Albert Lee "Hiding" (A&M Records, 1979)
(Produced by Brian Ahern)
One of my longest-lasting guilty pleasures. This British guitar whiz made his mark on the country scene back in the late 1970s, replacing James Burton as lead guitarist in the Emmylou Harris Hot Band. A lot of his work in the Hot Band was a straight copy of Burton's style, but Lee also had a flashy note-clustering technique which was distinctively his own. Although it hasn't aged well, this album is still one of my favorites from the era -- all the key players from the Emmylou/Happy Sack scene are on here, and dial twister Brian Ahern's elaborate, multi-tracked production carries over from her albums. In retrospect, it's overly florid and a bit goofy, but Lee recognized his own silliness, and the hyperactive twang of "Country Boy," for example, has more than just a little nudge-nudge, wink-wink to it. Really fun if you can hang with the slick production.
Albert Lee "Real Wild Child" (xxxxxxxxxxxxx, 1982)
Albert Lee "Albert Lee" (Polydor Records, 1982)
Albert Lee "Speechless" (MCA Records, 1986)
It's an all-instrumental set... Get it? Speechless?
Albert Lee "Gagged But Not Bound" (MCA Records, 1987)
Albert Lee "Black Claw/Country Fever" (Line Records, 1991)
Albert Lee "In Full Flight! Live At Montreaux" (Round Tower Records, 1994)
Albert Lee "Tear It Up" (Heroic Records, 2002)
Albert Lee "Heartbreak Hill" (Sugar Hill Records, 2003)
Brit-picker Albert Lee is back into country territory after a years-long sojourn as a jazz-pop instrumentalist (hey, it got him a Grammy, so who's to judge?). Anyway, Lee revisits a bunch of old Emmylou songs, and tunes of similar date and feel. Lee's voice has aged well, and is even more compelling than it was back when Hiding was made... There's a disarmingly unaffected quality to his singing that brings out the meaning in familiar lyrics that was easy to miss in the original versions: on "If I Needed You," for example, Lee lingers and stumbles on words that Don Williams sang so prettily that the words got overshadowed by the phrasing... Here the sentiment and touching qualities reemerge from the shadow of the "definitive" version. This is true on several songs; the album's weak point, ironically, may be on some of the guitar solos that Albert stretches out on... Sometimes the fancy picking sounds a little overly familiar, but on the whole, I still really enjoy his vibe, particularly when he sings. Longtime fans will be pleased.
Albert Lee "That's All Right Mama: The Country Fever And Black Claw Sessions" (Castle Records, 2005)
Albert Lee "Road Runner" (Sugar Hill Records, 2006)
Albert Lee "In Between The Cracks" (Heroic Records, 2007)
Albert Lee "Like This" (Heroic Records, 2008)
Albert Lee "Highwayman" (Palm Bridge Records, 2014)
Albert Lee "Gypsy Man: A Tribute To Buddy Holly" (Mann Brothers Records, 2019)
Poet And The One Man Band "Poet And The One Man Band" (1969)
Though not his first band, this was the record that propelled Albert Lee into the spotlight. Basically the same group that would become Head, Hands And Feet, just getting warmed up.
Heads Hands & Feet "Home From Home" (UK See For Miles, 1970/1996)
This is what would have been the debut album of Head, Hands And Feet, though it was shelved by the label and remained in the vaults for over two decades....
Heads Hands & Feet "Heads Hands & Feet" (Capitol Records/Island, 1971)
Originally a 2-LP set, this eclectic album made it into the digital era as a single-disc release... I guess you could consider this country-prog; there's plenty of twang but on many songs the aggressive, hard-rock edgsets this well into the rock camp. Still, it also includes the original version of one of Lee's signature tunes, "Country Boy," a super-flashy pickin' party that was reprised on his 1979 solo album. (Some nice liver versions out there as well!)
Heads Hands & Feet "Tracks" (Capitol Records/Island, 1972)
Heads Hands & Feet "Bloomfield" (Soundtrack) (Capitol, 1972)
This was a movie soundtrack, to which the band contributed three tracks.
