Leave me a comment on the Southern music you would like to hear. And for my friends Jason and Kevin you guys need to leave me a list of shit i'm forgetting or anything your wanting to put on your ipods.
Tuesday, July 31, 2007
Wednesday, July 25, 2007
Levon Helm & Various Artists:
Levon Helm & Various Artists:
The Legend of Jesse James
![[CD cover]](http://theband.hiof.no/band_pictures/legend_of_jesse_james.jpg)
In 1979, Levon Helm played the "lead role" on songwriter Paul Kennerley's concept album The Legend of Jesse James. The record was cut in Nashville and was produced and engineered by Glyn Johns. Here is a photo (34K JPG) from the recording sesion, of Johns, Emmylou and Levon.
One of the tracks from The Legend of Jesse James, the Emmylou Harris/Levon Helm duet "One More Shot", can also be heard on the album Danko/Fjeld/Andersen (with Rick Danko, folksinger Eric Andersen and Norwegian roots artist Jonas Fjeld).
The Legend of Jesse James has been re-released twice as a 2CD set paired with Kennerley's 1978 album White Mansions, first in 1997 on A&M in the UK under the title Confederate Tales, and then in 1999 in the US on Mercury Nashville as White Mansions and The Legend of Jesse James.
Tracks
| 1. | Ride Of The Redlegs | |
| 2. | Quantrill's Guerillas | |
| 3. | Six Gun Shooting | |
| 4. | Have You Heard The News? | |
| 5. | Heaven Ain't Ready For You Yet | |
| 6. | Help Him, Jesus | |
| 7. | The Old Clay County | |
| 8. | Riding With Jesse James | |
| 9. | Hunt Them Down | |
| 10. | Wish We Were Back In Missouri | |
| 11. | Northfield: The Plan | |
| 12. | Northfield: The Disaster | |
| 13. | High Walls | |
| 14. | The Death Of Me | |
| 15. | The Plot | |
| 16. | One More Shot |
Lead vocals: "Ride of the Redlegs": Rodney Crowell, Jody Payne, Levon Helm and Rosanne Cash. "Quantrill's Guerillas": Levon Helm. "Six Gun Shooting": Johnny Cash. "Have You Heard the News?": "Albert Lee". "Heaven Ain't Ready for You Yet": Emmylou Harris. "Help Him, Jesus": Johnny Cash. "The Old Clay County": Charlie Daniels and Levon Helm. "Riding with Jesse James": Charlie Daniels. "Hunt Them Down": Albert Lee. "Wish We Were back in Missouri": Emmylou Harris. "Northfield: The Plan": Levon Helm. "Northfield: The Disaster": Charlie Daniels. "High Walls": Levon Helm. "The Death of Me": Johnny Cash and Levon Helm. "The Plot": Paul Kennerly. "One More Shot": Levon Helm and Emmylou Harris.
Sidemen
- Johnny Cash (as Frank James), lead vocal
- Rosanne Cash (as Ma Samuel), lead vocal
- Doniwan Cowart (as Bob Ford), vocal/engineer
- Martin Cowart (as Charley Ford), vocal
- Rodney Crowell (as The Officer), lead vocal
- Charlie Daniels (as Cole Young), lead vocal/fiddle/slide guitar
- Jesse Ed Davis, slide guitar/electric guitar
- Nick De Caro, accordion/arrangements
- Sean Fullan, engineer
- Emory Gordy, bass
- Tim Gorman, piano
- Emmylou Harris (as Zerelda James), lead vocal/acoustic guitar
- Levon Helm (as Jesse James) lead vocal/drums/harmonica
- Glynn Johns, producer/engineer
- Paul Kennerley (as Sheriff Timberlake), lead vocal/writer/composer/guitars
- Bernie Leadon, banjo/acoustic guitar
- Albert Lee (as Jim Younger), lead vocal/guitars/mandolin
- Jody Payne (as Doc Samuel), lead vocal
- Doug Sax, engineer
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Sunday, July 22, 2007
Christmas and the Beads of Sweat (Duane Allman)
Christmas and the Beads of Sweat 
Christmas and the Beads of Sweat
From Wikipedia, the free encyclopedia
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Christmas and the Beads of Sweat
Christmas and the Beads of Sweat cover
Studio album by Laura Nyro
Released November 25, 1970
Recorded New York City, May 1970
Genre Pop
Length 44:55
Label Columbia Records (UK)
Columbia Records (US)
Producer(s) Felix Cavaliere, Arif Mardin
Professional reviews
* All Music Guide 3/5 stars link
* Rolling Stone "Average" link
* Robert Christgau "C+" link
Laura Nyro chronology
New York Tendaberry
(1969) Christmas and the Beads of Sweat
(1970) Gonna Take a Miracle
(1971)
Christmas and the Beads of Sweat is the fourth LP by New York-born singer, songwriter, and pianist Laura Nyro.
