Some composers really deserve their reputation as artists whose fame rests on a single work, but with Holst the popularity of The Planets really has obscured the large quantity of good music he wrote in other forms. Part of the problem also stemmed from his daughter, Imogene, who was severely critical of her father's work and whose baleful influence persists to this day. These three choral ballets contain a large measure of delightful and wholly characteristic music. It's crime that we have had to wait until now for a complete recording of them, and fortunately these performances make a strong case for many more.
This 2013 edition of their classic ‘Snow Goose’ album has been completely & lovingly Re-Recorded & Re-Packaged by Andy Latimer & co.! Inspired by a short story written by Paul Gallico, this beautiful album was one of the band’s most popular releases, and it has been lovingly Re-Recorded by the 2013 line-up to coincide with their autumn European comeback tour.
It's hard to resist Goose Creek Symphony, an unabashed hillbilly outfit who like to rock a little, mess around with bluegrass, and tell fractured tall tales in a back porch style that falls somewhere between an Appalachian version of the Grateful Dead and Frank Zappa (if Zappa had been raised in Kentucky). Goin' Home might not be as sharp as the group's classic early albums from the 1970s (Established 1970, Words of Earnest), but it shares the same irreverent country joy, and leader (and main songwriter) Charlie Gearheart's odd, sideways view of life is as arresting and infectious as the jaw harp he frequently plays. Among the highlights here are the country funky "Gob Sows," the slow-down plea "Livin' in a Panic," and the bizarre (but totally normal in Goose world) "Say "Hi" to the Toad." Listeners new to the Creek's down-the-holler shenanigans might want to start with the earlier albums, but already converted Gooseheads will no doubt welcome any new installment from this amazingly long-lived band.
Goose Creek Symphony's frontman Charles Gearhart continues his admirable imitation of the Band's warm country-rock on . The opening track, "Gearhart and God," finds the singer good-naturedly pleading with the man upstairs for help writing a song, promising to split the royalties 50/50. The whole album is full of slightly tongue-in-cheek stories about fishin' holes and the good life livin' in the country, each warmly backed by Fred Wise's loose fiddle or the occasional Dixieland/Salvation Army brass band. Similar to a lot of the Grateful Dead's more countrified stuff, these down-home rockers make for great summertime porch music.
Cut from the same cloth as their debut released a year earlier, this collection of songs is not as memorable. Mastermind Charles Gearheart, billed as Ritchie Hart on the first album, sounds more self-conscious here and the yokel factor is higher. The transplanted Arizonian shows his Kentucky roots by covering the Bill Monroe classic "Uncle Pen."
Goose Creek Symphony found its roots in the Phoenix, AZ, area originally as a countrified side project for Richie Hart & the Heart Beats. Vocalist and guitarist Charles Gearheart (aka Richie Hart) spent his childhood "up Goose Creek Hollow" in Floyd County, KY, and when he put together his good-time country-rock group, he drew upon his home's rich musical heritage as well as its name. In 1970, Gearheart and a group of local studio musicians assembled a handful of songs and presented them to Capitol Records. Capitol signed his project, forcing Gearheart to assemble a touring group. Banjo player and fiddler Fred Weisz was brought in to complement existing guitarists Paul Spradlin (listed as "Paul Howard" on the album), Bob Henke ("Williard"), Mike McFadden (following the breakup of his psychedelic group Superfine Dandelion), as well as a rotating cast of bassists and drummers. With a sound very similar to what the Band was doing at the same time, Goose Creek Symphony were rock & rollers who played a very faithful brand of country music, all the while layering rhythms and harmonies along the same lines as Buffalo Springfield and the Grateful Dead. They released albums through the mid-'70s, with that streak ending in a long hiatus from 1976 to 1990, when the group decided to re-form and record again. Their marriage of earthy instrumentation and easygoing vibes have been able to give the group a certain longevity. Into their third decade, Goose Creek Symphony is drawing strong groups of fans to their summer festival appearances, similar to what the Dead and Jimmy Buffett have known.
If the Grateful Dead had come from Kentucky instead of San Francisco, they might have sounded much like these guys. "This song might sound kinda strange, but it's got more soul than Home on the Range," they accurately sing in "Talk About Goose Creek and Other Important Places," an eight-minute psychedelic showstopper complete with Beatles-style tape tricks. This album is a fun listen that can suck even a city slicker into a stoned, good-time, backhills vibe.
Double LP published by Decca in 1976 containing their albums "Mirage" & "The Snow Goose"...
Features the high-fidelity SHM-CD format (compatible with standard CD player). Cover artwork faithfully replicates original one. Comes with lyrics and a description. Camel was still finding its signature sound on its eponymous debut album. At this point, Peter Bardens and his grand, sweeping organ dominate the group's sound and Andrew Latimer sounds tentative on occasion.