As part of the Heritage of the Blues series on Hightone Records, Skull & Crossbones Blues provides a well-rounded retrospective of blues guitarist and onetime Robert Johnson cohort Johnny Shines. These 12 tracks capture Shines in a number of different settings, including both acoustic and electric, solo, and fronting a legendary Chicago band with Big Walter Horton, Otis Spann, and Fred Below. Shines' Robert Johnson influence is investigated on versions of "Standing at the Crossroads" and "Rollin' & Tumblin'," while material recorded in Los Angeles in the 1970s includes a snippet of guitarist Luther Allison at the beginning of his career. The tracks have been digitally remastered and lovingly compiled by fan and Hightone artist Dave Alvin. (Allmusic)
trax:
01 Give My Heart A Break 02 Johnny's Walkin' Blues 03 Skull & Crossbones Blues 04 What Kind Of Little Girl Are You? 05 My Black Mare 06 Standing At The Crossroads 07 Rollin' & Tumblin' 08 Trouble Is All I See 09 Fat Mama 10 Drunken Man's Prayer 11 Two Trains Runnin' 12 You Don't Have To Go
...served by Gyro1966...
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19 comments:
JOHNNY SHINES "Skull & Crossbones Blues" 1966-1970
...served by Gyro1966...
gitit! no pw
http://www76.zippyshare.com/v/55585242/file.html
Great thanks for your work.
There is the possibility to:
The Heart of Southern Soul Vol 3.
Thanks so much for this!
BONUS 1 OF 6
SARA & MAYBELLE CARTER - S/T 1966 @320
http://www10.zippyshare.com/v/94174930/file.html
This renowned reunion of Sara and Maybelle Carter (with Sara's ex-husband A.P.'s son Joe filling in on guitar and bass vocals) marked the finest recording made by members of the Carter Family since their 1944 dissolution. Recorded in the mid '60s for Columbia, the disc ranges from sanctified "holiness songs" to proverb-inspired traditionals, white-blues-type songs, and even an anti-Vietnam tune written by Tom T. Hall, "I Told Them What You're Fighting For." The typically detailed liner notes by scholar Charles K. Wolfe denote the diverse sources for each tune on the disc. Sara was 69 and sister-in-law Maybelle 59 when this album was made, but their hands were still nimble on the autoharp and guitar. Their voices are weathered and not always able to hit every note, yet they are still capable of true beauty--perhaps made all the more potent because of the ragged, inexact quality. --Mike McGonigal
Bear Family's Sara & Maybelle Carter CD combines the duo's 1966 album An Historic Reunion with Maybelle's solo record, A Living Legend, from that same year. An Historic Reunion was a moving final album from the duo, divided between gospel and traditional songs. Despite the fact that Sara and Maybelle hadn't sung together in over 20 years, the two sound like they'd never stopped; their harmonies, occasionally with Sara and Joe Carter's son A.P. providing a third part, are as spine-chillingly pure as ever. A Living Legend isn't quite as thrilling, but there are a handful of fine songs from the record and its inclusion is a nice way to round out the disc. (Stephen Thomas Erlewine, Allmusic)
INFO
http://www.amazon.com/Sara-Maybelle-Carter/dp/B000001AW6
http://www.allmusic.com/album/sara-maybelle-carter-mw0000275328
BONUS 2 OF 6 (Both First Edition albums on one DL)
THE FIRST EDITION - The First Edition 1967 @320
http://www54.zippyshare.com/v/19095933/file.html
Ex-members of the New Christy Minstrels (with the exception of the drummer, Mickey Jones ) run the fun gamut on The First Edition, and had they disappeared after this effort it would have been a huge collector's item. The cardinal sin of Lenny Kaye's masterpiece Nuggets collection is that "Just Dropped In (To See What Condition My Condition Was In)" did not follow the Electric Prunes as the second track on volume one of that revered collection, or show up on it at all. The psychedelicized Top Five hit from the winter of 1968 produced by Mike Post and arranged by Al Capps might have a few lyrics that would make Bob Dylan blush, but the song's fuzz guitar, attitude, and hook are unstoppable. The rest of the album is top-notch as well, sounding like the Mamas & the Papas meets early Jefferson Airplane with Signe Anderson on vocals. It's Thelma Camacho who never got the name change or the recognition she deserved, but she sounds great on "I Get a Funny Feeling" and "Hurry Up Love," and the album benefits from her presence. "Shadow in the Corner of Your Mind" may be a title that conjures up images of Bob Lind and Ted Nugent hammering out a song over the dinner table, maybe because they still look like the New Christy Minstrels on the