Cut from the same cloth as Another Side (and may have been cut during same sessions which produced that album) but it sounds more mature and less scattered. Still, the reliance on material from others holds it back from being a release of note.
Nelson moves into the psychedelic pop realm with bewildering results. Some songs have promise, and others just make you wonder what the artist was thinking in general ("Marshallmallow Skies", a fancified and obvious re-write of "Lucy in the Sky with Diamonds"). This definitely is another side to Nelson - one that's better left to the dustbin of pop history.
The first real attempt from former teen idol Rick Nelson to distance himself from his original heartthrob run, Bright Lights consists of mainly interpretations of other country songs. It's not a bad reintroduction to the artist in a new setting, but not much in the substance department, I'm afraid.
This document is often hailed as Quicksilver's greatest and its worst - depending on who you ask - but all agree it is the most quintessential release. Captured mostly live, augmented with a few studio cuts that are of the same spirit, this has to be the most realized of the jam-style live albums, at least as far as 60's Bay Area bands go. Maybe 25-minute versions of Bo Diddley songs (the entire "Who Do You Love" suite") is a little excessive, but for the most part, it's well-concieved in that I like it all the way through and want to hear it again, and I'm not than enthusiastic about "Mona". The other big spot was "Calvary", which really gets out there on a limb and essentially closes the album on a flourish. A somewhat mercurial but definitely intriguing record.
