Steve had a lot to do with the writing and arrangements throughout this album and his playing was so good it really inspired us. I’ve never heard anybody, including any of us, play his picking part quite right. “He was a great songwriter and singer-and an incredible guitarist. “This song sums up what Steve Gaines, who wrote it, meant to the band,” says Gary Rossington. The song then kicks into another gear at 2:32, locking into a “Gimme Three Steps” type feel, featuring rhythm parts similar to the Rolling Stones’ “Can’t You Hear Me Knocking.”Ī demo of this tune is also included as a bonus track on the 1997 reissue of Second Helping, and the track was also subsequently included on the 1998 compilation, The Essential Lynyrd Skynyrd. The simple and plaintive feel of the music is reminiscent of one of the band’s biggest influences, the British band Free, which featured legendary guitar great Paul Kossoff. With guitars and bass tuned down one half, the primary rhythm guitar during the verse sections arpeggiates through the D5/D7-G5-C5 chord progression in steady 16th notes, over which Ronnie Van Zant sings a bluesy/Appalachian folk melody while guitarist Gary Rossington adds subtle slide guitar fills in standard tuning. The songs recorded during these sessions were first issued in September 1978, about a year after the October 1977 tragic plane crash, as Skynyrd’s First and…Last, and later reissued in 1998 as Skynyrd’s First: The Complete Muscle Shoals Album. “Was I Right or Wrong” is a song recorded during the band’s very first recording sessions in 1971-72 at Muscle Shoals Sound Studio in Alabama. The guitar solo section ramps things up a notch higher with a classic, high-energy Allen Collins solo, after which the song settles back into the quieter verse arrangement. The classic harder-edged Skynyrd feel comes in right at the song’s powerful chorus section, accentuated by Rossington’s bluesy and melodic slide guitar licks. “Comin’ Home,” an original track written by Allen Collins and Ronnie Van Zant, displays more of a country/rock feeling than many of the harder, bluesier tunes recorded during these sessions, and displays the influence of west coast late Sixties rock bands like the Youngbloods and Quicksilver Messenger Service.Ĭollins’ flat-picked arpeggiated guitar part has a fingerpicked, banjo-esque feel, embellished by country style piano fills. This is another track recorded during the band’s initial Muscle Shoals studio sessions of 1971-72, released posthumously on Skynyrd’s First and…Last (and Skynyrd’s First: The Complete Muscle Shoals Album) as well as 1998’s The Essential Lynyrd Skynyrd.
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