major hit record. The boys come out of the chute kickin’
on “Fool for the City,” bleeding into “Eight Days on the Road,” and following it up with a set of songs that span their 45-year plus ca- reer. From the rocking title track of their lat- est studio album Under the Influence, to classic Foghat tracks like “Drivin Wheel” and “Stone Blue,” it is a rock-solid show. The band rocks some Robert Johnson with “Ter- raplane Blues” and perform their adrenaline- charged rendition of Willie Dixon’s “I Just Want to Make Love to You.” The band saves their biggest hit for last,
an extended, no holds barred rendition of Lonesome Dave Peverett’s “Slow Ride,” with power soaked drums from founding band member Roger Earl, heavy bass from Rodney O’Quinn, lead vocals and guitar from Charlie Huhn and excellent guitar from Bryan Bas- sett. The classic-rock staple sounds as great as ever, maybe even better, and serves as the perfect curtain call for a rousing live set. This is the good stuff, fellow babies!
-Michael Buffalo Smith
Glen Campbell Adios (Universal) When Glen Camp-
bell passed away on August 8 following a long public battle with Alzheimer’s disease, he left behind a brand
new, final studio album aptly titled Adios. Recorded at Station West in Nashville follow- ing Glen's 'Goodbye Tour,' it was produced by Glen's longtime band member and friend Carl Jackson, and features four Jimmy Webb songs that Glen never recorded but always loved, including the title track. Adios also features songs written by
Roger Miller, Bob Dylan, Dickey Lee, Jerry
Reed, and Fred Neil, and includes a duet with Willie Nelson on “Ain’t it Funny How Time Slips Away.” Another special guest, Vince Gill, added harmony vocals in “Am I All Alone (Or Is It Only Me), which also features an intro- duction from Roger Miller.” Glen was in as fine a voice as ever on the Midnight Cowboy theme “Everybody’s Talkin,” and Jerry Reed’s “A Thing Called Love,” and there are several tracks just begging for radio play, including “It Won’t Bring Her Back” and Campbell’s version of “She Thinks I Still Care” and “Arkansas Farmboy.” The album is a true family affair with
Glen's daughter Ashley and sons Cal and Shannon, all performing on the record, and after five decades as a hit making performer, Glenn managed to turn out one of his finest albums ever while surrounded by family and friends. That’s what I call going out on top.
-Michael Buffalo Smith
Freddy Fender Lovin’ Tex-Mex Style (Rock Beat) According to the
liner notes, it was 1974 when record producer Huey P. Meaux tapped Freddy Fender to over-
dub vocals on an instrumental track of a new song demo. Fender said the recording took no time to complete, he sang the first verse in English and the second verse in Spanish. That quick demo was released as a single, “Before The Next Teardrop Falls.” on Dot Records in January 1975, and became Fender’s first #1 crossover hit, hitting the top spot on the country charts, and then repeating its success on the pop charts, becoming the #4 song of the year 1975, right behind David Bowie’s “Fame,” Labelle’s “Lady Marmalade,” and “One of these Nights” from the Eagles. Fender repeated his success with
“Wasted Days and Wasted Nights,” another
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