into the historic confines of Tremont Street’s Boston Music Hall on a Tuesday night in December, the New Riders had their engines primed and delivered a powerful set of originals that included "Sutter’s Mill," "Groupie" and "Whiskey" from Gypsy Cowboy, and fan favorites "Truck Drivin’ Man," "Hello Mary Lou" and the stompin’ show closer "Willie And The Hand Jive." With Buddy Cage now firmly entrenched behind the pedal steel guitar and taking the band to a new sonic plane, you can feel the energy and excitement of the night come solidly through on NRPS staples "Whatcha Gonna Do," "Portland Woman," "Last Lonely Eagle," " Louisiana Lady," "Glendale Train" and "I Don’t Know You." A rollicking version of Chuck Berry’s "Sch...  (less)

to the quadrilles and cotillions once heard at the fancy dress balls of Lexington. This two volume set of field recordings, made between 1972 and 1995, samples the way the fiddle used to sing out at the dances of northeastern Kentucky. The present volume is devoted to the music of the little communities that dot the Kentucky River as it winds its way down from the ragged canyons of Wolfe County to the gently rolling hills of the inner Bluegrass state. This product is manufactured on demand using CD-R recordable media. Amazon.com's standard return policy will apply.  (less)

of New Music Series that has served since 1972 to bring new music to the college campus. He has established close ties with musical audiences throughout the country but with a particular focus around Philadelphia and throughout Pennsylvania. He has composed works for solo instruments, chamber ensembles, orchestra and the electronic medium. In describing his music Nelson says, “I utilize mathematical strategies or formal systems and I use computer technology in the creation of my music while, at the same time, my music is very much grounded in traditional concepts of lyricism and harmonic motion.” A reviewer described Nelson's music as “having an open and easy approach to tonality- neither insisting on it nor rejecting it. Musical intuition is supplemented...  (less)

Door," "He Stopped Loving Her Today," to name just three--elevated Jones from great country singer to living legend. This 16-track set skips far too many Jones-Sherrill highlights (and it oddly includes "Radio Lover," one "biggest hit" that was never a hit at all), but it's the only one-disc set to provide an overview of the team's entire 17-year partnership. From 1972's poignantly countrypolitan "A Picture of Me" to the grim humor of 1989's "The King Is Gone," no country music is as painfully beautiful as this. --David Cantwell  (less)

Door," Sherrill has the strings there from note one, softly providing the singer emotional support, and as Jones anguishes through a litany of all he's ever lost, it sure sounds like he needs it. In fact, on each of these 22 classics of honky-tonk heartache, Jones chokes down tears and swallows notes--his voice twisting, soaring, crying--as he weaves drunkenly down the thin line between despair and one more last chance. Country music has never sounded this devastated. Maybe it never will again. --David Cantwell  (less)

of the Byrds classic "Eight Miles High," being reworkings of previous efforts. One of the architects of country-rock through his membership in the Byrds and the Flying Burrito Brothers, Hillman (mandolin, guitar, lead vocals) here continues to blend folk, alt-country, bluegrass, and the roots of rock with the occasional surprise--particularly the guest appearance of Jennifer Warnes on a startlingly beautiful and despairing version of "The Water Is Wide." Throughout, old pal Herb Pedersen joins him on guitar, banjo, and backing vocals, and Sally van Meter contributes a haunting Dobro. Highlights include an anxiety-laden reprise of "It Doesn't Matter," which Hillman and Stephen Stills cowrote for 1972's Manassas ; the affecting, minor-key modality of the...  (less)

forthcoming reunion album featuring the original quintet, Farther Along proved to be the better album. On it are indications of just what made the Byrds' marriage of space-rock, country music, and pop such a special hybrid. Clarence White's title track and the poignant "Bugler" display the band's strengths admirably. This lavishly expanded reissue is augmented by three previously unreleased tracks--"Driving Wheel," "Born to Rock and Roll," "Bag Full of Money"--that bridge the gap between the end of the Byrds and the beginning of Roger McGuinn's solo career. --Patrick Humphries  (less)