New Riders of the Purple Sage Albums (21)
What The Critics Say
For what they describe as their first studio album in 20 years, the New Riders of the Purple Sage, as "revived" in 2005, consist of founding member David Nelson (vocals, guitar); Buddy Cage, who took over from Jerry Garcia on pedal steel guitar after the first album in 1971; and three newbies, guitarist Michael Falzarano, bassist Ronnie Penque, and drummer Johnny Markowski. (Conspicuous by his absence is co-founder John Dawson, who is said to be retired.) Falzarano, who has made a career out of supporting musicians of the '60s San Francisco Sound (he was also a latter day member of Hot Tuna), produced the album. He gets two compositions, both of which he sings, and Penque and Markowski get one each, also displaying their lead vocal abilities. But the heart of the album -- seven songs out of 12 -- is the work of the new songwriting team of Nelson and Robert Hunter. The teaming itself is not new at all. Nelson and Hunter played together, along with Garcia, in folk and country bands in Palo Alto in the early '60s, prior to the formation of the Grateful Dead, for which Hunter served as primary lyricist. But as songwriters, this is a new association, and a happy one, as Hunter comes up with his typically aphoristic, imagistic, and vernacular words (particularly on the title song) and Nelson matches them with catchy, country-tinged melodies that the band plays in frisky country-rock roadhouse arrangements. This may be San Francisco music, but Bakersfield doesn't seem far away as the guitars go twangy and Cage plays down the weepy side of the pedal steel in favor of something more stinging. These New Riders jam a bit more than the original ensemble, and they also rock a bit more. Put it this way: the final track, "Rockin' with Nona" could segue into "Six Days on the Road" without missing a beat or, nearly, changing the chord pattern. It wouldn't be surprising if, in concert, it does. ~ William Ruhlmann, All Music Guide
'Wanted: Live at Turkey Trot'
Release Date 3/27/2007
Tracks 13
Label Fa-Ka-Wee
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What The Critics Say
The fourth "authorized bootleg" of classic New Riders live material released by the Kufala label is a spirited 1975 show from Austin, TX, a city that was the perfect place for the band's hippie aesthetic and vaguely outlaw country-rock to conjoin. After some early technical problems that mar the sound, especially the vocals on the first few tracks, the audio settles down. While this is far from professional quality, it's more than listenable, especially for the hardcore fans this is geared to. This lineup featured new bassist Skip Battin (replacing Dave Torbert), who had recently left the Byrds, and the rest of the original lineup, tearing up a 28-song, two-hour gig at Austin's Armadillo World Headquarters club. The group's affinity for the city is apparent in their back-to-back renditions of Battin's "Austin, Texas" and John Dawson's "Instant Armadillo Blues." While not necessarily known for extended jams along the lines of their friends the Grateful Dead, the band unleashes an impressive 14-minute version of "Portland Woman" that features amazing pedal steel from Buddy Cage and brings a psychedelic feel to its stripped-down country-rock. Covers include Freddy Fender's "Until the Next Teardrop Falls," Chuck Berry's "Nadine," Ritchie Valens' "La Bamba," and an especially rare take of Gary "U.S." Bonds' "New Orleans," none of which appeared on the official live album. Liner notes to this double CD are practically nonexistent, even down to eliminating any songwriting credits, while the packaging is cheap and the sound, although reasonable, remains a bit muffled and inconsistent even at its best. Regardless, this is a lively and complete show, warts and all, from a band that, on a good night, was as enjoyable and exciting as country-rock gets. ~ Hal Horowitz, All Music Guide
'Veneta, Oregon: August 27, 1972'
Release Date 1/1/2004
Tracks 17
Label Kufala
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What The Critics Say
During 2003-2004, Kufala released several recordings by the New Riders of the Purple Sage. The closest model for these releases, perhaps, is the lengthy series of live releases by the Grateful Dead. By taking recordings like Veneta, Oregon out of the realm of bootlegs and making them available to the general public, Kufala has changed and deepened the historical place of the group. It's easy to listen to Veneta, for instance, and realize that the band had much more to offer than its studio performances from the era. While the New Riders were always much more straightforward in concert than the Dead, and thus lacked the jam band appeal, they were nonetheless a formidable force. And while they are often remembered for combining country and rock, they sound like a good old-fashioned rock band here, even on a country song like "Truck Drivin' Man." Specifically, David Nelson's guitar work and Buddy Cage's steel work add pizzazz to even the most mundane song, while Dave Torbert's bass adds infinite bottom end. For whatever reason, Veneta seems even tighter, more musically together, than previous releases. There's a really nice version of "Whatcha Gonna Do," and it's always fun to hear the band's take on oldies like "Dim Lights, Thick Smoke (And Loud Loud Music)" and "Hello Mary Lou." For New Riders fans and anyone addicted to good live rock from the early '70s, Veneta, Oregon is a fun, dynamic recording. ~ Ronnie D. Lankford Jr., All Music Guide
