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Perry Jordan and Heartsfield
Rescue the Dog

What would you think if the a group that you had followed into the late 70s suddenly released a new CD? Probably thankful the group is still alive and wondering to yourself if they are just a shadow of their former selves. What if the new disc was the best of their careers? Would you wonder what was in the drink you had the night before? Well, there was nothing in the water but the scenario described above is true.

Before there was alt.country, there was country-rock. The Byrds, The Eagles, Poco, Pure Prairie League, Allman Brothers and The Amazing Rhythm Aces were all purveyors of this genre. Heartsfield should have been viewed as part of that group. But in the 70s, there was only so much room on radios around the country for countrified sounds. So even though as a live act they would blow their more popular brethren off the stage, Heartsfield was always looked upon as a second-tier player. Well, while most of these other groups have faded away or are simply cashing big paychecks, Heartsfield has released the best disc of their career, Rescue the Dog (Bedrock BR 304).

Perry Jordan, main writer, vocalist and multi-instrumentalist from the original incarnation of the group, has taken the Heartsfield moniker, gathered sympathetic musicians and produced a disc that will please old fans but should recruit a legion of new converts. All of the elements of country rock are here: dobros, mandolin, harmonica, acoustic/electric guitars and dead-on harmonies. And this 2001 version of Heartsfield has also learned how to stretch tunes and find the groove living inside. Most of the songs clock in at plus five minutes. But it would be meaningless if the songs were second rate. There is nothing here but quality writing including a couple of numbers (Music Eyes and Just That Wind) resurrected from their unreleased-on-CD first album. There is a maturity resonating through every track. And because of that, Rescue the Dog has a genuine, raw power rarely heard in today's 'too cool' record business. Perry Jordan's voice has an edge never heard on their previous other recordings where the band tended to sound almost sanitized. After almost 25 years away from recording, Heartsfield returns with a powerful reminder of what a fine band they were…and still are!

And if you're wondering about the title, check the hidden track at the end of the disc for the whole story.

Check www.heartsfield.com

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Bill Quateman
The Almost Eve of Everything

OK…here it is in a nutshell…

You're a young Chicago musician whose first album is released on Columbia Records to critical and regional success. Clive Davis, at the time the most powerful man in the music business, is your mentor and you are entering the studio to record your second album. Everything is going well until Clive is dismissed and the new regime decides, after you've recorded almost the whole LP, you will be the label's answer to Tony Orlando. What do you do if you're an early 20s-something Bill Quateman? You say 'thanks but no thanks. I trust my musical instincts and I'm not knocking three times on anybody's ceiling.'

Flash forward to 2001…a more mature Bill Quateman has the good fortune of having found the lost album he was working on in 1972 and he is leaving up to us to decide who was right. The Almost Eve of Everything has been gathering dust for almost 30 years. And listening to it is like finding one of those time capsules buried in your backyard and discovering a rare prize. Here it is, a brand-new, three decade old record. Sure, some of it sounds a little dated but most of what you hear is a musician finding his voice. The opening track, 'Stone Fool', floats in with a slide guitar reminiscent of George Harrison/Eric Clapton (played by Buzzy Feiten) and takes off from there. 'Ties That Bind' is a raucous, rock and roller complete with brass. 'Rosie' is an acoustic-guitar driven ballad that would fit seamlessly on side two of 'The Beatles' with a subtle arrangement straight out of Sir George's chart book. Other highlights include the Randy Newman influenced 'Amazed & Afraid' and the elegant closer 'Rivers Go Rolling Home'.

After Columbia dropped Quateman because of their 'creative differences', it was four more years before he appeared again, this time on RCA. By that time, the momentum of his first release was release was lost. Three critically acclaimed but poor selling LPs later, Bill Quateman left the music scene and moved to California to raise his children. Now, after 20 years, he's released his self-titled first album and now 'The Almost Eve of Everything' at his own website billquateman.com and has been making appearances back in his old haunts in the Midwest. He and his old pal Buzzy Feiten are back in the studio, picking up where 'Everything' left off. Expect to see new music by the end of the year. Until then, enjoy the almost 30-year-old The Almost Eve of Everything for the first time.

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