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Nonton my wife got married 2008 sub indo. Also, it just tries too hard.

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Aug 3, 2010 - The location where the photo was shot for the John Denver Rocky Mountain High album is along the Rio Granda trail in Aspen Colorado.

John Denver - Rocky Mountain High Rocky Mountain High John Denver RCA LSP 4731 Released: August 1972 Chart Peak: #4 Weeks Charted: 53 Certified Gold: 12/30/72 There he is on the screen of your color TV: blond, bespectacled, and peach-faced -- the sight of him makes you want to adjust the hue, because John Denver's flesh tone is just a shade too flesh-tones. He's the balladeer for the masses, sweet-voiced, ingenuous, and completely devoid of human characteristics. He seems sincere enough, but it's hard to sense any character in anything he says or sings.

John Denver Rocky Mountain High Album Cover

Seeing Denver in his frequent TV appearances over the last couple years suggested this inherent blandness, listening to any of his five previous albums confirmed it. Whenever there was a possibility of something real happening, Denver's nightclub-folky voice and delivery would effectively douse the spark. Original album advertising art. Click image for larger view. So if all that is true -- and there was little doubt in my mind that it was until just now -- what's going on here?

This Rocky Mountain High record must be by some other John Denver, because it's a crisp, muscular album with compelling singing and some of the most powerful acoustic guitar-dominated arrangements I've heard on record. Denver may well have tired of hearing himself on the radio interminably crooning and 'When I come back, I'll wear your wedding ring,' and decided to cut loose just once in his successful, determinedly modulated career.

John Denver Rocky Mountain High Album Cover

The key is those arrangements. More than anything, Denver needed some hard edges -- some arrogance, meanness, smelliness, some unspeakable aberration -- anything that would dirty up his act. Changing his style to include any of these humanizing elements would not only be wrecking a good thing commercial-wise, it would also be extremely hard on the credibility. So instead of overtly toughening himself, Denver has surrounded himself with toughness in the form of biting instrumental tracks. The complement includes the acoustic guitars, keyboards, bass, and drums currently fashionable for the recordings of singer-songwriters from Denver to Rod Stewart, but there's a difference here.

The sound is echoed, treble-boosted in the manner of a Dave Edmunds-type neoclassicist rock 'n' roll mix, underplaying the mellow middle of the acoustic guitar's sound and exaggerating its jangly top end. The technique is ridiculously simple in theory, but it produces almost miraculous results for Mr. 'Prisoners' is the key song in terms of Denver's new approach. Two acoustic guitars and electric bass kick it off with strident tones set into a march tempo like something from the first Byrds album: it's immediately compelling.