7717 - VARIOUS ARTISTS Celebrating Jon Lord The Composer (2014)

VARIOUS ARTISTS
''CELEBRATING JON LORD THE COMPOSER''
SEPTEMBER 30 2014
59:20

1 Fantasia [From Sarabande]
Jon Lord 4:14
2 Durham Awakes
Jon Lord 8:54
3 All Those Years Ago
Steve Balsamo / Jon Lord (feat: Steve Balsamo / Micky Moody) 6:47
4 Pictured Within
Jon Lord (feat: Miller Anderson) 9:09
5 Sarabande
Jon Lord (feat: Rick Wakeman) 8:36
6 One From the Meadow
Sam Brown / Jon Lord (feat: Margo Buchanan) 9:58
7 Bourrée
Jon Lord 7:22
8 Afterwards
Thomas Hardy / Jon Lord (feat: Jeremy Irons / Paul Mann) 4:20

Miller Anderson/Vocals
Mario Argandona/Percussion
Steve Balsamo/Vocals
Matthew Barley/Cello, Soloist
Jerry Brown/Drums
Margo Buchanan/Vocals
Murray Gould/Guitar, Guitar (Acoustic)
Nigel Hopkins/Organ (Hammond), Piano
Jeremy Irons/Spoken Word
Jon Lord/Orchestration
Paul Mann/Orchestration, Piano
Jacqueline Martens/Violin
Micky Moody/Guitar
Darragh Morgan/Orchestra Leader, Soloist, Violin
Neil Murray/Guitar (Bass)
Orion Orchestra
Anna Phoebe/Violin
Kathryn Tickell/Northumbrian Smallpipes
Rick Wakeman/Synthesizer
Paul "Wix" Wickens/Keyboards, Musical Direction, Piano

REVIEW
by Steve Leggett
The passing of Deep Purple keyboardist Jon Lord in 2012 was sad for the obvious reasons, but also because he was about to release a just finished re-imagining of his "Concerto for Group and Orchestra," a piece Deep Purple first played live at the Royal Albert Hall in 1969, and one that is often cited as the first true meeting of classical and rock. Lord was a big part of the heavy orchestral prog rock sound of Deep Purple, and he could rock when needed, or take center stage and play pretty as the soundtrack for a majestic autumn wind. He played with other bands as time went on, including Whitesnake, but in his later years he increasingly pursued his aspirations as a classical composer. Which brings us to this set, one of two volumes derived from a historic tribute concert held April 4, 2014 at Royal Albert Hall that marked the 45th anniversary of when Lord's "Concerto for Group and Orchestra" first debuted there. Surviving members of Deep Purple were on hand for the tribute, as well as Paul Weller, Whitesnake's Micky Moody, Iron Maiden's Bruce Dickinson, Yes keyboardist Rick Wakeman, and many others, including the Orion Orchestra conducted by Paul Mann. The evening opened with a classical set from the orchestra, which is what we have here, then went to a more rock-oriented second act, before concluding with a set by Deep Purple -- the rock and Deep Purple portions of the evening are available as Celebrating Jon Lord: The Rock Legend, the other volume of this tribute set. Among the highlights of this opening classical portion are the majestic "Fantasia" (from Sarabande), complete with horns, and a beautiful "All Those Years Ago," which features vocals from Micky Moody and illustrates just how much vision Lord really had for a classical/rock fusion, and in retrospect, how Deep Purple personified that vision.

7716 - PHISH Live In Utica, Disc Two (2011)

PHISH
''LIVE IN UTICA, DISC TWO''
2011
152:37

DISC ONE
1. Vultures 8:45
2. Wolfman's Brother 9:08
Trey Anastasio, Fishman
3. Cities 5:01
4. Guyute 10:30
5. David Bowie 14:14
6. Wilson 4:05
7. Mcgrupp And The Watchful Hosemasters 8:04
8. Saw It Again 6:18
9. Run Like An Antelope 13:17
Tracks By Trey Anastasio, Except 2

DISC TWO
1. Drowned 8:44
2. Sand 10:13
Trey Anastasio, Lawton
3. Theme From The Bottom 8:03
Trey Anastasio, Fishman
4. Axilla I 3:33
5. Birds Of A Feather 6:57
Trey Anastasio, Fishman
6. Split Open And Melt 6:57
7. Have Mercy 6:55
8. Piper 9:04
9. Split Open And Melt 1:56
10. Slave To The Traffic Light 10:52
Abrahams, Trey Anastasio
Tracks By Trey Anastasio, Except 2, 3, 5, 10

Trey Anastasio - Vocals, Guitar
Jon Fishman - Vocals, Drums
Mike Gordon - Vocals, Bass
Page McConnell - Vocals, Keyboards

REVIEW
By Amazon
The Utica box set features the complete October 20, 2010 performance on 2 DVDs and 2 CDs. The box set presents three hours of crucial Phish in an intimate venue with an inspired audience that returned the energy at every turn. The nearly three hours of music on the Utica box set was recorded with 60 channels of digital multi-track and beautifully mixed and mastered, appearing on the DVD's in 5.1 Dolby surround and full-resolution, uncompressed PCM stereo. The video was shot with 8 cameras (16:9 widescreen), recorded and post-edited in High Definition. Combining a stellar performance with gorgeous improvisation and a healthy sense of adventure, Utica makes it clear that the band is back and playing for keeps.
I remember getting Vegas, and while I enjoyed the show, odd choice for dvd release, and no attempt was made to capture the granduer of the light show. Walnut Creek boasted a display of phish aligning with weather, just didnt see the magic. Brooklyn I thought was a great "2.0" performance, but still the dark and down of phish yrs IMO. Coral Sky was neat, and good lord the Clifford Ball captured the Clifford Ball, but Live in Utica is finally a dvd that captures Phish being Phish that make the off nights ok and anything better completely mind-blowing. I feel that Alpine Valley showed a great performance that was very rehearsed, the band was out to hit the notes and play a setlist to prove that they were back and more was in store. Live in Utica seemed to show Phish getting onstage practiced yet unrehearsed, ready to have fun and give the tiny venue in the armpit of NY a special night. The 'Good Times Bad Times' was more than appropriate as the entire evening the band seemed to have a tight but loose approach that was as precise as a matured band need be. More importantly is the band and the audience being there to have fun. With plenty of setlist weaving and extremely fun guyute teases, I feel this DVD release finally captures the magic of the light show and the band's approach to musi that makes them who they are.

RELEASE

7715 - PHISH Live In Utica, Disc One (2011)

PHISH
''LIVE IN UTICA, DISC ONE''
2011
152:37

DISC ONE
1. Vultures 8:45
2. Wolfman's Brother 9:08
Trey Anastasio, Fishman
3. Cities 5:01
4. Guyute 10:30
5. David Bowie 14:14
6. Wilson 4:05
7. Mcgrupp And The Watchful Hosemasters 8:04
8. Saw It Again 6:18
9. Run Like An Antelope 13:17
Tracks By Trey Anastasio, Except 2

DISC TWO
1. Drowned 8:44
2. Sand 10:13
Trey Anastasio, Lawton
3. Theme From The Bottom 8:03
Trey Anastasio, Fishman
4. Axilla I 3:33
5. Birds Of A Feather 6:57
Trey Anastasio, Fishman
6. Split Open And Melt 6:57
7. Have Mercy 6:55
8. Piper 9:04
9. Split Open And Melt 1:56
10. Slave To The Traffic Light 10:52
Abrahams, Trey Anastasio
Tracks By Trey Anastasio, Except 2, 3, 5, 10

Trey Anastasio - Vocals, Guitar
Jon Fishman - Vocals, Drums
Mike Gordon - Vocals, Bass
Page McConnell - Vocals, Keyboards

REVIEW
By Amazon
The Utica box set features the complete October 20, 2010 performance on 2 DVDs and 2 CDs. The box set presents three hours of crucial Phish in an intimate venue with an inspired audience that returned the energy at every turn. The nearly three hours of music on the Utica box set was recorded with 60 channels of digital multi-track and beautifully mixed and mastered, appearing on the DVD's in 5.1 Dolby surround and full-resolution, uncompressed PCM stereo. The video was shot with 8 cameras (16:9 widescreen), recorded and post-edited in High Definition. Combining a stellar performance with gorgeous improvisation and a healthy sense of adventure, Utica makes it clear that the band is back and playing for keeps.
I remember getting Vegas, and while I enjoyed the show, odd choice for dvd release, and no attempt was made to capture the granduer of the light show. Walnut Creek boasted a display of phish aligning with weather, just didnt see the magic. Brooklyn I thought was a great "2.0" performance, but still the dark and down of phish yrs IMO. Coral Sky was neat, and good lord the Clifford Ball captured the Clifford Ball, but Live in Utica is finally a dvd that captures Phish being Phish that make the off nights ok and anything better completely mind-blowing. I feel that Alpine Valley showed a great performance that was very rehearsed, the band was out to hit the notes and play a setlist to prove that they were back and more was in store. Live in Utica seemed to show Phish getting onstage practiced yet unrehearsed, ready to have fun and give the tiny venue in the armpit of NY a special night. The 'Good Times Bad Times' was more than appropriate as the entire evening the band seemed to have a tight but loose approach that was as precise as a matured band need be. More importantly is the band and the audience being there to have fun. With plenty of setlist weaving and extremely fun guyute teases, I feel this DVD release finally captures the magic of the light show and the band's approach to musi that makes them who they are.