Heads Hands & Feet "Old Soldiers Never Die" (Atco/Atlantic, 1973) (LP)
Yeesh. This album, the last studio set by HH&F before they split up, is a textbook example of how virtuosic rock and pop floundered in the post-Beatles era. Despite their reputation as a roots-oriented band, this is a ridiculously florid, overcooked, nakedly pretentious mess -- boogie-rock twang, wed to bombastic, overly orchestrated prog-pop. It's like having the Tennessee Three sitting in with Procol Harum -- there are some rootsy jams that give a sense of how dynamic their live shows must have been, but really, there's nothing on here that's memorable or fun. The lyrics are dense and obscure, the music too show-offy and baroque. Overall: meh.
Jerry Lee Lewis "The Session Recorded In London With Great Guest Artists" (Mercury Records, 1973)
A double LP of rock and R&B oldies, recorded in England with a bunch of heavyweights from the world of British rock - Eric Clapton, Albert Lee, Rory Gallagher, Gary Wright, and others... A real reinvigoration of Lewis's rock'n'roll cred, with HH&F providing the core of his backing band.
Emmylou Harris "Luxury Liner" (Warner Brothers, 1977)
(Produced by Brian Ahern)
I loved this record as a teenager... This is producer Brian Ahern's "Happy Sack" sound at its apex: lush arrangements which capture the melodic simplicity of the best country music, while skillfully sculpting it into a multi-layered mix that maximizes the input of each and every musician. And it really is a fabulous ensemble, probably Emmylou's best band ever. Hardin, Gordy and drummer John Ware hold down the rhythmic end, while Albert Lee steps in to fill James Burton's shoes, and a slew of other super-talented country loyalists also chime in, including Ricky Skaggs and Rodney Crowell. Lee struts his stuff on the title track with a dazzling, multi-tracked guitar lead, and goes on to hold up his end for the rest of the album -- flashy, but soulful. Great song selection, perfect production, and a nice group-effort vibe throughout. It works for me. Highly recommended -- you should own the album itself, and not reply on best-of collections to find these songs.
Emmylou Harris "Quarter Moon In A Ten Cent Town" (Warner Brothers, 1978)
If I had to pick just one, I'd say this is my favorite Emmylou album. Features the "title" track, "Easy From Now On," written by Guy Clark's sweetie, Suzanna Clark, a wistful, evocative song which is one of Emmylou's finest moments... Other highlights include her version of Delbert McClinton's "Two More Bottles Of Wine," Rodney Crowell's boisterously paranoid hophead/jailhouse anthem, "Ain't Living Long Like This", and the catchier "Leavin' Louisiana In The Broad Daylight," as well as a nice Utah Phillips tune, "Green Rolling Hills." The album is perfectly paced, perfectly balancing the weepy with the upbeat. I strongly recommend you get the album itself, rather than look for the songs on some best-of collection. It's worth it to hear this the way it was originally put together.
Emmylou Harris "Blue Kentucky Girl" (Warner Brothers, 1979)
Well, wait a minute... maybe this album is even better! With her stellar version of the old George Jones weeper, "Beneath Still Waters", and a bunch of upbeat songs like "Even Cowgirls Get The Blues" and "Sister's Coming Home", this is the Happy Sack crew at its most boisterous and joyful... A really great record to sing along to, if you're ever in the mood. Lots of guest stars, too, including Tanya Tucker and an early meeting of the Dolly-Linda-Emmylou supergroup, Trio, harmonizing on "Sister's Coming Home"... Again, this is an album you should own in its original form, not chopped up as part of a best-of package. Highly recommended!
Emmylou Harris "Light Of The Stable" (Warner Brothers, 1979)
Old-school Emmylou fans have never been fond of this album, coming as it did, plunk in the middle of her peak country-rock years with the Hot Band, when she was quite simply on fire. But as a staple album of the Americana Christmas crowd, this disc has definitely proved its durability. And listening back, it's much sparser and traditionally-oriented than one might imagine, with Emmylou employing many of the same players that would grace her bluegrass-y Roses In The Snow album, as well as guest stars such as Dolly Parton, Linda Ronstadt and Willie Nelson pitching in on various tunes. Some songs, like "Golden Cradle," are a bit too sugary, while others -- particularly her versions of well-known standards such as "Silent Night" are simply incandescent. Lee's role on this album is pretty limited... but he's on there! (By the way, other country holiday records are reviewed on their own page...)
