Posts Tagged ‘Reprise Records’

Produced by the band members themselves and engineered by the legendary Martin Rushent, “Future Games” was recorded at London’s Advision Studios between June and August 1971, and the fact that it was released on September 3rd of the same year shows just how quick the turnaround was. In addition to Kirwan, the album also stands out as being the first Fleetwood Mac album to include Christine McVie as a full member as well as the first to feature Bob Welch, but it’s also notable for being the band’s first album without Jeremy Spencer.

When Fleetwood Mac turned in Future Games, Reprise Records said that they wouldn’t release it with only seven songs, so the band popped back into the studio and laid down “What a Shame,” doing so as a jam, hence the song writing credits including every member of the band. The album’s lone single, “Sands of Time,” failed to chart in either the U.S. or the U.K., but one tune has managed to find a tremendous audience over the years: the title track, penned by Welch, which is by far the most streamed song on the album.

Future Games was poorly received by the critics of the time. Future Games is a thoroughly unsatisfactory album. It is thin and anemic-sounding and I get the impression that no one involved really put very much into it. If Fleetwood Mac have tried to make the transition from an energetic rocking British blues band to a softer more “contemporary” rock group, they have failed. If they have simply lost interest.

Critic Robert Christgau’s commentary shows how much the man admires what he perceives as his superior ability with wordplay as well as the usual pomposity and factual errors:
These white blues (and hippie rockabilly) veterans shouldn’t have to depend on new recruit Bob Welch’s deftly metallized r&b extrapolation for rock and roll, but unless you count the studio jam, they do. And if the best song on the album isn’t the slowest, that’s only because Welch also has mystagogic tendencies. It’s the simplest in any case: Christine Perfect’s ‘Show Me a Smile.’
Christine was no longer calling herself Perfect but was still good enough to qualify as McVie. Bob Welch actually contributed relatively little to Future Games: he wrote two of the songs (including the title track) and “played mostly rhythm guitar.” And to apply the term “mystagogic” to Bob Welch is completely absurd, for “A mystagogue is a person who initiates others into mystic beliefs, and an educator or person who has knowledge of the sacred mysteries of a belief system.” Neither of Welch’s songs come close to qualifying as a trip into the mystic (though Danny Kirwan’s do).

The expansion of the band’s range is established immediately in the pair of sus2 acoustic guitar chords that form the intro to Kirwan’s “Woman of 1000 Years.” Patterns of sustained and major seventh chords have an elusive, indefinite feel, calling up adjectives like “ethereal,” “dreamy” and “melancholy.” Most songwriters fail to develop chord structures to support them, leading to a vague, uncertain musical statement that lacks a sense of forward movement—songwriter and song remain suspended in a musical vacuum.

Danny Kirwan was not one of those songwriters. “Woman of 1000 Years” has one of the most beautiful and satisfying chord structures I’ve ever heard. When I reproduced the chords on my acoustic guitar, I felt myself moving into a still, reflective space where I was at one with the sheer beauty of the musical progression. I switched to piano and the progression had the same entrancing effect. The sense of movement and wonder is enhanced by subtle changes and additions along the way that keep things challenging and intensely interesting—but not once does a chord feel out-of-place. Chord charts on the Internet are often hit-or-miss (half the contributors couldn’t tell a minor chord from a major to save their lives), but I found one on Ultimate Guitar that gets it right. If you are a musician, I encourage you to head over there and explore the pattern—the improvisational opportunities are limitless.

Back to our story, the “resolution” chord is Asus2, which effectively means there is no resolution at all—the woman of a thousand years remains an indefinable mystery. Although not specifically identified as such in the lyrics, the woman is certainly a manifestation of the muse, but Kirwan doesn’t limit her role to sparking creativity in the artist. Danny Kirwan’s vocal is beautifully restrained and blends marvelously with Christine McVie’s harmonies. The first guitar solo is a gorgeous display of simplicity, completely consistent with the nature of the composition as it seems to end a bar before its time, avoiding definitive resolution; the complementary guitar fade supplies an appropriately gentle exit. While “Woman of 1000 Years” is hardly your typical album opener, it is a compelling experience nonetheless, establishing a mood for the album that asks the listener to shift gears, slow down and take some time to enjoy the magic of music.

