Clarifying Country Rock

I phrased it poorly; I should have said down to the influence of Parsons, who was an odd pivot point that the London boys and West Coast scene both wanted for their own.

It’s such a weird era of classic records. Things seem to kick off for the big time artists when Music From Big Pink hits in July 1968, followed by Sweethearts of the Rodeo in August, and Beggars Banquet in November. 1969 brings records like The Gilded Palace of Sin in March, Nashville Skyline in April, and Crosby, Stills & Nash in May. 1970 has Gasoline Alley in March,Workingman’s Dead in June, After The Gold Rush in August, and Tumbleweed Connection in October. And there are plenty of records that fill in gaps, and the artists involved all touch on the same vibe for at least another album or two. And that doesn’t even touch on the weird Southern gothic swamp rock boogie hybrids from people as disparate as Creedence and the Allman Brothers, or the Texas blues rock dudes like ZZ Top, or the Dr. John voodoo records, or the LouisiAngeles sound of Little Feat.

It’s an era I wish I understood better, and I’d love to know what started that particular vein of musical exploration after the Summer of Love.

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