Marc Benno (1971) Minnows (LP) A&M 4303

Marc Benno

Minnows 

1971

A&M 4303

Produced by David Anderle

Engineered by Bruce Botnick

*** noteworthy


This was likely the most successful outing  from this Texas musician, likely for several reasons, including the people who helped make this record, including four crackerjack guitarists–Clarence White, Jesse Ed Davis, Bobby Womack, and Jerry McGee.

Of course, Benno himself deserves most of the credit, as he writes all the selections and plays several instruments–guitar, piano, organ and marxophone.  Perhaps most importantly, (fresh from playing on the Doors’ L.A. Woman album) Benno exhibits a fraility on Minnows that doesn’t show on his other outings.

While this recording (and several like it by southern musicians from the early 70s) were overshadowed by the overhyped and more bombastic material by unions of British and American southern musicians, these often forgotten and more low-key recordings by southern musicians alone were often more honest, original, and enjoyable.  While Benno’s Ambush LP, the follow up to Minnows, was likely his most successful outing commercially speaking, this 1971 offering was the closest Benno came to creating a timeless classic.

— winch

author of

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Everly Brothers: Stories We Could Tell (LP) 1972

Everly Brothers
Stories We Could Tell
RCA Victor 4620
1972
rating: *** (noteworthy)

 

 

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Before splitting for solo careers, the Brothers recorded two sets in the early ’70s, the Chet Atkins-produced 1973 Nashville album Pass the Chicken and Listen and this set from 1972. Recorded in John Sebastian’s living room, this featured some of the countless artists the Brothers had influenced (Delaney Bramlett, Clarence White, Ry Cooder, Warren Zevon, David Crosby, Graham Nash, Chris Etheridge and many others).

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This starts with a Bramlett song that sounds too much like the inferior folk rock from this era (which of course the Brothers played a big part in creating).  Fortunately, the set improves as it progresses.

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The set features two Everly originals, as well as versions of Rod Stewart’s “Mandolin Wind” and Jesse Winchester’s “The Brand New Tennessee Waltz.”  While the straight-forward country of their final album was more enjoyable, this still has plenty of charm.

— winch

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