray Martinez)  - 3:17 
03.    The Cat   (John David)  - 2:46
04.    Keep Away The Blues   (Ray Martinez)  - 3:21 
05.    Hope You Won't   (Ray Martinez)  - 3:30 
06.    You Are The New Day   (John David)  - 2:08 
07.    So Hard Living Without You   (John Bettis, Kerry Chater)  - 3:30 
08.    Nobody Is   (John David)  - 3:18
09.    Hideaway   (Ray Martinez)  - 3:01 
10.    Don't Let The Daylight In   (Paul Cobbold, Francis Russell)  - 3:42 
11.    Go Getter   (John David)  - 4:05
   
Released:  1978
Label:  Mercury
Genre:  Pop, Rock
Time:  36:02
Producer:  Pat Moran 
Engineer:  Pat Moran
Recorded at:  Rockfield Studios, Wales, U.K., 1977
Mastered at:  A&M Recording Studios, Hollywood, California
Mastered By:  Bernie Grundman
Engineer [Assistant]:  Dave Charles

Credits

Dave Charles - Drums, Percussion
John David - Lead Vocals, Harmony Vocals, Bass Guitar, Keyboards
Ray Martinez - Lead Vocals, Harmony Vocals, Guitar, Keyboards, Horns