Concert Vault

Jonathan Edwards

Bottom Line (New York, NY)

Apr 8, 1977 - Early

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  1. 1 Soundcheck 00:49
  2. 2 Sunshine 03:04
  3. 3 Sugar Babe 04:10
  4. 4 Honky-Tonk Stardust Cowboy 04:45
  5. 5 Hearts Overflowing 06:21
  6. 6 I Wish You Knew 03:24
  7. 7 Surrounded 04:07
  8. 8 Sailboat 04:40
  9. 9 Our Baby's Gone 03:45
  10. 10 Rockin' Chair 12:00
  11. 11 Carolina Caroline 06:00
  12. 12 I Just Want To Be Number One On Your Hit Parade Of Love 03:29
  13. 13 Harmonica Solo / Shanty 05:30
  14. 14 Emma 05:27
  15. 15 When The Roll Is Called Up Yonder 05:22
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Liner Notes

Jonathan Edwards - vocals, acoustic guitar, harmonica; Stuart Schulman - bass, fiddle; Ken White - keyboards, bass; Herb Pedersen - banjo, vocals; Stephen Geyer - electric guitar; Tom Staley - drums

This show, part of six Bottom Line performances recorded for the King Biscuit Flower Hour between March and April 1977, mark the return to live performing by Jonathan Edwards. Years earlier, Edwards had been a contemporary of James Taylor, Cat Stevens, and other folk rockers, but when he started moving in a more country direction, Atlantic Records dropped him and he retreated from the music business.

At the urging of Emmylou Harris, he decided to return to writing, recording, and performing, and in 1977 took to the road with a band stacked heavily with players from Harris' band. There is a varied collection of material performed at this show, balancing newer songs with classic tunes from his early albums. He does a memorable version of the Jesse Colin Young song "Sugar Babe," and a poignant read of "I Wish You Knew." After his version of "I Just Want To Be Number One On Your Hit Parade of Love," a lengthy harmonica solo leads the audience into "Shanty," the unofficial theme for hardcore pot smokers.

Edwards benefited from an exceptional band on the '77 tour. Made up of members of Emmylou Harris' Hot Band, the musicianship on these recordings is exceptional, especially the piano work of Ken White and the bass playing of Mark Walsh. Two of the members of his band, guitarist Jeff Golub and vocalist Cheryl Wheeler, have gone on to be successful recording artists in their own right. After 1977, Edwards once again dropped out of the spotlight only to re-surface once again in 1982 with his own record label, Chronic. He only tours and records occasionally today, but his music is still as relevant and enjoyable as ever.

More
More Jonathan Edwards

Jonathan Edwards - vocals, acoustic guitar, harmonica; Stuart Schulman - bass, fiddle; Ken White - keyboards, bass; Herb Pedersen - banjo, vocals; Stephen Geyer - electric guitar; Tom Staley - drums

This show, part of six Bottom Line performances recorded for the King Biscuit Flower Hour between March and April 1977, mark the return to live performing by Jonathan Edwards. Years earlier, Edwards had been a contemporary of James Taylor, Cat Stevens, and other folk rockers, but when he started moving in a more country direction, Atlantic Records dropped him and he retreated from the music business.

At the urging of Emmylou Harris, he decided to return to writing, recording, and performing, and in 1977 took to the road with a band stacked heavily with players from Harris' band. There is a varied collection of material performed at this show, balancing newer songs with classic tunes from his early albums. He does a memorable version of the Jesse Colin Young song "Sugar Babe," and a poignant read of "I Wish You Knew." After his version of "I Just Want To Be Number One On Your Hit Parade of Love," a lengthy harmonica solo leads the audience into "Shanty," the unofficial theme for hardcore pot smokers.

Edwards benefited from an exceptional band on the '77 tour. Made up of members of Emmylou Harris' Hot Band, the musicianship on these recordings is exceptional, especially the piano work of Ken White and the bass playing of Mark Walsh. Two of the members of his band, guitarist Jeff Golub and vocalist Cheryl Wheeler, have gone on to be successful recording artists in their own right. After 1977, Edwards once again dropped out of the spotlight only to re-surface once again in 1982 with his own record label, Chronic. He only tours and records occasionally today, but his music is still as relevant and enjoyable as ever.