The album was released on the Columbia Records label in November 1970 after Nyro had recorded it in the early summer with producers Felix Cavaliere and Arif Mardin. Whilst Nyro had handed over production reins, she was still in control of the project and arranged her compositions.
The album is seen as the closing part of a Laura Nyro trilogy that also comprises 1968's Eli and the Thirteenth Confession and 1969's New York Tendaberry. Musically, the album is a bridge between the two, balancing the lighter and more joyful tones of Eli with the dark, sensual, and piano-dominated Tendaberry.
Nyro had by this time built up a strong reputation as a songwriter, and the album features star turns from Duane Allman, who adds a guitar solo to the driving "Beads of Sweat," and Alice Coltrane, who adds harp to a number of the more mystical compositions.
The album, buoyed by Nyro's popularity as a songwriter, became her second commercially successful album in succession, peaking at #51 on the Billboard 200, known as the Pop Albums chart. The album is also responsible for spawning Nyro's sole chart hit single, with a cover of Gerry Goffin and Carole King's "Up on the Roof," which peaked at #92 on the Pop Singles chart, now known as the Hot 100.
Christmas and the Beads of Sweat is regarded by many to be in the same league as its two predecessors, but is generally less favoured by rock critics.
Contents
[hide]
* 1 Overview
* 2 Track listing
* 3 Miscellanea
* 4 References
[edit] Overview
Christmas and the Beads of Sweat is undoubtedly the least-known of the "classic trilogy" of Laura Nyro records, perhaps because it does not contain songs that became significant hits for other artists. In fact, it is notable that it is the first Nyro album to feature a cover version, that being the Goffin/King standard "Up on the Roof," which gave Nyro her only singles chart entry.
The atmosphere of Christmas is more mystical and exotic than any other Laura Nyro record. It is notably more laidback than its predecessor, 1969's cult favourite New York Tendaberry, but isn't as immediately accessible as the well-crafted Eli and the Thirteenth Confession. Instead, some songs bridge the gap between those two albums.
The presence of the Swampers band from Muscle Shoals lends the album a more easygoing, rock-inspired sound, but this is countered by Nyro's evocative lyrics and moody piano delivery. The second vinyl side features long Nyro originals, primarily solo but sometimes accompanied on exotic harp by legendary progressive musician Alice Coltrane. Thus, Christmas often has an atmosphere of being two separate divisions.
Songs such as "Christmas In My Soul" ease Nyro into the world of politics, a topic she became engrossed with during her songs and performances in the 1980s, while she sings about drug use ("Been on a Train"), and picturesque city lifestyles ("Blackpatch") elsewhere. The album was another commercial success on the back of Tendaberry, but is one of Nyro's oddly less celebrated works, despite containing some of her finest work.
[edit] Track listing
Title Time
"Brown Earth" (Nyro) 4:09
"When I Was a Freeport and You Were the Main Drag" (Nyro) 2:42
"Blackpatch" (Nyro) 3:33
"Been on a Train" (Nyro) 5:49
"Up on the Roof" (Goffin, King) 3:13
"Upstairs By A Chinese Lamp" (Nyro) 5:34
"Map to the Treasure" (Nyro) 8:08
"Beads of Sweat" (Nyro) 4:47
"Christmas in My Soul" (Nyro) 7:00
[edit] Miscellanea
* Christmas and the Beads of Sweat features the two longest songs Laura Nyro submitted to record - those being the mystical "Map to the Treasure" and the politically-charged "Christmas in My Soul."
* It is regularly thought, considering the title, that the album is a holiday record. Columbia Records tried to get Nyro to change the title but she would not allow it, and some stores still stock it only at Christmas.
* It is the only Laura Nyro album to produce a chart hit, and ironically that song - "Up on the Roof" - was not written by Nyro, who wrote many substantial hits for other artists.
* Four of the album's songs were selected to appear on 1997's retrospective collection Stoned Soul Picnic: The Best of Laura Nyro.
* The cover portrait was originally left as a present to Nyro by one of her fans, art student Beth O'Brien, and Nyro asked if she could use it for the album cover. O'Brien agreed, Nyro added a red earring with her lipstick, and O'Brien received $300 and two tickets to Nyro's New York concert.