RELEASE

7714 - THE GRAPES - Water To Wine (1991)

THE GRAPES
''WATER TO WINE''
1991
49:47

1 Full of Holes 3:42
2 Pick the Lock 3:53
3 Sweet Angeline 3:34
4 Let It Go 6:38
5 1/2 Past 10 3:23
6 Water to Wine 4:47
7 Run With You 4:30
8 Long Time Running 3:20
9 Junkyard Blues 2:59
10 Big .45 - Dream the Night Away 9:05
11 Drift Away 4:26

BIOGRAPHY (WIKIPEDIA)

7713 - STEVE GOODMAN - Hot Spot (1980)

STEVE GOODMAN
''HOT SPOT''
1980
33:17

1 Danger
Steve Goodman / Sean Kelly / Mike Smith 3:47
2 Bobby Don't Stop
Steve Goodman / Bill LaBounty 3:29
3 Sometimes Love Forgets
Michael Garvin / Bill LaBounty 4:25
4 Still Trying to Care
Peter Bunetta / Rick Chudacoff / Steve Goodman 4:05
5 Hit and Run Lover
Steve Goodman / Mike Smith 3:58
6 Trust Me
Steve Goodman 3:41
7 Part of Your Life
Steve Goodman / Harry Waller 3:39
8 Can't Find My Heart
Steve Goodman 3:38
9 Sdrawkcab Klat (Talk Backwards)
Steve Goodman / Mike Smith 2:35

Jeff Baxter/Guitar, Guitar (Acoustic), Guitar (Electric), Pedal Steel
Gary Brandt/Vocal Arrangement
Peter Bunetta/Drums, Finger Snaps, Handclapping, Percussion
Rick Chudacoff/Bass, Finger Snaps
Bill Elliott/Keyboards, String Arrangements
Alan Estes/Percussion
Amos Garrett/Guitar
Steve Goodman/Guitar, Guitar (Acoustic), Vocals, Vocals (Background)
Bill Labamty/Vocals
Bill LaBounty/Vocals (Background)
Arno Lucas/Finger Snaps, Percussion, Vocals (Background)
Brian Ray/Guitar, Guitar (Acoustic), Guitar (Electric), Slide Guitar
Jim Rothermel/Harmonica, Horn, Sax (Alto), Saxophone
Sid Sharp/Concert Master
Phoebe Snow/Vocals
Matthew Weiner/Vocals (Background)

REVIEW
by William Ruhlmann
Hot Spot, Steve Goodman's seventh album overall, was also his fifth LP on what presumably was a five-record deal with Asylum Records. The first two albums on that deal had grazed the bottom of the charts and the next two had missed the charts entirely; Hot Spot may have constituted Goodman's last shot with a big label. He used that shot to try for a pop hit. The sound of the disc was very much in keeping with the style of pop/rock purveyed in Los Angeles recording studios in the late '70s and early '80s, an adult contemporary, radio-ready commercial approach that mixed in occasional disco rhythms and strings ("Bobby Don't Stop") with power ballads that often were arranged as duets ("Sometimes Love Forgets," featuring Phoebe Snow). The lyrical subjects ranged from romantic regret to romantic recrimination, and the overall effect was uninterruptedly smooth. Of course, that's not what one necessarily expected from Steve Goodman, the eclectic singer/songwriter, and he didn't really do it very well, sounding for the most part very restrained, even if he had written or co-written most of the songs. The session musicians were not among L.A.'s A-list, except for guitarist Jeff Baxter, but they came close enough. Still, one listen to "Sometimes Love Forgets," on which Snow turned in a typically memorable performance while Goodman just sounded embarrassed, indicated that this was a case of an artist trying, in a perfunctory manner, to be something he clearly was not. It wasn't until the last track, the jazzy novelty "Sdrawkcab Klat (Talk Backwards)," that it sounded like anybody was having any fun at all. And by then it was really too late. Not surprisingly, Hot Spot turned out to be Goodman's final major-label release.

BIOGRAPHY
courtesty of Wikipedia
Steve Goodman - July 25, 1948 - September 20, 1984
Born and raised in Chicago, Illinois, Goodman began writing and performing songs as a teenager. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman also married Nancy Pruter, and paid bills by writing and singing advertising jingles.

It was also during this time that Goodman wrote many of his most enduring songs, including "City of New Orleans", the song which would become most associated with Goodman. Goodman's songs first appeared on a locally-produced record, Gathering at the Earl of Old Town, in 1971.

In 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka who brought Goodman to New York to record some demos; these resulted in Goodman signing a contract with Buddah Records.

Seeing Arlo Guthrie in a bar, Goodman asked to be allowed to play a song for him. Guthrie grudgingly agreed on the condition that Goodman buy him a beer first; Goodman played "City of New Orleans" which Guthrie liked enough that he asked for the right to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial success to make his music a full-time career. The song would become an American standard, covered by many other musicians including Johnny Cash, Judy Collins, and Willie Nelson.

In 1974, singer David Allen Coe achieved considerable success on the country charts with Goodman's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics.

Goodman's own success as a recording artist was more limited. Although known in folk circles as a great song writer and highly influential, his albums received more critical than commercial success.

Goodman's singing career remained centered around the folk music clubs of Chicago, and Goodman wrote and performed many humorous songs about the city, including two about the Chicago Cubs: "The Dying Cub Fan's Last Request" and "Go, Cubs, Go." Others included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone," about Mayor Richard J. Daley. Another comic highlight is "Vegematic," about a man who falls asleep while watching late-night TV and dreams he ordered a slew of products he saw on infomercials. He could also write serious songs, most notably "My Old Man," a tribute to Goodman's father, Bud Goodman, a used car salesman.

Goodman was closely involved with the Old Town School of Folk Music, where he met and mentored his good friend, John Prine. Ironically one of Goodman's biggest hits was a song he never wrote; The Dutchman which he popularised, was written by Michael Peter Smith.

Around the time Goodman's career began to take off, he was diagnosed with leukemia. The entire time he was writing and singing, he was also fighting cancer. On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington . Eleven days later, the Chicago Cubs, the baseball team Goodman rooted for and wrote two songs about, would play their first play-off game since 1945 at Wrigley Field.

MORE BIOGRAPHY
BY ITUNES
Growing up in what he called "a Midwestern middle-class Jewish family," Steve Goodman began playing the guitar as a teenager. He was influenced by the folk revival of the early '60s and by country performers such as Jimmie Rodgers and Hank Williams. After attending college in the mid-'60s, he turned to playing in Chicago clubs by night and writing commercial jingles by day. In 1971, he opened for Kris Kristofferson and was seen by Paul Anka, who financed demo recordings that led to a contract with Buddah Records and the release of Steve Goodman, which featured his train song "The City of New Orleans," a Top 40 hit for Arlo Guthrie in 1972 and now a folk standard. Goodman made a second album for Buddah, Somebody Else's Troubles (1973), then broke with the label, which went on to issue an outtakes record, The Essential Steve Goodman (1975). Goodman moved to the singer/songwriter-oriented West Coast label Asylum for his first charting album Jessie's Jig & Other Favorites in 1975, the same year that outlaw country singer David Allen Coe made the Top Ten of the country charts with a cover of his "You Never Even Called Me by My Name" from the Steve Goodman album. Goodman's subsequent Asylum albums were Words We Can Dance To (April 1976) (featuring "Banana Republics," popularized by Jimmy Buffett), Say It in Private (October 1977), High and Outside (February 1979), and Hot Spot (1980). None became a major commercial success, but Goodman established himself on the national club and festival circuits, frequently appearing with mandolin player Jethro Burns, formerly of the country duo Homer & Jethro. Goodman turned record producer for his friend and fellow Chicagoan John Prine on Prine's 1978 album Bruised Orange. In 1983, Goodman followed Prine in establishing his own independent label, Red Pajamas, which released the live Artistic Hair and Affordable Art (1984). Goodman died of leukemia after battling the disease for many years. Red Pajamas released Santa Ana Winds (1984) posthumously, as well as a double-disc LP drawn from a concert in his memory, A Tribute to Steve Goodman, which featured John Prine, Bonnie Raitt, and others. After a second posthumous release, Unfinished Business, Red Pajamas licensed the Asylum material and put out two Best of the Asylum Years compilations.

