Manassas is the 1972 debut double album by Stephen Stills' band of the same name. "It Doesn't Matter" was released as a single and peaked at #61. Bill Wyman of the Rolling Stones plays bass on and co-authored "The Love Gangster" and is reported to have said that he would have left the Stones to join Manassas. Manassas marked a critical comeback for Stills, with Allmusic calling it a "sprawling masterpiece" and Rolling Stone saying it was "reassuring to know that Stills has some good music still inside him"; the album debuted on the Billboard Top LP's chart for the week ending April 29, 1972 and peaked at No. 4 in June. Stills' album shared the top 10 with an album by David Crosby and Graham Nash and an album by Neil Young, all collectively members of the quartet Crosby, Nash & Young; the album was included in the book. All tracks written except where indicated. Stephen Stills - vocals, bottleneck guitar, organ, electric piano, synthesizer Chris Hillman - vocals, mandolin Al Perkins - pedal steel guitar, vocals Paul Harris - organ, tack piano, electric piano, clavinet Dallas Taylor - drums Calvin "Fuzzy" Samuels - bass Joe Lala - congas, timbales/percussion, vocals Sydney George - harmonica Jerry Aiello - piano, electric piano, clavinet Roger Bush - acoustic bass Bill Wyman - bass Roger Bush - acoustic bass Byron Berline - fiddle Jerry Garcia - pedal steel guitar After the initial Manassas tour from 9 April to 20th May.
Manassas completed five tours in six months, from July 14 to July 30 they toured the West Coast, the second tour from 11 - 28 August toured the East Coast, they toured Europe and Scandinavia from September 13 to October 9. The fourth tour was a tour of Midwestern American Colleges, the fifth tour was conducted in the South from December 1 - 19
Newport Folk Festival
The Newport Folk Festival is an American annual folk-oriented music festival in Newport, Rhode Island, which began in July 1959 as a counterpart to the established Newport Jazz Festival. The festival is considered one of the first modern music festivals in America and remains a focal point in the ever-expanding genre of "folk" music; the Newport Folk Festival was founded in 1959 by George Wein, founder of the already-well-established Newport Jazz Festival, owner of Storyville, a jazz club located in Boston, MA. In 1958, Wein became aware of the growing Folk Revival movement and began inviting folk artists such as Odetta to perform on Sunday afternoons at Storyville; the afternoon performances sold out and Wein began to consider the possibility of a "folk afternoon embedded within the 1959 Newport Jazz Festival". Wein envisioned the program to be "similar in scope and tone to the successful blues and gospel shows" that had taken place at the Jazz Festival in previous years. Wein asked Odetta, Pete Seeger, the Weavers to perform on the afternoon in addition to the Kingston Trio.
After conferring with the folk community, it grew abundantly clear to Wein that an afternoon program would not suffice and that there was demand for a full festival. Aware of his own limitations in the folk scene, Wein asked Albert Grossman Odetta's manager, to join him in planning and producing the festival. Grossman began working with Wein to book talent and organize the weekend; the inaugural festival lineup included Pete Seeger, Earl Scruggs, the Kingston Trio, John Jacob Niles, Sonny Terry and Brownie McGhee, The New Lost City Ramblers, more. The most notable performance was the surprise debut of the eighteen year old Joan Baez, brought on as a guest of Bob Gibson; the festival was expanded to include three nights. The lineup placed an emphasis on music diversity, booking performers from Africa, Spain and Ireland alongside "traditional" folk musicians such as Pete Seeger, Ewan McColl, John Lee Hooker, Cisco Houston and Tommy Makem. In 1962, two young members of the Student Nonviolent Coordinating Committee formed a gospel vocal quartet named the Freedom Singers.