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Tuesday, July 17, 2007
Alex Taylor Dinnertime (1972)
Dinnertime
| Dinnertime | ||
 | ||
| Studio album by Alex Taylor | ||
| Released | July,1972 | |
| Recorded | 1972 | |
| Genre | Southern Rock | |
| Length | 39:05 | |
| Label | Capricorn | |
| Producer(s) | Johnny Sandlin | |
| Professional reviews | ||
|---|---|---|
| Alex Taylor chronology | ||
| With Friends and Neighbors (1971) | Dinnertime (1972) | Third for Music (1974) |
Dinnertime is the second album by Alex Taylor, brother of James, Livingston and Kate Taylor. The album was recorded in Macon, Georgia at Capricorn Studios. The standout tracks are "Change Your Sexy Ways", Randy Newman's "Lets Burn Down the Cornfield", Scott Boyer's "Comin' Back to You", and Stephen Stills' "Four Days Gone".
Track listing
- "Change Your Sexy Ways" (A.Taylor/C.Leavell/J.Nalls) - 7:07
- "Let's Burn Down the Cornfield" (Randy Newman) - 4:25
- "Comin' Back to You" (Scott Boyer) - 4:15
- "Four Days Gone" (Stephen Stills) - 3:56
- "Payday" (Jesse Winchester) - 4:53
- "Who's Been Talking?" (Howlin' Wolf) - 4:45
- "Who Will the Next Fool Be?" (Charlie Rich) - 4:50
- "From a Buick Six" (Bob Dylan) - 4:54
Personnel
- Alex Taylor - vocals
- Scott Boyer - guitar, background vocals
- Chuck Leavell - piano, keyboards, vibaphone
- Paul Hornsby - organ, keyboards
- Johnny Sandlin - bass, moog synthesizer
- Wayne Perkins - bass, guitar, slide guitar
- John Hughey - steel guitar
- Jim Nalls - guitar
- Charlie Hayward - bass
- Jaimoe - percussion, conga, timbales
- Bill Stewart - drums
- Roger Hawkins - percussion, conga, tambourine
- Lou Mullenix - percussion, timbales
- Earl Sims - percussion
- Charles Chalmers - background vocals
- Sandra Chalmers - background vocals
- Ginger Holladay - background vocals
- Mary Holladay - background vocals
- Donna Rhodes - background vocals
- Sandra Rhodes - background vocals
- Temple Riser - background vocals
- Steve Smith - background vocals
Production
- Producer: Johnny Sandlin
- Recording Engineer: Steve Smith/Johnny Sandlin
- Remixing: Johnny Sandlin/Jeff Willens/Richard Rosebrough/Danny Tuberville
- Photography: Barry Feinstein/Tom Wilkes
- Executive Supervisor: Phil Walden
This entry is from Wikipedia
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Bonnie Bramlett - sweet bonnie bramlett (1973)
B o n n i e
| Artist : Bonnie Bramlett Title : Sweet Bonnie Bramlett Label : Columbia Records Record No. : KC-31786 Release : 1973 Credit 1 : Produced by David Anderle Credit 2 : Recorded at Sunset Sound Recorders
|
| ALBUM RELEASES | |||
| date | media | label | number |
|---|---|---|---|
| 1973 | ORIGINAL LP | Columbia Records | KC-31786 |
| 1994.1.21 | JAPANESE CD | Sony Records | SRCS-6351 |
| ALBUM TRACKS | ||
| 1. | Able, Qualified And Ready | by Leon Ware & Bonnie Bramlett |
| 2. | Singer Man | by Durrie Parks |
| 3. | Crazy 'Bout My Baby | by Robert Mosley |
| 4. | Got To Get Down | by Gordon DeWitty |
| 5. | Good Vibrations | by Gordon DeWitty |
| 6. | Rollin' | by Marc Benno, Dan Penn, Rita Coolidge & Tommy McClure |
| 7. | Celebrate Life | by Gordon DeWitty |
| 8. | The Sorrow Of Love | by Daniel Moore |
| 9. | (You Don't Know) How Glad I Am | by Jimmy Williams & Larry Harrison |
| 10. | Don't Wanna Go Down There | Trad. Arr. by Furry Lewis |
Bonnie Bramlett
From Wikipedia, the free encyclopedia
Bonnie Bramlett (born Bonnie Lynn O'Farrell, 11 August 1944, Alton, Illinios), is an American singer known for her distinctive vocals in rock and pop music. This began in the mid 1960s as a backing singer, forming the husband-and-wife team of Delaney & Bonnie, and continuing to the present day as a solo artist.