OFFICIAL SITE

7712 - STEVE GOODMAN - High And Outside (1979)

STEVE GOODMAN
''HIGH AND OUTSIDE''
1979
37:14

1 Just Lucky I Guess
Steve Goodman 3:40
2 You Can Turn to Me
Peter Bunetta / Rick Chudacoff / Steve Goodman / Arno Lucas 3:15
3 The One That Got Away
Steve Goodman (feat: Nicolette Larson) 3:34
4 Hand It to You
Steve Goodman 4:05
5 Luxury's Lap
Steve Goodman 4:58
6 That's Why (I Love You So)
Tyran Carlo / Berry Gordy, Jr. 3:09
7 One Bite of the Apple
Steve Burgh / Steve Goodman 3:27
8 (It Would Be) You and Me
Peter Bunetta / Rick Chudacoff / Steve Goodman / Hank Neuberger 2:52
9 Men Who Love Women Who Love Men
Steve Goodman 3:27
10 What Have You Done for Me Lately
Steve Goodman / Shel Silverstein 4:47

Sol Bobrov/Violin
Michael Boddicker/Arranger, Synthesizer
Peter Bunetta/Drums, Percussion
Leonard Chauson/Cello
Rick Chudacoff/Arp Strings, ARP Synthesizer, Bass, Clavinet, Guitar (Bass), Piano, Piano (Electric)
Bill Elliott/Organ, Percussion, Piano, Piano (Electric)
Denise Fackler/Vocals (Background)
Denise Fackler/Vocals (Background)
Joseph Golan/Violin
Elliott Golub/Violin
Ruth Goodman/Violin
Steve Goodman/Arranger, Guitar, Guitar (Acoustic), Vocals
Kitty Haywood/Vocals (Background)
Bonnie Herman/Vocals (Background)
Vicki Hubly/Vocals (Background)
Vicki Hubly/Vocals (Background)
Nicolette Larson/Guest Artist, Vocals
Bobby Lewis/Cornet, Horn Arrangements, Trumpet
Arno Lucas/Percussion, Vocals (Background)
Arif Mardin/Arranger, String Arrangements
Roger Moulton/Viola
Jim Peterik/Vocals (Background)
Jim Rothermel/Clarinet, Flute, Horn Arrangements, Saxophone
Corky Siegel/Harmonica, Piano (Electric)
Leslie Smith/Percussion, Vocals (Background)
Fred Spector/Violin
Ottokar Sroubek/Violin
Robert Swan/Viola
Arthur Tabachnick/Violin
Shirley Tabachnick/Cello
Rick Vito/Guitar (Electric)

REVIEW
by Jim Newsom
As the singer/songwriter era waned in the late '70s, recording artists of the genre found themselves being presented by the major labels in more heavily orchestrated, rockish settings. High and Outside presents Steve Goodman in just such an aural situation, with electric keyboards, horns, and sha-la-la-ing backup singers. In this case it works very nicely -- Goodman's distinctive voice glides above the arrangements, and his clever, always insightful, often humorous lyrics stand on their own. "The One That Got Away" ranks with the best of Goodman's compositions, and features a vocal duet with Nicolette Larson. Other highlights include the rollicking "Men Who Love Women Who Love Men," the N'Orleans-tinged "What Have You Done for Me Lately" (co-written with Shel Silverstein), and a tasty rendering of the Jackie Wilson hit "That's Why (I Love You So)." Although the commercial trappings found here failed to break Goodman to a wider audience, High and Outside still rates as one of his most enjoyable recordings.

BIOGRAPHY
courtesty of Wikipedia
Steve Goodman - July 25, 1948 - September 20, 1984
Born and raised in Chicago, Illinois, Goodman began writing and performing songs as a teenager. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman also married Nancy Pruter, and paid bills by writing and singing advertising jingles.

It was also during this time that Goodman wrote many of his most enduring songs, including "City of New Orleans", the song which would become most associated with Goodman. Goodman's songs first appeared on a locally-produced record, Gathering at the Earl of Old Town, in 1971.

In 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka who brought Goodman to New York to record some demos; these resulted in Goodman signing a contract with Buddah Records.

Seeing Arlo Guthrie in a bar, Goodman asked to be allowed to play a song for him. Guthrie grudgingly agreed on the condition that Goodman buy him a beer first; Goodman played "City of New Orleans" which Guthrie liked enough that he asked for the right to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial success to make his music a full-time career. The song would become an American standard, covered by many other musicians including Johnny Cash, Judy Collins, and Willie Nelson.

In 1974, singer David Allen Coe achieved considerable success on the country charts with Goodman's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics.

Goodman's own success as a recording artist was more limited. Although known in folk circles as a great song writer and highly influential, his albums received more critical than commercial success.

Goodman's singing career remained centered around the folk music clubs of Chicago, and Goodman wrote and performed many humorous songs about the city, including two about the Chicago Cubs: "The Dying Cub Fan's Last Request" and "Go, Cubs, Go." Others included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone," about Mayor Richard J. Daley. Another comic highlight is "Vegematic," about a man who falls asleep while watching late-night TV and dreams he ordered a slew of products he saw on infomercials. He could also write serious songs, most notably "My Old Man," a tribute to Goodman's father, Bud Goodman, a used car salesman.

Goodman was closely involved with the Old Town School of Folk Music, where he met and mentored his good friend, John Prine. Ironically one of Goodman's biggest hits was a song he never wrote; The Dutchman which he popularised, was written by Michael Peter Smith.

Around the time Goodman's career began to take off, he was diagnosed with leukemia. The entire time he was writing and singing, he was also fighting cancer. On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington . Eleven days later, the Chicago Cubs, the baseball team Goodman rooted for and wrote two songs about, would play their first play-off game since 1945 at Wrigley Field.

MORE BIOGRAPHY
BY ITUNES
Growing up in what he called "a Midwestern middle-class Jewish family," Steve Goodman began playing the guitar as a teenager. He was influenced by the folk revival of the early '60s and by country performers such as Jimmie Rodgers and Hank Williams. After attending college in the mid-'60s, he turned to playing in Chicago clubs by night and writing commercial jingles by day. In 1971, he opened for Kris Kristofferson and was seen by Paul Anka, who financed demo recordings that led to a contract with Buddah Records and the release of Steve Goodman, which featured his train song "The City of New Orleans," a Top 40 hit for Arlo Guthrie in 1972 and now a folk standard. Goodman made a second album for Buddah, Somebody Else's Troubles (1973), then broke with the label, which went on to issue an outtakes record, The Essential Steve Goodman (1975). Goodman moved to the singer/songwriter-oriented West Coast label Asylum for his first charting album Jessie's Jig & Other Favorites in 1975, the same year that outlaw country singer David Allen Coe made the Top Ten of the country charts with a cover of his "You Never Even Called Me by My Name" from the Steve Goodman album. Goodman's subsequent Asylum albums were Words We Can Dance To (April 1976) (featuring "Banana Republics," popularized by Jimmy Buffett), Say It in Private (October 1977), High and Outside (February 1979), and Hot Spot (1980). None became a major commercial success, but Goodman established himself on the national club and festival circuits, frequently appearing with mandolin player Jethro Burns, formerly of the country duo Homer & Jethro. Goodman turned record producer for his friend and fellow Chicagoan John Prine on Prine's 1978 album Bruised Orange. In 1983, Goodman followed Prine in establishing his own independent label, Red Pajamas, which released the live Artistic Hair and Affordable Art (1984). Goodman died of leukemia after battling the disease for many years. Red Pajamas released Santa Ana Winds (1984) posthumously, as well as a double-disc LP drawn from a concert in his memory, A Tribute to Steve Goodman, which featured John Prine, Bonnie Raitt, and others. After a second posthumous release, Unfinished Business, Red Pajamas licensed the Asylum material and put out two Best of the Asylum Years compilations.