Let us correct the record. Future Games balances the impressive song writing talents of Kirwan, Welch and Christine McVie. Each of those artists put a great deal of effort into crafting those songs, a glaring truth that is obvious to anyone who actually takes the time to listen to the record. Danny Kirwan is clearly the dominant presence, contributing the three songs most crucial to establishing the reflective mood of the album. If anything, Future Games increased Fleetwood Mac’s “promise” by extending their playing field beyond straight blues-based rock ‘n’ roll.

Future Games may not have been a gargantuan hit in America, but it did kick off a trend for a few albums where each album did better than one that preceded it, with 1972’s Bare Trees hitting and Penguin so it still furthered Fleetwood Mac’s fanbase in the States.

Even nice albums need some kick, and Future Games certainly delivers on that score. Christine McVie’s “Morning Rain” gives her a chance to warm up her piano fingers in a percussive role dedicated to reinforcing the solid rhythm established by the ever-grounded pair of Fleetwood and McVie. I love the way this song opens, lulling the listener into believing the root chord is F# before making a move to establish F# as the tension chord demanding resolution to B major. The sweet bluesy guitar licks that highlight that transition make me smile at the cleverness of the ruse as they settle into the solid groove. For a rock song, Christine’s vocal in the verses (supported by harmony) is comparatively subdued, but soon we learn that she’s been saving her vocal chords for the more enthusiastic performance in the bridge . The contrast between the two vocal styles adds to the appeal of the song, and even more excitement awaits us in the instrumental passages where the guitarists let loose. I also love the way the piece ends, with Christine and the boys reminding us of the song’s essential melodic nature with a nice round of wordless singing. “Morning Rain” is a tasty little piece promising that Future Games will cover a lot of musical ground.

“What a Shame” was added at the last minute because the album submitted by the band contained only seven tracks and the record company wanted eight. The band responded with a single key jam with heavy bass featuring Christine’s brother John on saxophone. I’m glad John picked up a few bucks in the process, but other than executing the piece with due professionalism, the band doesn’t sound particularly interested. If they had to include it on the album, it might have been better to move it back into the fourth slot to serve as a brief intermission between “Future Games” and “Sands of Time.” It’s sufficiently low-key so as not to disturb the nice album vibes.

(18/9/71) ADVERT 16X12" FLEETWOOD MAC : FUTURE GAMES

Moving onto Bob Welch’s Fleetwood Mac début, “Future Games” makes use of the sustained and major seventh chords we heard in “Woman of a 1000 Years,” in this case producing a slight drone effect with the unifying B-note (Em, Cmaj7, Asus2, B7). However, Welch’s piece features clearer resolution to E minor in the verses and G major in the chorus, hinting at a more definitive theme in the lyrics. Despite the unknowable nature of the future, Welch pulls it off by universalizing the message: playing out future possibilities is something everyone does, whether it’s speculating on the afterlife, the possibility of a relationship with this person or that person, or worrying about disasters that may come our way. “I know I’m not the only one to ever spend my life sitting playing “Future Games”.  Musically, “Future Games” complements Kirwan’s contributions to the album with its pensive mood and restraint. The band passes up the opportunity to go big in the instrumental passage featuring the guitar solo, using that passage to reinforce the melody before easing into the third verse. Though I think they could have shortened the fade a bit, “Future Games” works on multiple levels, and demonstrates Bob Welch’s gift for melody that would later result in “Sentimental Lady.”

The flow of Danny Kirwan’s “Sands of Time” is as gentle and mesmerizing as the flow of a mountain stream. The music here alternates between G major and its E minor complement, spiced with a delightful variety of guitar fills, cascading arpeggios and some nifty cymbal work from Mick Fleetwood. The lyrics involve the interplay of darkness and light, as expressed in the verse that opens and closes the song.

In a stunning turn of events, Danny seems to go full country in the introduction to “Sometimes,” with Christine McVie’s down-home piano and sweetly picked guitar leading the way. Danny inserts a minor chord into the mix and John McVie fills the empty spaces with deep, penetrating bass. Danny then steps into the role of jilted lover, remembering the good times while throwing his aching back into his work to help push the emotional pain to the sidelines. The song straddles the line between classic sad song and defiance of sadness, expressed both in the lyrics and in the surprisingly muscular guitar fills. Although not as deep or complex as his other two contributions, don’t let its subtlety fool you: “Sometimes” is first-rate song writing by a very talented songwriter.

