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DAVID ACKLES

with VICTOR FELDMAN, DON GALLUCCI, LAWRENCE KNECTEL, JAMES GORDON, etc.

David Ackles continues to influence contemporary singer/songwriters with his combination 

of dark and desolate lyrics, emotionally wrenching songs, and subtle, sonorous delivery. 

Singers like Elvis Costello have acknowledged a creative debt to him, and his albums, 

especially American Gothic, have become cult favorites...

"SUBWAY TO THE COUNTRY"

Produced by Russ Miller

1969     LP     ELEKTRA RECORDS       EKS-74060    STEREO

   PRINTED IN U.S.A.    ORIGINAL PRESSING on ELEKTRA "Red/Large White 'E'" LABEL

PARTIALLY IN SHRINK SINGLE COVER + INSERT + COMPANY INNER SLEEVE

THICK CARDBOARD COVER 8AMERICAN STYLE)

This version: This issue has the 'Broadway' address on back cover, insert & inner, 

Barcode and Other Identifiers

Barcode: none

LABEL: ELEKTRA - RED LABEL w/LARGE WHITE 'E' -  BLACK TEXT

Catalog on cover: EKS-74060

Catalog on labels: EKS-74060-A / EKS-74060-B

Matrix / Runout (Side A, Etched): EKS-74060-A MON  1?14051 ?

Matrix / Runout (Side B, Etched): EKS-74060-B  MON 1?14051-X  (2)

Other / Runout (on both sides, Stamped): MR (circled, Monarch Record Pressing)

On labels: All songs by David Ackles Copyright © Nina Music BMI

Produced by Russ Miller

Arranged by Fred Myrow

On back cover: Elektra Records     1855 Broadway  New York City 10023

Printed in U.S.A. (bottom right)

tracklisting

Side A: MAIN LINE SALOON - THAT'S NO REASON TO CRY

CANDY MAN - OUT ON THE ROAD

Side B: CABIN ON THE MOUNTAIN - WOMAN RIVER

INMATES OF THE INSTITUTION - SUBWAY TO THE COUNTRY

grading

RECORD VG+ but (please, read above description) 

SLEEVE VG+ but (please, see pictures and read above description)

 While comparisons to Randy Newman are natural and, in places even valid, they fall short of the mark. Ackles' music is much darker, already deeply entrenched in the American Gothic his album would be named after. While the post-Tin Pan Alley stylings of Newman are evident here, Ackles' inspiration is in the original texts and not his Cali counterparts. Other sides of Ackles come from John Stewart and the folk revival, and no less than Scott Walker's early work and Jacques Brel. Subway to the Country portends itself a rootsier record, but it is rooted only in the tradition of American song itself. From the bleak vaudevillian cabaret of "Main Street Saloon" to the shimmering string arrangements and chamber textures in "That's No Reason to Cry" to the surreal muted winds and brass in "Woman River," Ackles is like a Western Kurt Weill. His knowledge of song form and nuance is encyclopedic, and his command over his singing voice is total. He can rumble smooth, swinging blues in the lower register as he does on the latter track, or shift it into loopy swirls and theatrical splashes as he does on "Inmates of the Institution." The most beautiful track on the album, however, is the title track that closes the album. Full of muted tones and colors, the backing orchestra holds itself close to Fred Myrow's arrangement as Ackles promises a lover that if he "Ever gets three bucks together/I'm gonna buy three tickets on a train/And I'll show you the rain." Ackles could milk the drama from a song without effort because he created the drama. Here he seeks in vain for a lighter heart and an older house to hand his song pictures in, but to no avail. Once one is an innovator of such dimension, one always has a restless creative soul, seeking to go ever-deeper levels in the well. Subway to the Country is not the classic that American Gothic is, but it remains a fine testament to Ackles' truly awesome poetic power as both a writer and a singer...(AllMusic)