#asylum records

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Charli XCX

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Bob Dylan - Forever Young (2nd Version) (1974) Bob Dylan from: "Planet Waves" (LP)

Rock | Folk Rock

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Personnel: Bob Dylan: Vocals / Guitar / Harmonica / Piano Robbie Robertson: Guitar Garth Hudson: Organ Richard Manuel: Piano Rick Danko: Bass Guitar Levon Helm: Drums

Engineer: Rob Fraboni Produced by Rob Fraboni

Album Recorded: @ The Village Recorder in West Los Angeles, California November 5, 6 & 9, 1973

Released: on January 17, 1974 Asylum Records

CD Reissue (UK): March 29, 2004 Columbia Records

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Jackson Browne – The Pretender. 1976 : Asylum.

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Asylum Records billboard promoting Joni Mitchell’s “Hejira” Sunset Boulevard, Hollywood, CA.

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Judee Sill- Judee Sill (Chamber Folk, Singer-Songwriter, Folk Pop) Released: September 15, 1971 [Asylum Records] Producer(s): Henry Lewy, John Beck, Jim Pons, Graham Nash

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324: David Lindley // El Rayo-X

El Rayo-X David Lindley 1981, Asylum

David Lindley was plenty famous by sideman standards and even had a hit of sorts with his version of “Mercury Blues,” but there’s a good chance the moment this master of every stringed instrument imaginable will be most remembered for is his endearing little falsetto part at the end of Jackson Browne’s “The Load Out/Stay.” Say, why don’t we watch that now?

You know he was always doing goofy shit like that to crack the guys up at rehearsal, and this particular time the boss liked it enough to run with it. Lindley just seemed like a great guy to play music with. He was trusted enough by producers and capital-S Songwriters to play on major statements like Songs of Leonard Cohen, Warren Zevon, and uh Joe Walsh’s There Goes the Neighborhood, but he had a way of making his personality known even when his job was to simply make you weep with a lap steel part and no funny business, thanks. There was his fondness for wringing inimitable noises out of cheap instruments and his penchant for loud polyester, despite looking like a mouse who transformed into a human guitarist after trying to nest inside an enchanted slide bar.

His solo bow, El Rayo-X is… not a classic, despite the AllMusic review calling it “one of the greatest rock music albums of its time” (!). It’s cartoon guitar music that skips across a mishmash of genres from Tex-Mex to zydeco, though all of it is recorded with an ‘80s pop-rock sheen by Jackson Browne (who, despite his beige demeanor, always favoured tacky paintjobs as a producer). It is all sort of Fun in a Dave & Buster’s kind of way, but the wacky jokes don’t really land and, although everybody plays their asses off, I get the sense this crew would’ve been a lot more fun to see rocking like the Winona Peach Festival than they are to listen to on record.

Still, I will always have a lot of love in my heart for Lindley, who passed away a year ago today at age 78. Why has COVID had such an unslakable lust for our finest and goofiest musicians?

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