The one contribution on the album I could have done without is Bob Welch’s “Lay It All Down,” a rather pedestrian attempt at blues-influenced gospel with the usual “just like the good book said” crapola. Thematically it’s a weak fit; I suppose one could argue that it maintains the connection with the earlier model of Fleetwood Mac, but that was then, this was now, and this song flat-out sucks.

Fortunately, Future Games ends on a high note with Christine McVie’s “Show Me a Smile.” Songs written by parents for their children generally don’t grab me because of the latent sentimentality, but there’s one verse that lifts this song out of the maudlin and into the reality that a child’s future is likely to result in disappointment. Christine captured that dynamic beautifully, carefully balancing her vocal so that she never goes too soft or over the top. The music is equally supportive of that balance, with luscious arpeggiated guitar, lead guitar fills and splashes of piano guiding us gently through the verses, and John McVie delivering serious punch with his bass during the louder passages. “Show Me a Smile” ends Future Games by underscoring the album’s essential beauty.

See the source image

    • The only constant members are drummer Mick Fleetwood and bassist John McVie. That’s where the band’s name comes from, and they won a lawsuit to prove it.
    • Fleetwood Mac began life as a blues band during the peak years of the British blues movement. Their first album is officially titled Fleetwood Mac, but nearly everyone refers to it as Peter Green’s Fleetwood Mac, referring to the band’s lead guitarist and singer. This début album was a smashing success, and remains one of the most enjoyable blues records of the era. Jeremy Spencer contributed slide guitar and some vocals. As was true for so many British musicians of the era,  Peter Green developed his chops in John Mayall’s band.
    • Peter Green stayed with the band  through the third studio album, Then Play Onthe first album with Danny Kirwan. Kirwan would emerge as sort of co-leader with Jeremy Spencer on the fourth album Kiln House. Spencer left the band shortly thereafter. Christine Perfect, aka Christine McVie, who had appeared occasionally on earlier albums, became a full-time member after Kiln House, the name change reflecting her marriage to John McVie.
    • Prior to Future Games, an American musician by the name of Bob Welch joined the band, sharing guitar duties with Kirwan. This relationship ended after the follow-up album Bare Trees when Kirwan’s drinking and temper led to some serious altercations with Welch, which in turn led to Kirwan’s dismissal. Welch contributed to five studio albums, and the period from Future Games to Heroes Are Hard to Find are colloquially referred to as the Bob Welch Era or similar designation.
    • In 1975, Christine McVie pushed hard for a more radio-friendly music to pad her bank account. Welch thought he’d be better off going solo and left the band. Fleetwood Mac replaced him with Americans Stevie Nicks and Lindsey Buckingham.

Family A Song For Me album cover

“A Song for Me” is the third album by the British progressive rock band Family, released on 23rd January 1970 on Reprise Records.

The album was recorded in late 1969 at Olympic Studios in London. It was their first album with new members John Weider on bass and Poli Palmer on keyboards, flute and vibraphone. The past several months had been full of setbacks for Family. Rick Grech had left for Blind FaithJim King was forced to leave for getting too deep into drug addiction, and their first U.S. tour proved to be a disaster.

Although many of the songs had been written with King’s saxophone in mind, Charlie Whitney and Roger Chapman were able to rework them with Palmer’s instruments, and Palmer quickly made himself integral to Family’s sound. Because some of these songs had been debuted in live performances in the previous year, many Family fans found themselves getting accommodated to arrangements that sounded radically different from what they expected.

This might well be among the best of the early Family recordings. A combination of hard rock and wistful folk-rock (it sounds as if Chapman and Whitney were listening to a lot of Incredible String Band), “A Song for Me” veers toward early progressive rock, but isn’t as nakedly indulgent as some early prog-rock recordings, perhaps they wanted to sound like a rock band screwing around with jazz. Perhaps their most experimental record, it seems as though the credo in making this disc was that anything went. And on tracks like “Drowned in Wine,” it works quite well. Again, Chapman offers more proof of his vocal greatness, and again the record sells large quantities in England and nearly nothing in America.

Family

  • Roger Chapman – vocals, percussion
  • John “Charlie” Whitney – guitars, banjo, organ
  • John Weider – guitars, bass, violin, dobro
  • John “Poli” Palmer – vibes, piano, flute
  • Robert Townsend – drums, percussion, harp

Lucinda Williams recently sat down with Jessie Scott to talk about the 20th anniversary of her groundbreaking album ‘Car Wheels On A Gravel Road’. Williams is touring with her band in celebration of the 20 years of the songs like “Jackson” and “Drunken Angel” which she played and recorded for a session at Colin Linden’s Nashville studio.

