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Album, Reviews

Live At My Father’s Place

This 1976 FM radio broadcast courtesy of Long Island station WLIR captures Furay – veteran of Buffalo Springfield, Poco and the brief Souther-Hillman- Furay supergroup – leading a solo band for the first time. He had a rich back catalogue to draw from, but chose not to. Three tracks are SHF and one, Kind Woman, Poco; the other eight emanate from the just-released I’ve Got A Reason. This was his first overtly Christian album – he’s since become a full-time minister – and, as he explains from the stage, this music is keyboard rather than guitar-based.

The musicians backing him, recruited from the devotional world, tend to overplay and smother Furay’s vocal; heavy-handed drummer John Mehler in particular becomes tiring. The main man sounds hesitant between songs, though the audience clearly love him.

This performance has been available elsewhere as an unofficial double disc from the same venue in April 1978. By that time he had sensibly restored some greatest hits to the set, so that’s the one to track down if devotional music isn’t your thing. In truth this wasn’t Furay’s finest period, let alone finest hour.

RockBeat | ROC 3356 (CD)
Reviewed by Michael Heatley
Back to Issue 475

Mustt Mustt

Quwwali, a form of Sufi devotional music with a history dating back 700 years, remained an unknown entity in the West when Peter Gabriel signed Nusrat Fateh Ali Khan to his fledgling Realworld label in 1989. Such was the effect of his extraordinary voice that, by the time of his death, in 1997, Khan had almost singlehandedly popularised the music b…

Marooned: The Next Generation Of Desert Island Discs

In 1978, Greil Marcus asked 20
rock writers which album they
would take to a desert island. The
result was Stranded and, almost
20 years later, this new edition
feels like peering into another
world of music journalism. Robert
Christgau explodes New York
Dolls’ debut into an essay about
sexuality, metal and the 70s;
Lester Bangs wri…

Girls With Guitars Take Over

Sure, some of these songs aren’t all that sonically pleasing; the drums on The Chymes’ He’s Not There Anymore may as well be someone shaking a handful of forks, and some may find the vocals on The Hairem’s Like A Snake grating – but c’mon. No one listens to garage rock hoping for expertly played instruments, clear vocals or perfect prod…

Plugged In

The Wedding Present: grumpy
relics of the last generation to
whom electric guitars were
things to be hit hard and fast
as an accompaniment to
bedsit angst. They’re basically
what Pixies would have been
had they come from Leeds.
Song titles such as I’m From
Further North Than You put
them in the space somewhere
between Mor…

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