Winchester, Tennessee

Jesse Winchester - Jesse Winchester (1970) & Third Down, 110 To Go (1972) {Edsel Records EDSS 1073 rel 2012}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 363 Mb | MP3 @320 -> 154 Mb
Full Artwork @ 300 dpi (png) -> 90 Mb | 5% repair rar
© 1970, 1972, 2012 Bearsville Records / Demon Music / Edsel Records | EDSS 1073
Rock / Folk Rock / Modern Electric Blues / Singer/Songwriter / Roots Rock

One of the best songwriters of the 1960s and early '70s, with an unassuming style that managed to sound like Fred Neil, J.J. Cale, Jim Croce, Randy Newman, Leonard Cohen, and early Tom Waits by turns (and sometimes all at once), Jesse Winchester would have been as well known and regarded as any of these had history not swept him from Louisiana, where he was born, to Montreal, Canada, where he took up residence in exile (like thousands of other young men at the time) to avoid the Vietnam War. Winchester was working gigs as a lounge pianist when his draft notice came, and while he joined a couple of local bands after his flight to Canada, his life as a musician had been torn apart.

There are a lot of good singer/songwriters around today. But there are few true artists. One who leaves a lasting impression. Dianne Davidson is such an artist. A singer, songwriter, guitarist, performer, and producer, Dianne’s style and range escape categorization. Any genre, Davidson performs with a robust intensity, taking her listeners on a musical journey that few are likely to forget.

1967. The Summer of Love. Sgt. Pepper's and Satanic Majesties, San Francisco, flowers in your hair…and the dear old Shadows, still besuited and a-twanging, a-grooving, and a-moving, and so firmly locked in a bygone age that even grandma thought they were a little square…

On January 12, 1970, 'Time' magazine placed The Band on its cover with the headline, 'The New Sound of Country Rock.' In the taxonomy of popular music, Country Rock was now a thing, a categoryby 1970. There were Country Rock browser bins in some stores, and trade magazines like 'Billboard'routinely classified records as country-rock or country/rock, expecting readers to know what they meant.

On January 12, 1970, 'Time' magazine placed The Band on its cover with the headline, 'The New Sound of Country Rock.' In the taxonomy of popular music, Country Rock was now a thing, a categoryby 1970. There were Country Rock browser bins in some stores, and trade magazines like 'Billboard'routinely classified records as country-rock or country/rock, expecting readers to know what they meant.

Ian Matthews left Fairport Convention in 1969, and while the U.K.'s greatest folk-rock band was beginning to reinvent itself in a more traditional and very British direction, Matthews began digging deeper into the American influences that had marked his old band's first era. Later That Same Year, the second album from Ian's new group Matthews Southern Comfort (it was released in late 1970, a mere six months after their debut, hence the title), is a beautiful set of songs that splits the difference between West Coast folk-rock and early country-rock, with Gordon Huntley's pedal steel and Roger Coulam's lending an air of sunny sadness that dovetails beautifully with Matthews' silky tenor. Matthews wrote three of the songs on Later That Same Year, and they rank with the album's finest moments, especially the ethereal harmonies of "And Me" and the graceful simplicity of "My Lady," but Matthews also borrows some excellent material from American writers, including a cover of Neil Young's "Tell Me Why" that remains faithful while creating a languid mood of its own.