It was her fifth studio album by the singer-songwriter Lucinda Williams. It was recorded and co-produced by Williams in Nashville, Tennessee and Canoga Park, California, before being released on June 30th, 1998, by Mercury Records. The album features guest appearances by Steve Earle and Emmylou Harris. It was Willams’ first album to go gold, She also won a Grammy Award for Best Contemporary Folk Album, and received a nomination for Best Female Rock Vocal Performance for the single “Can’t Let Go”.

Lucinda Williams makes this whole music thing seem so simple: Write in plain language about the people and places that crowd your memory; add subtle flavors of a mandolin here, a Dobro there, perhaps an accordion or slide guitar; above all, sing as honestly and naturally as you can. Of course, it took her six years to achieve this simplicity, an amazing achievement considering the number of knobs that were turned. Her exquisite voice moans and groans and slips and slides–she delivers a polished tone in a coarse manner. On the superb “Concrete and Barbed Wire”, soft acoustic guitars are punctuated by electric slide, accordion, mandolin, and Steve Earle’s harmony. Williams’s deeply personal stories are matched with bluesy rumbles, raunchy grooves, and plaintive whispers. The entire Deep South is reduced to a sleepy small town filled with ex-lovers, dive bars, and endless gravel roads.

Williams’s evocations of rural rootlessness–about juke joints, macho guitarists, alcoholic poets, loved ones locked away in prison, loved ones locked away even more irreparably in the past–are always engaging in themselves. And they mean even more as a whole, demonstrating not that old ways are best,

It isn’t surprising that Lucinda Williams‘ level of craft takes time to assemble, but the six-year wait between “Sweet Old World” and its 1998 follow-up, “Car Wheels on a Gravel Road”, still raised eyebrows. The delay stemmed both from label difficulties and Williams‘ meticulous perfectionism, the latter reportedly over a too-produced sound and her own vocals. Listening to the record, one can understand why both might have concerned Williams. Car Wheels is far and away her most produced album to date, which is something of a mixed blessing.

Its surfaces are clean and contemporary, with something in the timbres of the instruments (especially the drums) sounding extremely typical of a late-’90s major-label roots-rock album. While that might subtly alter the timeless qualities of Williams‘ writing, there’s also no denying that her sound is punchier and livelier. The production also throws Williams‘ idiosyncratic voice into sharp relief, to the point where it’s noticeably separate from the band. As a result, every inflection and slight tonal alteration is captured, and it would hardly be surprising if Williams did obsess over those small details. But whether or not you miss the earthiness of Car Wheels‘ predecessors, it’s ultimately the material that matters, and Williams‘ songwriting is as captivating as ever. Intentionally or not, the album’s common thread seems to be its strongly grounded sense of place — specifically, the Deep South, conveyed through images and numerous references to specific towns. Many songs are set, in some way, in the middle or aftermath of not-quite-resolved love affairs, as Williams meditates on the complexities of human passion.

The final version of Car Wheels on a Gravel Road was produced by E.Street Band Roy Bittan

Vinyl issue of a late 1973 recording from New York with the Santa Monica Flyers.

In the second half of 1973, Neil Young formed The Santa Monica Flyers, with Crazy Horse’s rhythm section augmented by Nils Lofgren on guitar and piano and Harvest/Time Fades Away veteran Ben Keith on pedal steel guitar. Deeply affected by the drug-induced deaths of Danny Whitten and roadie Bruce Berry, Young recorded an album specifically inspired by the incidents, “Tonight’s the Night”. The album’s dark tone and rawness led Reprise to delay its release and Young had to pressure them for two years before they would do so; it finally came out on in June 1975.

By late ’73, Young and The Flyers were touring and performing songs, as yet unreleased, later to be included on Tonight’s The Night. On November 15th the ensemble performed at Queen’s College in Flushing, New York, for a show which remains quite staggering and is featured on this CD in its entirety. Including six cuts from Tonight….., plus a smattering of numbers from previous records, this concert, released here for the first time, is unlike any other Neil Young ever played.