What The Critics Say
Once upon a time a listener was lucky to get one live recording from their favorite group. Even then, the recording was likely to have been pieced together from a dozen different performances and only offer a facsimile of the real thing. It's a real bonus then that more and more live shows -- both old and new -- are being released intact over the span of a couple of discs. Worcester, MA 4/4/73 offers a snapshot of the New Riders of the Purple Sage at the top of their game. The New Riders, unlike the Grateful Dead and the Allman Brothers, only occasionally qualify as a jam band, which means that the live versions of their songs are only slight variations of the studio cuts. The album includes nice versions of "I Don't Know You," "Whatcha Gonna Do," and "Rainbow" and good covers of "Long Black Veil," "Hello Mary Lou," and "Down in the Boondocks." It doesn't hurt the overall sound to have the Grateful Dead's pianist, Keith Godchaux, sitting in, nor to feature Donna Jean Godchaux delivering a good-time rendition of Loretta Lynn's "You Ain't Woman Enough." The Worcester show wraps up with an epic, 11-minute version of "Willie and the Hand Jive," a song that no doubt incited the audience to dance in the aisles. Worcester, MA 4/4/73 will please New Riders fans and anyone who appreciates the special blend of country and rock that flourished during the early '70s. ~ Ronnie D. Lankford, Jr., All Music Guide
'Boston Music Hall, December 5, 1972'
Release Date 1/1/2003
Tracks 22
Label Kufala
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What The Critics Say
They've been a long time coming, but live recordings -- "authorized bootlegs" -- have found their niche in the CD market. Instead of listening to chopped-up concerts from the 1972 tour, Grateful Dead and New Riders of the Purple Sage (NRPS) fans can listen to the whole show. Boston Music Hall, December 5, 1972 is the second NRPS release plucked out of the vault by Kufala, and qualifies as another rocking show from the band's classic years. The gig gets a jaunty kickoff with "Truck Drivin' Man," a good-time ode to life on the road, and then delves into the hippy-dippy "Watcha Gonna Do." One of the joys of hearing NRPS live during this period is the dual powerhouse of David Nelson's guitar and Buddy Cage's pedal steel. Even on a throwaway like "Hello Mary Lou," Nelson's country-flavored fretwork sounds as though it would match Clarence White note for note, while Cage's wacky no-holds-barred approach guarantees that something interesting will happen each time he cuts loose. There are fine versions of "Portland Woman" and "Glendale Train" from the band's own catalog, and plenty of fine, and, occasionally, unusual covers like "Down in the Boondocks," "Long Black Veil," and "She's No Angel." John Dawson's a fine vocalist, and overall, NRPS handle vocals with much more aplomb than the Dead. In a way, NRPS' combination of country and rock realized the potential of the new genre in a way that the Flying Burrito Brothers only hinted at. While it goes without saying, fans will want to pick up a copy of Boston Music Hall. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
When this archival concert tape from September 21 and November 20, 1982, was recorded, David Nelson and Buddy Cage were no longer in the lineup, having been succeeded by Rusty Gauthier and Val Fuentes (ex-It's a Beautiful Day drummer). The band is featured doing a mix of classic material ("Henry," "Panama Red") and newer stuff ("Crazy Little Girl"), as well as standards by other artists ("You Can't Judge a Book," "Dead Flowers"). John Dawson and Allen Kemp handle two of the guitars and the vocals, joined by Gauthier (who also plays lap steel), with Billy Wolf on lead guitar. The playing is louder and more forceful than anything on their classic records, but the songs retain their charm and have a lot more energy here. The sound quality is excellent, in vivid stereo and exceptionally crisp clarity, although some of the melodic beauty of the songs is lost amid the electric instrument textures that dominate. ~ Bruce Eder, All Music Guide
'Take a Red'
Release Date 1/1/1995
Tracks 8
Label Universal Special Products
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What The Critics Say
Between 1976 and 1978, The New Riders of the Purple Sage made three albums for MCA Records, New Riders, Who Are These Guys?, and Marin County Line. Take a Red is an eight-track compilation album culled from those releases and issued by the discount-priced MCA Special Products division. The late '70s edition of the band was a tighter, more country-oriented unit than the bunch of hippies who made the Columbia Records albums in the early '70s, but also much less fun. The early New Riders were funny and fey, even if you sometimes wondered whether they'd make it to the chorus. There's no such suspense here, but also nothing to distinguish the new New Riders from other country bands. ~ William Ruhlmann, All Music Guide