Contents[hide] |
Career
Bramlett started her musical career at the age of fifteen as a backup singer for blues acts such as Fontella Bass, Albert King, and Little Milton.
She made history as the first Caucasian female to sing with Ike and Tina Turner as one of the "Ikettes". She eventually moved to Los Angeles, where she met fellow singer Delaney Bramlett in 1967 at a bowling alley gig for his band, The Shindogs.
They were married within the week. The duo signed with Stax Records and became known as Delaney & Bonnie, becoming the first white artists among R&B artists such as Rufus Thomas, Carla Thomas, Sam & Dave, John Lee Hooker, and Booker T. and the MGs. They soon toured Europe with British rock legend Eric Clapton. With frequent drop-in performances by other noted musicians like Duane Allman, George Harrison, and Dave Mason, the group became known as Delaney & Bonnie & Friends.
Despite this all-star assistance, the duo only managed to chart two songs, their best-known "Never-Ending Song of Love" and a cover of Mason's "Only You Know and I Know". Delaney & Bonnie disbanded, both musically and maritally, in 1972. Bonnie Bramlett's most famous song from this period, "Groupie" (later known as "Superstar") (co-written with Leon Russell) became a big hit for The Carpenters in 1971 and has been successfully recorded numerous other times.
Bonnie Bramlett continued her career as a solo songwriter and recording artist. She released Sweet Bonnie Bramlett in 1973, backed by The Average White Band.
In the late 1970s, she toured with Stephen Stills, during which she gained some press notoriety for an incident with Elvis Costello at a Holiday Inn hotel bar in Columbus, Ohio. Costello referred to James Brown as a "jive-ass nigger," then upped the ante by pronouncing Ray Charles a "blind, ignorant nigger." A contrite Costello apologised at a New York City press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious in order to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press. According to Costello, "it became necessary for me to outrage these people with about the most obnoxious and offensive remarks that I could muster."
Bramlett also frequently appeared with The Allman Brothers.
After exploring the gospel music genre in the '80s, in 1988, Bonnie married Danny Sheridan who soon produced her next recordings via the “Revolutionary Hard Rockin’ Blues” of their “Bandaloo Doctors". The group's music attracted the admiration of many Hollywood celebrities, and the couple was soon cast for several seasons of the hit ABC series Roseanne; Bonnie as a semi-regular on the sitcom playing a co-worker named 'Bonnie' and friend to Roseanne Barr's character 'Roseanne Conner', with Sheridan occasionally writing music and appearing as the character “Hank the bass player”. Sheridan went on to act in Pauly Shore’s film “Pauly Shore Is Dead” (2003), and Bramlett in Oliver Stone's The Doors (1991). During this period, Delaney and Bonnie's daughter, Bekka Bramlett, also started a singing career, eventually joining Fleetwood Mac in 1993 after the departure of Stevie Nicks.
It wasn't Bonnie's first acting appearance; she and Delaney Bramlett had small roles in 1971's road classic Vanishing Point and in 1974's Catch My Soul. Bonnie had also guest-starred in an episode of Fame in 1986. She also appeared in the Andrew Davis film The Guardian (2006) starring Kevin Costner.
In 2002, Bramlett returned to her musical roots, releasing her album I'm Still the Same. She continues to record and tour today.