Paradise And Lunch

Ry Cooder understands that a great song is a great song, whether it was written before the Depression or last week. Still, at the same time he isn’t afraid to explore new avenues and possibilities for the material. Like his three previous records, Paradise and Lunch is filled with treasures which become part of a world where eras and styles converge without ever sounding forced or contrived. One may think that an album that contains a traditional railroad song, tunes by assorted blues greats, and a Negro spiritual alongside selections by the likes of Bobby Womack, Burt Bacharach, and Little Milton may lack cohesiveness or merely come across as a history lesson, but to Cooder this music is all part of the same fabric and is as relevant and accessible as anything else that may be happening at the time. No matter when it was written or how it may have been done in the past, the tracks, led by Cooder’s brilliant guitar,

Truly a musician’s musician, guitarist Ry Cooder has been a bridge connecting contemporary audiences to a dizzying variety of traditional musics for almost half a century. His ongoing career includes a string of acclaimed albums for Reprise, of which Paradise And Lunch was his fourth release – and one of his best.

Produced by Russ Titelman and Lenny Waronker, the 1974 collection touches on blues, gospel, jazz and folk, with Ry applying his distinctive stamp to such highlights as “Jesus on the Mainline,” The album also includes Cooder’s updated arrangement of bluesman Washington Phillips’ song “The Tattler” that stands out for its guitar playing, It was subsequently covered by Linda Ronstadton her 1976 album Hasten Down the Wind

Other tracks like “Ditty Wah Ditty,” which features Earl “Fatha” Hines on piano. Here both musicians are given plenty of room to showcase their instrumental prowess, and the results are nothing short of stunning. Eclectic, intelligent, and thoroughly entertaining, Paradise and Lunch remains Ry Cooder’s masterpiece. Though there are other stellar instrumentalists (including saxophonist Plas Johnson and drummer Jim Keltner) supporting the headliner’s faultless fretwork, Cooder’s down-home vocals are just as important to the set’s soulful appeal, and Paradise And Lunch is heaven for roots rock fans.

09_10_am_01

Wilco’s debut album, A.M., was released 20 years ago .

A.M. is the debut album of Chicago based alt-country rock band Wilco, released on March 28th, 1995. The album was released only months after the breakup of Uncle Tupelo, another alt-country band that was the predecessor of Wilco. Prior to the release of the album, there was debate about whether the album would be better than the debut album of Son Volt, the new band of former Uncle Tupelo lead singer Jay Farrar. Only days after the breakup, Tweedy had decided to form a new group. He was able to retain the lineup of Uncle Tupelo sans Farrar, and rechristened the new band as Wilco.

In mid-May, the band began to rehearse songs in the office of band manager Tony Margherita, and hired producer Brian Paulson, who produced Anodyne. Wilco first recorded demo tracks for the album at Easley studio in Memphis, Tennessee in June. Stirratt recommended the studio based on previous experience as a member of The Hilltops, and Jeff Tweedy had heard of the studio through a Jon Spencer Blues Explosion recording. Reprise Records, a subsidiary of Warner Brothers, signed Jeff Tweedy after hearing the tapes, and recording for the album continued through August.

Although A.M. was released before Son Volt’s Trace, critical reviews were modest and initial sales were low. The album was later regarded as a “failure” by band members, as Trace became a greater commercial success. It was the band’s last album to be recorded in a purely alternative country style, as following the record the band began to expand their sound across multiple genres. It is also the only Wilco album to feature Brian Henneman of The Bottle Rockets as a lead guitarist. Recorded June–Autumn in 1994 . Brian Henneman had to leave the band shortly after recording the album, and was replaced by former Titanic Love Affair guitarist Jay Bennett. Jeff Tweedy also attempted to create a more collaborative environment than Uncle Tupelo, requesting songwriting contributions from other members. John Stirratt submitted three songs, hoping to become a secondary songwriter for Wilco. However, although the songs were recorded as demos, only one (“It’s Just That Simple”) was selected to appear on the album, and was the only Stirratt song to appear on any Wilco album.

The album’s title is intended to reference Top 40 radio stations, and the tracks reflect a straightforward country-rock sound. The band members felt that they needed to establish themselves outside of the Tupelo fanbase. However, Tweedy later stated that in actuality, they were “trying to tread some water with a perceived audience.” Tweedy wrote a song about the Uncle Tupelo breakup, but decided that he didn’t want any material on that subject matter to appear on the album (It can be argued, however, that first single “Box Full of Letters”, as well as “Too Far Apart” allude to the dissolution of Farrar and Tweedy’s friendship and working relationship.) Tweedy attributes some of the straightforwardness of the album to his use of marijuana at the time. Shortly after the album, Tweedy stopped smoking pot, to which he credits the introspectiveness of further albums.