And in 1962, Pete and Toshi Seeger assisted the Freedom Singers in organizing a nationwide collegiate tour. As a result, the civil rights movement became embraced by the folk music community. In 1963, the Freedom Singers performed on the first night of the Newport Folk festival, on the second night Joan Baez joined SNCC activists and 600 festival-goers on a march through Newport; the crowd walked past the Bellevue Avenue mansions and into Touro Park, where SNCC's executive secretary James Forman and Freedom Singers leader Cordell Reagon delivered speeches, rallying support for the March on Washington scheduled for the following March. For the final performance on Friday Wein had scheduled Peter and Mary, but under the persuasion of Albert Grossman, managing Peter and Mary, Wein decided to allow Bob Dylan to close the night. After Peter and Mary finished their afternoon set, Wein announced that they would reappear at the end of the evening. Dylan performed a set consisting of topical songs: "With God on Our Side", "Talkin' John Birch Society Blues", "A Hard Rain's Gonna Fall".
Peter and Mary returned and performed an encore of "Blowin' in the Wind". Amidst a "deafening roar of applause" they brought to the stage Dylan, Joan Baez, Pete Seeger, Theo Bikel and the Freedom Singers; the singers stood in a single line facing the audience with crossed arms and clasped hands and began to sing a variation on the Baptist hymn "I'll Overcome Some Day". The hymn's new incarnation - "We Shall Overcome" - had become an anthem for the Civil Rights Movement. In 1928, Mississippi John Hurt, a self-taught amateur musician and farmer, recorded 13 songs for Okeh Records which failed to achieve commercial success. Believing his musical career to be over, Hurt continued farming thinking little of his brief recording gig. Post WWII, few records cut by southern musicians in the 1920s were commercially available. Hurt's records were rare, since few had been manufactured in the first place, but Harry Smith, a member of a tiny subculture of obsessive, cranky collectors, put two John Hurt cuts on his influential 1952 Anthology of American Folk Music, prompting many blues hobbyists to begin searching for him.
In 1963, Tom Hoskins and Mike Stewart acquired a tape of Hurt's Avalon Blues through their informal network of tape traders. Hurt had recorded Avalon Blues at the end of a week-long stay in New York that spanned Christmas 1928. Homesick in the big city, Hurt included a line about his home in Avalon being always on his mind. Hoskins and Stewart were able to track Hurt down. After asking Hurt to perform, to ensure he was who he claimed to be, Hoskins convinced Hurt to move to Washington D. C. and embark on a national tour. The tour culminated on Saturday evening of the 1963 Newport Folk Festival, when Mississippi John Hurt performed alongside Brownie McGhee, Sonny Terry and John Lee Hooker for a blues workshop at the Newport Casino; the performance is considered to be a seminal moment for the folk revival and caused Hurt to rise to fame. He performed extensively at colleges, concert halls, coffeehouses and appeared on The Tonight Show Starring Johnny Carson. Bob Dylan's 1963 and 1964 performances solo and with Baez had made him popular with the Newport crowd, but on July 25, 1965 festival headliner Dylan was booed by some fans when he played with backing band The Paul Butterfield B
Manassas was an American rock band formed by Stephen Stills in 1971. Predominantly a vehicle for Stills' music, the band released two albums: 1972's Manassas and 1973's Down the Road; the band dissolved in October 1973. Manassas was formed in the fall of 1971, following Stills' concert tour to support his album Stephen Stills 2. While Stephen Stills 2 was Stills' second solo album, it was his first completed following the acrimonious 1970 breakup of Crosby, Nash & Young, was not critically well received. After a chance meeting with Flying Burrito Brothers singer/multi-instrumentalist Chris Hillman in Cleveland, where Stills' tour schedule crossed paths with that of the Burritos – a band that, by late 1971, had undergone multiple personnel changes and was in financial trouble – Stills saw an opportunity to change his artistic direction, he subsequently contacted Hillman, asking him, along with Burritos' guitarist Al Perkins and fiddler Byron Berline, to join him in Miami at Criteria Studios to jam.
