Search - Dan Fogelberg, Tim Weisberg :: No Resemblance Whatsoever

What do I feel like listening to now...?

Carol | 08/22/2003

(5 out of 5 stars)

"I don't really think I can add much more than all the other reviewers have added, except to say that I love this album! I listen to it frequently, and even when I can't figure out what music I'm in the mood for, this album is usually one of the three I put on. It is easy to listen to and makes you feel good. I'm not here to critique the music like some of the other reviewers. I'm just telling you it is good stuff Meynard!"

Part II of Twin Sons

Jeff Feezle | Indiana | 08/08/2007

(4 out of 5 stars)

"Part II of Twin Sons



Since some 20-some folks have already reviewed this cd, let's talk about the stuff they left out! For instance, this cd includes two Jesse Colin Young songs: "Sunlight" and "Songbird". For folk-rock fans, these are dream songs: imagine Fogelberg singing J.C.Young. Since Young also used flutes on his folk cds, the fit is perfect.



Fogelberg wrote all the songs except for the fore-mentioned Jesse Colin Young songs. Tim Weisberg was an accomplished studio jazz flutist that had appeared on several famous albums over the years. He was on the Monkee's album: "Monkees Present (in 1969)", on the 1972 Carpenters breakout album: "Song for You." He was the flute player on Dave Mason (from Traffic)'s self-titled solo cd. He produced the hit: "Nadia's Theme." He played on the cd: "Never Enough" from the great underrated Pousette Dart Band. Add Kim Carnes, David Benoit, and the reggae band Inner Circle to that list.



Fogelberg wanted to distance himself from Jackson Browne and the folk circuit, and the Twin Sons project allowed him the freedom to bridge his old acoustic style to a more lush and still hushed classical and pop appeal. It's funny how flutes are always associated with mellow music (with the obvious exception of Ian Anderson and Jethro Tull.)



Although these two albums are 18 years apart, you couldn't tell it by listening to them side-by-side. They're made to be listened to as a complete effort. Incorporating elements of jazz, new-age, latin, rock, folk, pop into one listening layer was the goal of Fogelberg here. The genre-jumping songs all seem to fit together in this 1995 release, just as it did in 1978.



Since the original `Twin Sons', Tim has played on virtually every Fogelberg cd. They remain, today, as they did back in 1978: two enormous talents that were years ahead of their time and help set the tone for the bridge between soft rock and jazz.



Jeff Feezle of Macafeez

"

A Wonderful REDISCOVERY

L. Bishop | Somewhere Near Seattle | 01/01/2007

(5 out of 5 stars)

"What a wonderful surprise discovering that there was a follow-up to "Twin Sons Of Different Mothers" after all! I must have blinked back in September of 1995 when it was originally released. I was a big fan of Weisberg back in college, collecting everything he did up to "Nightrider". Alas all my LPs are now long gone.



This collection of tunes is what I remember of Weisberg -upbeat, jazzy, with a touch of magic. Hearing Weisberg's flute sounds take me back to the three Weisberg concerts I attended at Washington State University.



All the tracks are well produced, gimmick free, and sound quite fresh for being eleven years old. Weisberg and Fogelberg were never producer pawns, each in possession of their own unique styles and sounds. Their sound is mellower than on "Twin Sons", but they had both mellowed with age in the seventeen years that passed between collaborations.



Discovering that two of the finest talents of the seventies finally got back together in the nineties was quite the thrill. I'd give this ten stars if they were available to give.

"