Wilco began touring before the album was released. Their live debut was on November 27th , 1994 at Cicero’s Basement Bar in St. Louis, a venue where Uncle Tupelo had first received significant media attention. The band was billed for that concert as Black Shampoo, a reference to a 1970s B-movie, and the show sold out.  Wilco continued to tour for two hundred shows, culminating in show at the South by Southwest Music Conference in Austin, Texas in March 1995. A.M. was released on Reprise Records on March 28th, 1995.

Image result for bee gees ist images

Similar to Pink Floyd, The Bee Gees really didn’t become megastars until the next decade, though they did have a good deal of success as a psychedelic pop band in the late sixties. It’s not a stretch to say that Bee Gees 1st is the best album effort that the Bee Gees released during their entire career Bee Gees’ 1st was the group’s debut album for the UK Polydor label a psychedelic pop album. The album cover was designed by Klaus Voormann who had previously done the cover for Revolver .

The Gibb Brothers’ perfect harmonies match perfectly with the various psychedelic styles they use without any hiccups; in one album, the Bee Gees play off the Beatles, the Moody Blues, and the British pastoral style of the Kinks to keep your attention, but the Bee Gees were mainly focused on creating short, radio ready pop songs that were easily digestible and without any extended jamming or crazy instrumentation (no song on this album is over 3:45). For an album that’s based so strictly in pop, the Bee Gees have a surprising range of songs – from the Revolver-esque “In My Own Time” or the hazy “Please Read Me,” to the straight pop ballad “To Love Somebody,” to the gloomy “New York Mining Disaster 1941” or “Every Christian Lion Hearted Man Will Show You,” the Bee Gees do a great job in altering their sound over the course of just fourteen tracks.

Drummer Colin Petersen and lead guitarist Vince Melouney, both Australians, were hired to make the Bee Gees into a full band. Both played on the first English album and became official members of the group between its completion and release. Petersen had played with the Bee Gees at St. Clair studio in 1966 on the Spicks and Specks sessions and was officially added first,

Released 14th July 1967 (UK).

Reprise Records (sister label to Atco under Warner Music Group) reissued the album with both stereo and mono mixes on one disc and a bonus disc of unreleased songs and alternate takes. (This 2-CD set on Reprise corrected the fluttering on the lead-off stereo track “Turn of the Century”. The mono version never had this problem.)

Image result for bee gees ist images

Bee Gees
  • Barry Gibb – lead, harmony and backing vocals, rhythm guitar
  • Robin Gibb – lead, harmony and backing vocals, organ
  • Maurice Gibb – harmony and backing vocals, bass guitar, piano, organ, harpsichord, mellotron, guitar
  • Vince Melouney – lead guitar
  • Colin Petersen – drums

Neil Young will release a new album, entitled EARTH, on June 17th via Reprise Records. The album features performances of songs from a range of Young’s albums, including last year’s The Monsanto Years, 1990’s Ragged Glory, and 1970’s After the Gold Rush. The audio was captured during Young’s 2015 tour with The Promise of the Real, fronted by Lukas Nelson (vocals/guitar) and Micah Nelson (guitar, vocals) – Willie Nelson’s sons. The tour Included Neil Young performing solo and with the band for a full electric show.
A new take on some of Young’s most beloved songs, EARTH features the live recordings, along with added musical overdubs, as well as sounds of the earth, such as city sounds like car horns, sounds of insects, and animal sounds from bears, birds, crickets, bees, horses, cows – creating a very strange, yet beautiful atmosphere.
“Ninety-eight uninterrupted minutes long, EARTH flows as a collection of 13 songs from throughout my life, songs I have written about living here on our planet together,” says Young. “Our animal kingdom is well represented in the audience as well, and the animals, insects, birds, and mammals actually take over the performances of the songs at times.”

CD 1
1. Mother Earth
2. Seed Justice
3. My Country Home
4. The Monsanto Years
5. Western Hero
6. Vampire Blues
7. Hippie Dream
8. After the Gold Rush
9. Human Highway

CD 2
1. Big Box
2. People Want to Hear About Love
3. Wolf Moon
4. Love and Only Love