Stills invited several members of his touring band to play at the session. The musicians jelled in the studio, within several weeks had recorded enough material at Criteria to fill a double-LP album release; the band was capable of a wide musical range, with a repertoire including blues, country and rock songs. Rolling Stones bassist Bill Wyman, a friend of both Hillman and Stills who visited Criteria during the sessions, was an early fan of the band, at one point expressing an interest in joining. Wyman contributed to the sessions by helping Stills re-write an unrecorded song from 1968, "Bumblebee," as the blues/funk tune "The Love Gangster," with Wyman playing bass on the track; the band named itself Manassas after Stills, who had an interest in American Civil War history, orchestrated a photo shoot for them in Manassas, the site of the First and Second Battles of Bull Run. The band's first album, Manassas, a double-LP sporting a cover photo from the shoot in Virginia, was released in April 1972.
The album was well received peaking at #4 in the United States and achieving RIAA Gold Record status. For most of 1972, Manassas embarked on an international tour in support of the album, including television appearances on ABC-TV's In Concert in the United States and Beat-Club in West Germany. Upon returning to the U. S. from the European leg of Manassas' 1972 tour, Chris Hillman took several weeks away from the band to record a reunion album with his pre-Burritos band the Byrds, an effort that included Stills' ex-CSNY bandmate David Crosby. Manassas regrouped and completed their second album, Down the Road. Initial sessions for the album were convened at Criteria Studios, but the band moved the sessions in midstream to Caribou Ranch in Colorado and the Record Plant in Los Angeles after Criteria staff engineers Ron and Howard Albert expressed concern that the sessions were not producing quality results. Down the Road was completed in January 1973; the album was released in the spring of that year to middling reviews and sales peaking at #26 in the United States and falling short of RIAA Gold status.
After completing Down the Road, Manassas became dormant for several months. During the break, Stephen Stills married Véronique Sanson, whom he had met in Paris during Manassas' 1972 European tour; as Hillman and Crosby's Byrds reunion album was readied for release in March 1973, the band considered launching a Byrds tour in support. When this did not materialize, two events occurred instead that doomed Manassas. First, Hillman accepted his management's proposal to join a project involving ex-Buffalo Springfield and Poco singer/guitarist Richie Furay and Eagles songwriter/collaborator J. D. Souther, after satisfying Manassas' scheduled touring commitments. Shortly thereafter, Crosby and ex-CSNY mate Graham Nash joined Neil Young and The Stray Gators on tour in support of Young's Harvest; when this tour ended in mid-1973, Crosby and Young – encouraged by their management, hopeful to realize the financial benefits of a possible CSNY reunion – regrouped in Maui to discuss potential work on a new album.
The three contacted Stills, putting aside the differences that led to CSNY's initial demise, cut short his honeymoon break with Sanson to join the new project. CSNY worked for several weeks in both Maui and Los Angeles on the project, Human Highway, but these sessions were aborted due to various disagreements within the band. Stills was greeted by several sources of turmoil upon returning from the Human Highway sessions to regroup Manassas, as, in addition to Hillman's future commitment to work with Furay and Souther, Dallas Taylor had become addicted to heroin, Calvin Samuels had left the band for personal reasons. Stills dealt with these issues by securing the services of Jefferson Airplane drummer John Barbata as a backup for Taylor, bassist Kenny Passarelli of Joe Walsh's band Barnstorm to replace Samuels. Samuels would return to the band for the last leg of its 1973 tour. Following the tour's completion in October, Manassas's dissolution was publicly announced. One of Manassas' last shows, at San Francisco's Winterland Ballroom in early October 1973, was made notable by the band's being joined onstage by first David Crosby and Graham Nash, in the show, by Neil Young.
