The Youngbloods - Good And Dusty (Reissue) (1971/2003)
Artist: The Youngbloods
Title: Good And Dusty
Year Of Release: 1971/2003
Label: Sundazed Music
Genre: Rock, Country, Blues Rock, Psychedelic
Quality: Flac (tracks, .cue, log)
Total Time: 44:00
Total Size: 269 Mb (scans)
WebSite: Album Preview
Title: Good And Dusty
Year Of Release: 1971/2003
Label: Sundazed Music
Genre: Rock, Country, Blues Rock, Psychedelic
Quality: Flac (tracks, .cue, log)
Total Time: 44:00
Total Size: 269 Mb (scans)
WebSite: Album Preview
Tracklist:
1. Stagger Lee (Al Price, Harold Logan) - 3:15
2. That's How Strong My Love Is (Roosevelt Jamison) - 4:47
3. Willie And The Hand Jive (Johnny Otis) - 3:09
4. Circus Fire (Coral Miller) - 3:01
5. Hippie From Olema #5 (Lowell Levinger) - 2:01
6. Good And Dusty (Jesse Colin Young, Lowell Levinger, Joe Bauer, Michael Kane) - 1:29
7. Let The Good Times Roll (Leonard Lee) - 3:47
8. Drifting And Drifting (Jesse Colin Young) - 4:14
9. Pontiac Blues (Willie Sonny Boy Williamson) - 3:57
10. Moonshine Is The Sunshine (Jeffrey Cain) - 3:41
11. Will The Circle Be Unbroken (Traditional) - 3:20
12. I'm A Hog For You Baby (Jerry Leiber, Mike Stoller) - 3:32
13. Light Shine (Jesse Colin Young) - 3:44
Bass, French Horn, Vocals, Cornet – Michael Kane
Drums – Joe Bauer
Guitar, Vocals, Piano, Mandola, Banjo – Banana (5)
Harmonica – Earthquake Anderson*
Vocals, Guitar, Tenor Saxophone – Jesse Colin Young
For their final pair of albums, the Youngbloods returned to a four-piece band with the addition of Michael Kane on bass as Jesse Colin Young moved to guitar (and saxophone!). Good and Dusty is a low-key, homey effort comprised largely of '50s and blues cover songs. Of the original compositions, "Hippie from Olema No. 5" is a dated rewrite of Merle Haggard's "Okie from Muskogee," the title track is a brief jazz jam, and "Drifting and Drifting" is another stab at the blues. Only the closing "Light Shine" shows a glimmer of Young's songwriting skills; complemented by a modest sax arrangement, it stands head and shoulders above most of the album. The high point is the charming "Circus Face," performed with tasteful mandolin and French horn, which serves as a frustrating reminder of what the Youngbloods could accomplish with strong outside material.
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