Discography
- Delaney & Bonnie
- Home (Stax, 1969)
- The Original Delaney & Bonnie (Elektra, 1969)
- On Tour With Eric Clapton (Atco, 1970)
- To Bonnie From Delaney (Atco, 1970)
- Genesis (GNP, 1971)
- Motel Shot (Atco, 1971)
- Country Life (Atco, 1972)
- D & B Together (CBS, 1972)
- Catch My Soul (1973)
- The Best of Delaney & Bonnie (1973)
- Original Delaney & Bonnie and Friends (2001)
- Bonnie Bramlett
- Sweet Bonnie Bramlett (CBS, 1973)
- It's Time (Capricorn, 1975)
- Lady's Choice (Capricorn, 1976)
- Memories (Capricorn, 1978)
- Step by Step (1981)
- I'm Still the Same (Audium, 2002)
- Pennies from Heaven (Zoho, 2005)
- Roots, Blues & Jazz (Zoho, 2005)
- Vanishing Point (1971)
- Catch My Soul (aka Santa Fe Satan) (1974)
- Fame, episode "Fame and Fortune" (1986)
- The Doors (1991)
- Roseanne (1991-1995)
- The Guardian (2006)
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Sunday, July 15, 2007
Moving sidewalks - Flash (Billy Gibbons ZZtop 1969)
| 1. Flashback |
| 2. Scoun da Be |
| 3. You Make Me Shake |
| 4. You Don't Know the Life |
| 5. Pluto-Sept. 31st. |
| 6. No Good to Cry |
| 7. Crimson Witch |
| 8. Joe Blues |
| 9. Eclipse |
| 10. Reclipse |
| 11. 99th Floor |
| 12. What Are You Doing to Do |
| 13. I Want to Hold Your Hand |
| 14. Need Me |
| 15. Every Night a New Surpise |
Gibbons founded the Texas psychedelic group the Moving Sidewalks, which recorded several singles and one full-length album, "Flash". The Moving Sidewalks were most prominent for opening for The Jimi Hendrix Experience during the Texas leg of Hendrix's first American tour. Also notable was the fact that the 13th Floor Elevators (considered by some to be the first true psychedelic rock band) recorded the Gibbons-penned song "99th Floor".
He formed ZZ Top in late 1969 with bassist/vocalist Dusty Hill and drummer Frank Beard (both alumni of the bands American Blues, the Warlocks, and the Cellar Dwellers). After honing their trademark Texas Boogie-Blues-Rock style, they released the aptly titled "ZZ Top's First Album" on London Records in 1971.
Texas Psychedlia Legends Part 23..., August 26, 2003
| By | Walter Five (13th Floor Elevator, Enron Hubbard Bldg. Houston Texxas) - See all my reviews |
This LP features a nascent Billy Gibbons in his youth, already with many of the chops and licks he'd bring to ZZ Top a short while later. It's puro homegrown Texas Psychedelic Blues, specifically the genuine South Coast Sound of Galveston, (home of the Bali Room) and that muggy Baghdad on the Bayou, Houston Texas.
Granted, it sounds a little dated--most Psychedelic bands of the 60's and 70's do. Granted, you'll only catch a studio portion of the live act that made them such legends, not unlike the 13th Floor Elevators in that respect--locals who saw them still rave about their shows to this day "you should have been there". But until such a time as some live Sidewalks CDs surface, those of us unfortunate enough as to have missed these cats in their heyday will just have to make do with this.http://sharebee.com/40ffb29d
Wednesday, July 11, 2007
Sailcat - Motorcycle Mama
found this one @
Sailcat - Motorcycle Mama
| ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
1. Rainbow Road
2. The Theif
3. Highway Rider/Highway Riff
4. The Dream
5. If You've Got A Daughter
6. Ambush
7. B.B. Gunn
8. It'll Be A Long Long Time
9. Motorcycle Mama
10. Walking Together Backwards
11. On The Brighter Side Of It All
LINER NOTES FOR SAILCAT'S MOTORCYCLE MAMA
By Richie Unterberger
When Sailcat's "Motorcycle Mama" rose to #12 in the national singles chart in the summer of 1972, few would have suspected that the song had almost literally got thrown out in the garbage before it had a chance to get released. Too, few were aware that its songwriter, John Wyker, was hardly a newcomer to the business, but had been a behind-the-scenes player of note in the Southern rock scene for more than a decade. Accordingly, the Motorcycle Mama album was a diverse cocktail of the Muscle Shoals, Alabama roots music in which Wyker was steeped, merging blues, country, R&B, rock, and gospel music into a concept album of sorts.
By the early 1970s, John was hanging out in Tuscaloosa, Alabama with Leavell and Court Pickett. "Three o'clock in the morning we'd be out in the parking lot, Court'd be doing 'Motorcycle Mama,'" he recalls. "I'd be playing and singing along with him, and the local Hell's Angeles would be out there just loving it." At a local bar in February 1971, Wyker "just jumped up on the bar and said, 'I heard somebody opened a new studio in Muscle Shoals. He mainly knows about running a truck stop, and had never been in the business. These two girls have volunteered to drive me up there. I'm gonna go up there and talk a speculation deal for some recording time. Anybody that wants to play on it, come on up. By the time you get there, I'll have a deal made.' That was a pretty bold thing to do, and crazy. But we go up there, and I catch the guy, Ron Ballew, who owned Widget Studios, walking out of the studio about midnight."