OFFICIAL SITE

7711 - STEVE GOODMAN - Say It In Private (1977)

STEVE GOODMAN
''SAY IT IN PRIVATE''
1977
36:04

1 I'm Attracted to You
Rick Chudacoff / Steve Goodman 3:22
2 You're the Girl I Love
Steve Goodman 3:56
3 Video Tape
Steve Goodman 3:15
4 There's a Girl in the Heart of Maryland
Harry Carroll / Ballard MacDonald 1:55
5 Two Lovers
Smokey Robinson 3:46
6 Is It True What They Say About Dixie?
Irving Caesar / Sammy Lerner / Gerald Marks 2:20
7 eary Blues from Waitin'
Hank Williams 3:49
8 Daley's Gone
Steve Goodman 4:30
9 My Old Man
Steve Goodman 4:02
10 The Twentieth Century Is Almost Over
Steve Goodman / John Prine 5:09

Sanford Allen/Strings
Kenny Ascher/Piano
Errol Crusher Bennett/Percussion
Peter Bunetta/Drums
Steve Burgh/Guitar
Jethro Burns/Mandolin
Rick Chudacoff/Guitar, Guitar (Bass), Piano, Piano (Electric)
Selwart Clarke/Strings
Benny Diggs/Vocals
Thomas Dunn/Vocals
Arthur Freeman
Steve Goodman/Guitar, Vocals
Milt Grayson Bass (Vocal)/
Dolores Hall/Vocals
Scott Hamilton/Sax (Tenor)
Milt Hinton/Guitar (Bass)/
Chris King/Vocals
Will Lee/Guitar (Bass)
Charles Libove/Strings
Jimmy Maelen/Percussion
Arnold McCuller
Kermit Moore/Strings
Cliff Morris/Guitar
Rob Mounsey/Piano (Electric)
David Nadien/Strings
Larry Parker/Fiddle
Leon Pendarvis/Piano
Max Pollikoff/Strings
John Prine/Vocals
Roger Rosenberg/Sax (Baritone)
Allan Schwartzberg/Drums
Maurice Smith/Sax (Alto)
Richard Sortomme/Strings
David Tofani/Sax (Tenor)
Kenny Vance/Vocals
Eric Weisberg Guitar (Electric), Main Personnel
Heather Wood/Vocals

REVIEW
by William Ruhlmann
Steve Goodman reached the charts with his first two albums for Asylum Records, Jessie's Jig & Other Favorites (1975) and Words We Can Dance To (1976), and that may have convinced the label to spend more money on his next LP (money intended to be recoupable against royalties should the album take off, of course), because the sessions for Say It in Private appear to have been quite elaborate. For the first time since his second album, Somebody Else's Troubles (1973), Goodman had a real producer (i.e., somebody who produced records for a living), Joel Dorn, and among the six dozen singers and players who contributed to the sessions were plenty of arrangers and string players. Nevertheless, Say It in Private ended up being a fairly typical Steve Goodman album. In a sense, the cover art told the story. It featured a painting by Howard Carriker that replicated Jacques Louis David's famous 1793 portrait Death of Marat, in which French revolutionary and invalid Jean-Paul Marat was shown lying in his medicinal bath after having been assassinated. In Carriker's version, the body belonged to Goodman, who was alive and smiling. So, here was an expensive-looking illustration that was making a macabre joke, and the album was more of the same, really. For all the production and all those musicians, Goodman was still doing what he loved to do, writing a few modest, entertaining songs and gathering other ones from various genres. The covers included the 1913 ballad "There's a Girl in the Heart of Maryland," which, despite the strings and chorus, was essentially a duet between Goodman's voice and Jethro Burns' mandolin; the 1936 country song "Is It True What They Say About Dixie?," another frantic Goodman/Burns duet; Hank Williams' "Weary Blues from Waitin'"; and Smokey Robinson's account of romantic schizophrenia, "Two Lovers." With his own pen, Goodman turned out a couple of warm love songs that were sequenced back to back at the start of the disc, "I'm Attracted to You" and "You're the Girl I Love," followed by a novelty, "Video Tape," and then the four cover tunes. Next came two consecutive musical obituaries, both of them surprising. "Daley's Gone" was this Chicago native's lament for the late Mayor Richard J. Daley, a man much despised by those of Goodman's generation in connection with his activities during the Democratic Convention of 1968. Even more personal was "My Old Man," about Goodman's own father. Some relief was needed after that, and it came in the form of a folk anthem co-written by Goodman and his pal John Prine, "The Twentieth Century Is Almost Over." Again, there was a big vocal chorus, but again the song was in some ways just a duet between Goodman and an acoustic musical instrument played by another mentor, in this case the banjo of Pete Seeger. There may have been 73 musicians in the credits for Say It in Private, but it still ended up sounding like an old-fashioned folk collection most of the time.

BIOGRAPHY
courtesty of Wikipedia
Steve Goodman - July 25, 1948 - September 20, 1984
Born and raised in Chicago, Illinois, Goodman began writing and performing songs as a teenager. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman also married Nancy Pruter, and paid bills by writing and singing advertising jingles.

It was also during this time that Goodman wrote many of his most enduring songs, including "City of New Orleans", the song which would become most associated with Goodman. Goodman's songs first appeared on a locally-produced record, Gathering at the Earl of Old Town, in 1971.

In 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka who brought Goodman to New York to record some demos; these resulted in Goodman signing a contract with Buddah Records.

Seeing Arlo Guthrie in a bar, Goodman asked to be allowed to play a song for him. Guthrie grudgingly agreed on the condition that Goodman buy him a beer first; Goodman played "City of New Orleans" which Guthrie liked enough that he asked for the right to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial success to make his music a full-time career. The song would become an American standard, covered by many other musicians including Johnny Cash, Judy Collins, and Willie Nelson.

In 1974, singer David Allen Coe achieved considerable success on the country charts with Goodman's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics.

Goodman's own success as a recording artist was more limited. Although known in folk circles as a great song writer and highly influential, his albums received more critical than commercial success.

Goodman's singing career remained centered around the folk music clubs of Chicago, and Goodman wrote and performed many humorous songs about the city, including two about the Chicago Cubs: "The Dying Cub Fan's Last Request" and "Go, Cubs, Go." Others included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone," about Mayor Richard J. Daley. Another comic highlight is "Vegematic," about a man who falls asleep while watching late-night TV and dreams he ordered a slew of products he saw on infomercials. He could also write serious songs, most notably "My Old Man," a tribute to Goodman's father, Bud Goodman, a used car salesman.

Goodman was closely involved with the Old Town School of Folk Music, where he met and mentored his good friend, John Prine. Ironically one of Goodman's biggest hits was a song he never wrote; The Dutchman which he popularised, was written by Michael Peter Smith.

Around the time Goodman's career began to take off, he was diagnosed with leukemia. The entire time he was writing and singing, he was also fighting cancer. On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington . Eleven days later, the Chicago Cubs, the baseball team Goodman rooted for and wrote two songs about, would play their first play-off game since 1945 at Wrigley Field.

MORE BIOGRAPHY
BY ITUNES
Growing up in what he called "a Midwestern middle-class Jewish family," Steve Goodman began playing the guitar as a teenager. He was influenced by the folk revival of the early '60s and by country performers such as Jimmie Rodgers and Hank Williams. After attending college in the mid-'60s, he turned to playing in Chicago clubs by night and writing commercial jingles by day. In 1971, he opened for Kris Kristofferson and was seen by Paul Anka, who financed demo recordings that led to a contract with Buddah Records and the release of Steve Goodman, which featured his train song "The City of New Orleans," a Top 40 hit for Arlo Guthrie in 1972 and now a folk standard. Goodman made a second album for Buddah, Somebody Else's Troubles (1973), then broke with the label, which went on to issue an outtakes record, The Essential Steve Goodman (1975). Goodman moved to the singer/songwriter-oriented West Coast label Asylum for his first charting album Jessie's Jig & Other Favorites in 1975, the same year that outlaw country singer David Allen Coe made the Top Ten of the country charts with a cover of his "You Never Even Called Me by My Name" from the Steve Goodman album. Goodman's subsequent Asylum albums were Words We Can Dance To (April 1976) (featuring "Banana Republics," popularized by Jimmy Buffett), Say It in Private (October 1977), High and Outside (February 1979), and Hot Spot (1980). None became a major commercial success, but Goodman established himself on the national club and festival circuits, frequently appearing with mandolin player Jethro Burns, formerly of the country duo Homer & Jethro. Goodman turned record producer for his friend and fellow Chicagoan John Prine on Prine's 1978 album Bruised Orange. In 1983, Goodman followed Prine in establishing his own independent label, Red Pajamas, which released the live Artistic Hair and Affordable Art (1984). Goodman died of leukemia after battling the disease for many years. Red Pajamas released Santa Ana Winds (1984) posthumously, as well as a double-disc LP drawn from a concert in his memory, A Tribute to Steve Goodman, which featured John Prine, Bonnie Raitt, and others. After a second posthumous release, Unfinished Business, Red Pajamas licensed the Asylum material and put out two Best of the Asylum Years compilations.

