"The group's first compilation album, made up of six songs from the first album (1967) and eight from "Ricochet" (1968). "Nitty Gritty Dirt Band" is a strong debut album by one of the most offbeat folk/country-rock bands of the 1960s. Apart from the one unabashed classic, "Buy for Me The Rain," which was a modest hit and the group's biggest claim to musical fame for the next three years, the album also contained the delightful banjo-dominated John McEuen/Bill McEuen instrumental "Dismal Swamp" (which was anything but dismal), the Jackson Browne ballad "Holding," the rousing "You're Gonna Get It in the End," and Bruce Kunkel's haunting, ethereal "Song to Jutta" (as fine a song as anything the Byrds were doing at the time, and better played)." (Bruce Eder, Allmusic; 4 uit 5 sterren)
Op deel 2 (uit 1989) was de rij gasten groot, nu is-ie niet kleiner: van oude legendes tot jonger talent: Doc Watson (ook in 1972 al present), Earl Scruggs, Willie Nelson en Johnny Cash, Emmylou Harris, Iris DeMent, Alison Krauss..
"Two superb albums on one CD. The studio sides on "Rare Junk" include covers of the jazz standard "Willie The Weeper" (with its familiar "Hi de hi dee ho" chorus), "Collegiana" (done jug band style), "Cornbread and 'Lasses," Tim Hardin's "Reason to Believe," and Jackson Browne's "These Days" in one of its better (and surprisingly upbeat) versions. Some of this stuff is so self-conscious in its humor that it's hard to believe that it was recorded with much confidence of success, but it works musically, capturing the vaudeville side of the band's orientation better than anything on their first two LPs. "Alive", recorded at the L.A. Troubadour circa 1967, is one of the great live albums of its decade, capturing the early group in top form, clowning around in a loosely structured show. It is a great set, the guitars, mandolins, and banjos glitter in the clarity of the recording. A vital addition to any folk-rock or country-rock collection." (Bruce Eder, Allmusic; 4,5 uit 5 sterren)
Country-klassieker uit 1972. De voorheen wat poppier NGD-band nam middels deze dubbelaar een indrukwekkende duik in traditioneel country-/bluegrassrepertoire, mmv legendarische namen als Doc Watson, Roy Acuff, Earl Scruggs, Maybelle Carter.
"The first album issued by the band after they had temporarily disbanded in 1969, this greatly expanded their pop audience, due primarily to the hit cover of Jerry Jeff Walker's "Mr. Bojangles". The group moved into a more accessible rock-oriented fusion of country, bluegrass, pop, and rock & roll, relying primarily on smartly chosen covers of tunes by the likes of Walker, Mike Nesmith, Randy Newman, and Kenny Loggins. Few bands had incorporated instruments more associated with country and bluegrass, particularly mandolin and banjo, as comfortably into a rock setting prior to this release, and their well-crafted harmonies help put the songs over for those not-steeped-in backwoods sounds. It was an extremely diverse program for a country-rock album, too, moving from rustic instrumentals and snippets of tapes of elderly musicians performing rural Americana to the Buddy Holly cover "Rave On." The group were actually at their best, though, when doing softer, melodic pop tunes." (Richie Unterberger, Allmusic)
"The Dirt Band's second album is a masterpiece. From the opening bars of Jackson Browne's "Shadow Dream Song," high spirits overflow. The singing and playing are more confident, and some of the songs - including the bluesy "Ooh Po Pe Do Girl" and the hook-laden "I'll Search The Sky" by Jeff Hanna, and Copeland and Noonan's (the "Buy for Me the Rain" team) "Tide of Love" - are as solid as anything coming out of California. Even the kazoo-dominated "Coney Island Washboard" and "Happy Fat Annie" and the nostalgic '20s-styled Jackson Browne-written "It's Raining Here in Long Beach" fit well here, reflecting the full range of the band's influences. Their cover of Brewer and Shipley's "Truly Right" is pretty spacy in its production, but "The Teddy Bear's Picnic" -- an adaptation of an old children's song -- was probably beyond the pale of most listeners. Anyone looking for a companion to "Notorious Byrd Bros." or the Monkees' "Aquarius, Capricorn Pisces & Jones Ltd." need look no further." (Bruce Eder, Allmusic)
"This is the first studio album by the Nitty Gritty Dirt Band in 5 years and celebrates the group's 43rd anniversary with 3 of its original members still intact. It also finds them reduced once more to a quartet with the departure of multi-instrumentalist Jimmy Ibbotson. That said, the band has lost none of its immediacy, power, or expert presentation of both original material and songs from some of Nashville's finest. The group recorded the set live in the studio. Produced by veterans George Massenburg and Jon Randall Stewart, this set sounds inspired, fresh, and like the NGDB has been utterly rejuvenated. It combines the old-/good-timey feel of their concert performances - without adding folk or country standards - and the poignancy of their best studio recordings. Nothing here is of the slick Nashville variety. It feels as organic as their mid-'70s recordings. It will certainly endear old fans and amaze them that 43 years later, they are still not only viable, but able to innovate." (Thom Jurek, Allmusic)
"The band's first pure studio recording since "Will the Circle Be Unbroken", this is another very different earful sort of psychedelic country/bluegrass. The band is joined by Linda Ronstadt, Leon Russell, and actor Gary Busey (as "Teddy Jack Eddy"). The sound is more varied than on previous albums, with a harder electric country feel on "Bayou Jubilee," which segues directly into the bluegrass instrumental "Sally Was a Goodun." Ronstadt does a great job singing "Hey Good Lookin'," but mostly it's the Dirt Band singing, including a superb rendition of "(All I Have to Do Is) Dream." They offer a non-country instrumental, "Sleeping on the Beach," which could have come from a '50s mood instrumental album -- of course, they follow it up with William McEuen's carnival music-inspired "Santa Monica Pier," which segues into the gorgeous lost single "Ripplin' Waters," by Jim Ibbotson, one of two hits that should have been off this album (the other is Ken Edwards' "Mother of Love")." (Bruce Eder, Allmusic)
Opvolger van de country-classic uit 1972. De band, geholpen door een grote rij gasten (zowel veteranen als jongere musici, zowel met pure bluegrass-achtergrond als roots- en countryrockers) vertolkt nieuw materiaal naast traditionals.
Verzamelaar uit 1986 van countryrockband. Ondanks de titel nauwelijks oud werk, maar vooral werk uit eind jaren '70 en de jaren '80, toen de band gepolijste countryrock maakte, ver afstaand van de pure 'Will The Circle Be Unbroken'-projecten.
Album uit 1974, opvolger van 'Will The Circle Be Unbroken'. Een af en toe vreemd versneden mengeling van live- en studiomateriaal met vele interpretaties van traditionals en ander bekend werk, in een progressieve country en countryrockstijl.
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