When asked about this occurrence, Chris Hillman would comment "I could
The banjo is a four-, five-, or six-stringed instrument with a thin membrane stretched over a frame or cavity as a resonator, called the head, circular. The membrane is made of plastic, although animal skin is still used. Early forms of the instrument were fashioned by Africans in the United States, adapted from African instruments of similar design; the banjo is associated with folk, Irish traditional, country music. Banjo can be used in some Rock Songs. Countless Rock bands, such as The Eagles, Led Zeppelin, The Allman Brothers, have used the five-string banjo in some of their songs; the banjo occupied a central place in African-American traditional music and the folk culture of rural whites before entering the mainstream via the minstrel shows of the 19th century. The banjo, along with the fiddle, is a mainstay of American old-time music, it is very used in traditional jazz. The modern banjo derives from instruments, used in the Caribbean since the 17th century by enslaved people taken from West Africa.
Written references to the banjo in North America appear in the 18th century, the instrument became available commercially from around the second quarter of the 19th century. Several claims as to the etymology of the name "banjo" have been made, it may derive from the Kimbundu word mbanza, an African string instrument modeled after the Portuguese banza: a vihuela with five two-string courses and a further two short strings. The Oxford English Dictionary states that it comes from a dialectal pronunciation of Portuguese bandore or from an early anglicisation of Spanish bandurria; the name may derive from a traditional Afro-Caribbean folk dance called "banya", which incorporates several cultural elements found throughout the African diaspora. Various instruments in Africa, chief among them the kora, feature a skin gourd body; the African instruments differ from early African American banjos in that the necks do not possess a Western-style fingerboard and tuning pegs, instead having stick necks, with strings attached to the neck with loops for tuning.
Banjos with fingerboards and tuning pegs are known from the Caribbean as early as the 17th century. Some 18th- and early 19th-century writers transcribed the name of these instruments variously as bangie, bonjaw and banjar. Instruments similar to the banjo have been played in many countries. Another relative of the banjo is the akonting, a spike folk lute played by the Jola tribe of Senegambia, the ubaw-akwala of the Igbo. Similar instruments include the xalam of Senegal and the ngoni of the Wassoulou region including parts of Mali and Ivory Coast, as well as a larger variation of the ngoni developed in Morocco by sub-Saharan Africans known as the gimbri. Early, African-influenced banjos were built around a wooden stick neck; these instruments had varying numbers of strings, though including some form of drone. The five-string banjo was popularized by Joel Walker Sweeney, an American minstrel performer from Appomattox Court House, Virginia. Although Robert McAlpin Williamson is the first documented white banjoist, in the 1830s, Sweeney became the first white performer to play the banjo on stage.
His version of the instrument replaced the gourd with a drum-like sound box and included four full-length strings alongside a short fifth string. This new banjo was at first tuned d'Gdf♯a, though by the 1890s, this had been transposed up to g'cgbd'. Banjos were introduced in Britain by Sweeney's group, the American Virginia Minstrels, in the 1840s, became popular in music halls. In the antebellum South, many black slaves taught their masters how to play. For example, in his memoir With Sabre and Scalpel: The Autobiography of a Soldier and Surgeon, the Confederate veteran and surgeon John Allan Wyeth recalls learning to play the banjo as a child from a slave on his family plantation. Two techniques associated with the five-string banjo are rolls and drones. Rolls are right hand accompanimental fingering pattern that consist of eight notes that subdivide each measure. Drone notes are quick little notes played on the 5th string to fill in around the melody notes; these techniques are both idiomatic to the banjo in all styles, their sound is characteristic of bluegrass.
The banjo was played in the clawhammer style by the Africans who brought their version of the banjo with them. Several other styles of play were developed from this. Clawhammer consists of downward striking of one or more of the four main strings with the index, middle or both fingerwhile the drone or fifth string is played with a'lifting' motion of the thumb; the notes sounded by the thumb in this fashion are on the off beat. Melodies can be quite intricate adding techniques such as double drop thumb. In old time Appalachian Mountain music, a style called two-finger up-pick is used, a three-finger version that Earl Scruggs developed into the famous "Scruggs" style picking was nationally aired in 1945 on the Grand Ole Opry. While five-string banjos are traditionally played with either fingerpicks or the fingers themselves, tenor banjos and plectrum banjos are played with a pick, either to strum full chords, or most in Irish traditional music, play single-note melodies; the modern banjo comes in a variety of forms, including four- and five-string versions.
