 Artist: Nitty Gritty Dirt Band: mp3 download Genre(s): Electronic Nitty Gritty Dirt Band's discography:  Will The Circle Be Unbroken I (Disc 1) Year: 1972 Tracks: 17 Founded in California during 1965, the Nitty Gritty Dirt Band has lasted longer than almost whatever other country-based rock group of their era. Younger coevals of the Byrds, they played an about equally important part in the transformation from folk-rock into country-rock, and were an influence on such bands as the Eagles and Alabama. The Nitty Gritty Dirt Band's beginnings lay with the New Coast Two, a folk duette consisting of Jeff Hanna (guitar, vocals) and Bruce Kunkel (guitar, washtub bass), formed spell both were in high school in the early '60s. By the time the two were college students, they were having informal jams at a Santa Monica, CA, guitar patronise called McCabe's. It was there that they met Ralph Barr (guitar, washtub bass contribution), Les Thompson (vocals, mandolin, bass, guitar, banjo, percussion), Jimmie Fadden (harp, vocals, drums, percussion), and Jackson Browne (guitar, vocals). This lineup became the Nitty Gritty Dirt Band in late 1965, and began acting jug band music at local clubs. At that time, Southern California was undergoing a melodic renascence, courtesy of the folk-rock bm and the Nitty Gritty Dirt Band match in with these other folkies-turned-rockers. Browne left after a few months to quest after a solo career, and was replaced by John McEuen (banjo, fiddle, mandolin, steel guitar, vocals), the younger crony of the group's new coach, Bill McEuen. With Bill McEuen's guidance, the group landed a recording shrink with Liberty Records and released their debut album, The Nitty Gritty Dirt Band, in April of 1967. Their low-pitched gear unmarried, "Buy for Me the Rain," became a modest come to and got the striation some boob tube appearances. A second album, Ricochet, released seven-spot months later, was a critical success simply a commercial nonstarter. The group today set up itself at an standstill over the issue of whether to go electric. During the conflict, Kunkel, wHO treasured to add an electric guitar to their level-headed, exited the lineup. He was replaced by Chris Darrow (guitar, fiddle). Ironically, by mid-1968 the grouping had gone electrical, and besides added drums to their sound. Their number one electric record album, Rare Junk, released in June of 1968, was besides a commercial failure. The band was scantily working, a far call from their succeeder of a year earlier. The band persevered, however, and released Alive! in May of 1969. The record album was another commercial calamity, and the Nitty Gritty Dirt Band shut up shit shortly subsequently. The members scattered for various months, simply 6 months later the mathematical group was game for some other assay; the new lineup included McEuen, Hanna, Fadden, Thompson, and Jim Ibbotson (guitars, squeeze box, drums, percussion, forte-piano, vocals). They returned to their record company with a demand for control over their recordings and the track record fellowship in agreement. Bill McEuen became the group's producer as well as its managing director. The number one resultant role of this novel era in the Nitty Gritty Dirt Band's history was Uncle Charlie & His Dog Teddy, issued in 1970. Rooted tightly in their jug band sound, the album had a land feel just no trace of the music hall and freshness numbers game that had appeared on their before records. The record album yielded what is the group's best-known single, their cover of Jerry Jeff Walker's "Mr. Bojangles," and of a sudden, the band had a undermentioned bigger than anything they'd known during their brief bout of success in 1967. Their next album, All The Good Times, released in early 1972, had an even more than countrified feel. By 1972, various rock bands, most notably the Byrds and the Beau Brummels, had bygone to Nashville seeking credibleness from the land music community on that point, exclusively to be received indisposed by that biotic community and to receive their resulting forge unheeded by the squeeze and public. At the suggestion of manager Bill McEuen, however, the Nitty Gritty Dirt Band went to Nashville in 1972 and recorded a natural selection of traditional land numbers with the likes of Roy Acuff, Earl Scruggs, Mother Maybelle Carter, and other members of country and blue grass music's veteran elite. Some of the veteran soldier Nashville stars were unbelieving and funny at number one of the bandmembers and their amplified instruments, merely the ice was busted when they power saw how respectful the ring was toward them and their work, and their music, as well as how serious they were about their have music. The resulting three-bagger album, Will the Circle Be Unbroken, released in January of 1973, became a million-seller and evoked positive reviews from both the rock and country music press. The band had, by now, eclipsed the competition as a "crossing over" work, reaching area and bluegrass audiences even as their john Rock listeners acquired a unexampled appreciation for musicians such as Acuff and Carter. The Nitty Gritty Dirt Band succeeded with Will the Circle Be Unbroken because they were uncoerced to meet country and bluegrass Region music on the price of those two branches of traditional music, kind of than as rock musicians. During the year and a half that followed the success of Will the Circle Be Unbroken, Les Thompson left the chemical group, reduction the Dirt Band to a quartet. Their adjacent album, Stars & Stripes Forever, issued in the summer of 1974, was a special hot album, mix concert performances and dialogue. Following one more original album, Dream (1975), the group standard its number one retrospective handling, a triple-LP compilation entitled Dirt, Silver & Gold, issued late in 1976. Jim Ibbotson left the lineup at around this time, and was replaced initially by seance player Bob Carpenter. The leftover threesome of Jeff Hanna, John McEuen, and Jimmie Fadden abbreviated the band's official name to the Dirt Band. In this incarnation, the chemical group became a much more mainstream, pop/rock getup with a drum sander profound, with Jeff Hanna directing them as producer. Their records were far less oddball, although they continued to be popular. The band's adjacent albums were by all odds more laid-back than former records, and didn't appeal about as much attention. An American Dream, released in 1980, did relatively well, as did Make a Little Magic (1981). By 1982, however, they were back to their country roots, renamed the Nitty Gritty Dirt Band, and Jim Ibbotson was playing with them once again. Let's Go, released in the middle of 1983, heralded their give to area music, as a largely acoustic band. In 1984, after 17 years with Liberty/UA/Capitol, they switched labels to Warner Bros., and that same year made some headlines as the first American rock band to tour the Soviet Union. Their Warner albums sold well, only by the end of the eighties the group was moving 'tween labels. In 1989, both as a reflection of the changing times, and as though to stimulate sure that everyone got the point that the band was once over again minelaying its country roots, they made Volition the Circle Be Unbroken, Vol. 2 for MCA/Universal Records, ing with living land and bluegrass Region veterans from the original record album and adding a edward Everett Hale roll of new players, including Johnny Cash, Chris Hillman, and Ricky Skaggs. This disk album won the Grammy for Best Country Vocal Performance (duo or pigeonholing) and the Country Music Association's Album of the Year Award in 1989. By this time, the Dirt Band was working in their field aboard any number of country/bluegrass crossing all over artists whose career paths were made easier by that start record, including John Hiatt, Mary Chapin Carpenter, and Rosanne Cash. Their succeeding several albums saw them ne'er veering very far from their country/bluegrass roots. The mathematical group continued to track record a new album every class or so, including a concert record record album, Resilient Two Five, celebrating their 25th day of remembrance as a dance orchestra, and the self-explanatory Acoustic. In 1999, they returned with Bang Bang Bang. It was followed by the third instalment of the Will the Circle Be Unbroken trilogy in 2002 and an record album of all new substantive, Welcome to Woody Creek, in 2004. |
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