OFFICIAL SITE

7710 - STEVE GOODMAN - Words We Can Dance To (1976)

STEVE GOODMAN
''WORDS WE CAN DANCE TO''
1976
33:33

1 Roving Cowboy
Steve Goodman 4:39
2 Tossin' and Turnin'
Ritchie Adams / Malou Rene 3:23
3 Unemployed
Steve Goodman 2:26
4 Between the Lines
Steve Burgh / Steve Goodman 3:26
5 Old Fashioned
Paula Ballan / Steve Burgh / Patrick Chamberlain / Steve Goodman 3:06
6 Can't Go Back
Steve Burgh / Steve Goodman 3:29
7 Banana Republics
Steve Burgh / Steve Goodman / Jim Rothermel 3:49
8 Death of a Salesman
Saul Broudy / Steve Burgh / Steve Goodman / Jeff Gutcheon / Lew London / Jim Rothermel 2:52
9 That's What Friends Are For
Steve Burgh / Steve Goodman / Jeff Gutcheon / Jim Rothermel 4:17
10 The Glory of Love
Billy Hill 2:06

David Amram/Conductor, String Arrangements
Saul Broudy/Harmonica
Steve Burgh/Guitar, Guitar (Electric)
Jethro Burns/Mandolin
Peter Ecklund/Clarinet, Cornet
Johnny Frigo/Bass, Bass (Acoustic), Violin
Mark Gaffney/Vocals
Mary Gaffney/Vocals (Background)
Ruth Goodman/Violin
Steve Goodman/Guitar, Vocals
Jeff Gutcheon/Clavinet, Fender Rhodes, Keyboards, Organ, Piano
Diane Holmes/Vocals, Vocals (Background)
Harold Klatz/Viola
Kenny Kosek/Fiddle, Violin
Lew London/Dobro, Mandolin
Raun MacKinnon/Arranger, Vocals, Vocals (Background)
Hugh McDonald/Bass
Steve Mosley/Drums, Tambourine
Jim Post/Choir/Chorus
Tom Radtke/Drums, Timbales
Bobby Rossi/Accordion
Jim Rothermel/Arp Strings, Clarinet, Recorder, Sax (Tenor), Saxophone
Sid Sims/Bass
Bill Swofford/Vocals, Vocals (Background)
Winnie Winston/Banjo, Guitar (Steel), Pedal Steel

REVIEW
by Jim Newsom
A typical Steve Goodman mix of eclectic stylings and clever wordplay, Words We Can Dance To roams far and wide. The music ranges from a cover of the rock & roll classic "Tossin' and Turnin'" to the Western swing of "Between the Lines," and from the country shuffle of "Death of a Salesman" to the solo acoustic blues guitar pickin' on the standard "The Glory of Love." Within this broad musical spectrum, Goodman delivers his original lyrics, both humorous and heartfelt. "Banana Republics" became a staple of Jimmy Buffett's repertoire after its inclusion on Changes in Latitudes, Changes in Attitudes. In "Old Fashioned," Goodman tells of being "out of date and born too late" as he seeks the love of an "old fashioned girl," but in fact the lines probably described his music as well. Both "Between the Lines" and "That's What Friends Are For" offer compelling, personal looks at the elusiveness of love, while on "Death of a Salesman" Goodman goes for the laughs in a retelling of the old traveling salesman story.

BIOGRAPHY
courtesty of Wikipedia
Steve Goodman - July 25, 1948 - September 20, 1984
Born and raised in Chicago, Illinois, Goodman began writing and performing songs as a teenager. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman also married Nancy Pruter, and paid bills by writing and singing advertising jingles.

It was also during this time that Goodman wrote many of his most enduring songs, including "City of New Orleans", the song which would become most associated with Goodman. Goodman's songs first appeared on a locally-produced record, Gathering at the Earl of Old Town, in 1971.

In 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka who brought Goodman to New York to record some demos; these resulted in Goodman signing a contract with Buddah Records.

Seeing Arlo Guthrie in a bar, Goodman asked to be allowed to play a song for him. Guthrie grudgingly agreed on the condition that Goodman buy him a beer first; Goodman played "City of New Orleans" which Guthrie liked enough that he asked for the right to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial success to make his music a full-time career. The song would become an American standard, covered by many other musicians including Johnny Cash, Judy Collins, and Willie Nelson.

In 1974, singer David Allen Coe achieved considerable success on the country charts with Goodman's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics.

Goodman's own success as a recording artist was more limited. Although known in folk circles as a great song writer and highly influential, his albums received more critical than commercial success.

Goodman's singing career remained centered around the folk music clubs of Chicago, and Goodman wrote and performed many humorous songs about the city, including two about the Chicago Cubs: "The Dying Cub Fan's Last Request" and "Go, Cubs, Go." Others included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone," about Mayor Richard J. Daley. Another comic highlight is "Vegematic," about a man who falls asleep while watching late-night TV and dreams he ordered a slew of products he saw on infomercials. He could also write serious songs, most notably "My Old Man," a tribute to Goodman's father, Bud Goodman, a used car salesman.

Goodman was closely involved with the Old Town School of Folk Music, where he met and mentored his good friend, John Prine. Ironically one of Goodman's biggest hits was a song he never wrote; The Dutchman which he popularised, was written by Michael Peter Smith.

Around the time Goodman's career began to take off, he was diagnosed with leukemia. The entire time he was writing and singing, he was also fighting cancer. On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington . Eleven days later, the Chicago Cubs, the baseball team Goodman rooted for and wrote two songs about, would play their first play-off game since 1945 at Wrigley Field.

MORE BIOGRAPHY
BY ITUNES
Growing up in what he called "a Midwestern middle-class Jewish family," Steve Goodman began playing the guitar as a teenager. He was influenced by the folk revival of the early '60s and by country performers such as Jimmie Rodgers and Hank Williams. After attending college in the mid-'60s, he turned to playing in Chicago clubs by night and writing commercial jingles by day. In 1971, he opened for Kris Kristofferson and was seen by Paul Anka, who financed demo recordings that led to a contract with Buddah Records and the release of Steve Goodman, which featured his train song "The City of New Orleans," a Top 40 hit for Arlo Guthrie in 1972 and now a folk standard. Goodman made a second album for Buddah, Somebody Else's Troubles (1973), then broke with the label, which went on to issue an outtakes record, The Essential Steve Goodman (1975). Goodman moved to the singer/songwriter-oriented West Coast label Asylum for his first charting album Jessie's Jig & Other Favorites in 1975, the same year that outlaw country singer David Allen Coe made the Top Ten of the country charts with a cover of his "You Never Even Called Me by My Name" from the Steve Goodman album. Goodman's subsequent Asylum albums were Words We Can Dance To (April 1976) (featuring "Banana Republics," popularized by Jimmy Buffett), Say It in Private (October 1977), High and Outside (February 1979), and Hot Spot (1980). None became a major commercial success, but Goodman established himself on the national club and festival circuits, frequently appearing with mandolin player Jethro Burns, formerly of the country duo Homer & Jethro. Goodman turned record producer for his friend and fellow Chicagoan John Prine on Prine's 1978 album Bruised Orange. In 1983, Goodman followed Prine in establishing his own independent label, Red Pajamas, which released the live Artistic Hair and Affordable Art (1984). Goodman died of leukemia after battling the disease for many years. Red Pajamas released Santa Ana Winds (1984) posthumously, as well as a double-disc LP drawn from a concert in his memory, A Tribute to Steve Goodman, which featured John Prine, Bonnie Raitt, and others. After a second posthumous release, Unfinished Business, Red Pajamas licensed the Asylum material and put out two Best of the Asylum Years compilations.