A six-string version and played to a guitar, has gained popularity. In all of its forms, banjo playing is
The violin, sometimes known as a fiddle, is a wooden string instrument in the violin family. Most violins have a hollow wooden body, it is highest-pitched instrument in the family in regular use. Smaller violin-type instruments exist, including the violino piccolo and the kit violin, but these are unused; the violin has four strings tuned in perfect fifths, is most played by drawing a bow across its strings, though it can be played by plucking the strings with the fingers and by striking the strings with the wooden side of the bow. Violins are important instruments in a wide variety of musical genres, they are most prominent in the Western classical tradition, both in ensembles and as solo instruments and in many varieties of folk music, including country music, bluegrass music and in jazz. Electric violins with solid bodies and piezoelectric pickups are used in some forms of rock music and jazz fusion, with the pickups plugged into instrument amplifiers and speakers to produce sound. Further, the violin has come to be played in many non-Western music cultures, including Indian music and Iranian music.
The name fiddle is used regardless of the type of music played on it. The violin was first known in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more powerful sound and projection. In Europe, it served as the basis for the development of other stringed instruments used in Western classical music, such as the viola. Violinists and collectors prize the fine historical instruments made by the Stradivari, Guarneri and Amati families from the 16th to the 18th century in Brescia and Cremona and by Jacob Stainer in Austria. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. Great numbers of instruments have come from the hands of less famous makers, as well as still greater numbers of mass-produced commercial "trade violins" coming from cottage industries in places such as Saxony and Mirecourt. Many of these trade instruments were sold by Sears, Roebuck and Co. and other mass merchandisers.
The parts of a violin are made from different types of wood. Violins can be strung with Perlon or other synthetic, or steel strings. A person who makes or repairs violins is called a violinmaker. One who makes or repairs bows is called an bowmaker; the word "violin" was first used in English in the 1570s. The word "violin" comes from "Italian violino, diminutive of viola"; the term "viola" comes from the expression for "tenor violin" in 1797, from Italian viola, from Old Provençal viola, Medieval Latin vitula" as a term which means "stringed instrument," from Vitula, Roman goddess of joy... or from related Latin verb vitulari, "to exult, be joyful." The related term "Viola da gamba" means "bass viol" is from Italian "a viola for the leg"." A violin is the "modern form of the smaller, medieval viola da braccio." The violin is called a fiddle, either when used in a folk music context, or in Classical music scenes, as an informal nickname for the instrument. The word "fiddle" was first used in English in the late 14th century.
The word "fiddle" comes from "fedele, fidel, earlier fithele, from Old English fiðele "fiddle,", related to Old Norse fiðla, Middle Dutch vedele, Dutch vedel, Old High German fidula, German Fiedel, "a fiddle. As to the origin of the word "fiddle", the "...usual suggestion, based on resemblance in sound and sense, is that it is from Medieval Latin vitula." The earliest stringed instruments were plucked. Two-stringed, bowed instruments, played upright and strung and bowed with horsehair, may have originated in the nomadic equestrian cultures of Central Asia, in forms resembling the modern-day Mongolian Morin huur and the Kazakh Kobyz. Similar and variant types were disseminated along East-West trading routes from Asia into the Middle East, the Byzantine Empire; the direct ancestor of all European bowed instruments is the Arabic rebab, which developed into the Byzantine lyra by the 9th century and the European rebec. The first makers of violins borrowed from various developments of the Byzantine lyra.
