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 recycled those influences, 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 cowpunk styles in the mid-'80s.
The Long Ryders were formed by several American musicians influenced by Gram Parsons and the Byrds, with country and punk rock influences. The band featured Sid Griffin on guitar, autoharp, and bugle, Stephen McCarthy, guitar, steel guitar, mandolin, and banjo, Des Brewer, as bassist, (later replaced by Tom Stevens) and Greg Sowders, playing drums and percussion. With a sound reminiscent of Gram Parsons, Buffalo Springfield and The Flying Burrito Brothers, but with a harder edge, they anticipated the alternative country music of the 1990s by a decade. This 4-CD career overview has been compiled with both Sid Griffin and Tom Stevens from original tapes (where they exist) - Sid has contributed a track by track breakdown for the set. The set features all the original albums as well as demos, singles and rare live recordings. Re-mastered by Andy Pearce the recordings and in Sid's opinion have never sounded so good. A new booklet designed by Phil Smee contains many rare photos and memorabilia.
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available. The best pre-1965 Beach Boys album featured their brilliant number one single "I Get Around," as well as other standout cuts in the beautifully sad "Wendy," "Little Honda" (one of their best hot rod tunes, covered by the Hondells for a hit), and their remake of the late-'50s doo wop classic "Hushabye." The nostalgic "All Summer Long," another great production, seemed (whether intentionally or not) like a sort of farewell to the frivolous California beach culture that had supplied the lyrical grist for most of their music up to this point, with a longing, regretful chorus that was totally at odds with the bouncy arrangement. Other relatively little-known treasures are the sumptuous ballad "Girls on the Beach," with some of their best early harmonizing, and "Don't Back Down," with uncommonly anxious lyrics. You can't give an unqualified high rating, however, to an album that also contained such disposable filler as the "Our Favorite Recording Sessions" comedy bit and "Do You Remember?," a "let's-pay-tribute-to-rock's-early-days" number with a sh*t-eating grin wide enough to qualify as an oldies radio ID jingle.