Album – Gibson & Camp …REVISITED
GIBSON & CAMP
(At the Gate of Horn)...REVISITED
It was Gibson and Camp in Chicago all over again – only now it was June of 1986 at Holstein’s. In honor of the silver anniversary of their legendary recording at the Gate of Horn, these two veterans of folk got back together to recreate their best selling album in its entirety. For four nights they sang the songs, revived the patter and electrified the audiences – just like they’d done 25 years earlier. This recording contains an additional three songs not recorded on the original album.
B*G Records 1986
In looking at the American folk music scene: if there could be said to be a linchpin between the old guard (Woody Guthrie, Pete Seeger, The Weavers and Leadbelly) and the modern era (Bob Dylan. Peter, Paul & Mary, Judy Collins, Tom Paxton and the others) it might well be Bob Gibson. Of all of his work, it is a blues-based Gibson and Camp [song]…Well, Well, Well that is my favorite.
Review – Rambles.net
In 1974, when he first decided to try to re-establish himself, Gibson recognized that, given his experience with record companies, he would be better off starting his own label, a move that is now standard among folk performers but was then a radical departure from the way things were done. Funky in the Country, the 1974 album he released on his own Legend Enterprises label, is a live set recorded at Chicago’s Amazing Grace. It features Gibson on 12-string guitar and John Guth on lead 6-string, although designating Guth as the lead guitar isn’t always accurate since both men step out front. With one exception, all of the songs are Gibson compositions.
The set gets off to a flying start with “Cindy Dreams of California,” a song that features some of the best acoustic guitar playing you will ever hear, as Gibson’s 12-string booms out chords and bass runs while Guth plays intricate solo patterns above Gibson’s rhythm. It’s an amazing song.
He then slows it down with the only song he didn’t write, Shel Silverstein’s “I Never Got to Know Her Very Well,” before picking it up again with a blues number. As the album progresses, you hear Gibson at his set building best, always varied in tempo and tone, but always with plenty of room for the musicians to cook, taking lengthy solos. Guth and Gibson play off of each other beautifully. It’s an amazing piece of work, one that I’ve been listening to consistently since 1974 without ever becoming bored by it.
The album drew rave reviews, with Billboard calling Gibson one of the finest singers in American folk history. Gibson set up a full schedule of shows and signings to kick off the album but, unfortunately, his first stop was in rehab. By the time he got out four months later, the momentum was gone.
NEWS, REVIEWS & NOTES
…remarkably fresh… With their creatively intertwining harmonies, the duo always sounded like more than two singers. All of that sounded just as exuberant 25 years later, as did the good-humored interaction between the two. There remained something magical about these performers together, which made the infrequency of their recording a frustration to folk fans, even as their few pairings stirred excitement.