These included the lira da braccio. The violin in its present form emerged in early 16th-century northern Italy; the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, published in Lyon in 1556. By this time, the violin had begun to spread throughout Europe; the violin proved popular, both among street musicians and the nobility. One of these "noble" instruments, the Charles IX, is the oldest surviving violin; the finest Renaissance carved and decorated violin in the world is the Gasparo da Salò owned by Ferdinand II, Archduke of Austria and from 1841, by the Norwegian virtuoso Ole Bull, who used it for forty years and thousands of concerts, for i
Janis Ian is an American singer-songwriter, most commercially successful in the 1960s and 1970s. Born in 1951 in New York City, Ian entered the American folk music scene while still a teenager in the mid-1960s. Most active musically in that decade and the 1970s, she has continued recording into the 21st century, she has won two Grammy Awards, the first in 1975 for "At Seventeen" and the second in 2013 for Best Spoken Word Album, for her autobiography, Society's Child, with a total of ten nominations in eight different categories. Ian is a columnist and science fiction author. Born in New York City, Janis Fink was raised in New Jersey on a farm, attended East Orange High School in East Orange, New Jersey, the New York City High School of Music & Art, her parents, Victor, a music teacher, Pearl were Jewish-born liberals who ran a summer camp in upstate New York. As a child, Ian admired the work of folk pioneers such as Joan Odetta. Starting with piano lessons at the age of two, Ian, by the time she entered her teens, was playing the organ, French horn and guitar.
At the age of 12, she wrote her first song, "Hair of Spun Gold", subsequently published in the folk publication Broadside and was recorded for her debut album. In 1964, she changed her name to Janis Ian, taking her brother Eric's middle name as her new surname. At the age of 14, Ian wrote and recorded her first hit single, "Society's Child", about an interracial romance forbidden by a girl's mother and frowned upon by her peers and teachers. Produced by George "Shadow" Morton and released three times from 1965 to 1967, "Society's Child" became a national hit upon its third release after Leonard Bernstein featured it in a CBS TV special titled Inside Pop: The Rock Revolution; the song's theme of interracial relationships was considered taboo by some radio stations, who withdrew or banned it from their playlists accordingly. In her 2008 autobiography Society's Child, Ian recalls receiving hate mail and death threats as a response to the song and mentions that a radio station in Atlanta that played it was burned down.
In the summer of 1967, "Society's Child" reached number 14 on the Billboard Hot 100, the single having sold 600,000 copies and the album 350,000. At the age of 16, Ian met comedian Bill Cosby backstage at a Smothers Brothers show where she was promoting Society's Child. Since she was underage, she was accompanied by a chaperone while touring. After her set, Ian had been sleeping with her head on her chaperone's lap. According to Ian in a 2015 interview, she was told by her manager that Cosby had interpreted their interaction as "lesbian" and as a result "had made it his business" to warn other television shows that Ian wasn't "suitable family entertainment" and "shouldn't be on television" because of her sexuality, thus attempting to blacklist her. Although Ian would come out as lesbian, she states that at the time of the encounter with Cosby she had only been kissed once, in broad daylight at summer camp. Ian relates on her website that, although the song was intended for Atlantic Records and the label paid for her recording session, Atlantic subsequently returned the master to her and refused to release it.
Ian relates that years Atlantic's president at the time, Jerry Wexler, publicly apologized to her for this. The single and Ian's 1967 eponymous debut album were released on Verve Forecast. In 2001, "Society's Child" was inducted into the Grammy Hall of Fame, which honors recordings considered timeless and important to music history, her early music was compiled on a double CD entitled Society's Child: The Verve Recordings in 1995. "Society's Child" stigmatized Ian as a one-hit wonder until her most successful US single, "At Seventeen", was released in 1975. "At Seventeen" is a bittersweet commentary on adolescent cruelty, the illusion of popularity and teenage angst, from the perspective of a narrator looking back on her earlier experience. The song was a major hit as it charted at number 3 on the Billboard Hot 100, hit number 1 on the Adult Contemporary chart and won the 1976 Grammy Award for Best Pop Vocal Performance - Female, beating out Linda Ronstadt, Olivia Newton-John and Helen Reddy.