OFFICIAL SITE

7709 - STEVE GOODMAN - Jesse's Jig & Other Favorites (1975)

STEVE GOODMAN
''JESSIE'S JIG & OTHER FAVORITES
1975
36:52

1 Door Number Three
Jimmy Buffett / Steve Goodman 3:40
2 Blue Umbrella
John Prine 3:54
3 This Hotel Room
Steve Goodman 3:36
4 Spoon River
Michael Peter Smith 4:52
5 Jessie's Jig (Rob's Romp, Beth's Bounce)
Steve Goodman / Bill Swofford 2:22
6 It's a Sin to Tell a Lie
Billy Mayhew 2:08
7 I Can't Sleep
Steve Goodman 3:57
8 Moby Book
David Amram / Steve Goodman 3:10
9 Lookin' for Trouble
Steve Goodman 4:38
10 Mama Don't Allow It
Sammy Cahn / Cow Cow Davenport 4:35

Howard Armstrong/Fiddle, Violin
Ken Bloom/Clarinet, Clarinet (Bass)
Vien Bloom/Wind
Ted Bogan/Guitar, Guitar (Acoustic)
Saul Broudy/Harmonica, Harp
Steve Burgh/Guitar, Guitar (Electric)
Jethro Burns/Guest Artist, Mandolin
John Burns/Guitar, Guitar (Electric)
Vassar Clements/Fiddle, Violin
Steve Goodman/Guitar, Guitar (Acoustic), Vocals
Jeff Gutcheon/Keyboards, Piano
Diane Holmes/Vocals, Vocals (Background)
Jack the Bear/Cornet, Trumpet
Bonnie Koloc/Vocals, Vocals (Background)
Raun MacKinnon/Vocal Harmony, Vocals
Carl Martin/Mandolin, Vocals
Hugh McDonald/Bass, Bass (Electric)
Abby Newton/Cello
Sheldon Plotkin/Drums, Percussion
Bill Swofford/Guitar (Acoustic), Vocals
Winnie Winston/Banjo, Guitar (Steel), Pedal Steel

REVIEW
by Rose of Sharon Witmer
Singer/songwriter and guitarist extraordinaire Steve Goodman was only on this earth a short time. But when he died of leukemia in 1984, he left his many fans a legacy of outstanding recordings. One of these is Jessie's Jig & Other Favorites. Originally recorded on the Buddha label in 1975, the LP was remastered and released as a CD in 1998 by Red Pajamas. The warm voice of Steve Goodman immediately envelops the listener, just like back in the '70s and '80s when Goodman would perform with his good friend, John Prine. The CD opens with the humorous "Door Number Three." One hears that characteristic good nature of Goodman's again on "This Hotel Room." Some of the songs are shaded with melancholy, such as "Blue Umbrella," "Spoon River," " I Can't Sleep," and "Lookin' for Trouble." But many of the best tunes on the album are the upbeat numbers, such as "It's a Sin to Tell a Lie" and "Jessie's Jig." The title cut is a rousing number on which Goodman is joined by a stellar cast of musicians. These include Vassar Clements, Winnie Winston, Carl Martin, and Jethro Burns, to name just a few. The ensuing musical celebration -- featuring fiddles, mandolins, and guitars, with a cello and trumpet thrown in -- sounds like an old-timey hoedown. It did Steve Goodman proud and is a fitting way to remember this ephemeral, but brilliant shooting star in the musical firmament.

BIOGRAPHY
courtesty of Wikipedia
Steve Goodman - July 25, 1948 - September 20, 1984
Born and raised in Chicago, Illinois, Goodman began writing and performing songs as a teenager. By 1969, after a brief sojourn in New York City's Washington Square, Goodman was a regular performer at the well-known Earl of Old Town folk music club in Chicago, while attending Lake Forest College. During this time Goodman also married Nancy Pruter, and paid bills by writing and singing advertising jingles.

It was also during this time that Goodman wrote many of his most enduring songs, including "City of New Orleans", the song which would become most associated with Goodman. Goodman's songs first appeared on a locally-produced record, Gathering at the Earl of Old Town, in 1971.

In 1971, Goodman was playing at a Chicago bar called the Quiet Knight as the opening act for Kris Kristofferson. Kristofferson, impressed with Goodman, introduced him to Paul Anka who brought Goodman to New York to record some demos; these resulted in Goodman signing a contract with Buddah Records.

Seeing Arlo Guthrie in a bar, Goodman asked to be allowed to play a song for him. Guthrie grudgingly agreed on the condition that Goodman buy him a beer first; Goodman played "City of New Orleans" which Guthrie liked enough that he asked for the right to record it. Guthrie's version of the song became a hit in 1972, and provided Goodman with enough financial success to make his music a full-time career. The song would become an American standard, covered by many other musicians including Johnny Cash, Judy Collins, and Willie Nelson.

In 1974, singer David Allen Coe achieved considerable success on the country charts with Goodman's "You Never Even Call Me By My Name", a song which good-naturedly spoofed stereotypical country music lyrics.

Goodman's own success as a recording artist was more limited. Although known in folk circles as a great song writer and highly influential, his albums received more critical than commercial success.

Goodman's singing career remained centered around the folk music clubs of Chicago, and Goodman wrote and performed many humorous songs about the city, including two about the Chicago Cubs: "The Dying Cub Fan's Last Request" and "Go, Cubs, Go." Others included "The Lincoln Park Pirates", about the notorious Lincoln Towing Company, and "Daley's Gone," about Mayor Richard J. Daley. Another comic highlight is "Vegematic," about a man who falls asleep while watching late-night TV and dreams he ordered a slew of products he saw on infomercials. He could also write serious songs, most notably "My Old Man," a tribute to Goodman's father, Bud Goodman, a used car salesman.

Goodman was closely involved with the Old Town School of Folk Music, where he met and mentored his good friend, John Prine. Ironically one of Goodman's biggest hits was a song he never wrote; The Dutchman which he popularised, was written by Michael Peter Smith.

Around the time Goodman's career began to take off, he was diagnosed with leukemia. The entire time he was writing and singing, he was also fighting cancer. On September 20, 1984, Goodman died at University of Washington Hospital in Seattle, Washington . Eleven days later, the Chicago Cubs, the baseball team Goodman rooted for and wrote two songs about, would play their first play-off game since 1945 at Wrigley Field.

MORE BIOGRAPHY
BY ITUNES
Growing up in what he called "a Midwestern middle-class Jewish family," Steve Goodman began playing the guitar as a teenager. He was influenced by the folk revival of the early '60s and by country performers such as Jimmie Rodgers and Hank Williams. After attending college in the mid-'60s, he turned to playing in Chicago clubs by night and writing commercial jingles by day. In 1971, he opened for Kris Kristofferson and was seen by Paul Anka, who financed demo recordings that led to a contract with Buddah Records and the release of Steve Goodman, which featured his train song "The City of New Orleans," a Top 40 hit for Arlo Guthrie in 1972 and now a folk standard. Goodman made a second album for Buddah, Somebody Else's Troubles (1973), then broke with the label, which went on to issue an outtakes record, The Essential Steve Goodman (1975). Goodman moved to the singer/songwriter-oriented West Coast label Asylum for his first charting album Jessie's Jig & Other Favorites in 1975, the same year that outlaw country singer David Allen Coe made the Top Ten of the country charts with a cover of his "You Never Even Called Me by My Name" from the Steve Goodman album. Goodman's subsequent Asylum albums were Words We Can Dance To (April 1976) (featuring "Banana Republics," popularized by Jimmy Buffett), Say It in Private (October 1977), High and Outside (February 1979), and Hot Spot (1980). None became a major commercial success, but Goodman established himself on the national club and festival circuits, frequently appearing with mandolin player Jethro Burns, formerly of the country duo Homer & Jethro. Goodman turned record producer for his friend and fellow Chicagoan John Prine on Prine's 1978 album Bruised Orange. In 1983, Goodman followed Prine in establishing his own independent label, Red Pajamas, which released the live Artistic Hair and Affordable Art (1984). Goodman died of leukemia after battling the disease for many years. Red Pajamas released Santa Ana Winds (1984) posthumously, as well as a double-disc LP drawn from a concert in his memory, A Tribute to Steve Goodman, which featured John Prine, Bonnie Raitt, and others. After a second posthumous release, Unfinished Business, Red Pajamas licensed the Asylum material and put out two Best of the Asylum Years compilations.

