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sports and musical heroes who become idols and are looked upon as Gods by many. “My Name is Eli” boasts a great melody and some of Billy’s off the chain guitar playing. “Colorblind” is another excellent, guitar driven tune with a truly positive message. “Almost Everything” is the tale of a


breakup where the woman ends up taking almost everything a man had in a divorce, set to a hard- rocking musical structure, it’s a good one. Then again, so is “Happy Wife Happy Life.” Truer words have never been spoken. The set closes out with a rocking “Black Pearls,” capping off a highly enjoyable album filled with amazing guitar and lots of slide. Highly recommended.


- Michael Buffalo Smith


Georgia Shine Band Quicksand


(Dog South) Hankering for that


hard rockin’ southern rock sound you remem- ber so well from the first couple of Molly Hatchet records? That unbridaled energy and swagger? Then you need to hear


the Georgia Shine band. Their second album is even better that their debut was. Kicking off in fifth gear with the guitar driven title track, “Quicksand,” the album rocks from start to finish, through heavy scorchers like “D-Day,” and “Hyp- ocrite.” Of course, the band has the innate ability to dial it back a notch to turn out some mighty fine Outlaw Country, as in “My Truck.” The album is chock full of great rock and roll, and one of the happiest surprises is comes near the end of the album when Doug Southern and company pull out all the stops on a cover of Molly Hatchet’s “Bounty Hunter.” Smokin’. Outstanding Southern rock played with heart and passion.


-Michael Buffalo Smith


Bob Dylan The Rolling Thunder Revue: The 1975 Live Recordings (Columbia)


Sometimes I ask myself the question, “How much is too much?” I mean, I was quite excited to re- ceive the new Rolling Thunder boxed set¬¬, but at 14-discs, it’s almost Dylan overload. Hearing endless versions of “One More Cup of Coffee,” “Hurricane,” “Isis” and others makes me feel that the producers could have just chosen the best ver- sion of each song played during the tour and kept the set to a reasonable length. That said, there are very many highlights during these concerts and rehearsals, all recorded in 1975. The band and Bobby sound at the top of their game during their show from Harvard Square Theatre, Cambridge, MA, from “When I Paint My Masterpiece,” to “The Lonesome Death of Hattie Carroll” to “It Takes a Lot to Laugh, It Takes a Train to Cry.” The energy never lets up during the entire show. “Hurricane” is delivered with heart and passion, as is “Simple Twist of Fate” and “Romance in Du- rango.”


The Rolling Thunder Review took place in


1975 and ’76, and consisted of two “legs,” touring the USA and Canada, with Dylan’s album Desire dropping in between the two legs of the tour. The stage was packed with musicians, including the band he used for his new album, as well as Joan Baez, who opened most of the second sets with Bob dueting on “Blowin’ In the Wind;” Joni Mitchell; Ronee Blakely and many more. There are S.I.R. Studio rehearsals, Seacrest


Motel rehearsals, and full shows from Worcester, MA; Boston; and Montreal; as well as live tracks from New York City; Lowell, MA; Providence, RI; Tuscarora Reservation, NY; Augusta, ME; and a version of “Hurricane” from Madison Square Garden and the benefit “Night of the Hurricane.” Martin Scorsese’s feature documentary on the Review began airing on Netflix in June. The volu- minous back story and history of Rolling Thunder truly helps one appreciate this massive undertak- ing. It is truly an exhaustive archive of a tour that was panned by some and praised by others in the media. As for this writer, even given my bitching about it being “too much,” I think it contains


some of Dylan’s finest live work ever recorded. • -Michael Buffalo Smith


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