Ian appeared as a musical guest on the series premiere of Saturday Night Live on October 11, 1975, performing "At Seventeen" and "In the Winter". The album, Between the Lines, was a smash and reached number 1 on Billboard′s album chart; the album would be certified platinum for sales of over one million copies sold in the US. Another measure of her success is anecdotal: on Valentine's Day 1977, Ian received 461 valentine cards, having indicated in the lyrics to "At Seventeen" that she never received one as a teenager."Fly Too High", produced by disco producer Giorgio Moroder, was Ian's contribution to the soundtrack of the Jodie Foster film Foxes and was featured on Ian's 1979 album Night Rains. It became her first international hit, reaching number 1 in many countries, including South Africa, Australia and the Netherlands, going gold or platinum in those countries as well as charting in the UK. Another country where Ian has achieved a high level of popularity is Japan: Ian had two Top 10 singles on the Japanese Oricon charts, "Love Is Blind" in 1976 and "You Are Love" in 1980.
Ian's 1976 album Aftertones topped Oricon's album chart in October 1976. "You Are Love" is the theme song of Kinji Fukasaku's 1980 movie V
Through the Morning, Through the Night
Through the Morning, Through the Night is the second and final album from the country rock duo Dillard & Clark, released in 1969. The musicians included country rock and folk rock pioneers Gene Clark, Doug Dillard, Bernie Leadon, Chris Hillman, Sneaky Pete Kleinow, Byron Berline, Michael Clarke. However, the addition of Dillard's girlfriend Donna Washburn as a full-time harmony vocalist, replacing Leadon, caused Leadon to leave the group and join Hillman and Kleinow in the Flying Burrito Brothers, although he, Hillman and Kleinow appear as "special pickers" on the album; the core band on this album included Clark, Washburn, David Jackson, fiddler Byron Berline, drummer Jon Corneal, who had quit the Burritos, which made room for Clarke to join them. The large number of cover songs included on the album caused critical reaction to be decidedly less positive than on the prior album; as a result, Gene Clark left the band after the album. Although Doug Dillard tried to continue the group as the Doug Dillard Expedition, the group soon came to an end.
The tracks "Through the Morning, Through the Night" and "Polly" were covered by Alison Krauss and Robert Plant on their 2007 collaboration Raising Sand. Music critic Richie Unterberger, writing for Allmusic, called the album "a disappointment in relation to their far more eclectic and original prior effort, The Fantastic Expedition of Dillard & Clark; the primary difference is that whereas the earlier record had leaned on Gene Clark's original compositions, a reasonably adventurous attitude toward country-rock fusion in general, the follow-up saw them turning into a much more traditional folk/bluegrass act... Taken on its own, it's a fair, pleasant bluegrass-flavored outing with few surprises." "No Longer a Sweetheart of Mine" – 3:16 "Through the Morning, Through the Night" – 4:06 "Rocky Top" – 2:47 "So Sad" – 3:21 "Corner Street Bar" – 3:35 "I Bowed My Head and Cried Holy" – 3:33 "Kansas City Southern" – 3:40 "Four Walls" – 3:40 "Polly" – 4:22 "Roll in My Sweet Baby's Arms" – 2:50 "Don't Let Me Down" – 3:52 Gene Clark - vocals, harmonica Doug Dillard - vocals, guitar, fiddle Byron Berline - fiddle Donna Washburn - guitar, vocals David Jackson - bass, cello, vocals Sneaky Pete Kleinow - pedal steel guitar Bernie Leadon - guitar, bass Chris Hillman - mandolin Jon Corneal - drums, tambourine Michael Clarke - drums Producer: Larry Marks Recording Engineers: Dick Bogert & Ray Gerhardt Art Direction: Tom Wilkes Photography: Jim McCrary Liner notes: Barry Ballard