OFFICIAL SITE

7708 - SOUL SHINE SOCIETY - Back Where You Belong (2014)

SOUL SHINE SOCIETY
''BACK WHERE YOU BELONG''
AUGUST 26 2014
44:05

1 - Break The Chain 5:19
2 - Ain't Gonna Tell You Twice 4:55
3 - Hell Train 3:28
4 - Back Where You Belong 3:33
5 - Love Won't Wait 3:42
6 - Too Late 3:40
7 - Reasons 4:47
8 - As I Make My Way 3:18
9 - Burned Soul 5:42
10 - The Fire Within 5:18

REVIEW
BY GROOVEYARD RECORDS
Excellent 2nd studio disc by this way-kool hard rock band from Finland featuring 10 tracks of awesome, dynamic, blues-based, retro-organic, 70s-inspired, classic melodic guitar rock that burns & shines brightly. Soul Shine Society is comprised of a cast of talented Finnish rockers that include Jonne Sassi (Vocals & Harmonica), Mikko Levonen (Guitar), Matti Jokelainen (Guitar), Jukka Hollstrom (Bass & Backing Vocals), Jaan Wessman (Drums, Percussion, Mandolin & Barritone Guitar) and Marko Karttunen (Keyboards) who produce & deliver the rock. Tune in and get "Back Where You Belong" with REAL soul-powered truth & become part of the Soul Shine Society musical experience. A superb slice of world class rock n' roll mojo for your soul that is Highly Recommended to fans of Warren Haynes & Gov't Mule, Allman Brothers, Derek & The Dominoes, Black Crowes, Joe Walsh with the Eagles, Humble Pie & Led Zeppelin.

OFFICIAL SITE

7707 - SCOTT MILLER - Are You With Me? (2001)

SCOTT MILLER
''ARE YOU WITH ME?''
2001
43:39

1 - Can You Hear Me Tonight_ 3:02
2 - VA Way; Across The Line 4:45
3 - Bastard's Only Child 2:54
4 - Goodnight Loser 3:43
5 - Amtrak Crescent 3:51
6 - Good Morning Midnight 4:51
7 - The Rain 3:42
8 - Mess Of This Town 3:30
9 - Lie I Believe 3:47
10 - Daddy Raised A Boy 3:13
11 - May The Lord Watch For Thee 2:32
12 - I'll Go To My Grave 3:21

Fresh out of the V-Roys and before launching the Commonwealth, this live disc features acoustic takes on many songs that would show up on later recordings, as well as some V-Roys classics.

BIOGRAPHY
by Mark Deming
Combining the emotional honesty and intelligence of a singer/songwriter with the swagger and enthusiasm of a rock & roller, Scott Miller first made a name for himself as guitarist, vocalist, and songwriter with the superb pop/rock band the V-Roys, before establishing himself as a solo artist to watch on his first album with his ad hoc group the Commonwealth, Thus Always to Tyrants.

The youngest of three children born to a Pennsylvania Dutch father and a mother from the Deep South, Miller was born and raised in Swoope, VA, where he developed a youthful fascination with the Civil War and Appalachian history that resonated in his later work. In his early teens, Miller picked up a guitar that once belonged to his older brother, and taught himself to play using a chord book published by The Reader's Digest. Miller developed an interest in songwriting while attending college at William and Mary, where he received degrees in American history and Russian and Soviet studies. In 1990, he moved to Knoxville, TN, where he began pursuing a career in music while supporting himself doing construction work.

Miller developed a local following as a solo acoustic artist with a repertoire of dryly humorous satiric material, but he began reaching a larger audience in 1994 when he formed a band with bassist Paxton Sellers, drummer Jeff Bills, and guitarist and songwriter John Paul Keith called the Viceroys. A year later, Keith left the group, Mic Harrison stepped in his place, and the band became known as the V-Roys when it was discovered that a reggae band was already using the name the Viceroys. the V-Roys' blend of Southern twang, power pop hooks, and rock & roll energy soon won them a wildly enthusiastic fan base in Tennessee and caught the ear of songwriter Steve Earle, who signed the V-Roys to his E-Squared record label and produced their 1996 debut album, Just Add Ice.

Just Add Ice won enthusiastic reviews, as did the band's 1998 follow-up, All About Town, also produced by Earle, which found the V-Roys adding acoustic instruments and bluegrass flavors to their mix, while Miller and Harrison began touching on more personal themes in their songwriting. The band reportedly butted heads with Earle while recording All About Town, and the combination of disappointing record sales and a tough touring schedule led to growing tensions within the band. In 1999, after recording a live album, Are You Through Yet?, the V-Roys amicably agreed to call it a day with a Farewell Millennium concert at Knoxville's Tennessee Theater on December 31, 1999.

Miller wasted no time launching a solo career, performing as an acoustic solo artist again and hosting singer/songwriter showcases at Knoxville clubs. Miller also scored a publishing deal with Welk Music and self-released a live album culled from his solo acoustic shows, entitled Are You with Me? Miller next signed a recording contract with Sugar Hill Records, best known for their roster of bluegrass artists, but his first album for the label found him diving back into rock & roll. Thus Always to Tyrants, a loose concept album about his Southern roots and one man's journey to emotional maturity, faced a handful of Appalachian ballads against a healthy dose of full-blown electric rock. The album also included a revolving lineup of musicians Miller dubbed the Commonwealth, including former John Mellencamp guitarist David Grissom, Don Coffey, Jr., of Superdrag, and fiddler Tim O'Brien.

Following the release of Thus Always to Tyrants, Miller assembled a touring version of the Commonwealth to support the album, featuring Rob McNelley on guitar, Jared Reynolds on bass, and Jimmy Lister on drums. An EP entitled Way arrived in 2003, followed by Upside Downside later in the year. Citation, Miller's third full-length release for Sugar Hill, dropped on March 14, 2006. The live Reconstruction arrived in 2007.

7706 - REED TURNER - Ghosts in the Attic (2013)

REED TURNER
''GHOSTS IN THE ATTIC''
FEBRUARY 5 2013
46:05

1 - Modern Man 5:29
2 - Ghost In The Attic 5:04
3 - Killed That Girl ('Cause She Was Killin' Me) 3:03
4 - Room For Doubt 4:09
5 - Long Gone 4:39
Turner, Harris, Hunt
6 - Locking Doors 3:35
7 - Familiar Sound 4:06
8 - The Fire 6:32
9 - Long Way To Go 4:21
10 - The Sculptor & The Stone 4:45
Tracks By Turner, Except 5

REVIEW
By Mark S. Tucker
Reed Turner's one of those guys whose work is pervaded with haunting refrains and eerie wistfulness, the kind of musician who makes you sit down and listen whether you want to or not 'cause he's writing and singing about the sides of life you didn't even know you felt that way about until hearing him lay it down. He also assembles a band that's just as laconic and fog-infested as he but can also sneak up on the rockin' side of things when the occasion calls for it…in a somber almost Gothic brand. Killed That Girl has a dark Nick Cavey feel and sound, American by way of Bedlam, mixed with a bit of Kottke's marvelous Time Steps and even a bit of Gordon Lightfoot and David Wilcox here, there, and everywhere.

Ghosts in the Attic is actually night music, a disc to be listened to when the sky's inky black, studded with silent stars but still and pensive, or when the mist rolls in and makes everything gauzy, a time when you don't need the shouting of the radio or the jittery squall of TV. The disc is instead a thoughtful balm, a space for reflection. Don't start for the player when Long Gone cuts in, though. It rises slowly from inter-song quiet to slip into the speakers, Turner's brief harmonica a signal echo of what's going on.

One of the female singers—either Phoebe Hunt or Ellie Carroll, the liner doesn't specify which—steps in for a duet with Turner on Long Gone, also a track where the interplay of Turner's and Brian Broderick's guitars mesh in thick and rich but sublimated textures crawling up to the front of the stage, at which point the soloing begins. Tasty. Turner's voice is fetching, mellow and high, kind of like Nick Drake by way of a more intelligent Kenny Loggins, and he strings the entire CD together in such a fashion that I dare you try to turn it off until it's played out. It isn't that Ghosts is a concept work but instead an evocation of a complicated middle mood that neither rejoices nor vexes nor clamors but slowly and inexorably enchants.

OFFICIAL BIO
Reed Turner’s wandering spirit has led him to live and travel all over the country, but it wasn’t until he returned home to Austin, TX that he found his true voice; one that is simple yet evocative, intimate but universal, and ultimately true.

People are taking notice - CMA’s official magazine named him one of their Top 20 “Who New to Watch in 2013”, and he followed that up by winning the prestigious Telluride Bluegrass Festival’s Troubadour Competition.

