Tom Paxton: Under American Skies

Audio Samples

>There Goes the Mountain
>Under the American Skies
>Follow That Road
>Clarrissa Jones
>Birmingham Sunday
>Carry It On
>God Bless the Grass
>Manzanar
>Getting Up Early
>Well, Well, Well
>Pandora's Box
>Shadow Crossing the Land
>Links in the Chain
>And Lovin' You

Track List

>There Goes the Mountain
>Under the American Skies
>Follow That Road
>Clarrissa Jones
>Birmingham Sunday
>Carry It On
>God Bless the Grass
>Manzanar
>Getting Up Early
>Well, Well, Well
>Pandora's Box
>Shadow Crossing the Land
>Links in the Chain
>And Lovin' You

Album Notes

Personnel: Tom Paxton (vocals, guitar); Anne Hills (vocals, guitar, harmonica); Scott Petito (guitar, piano, bass); Al Pettaway (guitar); Bob Gibson (banjo, background vocals); Monica Roach (cello); Jon Carroll (piano, background vocals); Mark Schatz, Michael Smith (bass); Jerry Marotta (percussion); The Carole Robertson Center Students (background vocals).

Recorded at Bias Studios, Springfield, Virginia.

Personnel: Tom Paxton (vocals, guitar); Anne Hills (vocals, guitar, banjo, harmonica); Bob Gibson (vocals, banjo); Scott Petito (guitar, piano); Al Petteway (guitar); Jon Carroll (piano); Jerry Marotta (percussion).

Audio Mixer: Scott Petito.

Liner Note Author: Jim Musselman.

Recording information: Bias Recording Company, Springfield, VA; Holstein's, Chicago, IL; NRS, Catskill, NY.

Photographer: Irene Young.

Tom Paxton reunites with one-time collaborator Anne Hills for this album of largely political folk, which includes such evergreens as "Carry It On," "Birmingham Sunday" (about the racially motivated 1963 church bombing), "God Bless the Grass," and Paxton's own "Clarissa Jones." Also on the program are a few later compositions, most notably Tom Russell's "Manzanar," about the treatment of Japanese-Americans during World War II, and the title cut, a comment on the death penalty that represents the album's only songwriting collaboration by Paxton and Hills. The singing is impeccable and the songs are first-rate, but the performances are mostly so faithful to the originals that they don't add much. In addition, while the social commentary is balanced by an occasional love song, it would have helped to also sprinkle in some of the humor that Paxton employs so well on his solo albums; as is, this is pretty consistently somber stuff. Still, Paxton and Hills deserve plaudits for helping to keep the political folk genre alive; it's too bad that more writers aren't addressing the sorts of issues tackled here. ~ Jeff Burger



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