Wyker wasted no time going into his pitch, and "by this time, I didn't expect it, but all my friends from Tuscaloosa showed up, like Chuck Leavell and his girlfriend, and the dog, the cat, and all his equipment. Lou Mullenix, an incredible drummer that died way too young, and about 15 guitar players. I mean, he couldn't have thrown us out of the studio. We had literally just taken over by force. But he said, 'Give me a minute.' He called around, and evidently somebody gave me a good reference. So we started a publishing company together and recorded for two or three days, cut four songs—'Motorcycle Mama,' 'Rainbow Road,' 'B.B. Gunn,' and I think 'The Thief.' So we get a motel, come back, listened to what we did, and I said, 'Oh, man, this is the worst thing I ever heard in my life.' And took the tape, and literally threw it in the garbage can."
Soon afterward, John was knocking around Florida with Leavell, Mullinix, and Capricorn artists Cowboy and Alex Taylor when Ron Ballew somehow got a hold of him by phone. "He says 'Wyker, I took "Motorcycle Mama"'—and it didn't [even] have the Pete Carr slide guitar on it at that time—'I caught Russ Miller, vice president of Elektra Records.' I didn't think Ron could pitch it because the only thing he had to play it on was one of those Dictaphone machines. [But] he played it for Russ, and almost before the thing was finished, [Miller] said, 'I'll take it. I know [Elektra president] Jac Holzman will love this, because he started his business delivering his recordings on a Harley 165. I'll give you a $30,000 budget, any artwork you want, if you can get this guy to finish the album.'"
Ballew did get Wyker to finish the album, even flying down to Macon, Georgia, where John had "caught pneumonia or something," to take him back to Muscle Shoals and get "me a doctor and some antibiotics and stuff." The producer was also chosen in the on-the-fly spirit guiding the whole enterprise: "Pete Carr was trying to break into the business. I'd met him in '65. He was trying to get a job as a guitar player or something at Muscle Shoals Sound. Word got out that I was building the perfect beast, and Pete came down like the first or second day that we were recording, and all I wanted to do was get drunk and go sit by the river or something. So I said, 'Hey Pete, you wanna produce?' Pete almost went into shock. He just rolled [his] sleeves up and started telling people what to do. He said word got out at Muscle Shoals Sound, which was a closed door for him, [and] they offered him a job as soon as he finished the project."
Carr wrote a couple of songs ("The Dream" and "It'll Be a Long Long Time") for the LP as well, and would go on to play guitar on albums by Bob Seger, Paul Simon, Willie Nelson, Rod Stewart, and numerous other big names in the business. Old friends Court Pickett, Chuck Leavell, and Lou Mullenix were among the supporting players, with bassist/singer Pickett being the only other official member of Sailcat besides Wyker. Why Sailcat? "The name came from a Jonathan Winters record, where a sailcat is a cat that's been run over so many times on the highway that you can scoop him up and throw him like a frisbee," reveals John.
"We went in the studio, and I hadn't written but about fifteen seconds of half the songs on there," Wyker admits. "But most of the songs were vague ideas in my head, and when we got everybody together, the adrenaline would start flowing to where I could finish the songs on the spot. I remember when we did 'Highway Riff,' we had an intro on the guitar, and I told [keyboardist] Clayton Ivey, 'In one part, I want it to sound like he's riding and the cops are chasing him.' That's when Clayton starts just beating on the Hammond organ. I said, 'And then I want it to be like an adventure, and all of a sudden, he comes to a screeching halt. And then the sun's going down, and I want it to sound like he's coming into town and winding down, and eventually winds up in a bar having a beer. In "Ambush," I want places where it sounds like circus girls swinging by their feet from those ropes.' Just turned Clayton loose, gave him a bunch of visual illustrations, and he interpreted it so well. 'Ambush' and 'Highway Riff' are two of my favorite songs still." Strings were added in Memphis at Sun Records, and the famed Memphis Horns were also used.
As for the album's "concept" (with which Wyker is even credited on the back cover), "I called it a rock opera. The storyline behind Motorcycle Mama is really simple to understand. It's about a no-good riding motorcycled tramp that is really a latent romantic, and has dreams of settling down and having a family. And 'B.B. Gunn' shoots him down." In the inside of the original gatefold sleeve, each song was illustrated with a different picture by artist Jack Davis, working from details supplied by John.
