Artist: Bob Lind
Title: Since There Were Circles
Year Of Release: 1971/2006
Label: RPM Records
Genre: Folk Rock
Quality: Mp3 320 / Flac (image, .cue, log)
Total Time: 53:41
Total Size: 157/375 Mb (scans)
Tracklist:1. I Love To Sing/Sweet Harriet - 4:19
2. City Scenes - 3:30
3. Love Came Riding - 3:09
4. Loser - 3:28
5. Not That I Would Want Her Back - 2:49
6. Theme From The Music Box - 3:24
7. Anymore - 3:32
8. Spilling Over - 3:54
9. She Can Get Along - 2:54
10. Up In The Morning Me - 2:04
11. Since There Were Circles - 5:14
Bonus Tracks:
12. I Found You - 2:50
13. Marlene - 2:19
14. San Francisco Woman - 4:13
15. Colorado Line - 3:20
16. We Are Children Still - 3:02
Line-up::
Bob Lind - Guitar, Vocals
Buck Wilkings - 12 String Guitar
MIchael A Lang - Piano
Raplh E Grierson - Piano
Carol Kaye - Bass
Paul N. Humphrey - Drums
Doug Dillard - Banjo
Gene Clarke - Harmonica
Bernie Leadon - Lead Guitar
David Jackson - Bass
Bob Lind is an American singer-songwriter in the folk rock genre. As a singer, Lind is almost a one-day fly. In 1966 he had his only big hit, Elusive Butterfly. As a songwriter, he was more successful.
Born: November 25, 1942, Baltimore, Maryland, United.
After a break of about three years from recording, during which Lind moved from L.A. to New Mexico, the singer/songwriter returned with what would be his final album. Produced by Doug Weston, owner of the famed Troubadour folk and rock club in L.A., it's far different in tenor from the Jack Nietzsche pop-rock productions of the "Elusive Butterfly" era. Instead it's woozy, gentle country-rock, for the most part. His supporting cast includes Doug Dillard, session supremo Carol Kaye, Gene Clark, and Bernie Leadon (the last two of whose names are misspelled in the credits). The meandering lyrics and low-energy backing combine for a pretty lethargic atmosphere, which is enhanced, or encumbered, by Lind's curious, elongated vocal delivery. The result is that his vocals have the (presumably unintentional) effect of making him sound almost drunk at times. For something this offbeat to work, the material has to be strong and striking; this album generally misses those distinctions by a wide mark. On the solo acoustic title track there is a distraught confessional ambience reminiscent of Dino Valenti's cult solo album.
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