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About Native Sons
Product Description Native Sons was the first full-length album by the Long Ryders and the one that established their eclectic mixture of Byrds/Clash/Flying Burrito Brothers' influences. The band wore those influences on their sleeve, literally, going so far as to recreate the cover of an unreleased Buffalo Springfield album, Stampede, for Native Sons and using the producer of the first two Flying Burrito Brothers albums, Henry Lewy. Native Sons lovingly captures the band's musical obsessions, while turning in an original sound that became the banner for both the paisley underground and cow punk styles in the mid-'80s. Highlights include several forays into country on "Final Wild Son," the Mel Tillis composition "Sweet Mental Revenge," "Fair Game," and the humorous "Never Got to Meet the Mom," complete with a raging down-home banjo break. "Ivory Tower," featuring the late ex-Byrd Gene Clark on vocals, remains the greatest song the Byrds never wrote and one of the most sincere tributes to that band's sound. The album's final track, "I Had a Dream," reveals the punk sensibility, cranking the jangling Rickenbackers up to ten, closing with cacophonous feedback. On Native Sons, the Long Ryders pioneered a musical design that future alternative roots rockers would use as a manual. Native Sons has been reissued on CD with the Long Ryders' initial EP, 10-5-60. ~ Al Campbell, All Music Guide Amazon.com Los Angeles's Long Ryders were unabashed in revering their musical ancestors. The front cover of the country-rock quartet's debut album aped the planned photo for 's unreleased Stampede, and the group dressed in the same sort of sheepskin jackets and Nudie vests as and wore back in their heydays. They even asked ex- Gene Clark to sing with them. (Lead Ryder Sid Griffin would take his love of rock history even further by writing the first book on the life of the late country-rock pioneer Parsons. He's now a widely published music writer.) Given all that, it's easy to write the Long Ryders off as just another in a series of early- to mid-'80s West Coast groups going through a momentary "paisley revival." But the group's first two releases--an EP called 10-5-60 and their debut long-player, Native Sons--show that this was a band that could often take borrowed influences to new and exciting places, fusing punk energy and southern-rock populism with the secondhand West Coast milieu. "Tell It to the Judge on Sunday" and "Never Got to Meet the Mom," in particular, were songs strong and vibrant enough to brighten up any Springfield album. --Don Harrison