The record label was happy too, as "the guy from Elektra gave me a box of albums and $500, which was a lot of money back then. He said, 'I had the privilege of telling Dustin Hoffman after he made The Graduate that this movie was gonna change his life forever. I've got the same honor to be able to tell you that this is gonna be a hit, and it's gonna change your life. Go somewhere and stay healthy, and we'll contact you when we're ready.'" John went to "a sleepy little fishing village" in Florida, "checked in the campground, and gave the lady one of the albums. I loved it so much, I'd never felt that free, just having a good time. I was seriously considering telling Elektra to go fuck off. But one day I was in the shower and heard 'Motorcycle Mama.' My first thought was, I gave the woman an album, she's probably got it on at the turntable in the playroom behind the shower. Then at the end of the thing, I heard the guy say, 'That was ol' Sailcat singing about his motorcycle mama. I got one, how 'bout you? This is WTIX, in New Orleans.' I knew it was a 50,000-watt, important [station]. I went running out of the shower naked, screaming, 'Hey y'all, I just heard "Motorcycle Mama" on the radio! Hallucination verification, somebody! We got a hit!' That night, there was a radio on, I remember the song before it was 'Candy Man' by Sammy Davis Jr., and then they played one by Frank Sinatra Jr. Then later we heard it on a country station. I said, 'Good god, man, I got a fucking crossover hit. Something I threw in the garbage can.'"
It wasn't long before Sailcat were promoting the record in Los Angeles. "It was already in the charts, and we didn't have a band put together," says Wyker. With a hastily hired backup group, they appeared on TV with Dick Clark, where Clark "says, 'How come so much great music comes out of a little town like Muscle Shoals, Alabama?' I said, 'There's nothin' else to do.' Sweat popped out of Dick Clark, just shot out every pore, like 'he's just insulted his home town.' He thought they'd take it a different way. But people that live there knew I was telling the truth."
His candor wasn't always appreciated by Elektra, however: "I cussed the label out from the stage of Carnegie Hall. Somebody said 'Motorcycle Mama'! I said, 'You know, I hate that fucking song. It's just so wussy. I had thrown it in a garbage can, and somebody fished it out and these fucking double-domed eggheads from L.A. thought it could be a hit, and they made it a hit, and I'm ashamed of it. I'll play it, but first, I'm gonna play it the way I feel it.' And did a whole 'nother, like, 'Why Don't We Do It in the Road' version of 'Motorcycle Mama.' But I kind of said some nasty things onstage and had some people squirming. When we ended our show, we went right back in the bathroom and locked the doors so they couldn't beat us up and cuss us out. We passed out in there, and about four in the morning this guy says, 'They're gonna turn the heat off, and it's gonna get down to zero tonight, so if you're in there, you're gonna freeze to death.' So we woke up and got out of there."
Motorcycle Mama sold pretty well, reaching #38 on the album charts. Yet although Sailcat did issue a subsequent non-LP single, "Baby Ruth," they never made another album, though Court Pickett did a solo LP for Elektra shortly afterward. "We were a one-hit wonder by choice," explains Wyker. "I was so burned out on the road. They would fly us from one side of the country to the next. I said, 'Man, this was a freak accident, I'm not going to try to duplicate the success. I'm gonna leave while I'm on top.' Then came back to Muscle Shoals, bought a 24-foot houseboat, and lived on it."
John's still living in Alabama today, putting most of his musical energies into the Mighty Field of Vision project (www.mightyfieldofvision.com), which is both an internet radio station and a foundation for aiding fellow musicians and artists in need of social and financial assistance. "Now my mission in life is to promote new artists, and also, more importantly, expose some stuff that got done in the '60s and '70s that got put in the vaults, and the record companies missed them, or passed over 'em, or somebody had half an album and died, and their music was destined to live in the can and collect dust forever," he summarizes. "Our content, you can't get it anywhere else."
Download
Barry Goldberg & Friends - Two Jews Blues (1969) (Duane Allman)
Barry Goldberg & Friends - Two Jews Blues (1969)
This is a really really good Album. Duane Allman is on at least Twice a Man and maybe a few others. I'm glad Ricsi found this one for me.