Emmylou Harris "Roses In The Snow" (Warner Brothers, 1980)
Emmylou started the '80s with a bang, on this big, beautiful all-bluegrass album, featuring invaluable assistance from David Grisman Quintet alumnus Tony Rice on guitar, along with Jerry Douglas on dobro and Bryan Bower's soulful autoharp strumming. The two big radio hits -- "Wayfaring Stranger" and Paul Simon's "The Boxer" -- are the least of this album's charms. What's really great are the bouncy title track, a perky cover of "I'll Go Stepping Too," a plaintive version of the Louvin Brothers "You're Learning" and her spooky gospel duets with Willie Nelson ("Green Pastures") and Ricky Skaggs ("The Darkest Hour"). Right after this album came out, Skaggs started his own solo career as a Top Forty country traditionalist, with his contributions here as a sweet, welcome glimpse of things to come. From start to finish, this is a very fun, very listenable album... Highly recommended! (The 2002 re-release features a couple of non-bluegrass bonus tracks -- a fine cover of a Hank Williams tune, with Julie Miller singing harmony, and a Celtic-flavored folk tune written by Brian Ahern's sister Nancy.)
Eric Clapton "Just One Night" (RSO Records, 1980)
(Produced by Eric Clapton & Jon Astley)
Emmylou Harris "Evangeline" (Warner Brothers, 1981) (LP)
(Produced by Brian Ahern)
To be honest, this is about where I started to fuzz out on Emmylou's career. Part of it is that I was rediscovering punk (which I stopped listening to in '79...) and part of it is just the album itself: this was one of her last collaborations with hubby Brian Ahern, and the results are, well... mixed. Some songs are disastrous, such as her rockin' version of "Bad Moon Rising," a leaden version of Paul Seibel's "Spanish Johnny" (try David Bromberg's version instead...) and the synthy, self-important take on Rodney Crowell's "I Don't Have To Crawl..." A few other tracks work better. Oddly enough, I like the overwrought James Taylor tune, "Millworker," on the B-side, and the super-sweet Trio outing on "Mr. Sandman" is a real delight. Otherwise, it's a little bit of a strain to appreciate this one.
Eric Clapton "Another Ticket" (RSO Records, 1981)
(Produced by Tom Dowd)
Although Lee had joined Clapton's band a while before, this disc is where they really clicked. Admittedly a slick, bubblegummy affair -- perhaps even a bit facile - it's also lively and full of good pop hooks, and plenty of tight, wicked guitar licks. Doubtless a lot of unmentionable powdery substances were employed, but Lee really seemed to rouse Clapton out of his slumber, and though a guilty pleasure, it's a pleasure nonetheless.
Eric Clapton "Money And Cigarettes" (Warner Brothers/Duck Records, 1983)
(Produced by Eric Clapton & Tom Dowd)
The Everly Brothers "The Everly Brothers Reunion Concert" (Passport Records, 1983)
(Produced by Tony Clark & Colin Northfield)
Like everybody else in the universe, Albert Lee was a huge fan of the Everly Brothers, and help organize and produce this reunion concert, helping anchor the band on guitar. Nice.
Albert Lee was a hotshot picker from London, England who moved into country after making his name in the UK rock scene as a member of the eclectic band, Heads Hands & Feet. Lee moved to the United States in the mid-1970s and in 1976 landed a gig in the Emmylou Harris Hot Band, where he replaced superpicker James Burton, who was headed back to his day job in Elvis Presley's TCB Band. As Emmylou's lead guitar player, Albert Lee set a high bar and helped define the country-rock sound of the late 'Seventies. From there he moved into an early-'80s partnership with Eric Clapton, recording solo albums and moving into studio work. Here's a quick look at his career...
