Joe Walsh - Barnstorm (1972) MFSL

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MOBILE FIDELITY SOUND LAB MFCD 777 | AUDIOPHILE CD



Mobile Fidelity Sound Lab has been the undisputed pioneer and leader in audiophile recordings since the
company's inception in 1977. Established by dedicated audiophiles, Mobile Fidelity's first and foremost goal was
to offer faithfully reproduced high fidelity recordings that would compliment the numerous advances occurring in
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In response to rapid advancements in both recording formats and audio delivery systems over the past several
years, Mobile Fidelity has maintained its ongoing commitment to improving industry standards. This has resulted
in the introduction of numerous innovations in the audiophile arena: half-speed mastered Original Master
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continues its commitment to exceeding industry standards.

This is a true Collector’s find for those individuals who want to own the finest and rarest pieces of musical
history. It is similar to owning the artist’s own Rare Record Album in a Silver CD pressing. You will be
one of the last people in the world to own these Limited Edition Long Out of Print Masterpieces that will add
true value to your Collection.

MFSL LIMITED SILVER EDITION. This Limited Edition is an audiophile collectors item that simply gives
the feeling of being directly in the studio with the artist.


This recording is mastered from the Original Session Tapes and the disc is custom pressed using Silver (known for its superior qualities and resistance to oxidation). This Out of Print Silver bonafide collectible disc
has all Liner Notes, Photos, and Artwork from the Original LP faithfully recreated.


A SONIC WORK OF ART. These Out of Print gems are the Ferrari of the audiophile CD market. Many over the last
year have doubled or tripled in value. The future of these collectibles is so exciting because each piece is a
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be one of only a few thousand in the world owning this audiophile classic.


The artist

Biography by Jason Ankeny

From his early hits with the James Gang through to his tenure with the Eagles – as well as a successful solo career – Joe Walsh remained one of the most colorful characters in rock & roll, lending his distinctively reedy vocals, off-the-wall lyrics, and expansive guitar leads to a series of AOR staples including "Funk #49," "Rocky Mountain Way," and "Life's Been Good." Born November 20, 1947 in Wichita, KS, Walsh initially studied the oboe and clarinet, later playing bass in local bands the G-Clefs and the Nomads; while attending Kent State University, he finally picked up the guitar, fronting the collegiate combo the Measles from 1965 to 1969. He then joined the Cleveland-based hard rock trio the James Gang, appearing on their debut LP Yer' Album. The trio's 1970 album, The James Gang Rides Again, proved the group's commercial breakthrough, launching the FM radio favorite "Funk #49" and achieving gold status. While the follow-up, Thirds, was another success, yielding the classic "Walk Away," Walsh found the James Gang's power-trio format too confining and left the group soon after.

After relocating to Colorado, Walsh formed a new group, Barnstorm, recorded a self-titled 1972 LP before making his proper solo debut the following year with The Smoker You Drink, the Player You Get. The record cracked the Top Ten on the strength of the pop hit "Rocky Mountain Way" and was followed in 1974 by So What. In the wake of 1976's You Can't Argue with a Sick Mind, Walsh replaced guitarist Bernie Leadon in the hugely popular West Coast rock quintet the Eagles, making his debut on their best-selling Hotel California album. He also continued his solo career, issuing But Seriously, Folks in 1978; the record's highlight, the hilarious "Life's Been Good" – a dead-on portrait of rock star debauchery – became his biggest pop hit, nearly reaching the Top Ten. In 1979, Walsh announced his campaign for President of the United States, promising "free gas for everyone" if he won (he didn't.) The Eagles' final studio album, the chart-topping The Long Run, appeared that same year.

The soundtrack to the film Urban Cowboy generated Walsh's next solo smash, "All Night Long," which cracked the Top Twenty in the summer of 1980; although 1981's There Goes the Neighborhood featured his final Top 40 entry, "A Life of Illusion," he continued recording steadily, resurfacing in 1983 with You Bought It–You Name It and issuing The Confessor two years later. In between, Walsh ran for the vice presidency, again unsuccessfully. Following 1987's Got Any Gum?, he toured with Ringo Starr's All-Starr Band, returning to his solo career for 1991's Ordinary Average Guy. In 1994 he joined the reunited Eagles for their blockbuster Hell Freezes Over tour and remained on the road as a solo act for years to come.


The album Review

Review by Thom Jurek

Barnstorm, Joe Walsh's first solo album after leaving the James Gang, garnered him fame not only as a guitarist but also as a songwriter. While it's true that Walsh established himself as a late-'60s/early-'70s guitar hero on the Gang's more boogie-oriented rock numbers, it's Walsh's love of lushly textured production and spacy, open-ended songs featuring both acoustic and electric guitars that is showcased here on this wildly adventurous and forgotten unqualified masterpiece. Recorded at the Caribou Ranch in Nederland, CO, Barnstorm reflects the big sky and wide open spaces. Accompanied by bassist Kenny Passarelli and drummer Joe Vitale, Walsh freely indulges himself with fat guitars and keyboards, beautiful choruses, country tinges, and pastoral pop hooks, as evidenced by the glorious opener, "Here We Go." This segues, via the sound of a spooky lonesome wind, into the hauntingly beautiful psychedelic country tune "Midnight Visitor," with elegantly woven acoustic guitars, fat carnival organ sounds, and – of course – the sound of the wind before it slips out the back door. And so it goes with the nearly Baroque psychedelic suite of "One and One," which slides seamlessly into "Giant Bohemoth" (sic) and the rollicking "Mother Says." Everywhere on the album's front half, reverie and American mythological archetypes and history weave together, displacing the listener from the here and now. The openly pastoral country-tinged rock of the album's second half signifies Walsh's considerable gifts as a songwriter who uses his guitar as a dreamy, mercurial narrative device, as signified by the masterpiece "Birdcall Morning" – one of the greatest rock & roll love songs of the early '70s. It is actually mirrored by the sadness and organic bluesy quality of "Home" and the unabashed pop/rock romanticism of "I'll Tell the World," complete with glorious four-part backing harmonies and a crunching guitar crescendo. Speaking of crunch, Barnstorm was also the first place that Walsh's classic "Turn to Stone" nugget ever appeared. In its original version, its guitars have far more edge, sinew, and raw power than on its subsequent re-recording. Rather than let it end there, Walsh tips the scales one more time back to the mysterious in the acoustic guitar and harmonica moment "Comin' Down." It's another love song, which evokes the notion of the past as a way of creating a hopeful present. And it just whispers to a close, leaving the listener literally stunned at what has just transpired in the space of 35 minutes.


Performer:

Paul Harris Piano, Keyboards
Kenny Passarelli Bass, Guitar, Vocals
Al Perkins Guitar (Steel)
Chuck Rainey Bass
Bill Szymczyk Vocals, Producer, Engineer
Joe Vitale Flute, Percussion, Drums, Keyboards, Vocals
Joe Walsh Synthesizer, Guitar, Keyboards, Vocals


The songs list:
01 - Here We Go
02 - Midnight Visitor
03 - One And One
04 - Giant Bohemoth
05 - Mother Says
06 - Birdcall Morning
07 - Home
08 - I'll Tell The World
09 - Turn To Stone
10 - Comin' Down


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