Original release:
LP: Buddah Records BDS-5029 (1969)
Other releases:
CD: One Way Records 27672 (1993)
1. You're Still My Baby
2. That's Alright Mama
3. Maxwell Street Shuffle
4. Blues For Barry And ...
5. Jimi The Fox
6. A Lighter Blue
7. On The Road Again
8. Twice A Man
9. Spirit Of Trane
Zupload
Tuesday, July 10, 2007
Cowboy - Boyer & Talton (1974)
![[image]](http://991.com/newGallery/Cowboy-Boyer--Talton-349171.jpg)
I found this L'P' during a record hunt in Nashville TN. I bought it because it was in the Southern Rock Bin and when I read the back of it I seen that Toy Caldwell played on Road Gravy Chase. I instantly became a fan. And since then I have tried to collect everything That Scott Boyer and Tommy Talton have appeared on. And let me tell ya that includes a shit load of Capricorn and Muscle Shoals Albums. If you like good song writing and good musicians the this is one for you.
Skynfan
1. A Patch And A Pain Killer
2. Coming Back To You
3. Everyone Has A Chance To Feel
4. Where Can You Go?
4. I Heard Some Man Talking (a) Love 40
5. Road Gravy Chase
6. Something To Please Us
7. Long Ride
9. Message In The Wind (When I'm Listening)
10. Houston (a) Houston Vamp
http://rapidshare.com/files/41495367/cowboy_-_1974_-_boyer___talton.rar
Cowboy - 5'll Getcha Ten
![[image]](http://www.abbdiscography.com/images/lp5llgetchatenf.jpg)
![[image]](http://www.abbdiscography.com/images/lp5llgetchatenb.jpg)
Capricorn/Atlantic (Germany)
ATL 40312 (SD 864)
1971
with:
Duane Allman - Guitar on "Please Be With Me"
Chuck Leavell - Piano, Organ
Note: Duane Allman does not play slide on the version
of Please Be With Me on this album.
The version on "Duane Allman - An Anthology" is an alternate take.
Side A:
1. She Carries A Child (3:40)
2. Hey There Babe (3:18)
3. 5'll Getcha Ten (4:55)
4. The Wonder (3:52)
5. Shoestrings (3:20)
6. Lookin' For You (4:06)
Side B:
1. Seven Four Tune (2:40)
2. Right On Friend (3:36)
3. All My Friends (4:50)
4. Innocence Song (1:53)
5. Please Be With Me (3:40)
6. What I Want Is You (3:25)
http://rapidshare.com/files/41726462/cowboy_-_5_ll_getcha_ten.rar
Thanks Ricsi
Martin Mull (Capricorn Records)
![[image]](http://ec1.images-amazon.com/images/I/515HDHSEN6L._AA240_.jpg)
Martin Mull & His Fabulous Furniture in Your Living Room was the comedian's second album for Capricorn, and it was one of his best, featuring such classic, uproarious routines as "Dueling Tubas," "Ukulele Blues," "Licks Off of Records," "2001 Polka," "Martin, Leon, Elton and John," "Ah, France" and "In the Eyes of My Dog." If you don't get his humor, you won't get this record, but if you do get it, go out and get it. It's funny. ~ Chuck Donkers, All Music Guide
Martin Mull (Producer), Martin Mull (Main Performer), Ray Brown (Bass), Red Callender (Tuba), David Duke (French Horn), Bill Elliot (Piano), David Grisman (Mandolin), Harvey Mason, Sr. (Drums), Patrick McMahon (Vocals (Background)), Daniel Moore (Vocals (Background)), Matthew Moore (Vocals (Background)), Keith Spring (Saxophone), Robert Regehr (Producer), June Belosic (Vocals (Background)), Janine Dursi (Vocals (Background)), Sandy Gingras (Vocals (Background)), Pete Kleiner (Guitar (Steel)), Debbie Lannon (Vocals (Background)), Dristin Mull (Vocals (Background)), Linda Schoellkopf (Vocals (Background)), Steward Ray Tremain (Vocals (Background))
1. Introduction And Theme To Margie The Midget
2. Dueling Tubas
3. A Simple Carpenter
4. Licks Off Of Records
5. Return Of The Big Bands
6. 2001 Polka
7. Straight Talk About The Blues
8. Ukulele Blues
9. A Tribute To Bert Parks
10. Billy One-Eye
11. Intermission
12. A Girl Your Size (How Could I Not Miss)
13. Martin, Leon, Elton And John
14. My Wife
15. Puis-Je Emprunter Votre Cuillere?
16. Ah, France
17. Something
18. The Nothing
19. Phone Call
20. In The Eyes Of My Dog
http://rapidshare.com/files/41919679/martin_mull_-_and_his_fabulous_furniture.rar
28 Bonuses from 6 non-complete CD's
http://rapidshare.com/files/41926968/Some_Compilation.rar
Thanks go out to Ricsi He finds me the rarest stuff.!!!!!!!!
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