Create account Log in

Santa Ana Winds


Download links and information about Santa Ana Winds by Steve Goodman. This album was released in 1984 and it belongs to Rock, Songwriter/Lyricist, Contemporary Folk genres. It contains 10 tracks with total duration of 37:02 minutes.

Artist: Steve Goodman
Release date: 1984
Genre: Rock, Songwriter/Lyricist, Contemporary Folk
Tracks: 10
Duration: 37:02
Buy on iTunes $9.90
Buy on Amazon $8.99


No. Title Length
1. Face On the Cutting Room Floor 3:37
2. Telephone Answering Tape 3:06
3. The One That Got Away 3:36
4. Queen of the Road 3:31
5. Fourteen Days 4:22
6. Hot Tub Refugee 3:13
7. I Just Keep Falling In Love 3:00
8. The Big Rock Candy Mountain 3:49
9. Santa Ana Winds 4:19
10. You Better Get It While You Can (The Ballad of Carl Martin) 4:29



Issued just after his death from leukemia in the fall of 1984, Steve Goodman's Santa Ana Winds was the third release from his Red Pajamas record label following Artistic Hair and Affordable Art. It differed from those LPs in being a more polished, stylistically consistent work, rather like the albums Goodman had made for Asylum Records during the second half of the 1970s. Artistic Hair was a collection of live tracks, and Affordable Art mixed live and studio work, the arrangements ranging from full-band ensembles to solo performances. But Santa Ana Winds featured a band (dubbed "the Amazing Eclectos") throughout, and it was the closest thing to a country record Goodman ever made. Two songs, "Face on the Cutting Room Floor" and the rock & roll-styled "The One That Got Away" (repeated from the Asylum album High and Outside) were co-written by Goodman with Nitty Gritty Dirt Band members Jeff Hanna and Jimmy Ibbotson, while the country tearjerker "Fourteen Days," written solely by Goodman, featured Emmylou Harris. (Kris Kristofferson and Herb Pedersen also turned up as background vocalists.) "Hot Tub Refugee" had a bluesy style, but otherwise the tracks were in country-pop mode, and while Goodman could not resist leaning toward novelty material, his sense of humor was kept more in check than usual. The result was one of his safer albums, but not one of his better ones, a valedictory that emphasized his craftsmanlike qualities over his appealing eccentricity.