On his newest album GHOSTS IN THE ATTIC, Turner lends his voice to songs that run the stylistic gamut, while staying grounded in the Americana roots he’s become known for. The “gorgeous new album” has received much critical acclaim, with one reviewer writing that Turner has “Americana poetry one might expect from the lyrics of The Avett Brothers, and an entrancing intimacy reminiscent of Jeff Buckley.”

Fans are noticing too. He’s been selling out such legendary Texas venues as Cactus Café and Stubb’s BBQ, and the buzz has led to a year of sharing stages with national touring acts such as Gary Clark Jr., Will Hoge, Joe Pug, and Jessica Lea Mayfield.

Whether he’s carrying on the wandering troubadour tradition or inhabiting the familiar stages of his hometown, Turner is, indeed, a storyteller. And it’s definitely time to let these GHOST stories loose.

OFFICIAL SITE

7705 - VARIOUS ARTISTS - Maestros Of Cool - A Tribute To Steely Dan, Disc Two (2006)

VARIOUS ARTISTS
''MAESTROS OF COOL: A TRIBUTE TO STEELY DAN, DISC TWO''
JANUARY 8 2009
129:00

DISC ONE
1 - Nathan Haines - Fm 4:35
2 - Stereo - Remember 4:59
3 - Debbie Deane - Any World 4:01
4 - Raw Stylus - 37 Hours 5:20
5 - Nash Kato - Dirty Work 3:35
6 - Pam Bricker - Home At Last 4:52
7 - Tony Gallo - Black Cow 5:36
8 - Groove Thing - The Fez 5:25
9 - David Garfield - Josie 5:37
10 - Carl Orr - Tomorrow's Girls 4:17
11 - Liquid Blue - Rikki Don't Lose That Number 4:41
12 - Jango - Joyful Caravan 4:32

DISC TWO
1 - David Garfield - Babylon Sisters 6:24
2 - Chuck Loeb - Maxine 5:26
3 - Don Braden - Kid Charlemagne 6:34
4 - HR Big Band - Pretzel Logic 5:23
5 - Justin Morell - My Rival 4:44
6 - Abebi Stafford - Green Earrings 4:06
7 - Gustavo Assis Brasil - Aja 6:58
8 - Stolen Van - Aves of Altamira 5:37
9 - Alex Gunia - Third World Man 6:39
10 - Cornelius Bumpus - Chain Lightning 5:01
11 - Ben Lacy - Hey Nineteen 3:14
12 - Trinity - Steal It Again Dan 10:02

REVIEW
By AbstractLogix
David Garfield (Keyboards), Klaudia Salkovic (Vocals), Steve Nieves (Sax & Vocals), Chuck Loeb (Guitar), John Patitucci (Bass), Dave Weckl (Drums), Michael Landau (Guitar), Lee Sklar (Bass), Don Braden (Tenor Sax), Damon Albarn (Vocals), Nathan Haines (Tenor Sax), Carl Orr (Guitar), John Beasley (Vocals & Keyboards), Debbie Deane (Vocals & Piano), Jules Brookes (Vocals), Nash Kato (Guitar), Pam Bricker (Vocals), Jim West (Drums), Wayne Wilentz (Piano, Keyboard, and Vocals), Tony Gallo (Vocals), George Wadenius (Guitar), Bill Ware (Vibes & Fender Rhodes), Alex Ligertwood (Vocals), Justin Morell (Guitar), Abebi Stafford (Fender Rhodes), Gustavo Assis-Brasil (Guitar), Mauricio Zottarelli (Drums), Sean Wayland (Piano), Alex Gunia (Guitar), Philipp Van Endert (Guitar), Cornelius Bumpus (Sax), Rob Aries (Keyboards), Ben Lacy (Guitar), Franz Holtmann (Guitar), Matthias Krauss (Keyboard), Gudze (Bass), and Marco Minnemann (Drums).

"MAESTROS OF COOL" is a fabulous compilation of cover versions of songs from Steely Dan. "MAESTROS OF COOL" is far too good for the tribute album stamp. What we've got here is a compilation disc featuring an incredibly wide assemblage of musicians, most of whom, although likely unknown to listeners, have not only been influenced by Steely Dan, but have gone on to create spectacular and unique music that ventures far beyond that of their mentors.

"MAESTROS OF COOL" presents 24 tracks on 2 CDs with artists from the USA, EUROPE and AUSTRALIA.

The artists who made the recordings also have a remarkable amount of talent and are listed in order of their appearance on the record: CD 1 New Zealand's Nathan Haines featuring Blur singer Damon Albarn delivers a marvelous version of "FM", while former Steely Dan musical director John Beasley's Stereo comes up with an extraordinary new song sounding somewhere between Steely Dan and Herb Alpert. Singer/songwriter Debbie Deane gives "Any World" a great new flavor, keeping the song fresh and eager. Then British soul funk group Raw Stylus, (featuring Donald Fagen plus Steely Dan players Bernard Purdie, Randy Brecker and Elliott Randall) coming in with their own composition, which embodies portions of Steely Dan's composition "Josie". Alternative rock guitar legend Nash Kato from Urge Overkill captures the reminiscence of a fuel-injected, rock-oriented Steely Dan in their early years, while Washington jazz club singer Pam Bricker, well known for her work with Thievery Corporation, performs a beautiful version of "Home At Last". Tony Gallo is a singer out of the male "saloon singer" class who takes a jazz-pop direction on "Black Cow" that is a lot of fun.
Innovative interpretation and vocal tones coated in class describe the contents of Tony Gallo's work. Bill Ware's Groove Thing, featuring former Steely Dan members Bill Ware & George Wadenius, comes up with a dance-floor-downtown-New York version of "The Fez".
Former Santana singer Alex Ligertwood and LA's studio wizard David Garfield - join together for tasteful rock version of "Josie", cool song, great vocals and a mind blowing guitar solo. Australian jazz fusion guitarist Carl Orr shows that he admires Steely Dan in form and structure with Donald Fagen's "Tomorrow's Girls", while liquid blue from Germany comes up with "Rikki don't loose that number", which gets a slower arrangement and a lounge style treatment that will grow on you. "Joyful Caravan", a swinging vocal track, is not a Steely Dan song but it reflects an obvious Steely Dan influence by Jango, one of LA's finest fusion bands.

CD 2 starts with the majestic "Babylon Sisters" – a sophisticated performance by David Garfield and his band (including former Steely Dan members Bob Sheppard and Bernard Purdie plus guitarist Michael Landau).

Another imposing presence is guitarist Chuck Loeb, who follows with the slow ballad "Maxine", "Maxine" is not technically a Steely Dan song, but it's such a beautiful piece featuring John Patitucci and Dave Weckl, we felt it needed to be a part of this project. Don Braden is an impressive tenor-saxophonist whose style pushes at the boundaries of hard bop while staying a solid part of the tradition. "Kid Charlemagne" comes with a rhythmically intricate arrangement you have to hear. Next is one of Germany's best big bands: the HR Big Band. This ensemble gives the impression of enormous size and the quality of the recording is extremely dynamic with tremendous texture. The richness and depth of this work is astounding - so listen to "Pretzel Logic"

Justin Morell's version of "My Rival" is mellow without being lethargic, sophisticated without being pedantic, and soothing without fading into the background. Abebi Stafford, the young American piano-talent, now based in New York, shows himself as a musical rascal – interpreting "Green Earrings" with simplicity and cleverness. Boston based Brazilian guitarist Gustavo Assis-Brasil is one of the new upcoming voices on guitar. His trio version of "Aja" demonstrates some of his sophisticated harmonic and phrasing skills. Stolen Van is one of the hottest new trios to hit the Australian acoustic jazz scene - hear "Caves of Altamira" and you will love the creative ability of these musicians.

Alex Gunia & Philipp van Endert, two of Germany's top jazz guitarists - deliver a marvelous acoustic version of "Third World Man" - magnificently re-worked. Another Steely Dan player was Cornelius Bumpus. His arrangement of the Steely Dan tune "Chain Lightning" is a creative, hypnotic, slow blues simmer featuring Bumpus' richest tenor work amidst a bed of punchy organ harmonies and solo. Guitarist Ben Lacy from Kentucky comes next and shows his talents as a soloist on "Hey Nineteen". Lacy has evolved from metal chops to jazz player non pareil. And lastly, an extraordinary track from studio trio project Trinity from Cologne, Germany - Their project, featuring an added fourth guest: drummer Marco Minnemann transforms this trio into an ever evolving quartet. This initial foray has a casual air of equitable improvisation with experimental tendencies and grooves on "Steal it again, Dan".