cover, and Tom Smothers gushing on the liner notes is unique, but it was television that was instrumental in launching this group into the mainstream and the hit song does well surrounded by this musical environment. Tunes like Mike Post's co-write "Dream On" rock out much harder than "Green Green," "Saturday Night," and "Today," Christy Minstrel's hits prior to Rogers joining the group. "Home Made Lies" has that "someday I'll teach you real fine" riff from the Animals' "It's My Life," Mike Settle lifting from here and there, while "Marcia: 2 A.M. sounds like Peter, Paul & Mary jamming with Paul Kantner and "Hurry Up Love" wants desperately to be girl group. The album's one drawback is that the band and producer don't go all the way in exploring these different styles the way they did on the hit "Just Dropped In." "Just Dropped In" not only made Kenny Rogers' voice the most familiar first, it's an all-out assault on the senses, its wild abandon necessary but absent from the other aspects of this disc. "Church Without a Name" explores -- or maybe toys with -- the blues, just adding to the feel of a band looking for a sound. They eventually found that sound during their run of hits from early 1968 to late 1970. But this debut is splendid and it is fun to hear them emulating Marty Balin right off the bat with the first track, "I Found a Reason." A lost gem worth rediscovering.(Joe Viglione, Allmusic)
INFO
http://www.allmusic.com/album/the-first-edition-mw0002644457
BONUS 3 OF 6 (Both First Edition albums on one DL)
THE FIRST EDITION - The First Edition’s Second 1968 @320
http://www54.zippyshare.com/v/19095933/file.html
A more focused '60s album than 1967's First Edition, what is missing from this follow-up LP is a hit single like "Just Dropped In (To See What Condition My Condition Was In)," though the group more than makes up for that with solid performances. This was again produced by Mike Post, with arrangements by veteran Al Capps, who brought so much to Johnny Mathis, Cher, and many others. "Charlie the Fer de Lance" is indicative of this effort, with phasing fuzz guitar and Kenny Rogers as a hippie delivering odd lyrics on an interesting tune which isn't as direct as the group's first hit. Mike Settle's voice leads the pack on the second track, the Rogers/Williams co-write "If I Could Only Change Your Mind," another nice period piece that works well in this setting but wasn't going to burn up the charts. This is the First Edition as a real group, a full band before Kenny Rogers would start exerting more control on the third outing, First Edition '69. Mike Settle's "A Patch of Clear" is yet another vague essay from this era -- as odd as the opening track. Settle sounds great on Bob Stone's "A Good Kind of Hurt" and Thelma Camacho (who they have listed on the back cover as "Comancho") is just wonderful on her own composition "I Passed You By." The band works the Paul Williams/Roger Nichols little-known title "Only Me" to good effect to end side one. The song is chock-full of 1960s pop clichés and would have fit nicely on an album from the Monkees or maybe an airline commercial. Songwriter Mickey Newbury's "Are My Thoughts With You?" opens side two and features Kenny Rogers performing in the style which would bring him his eventual solo success, delivering the most commercial performance on this 11-song collection. Four members of the International Graphoanalysis Society give profiles of the four singers from the First Edition on the back cover, making for one of the more interesting sets of liner notes from any album released in 1968. It's not just the almost astrological look at the musician's personalities through their handwriting which makes this disc special, it -- like the Fifth Estate's Ding Dong the Witch Is Back -- is a very special album from a special time that '60s cultists have completely overlooked. the First Edition were an excellent psychedelic folk-pop group, and First Edition's Second should be a much-sought-after collectors' item. Like the aforementioned Fifth Estate, they were left off of Lenny Kaye's Nuggets collection, perhaps because they conquered the charts seven separate times. Kenny Rogers and Mike Settle are the songwriters on the final four tracks, and they are all extraordinary journeys into the psyche of the '60s. Rogers' "Things Can't Be So Bad," followed by Mike Settles' "Rainbows on a Cloudy Day" and "The Sun Keeps on Rising," two songs about the weather, has that mood that fans of the genre adore. Mike Post's production brings it all home. Thelma Camacho and Terry Williams' voices helped make this group an underground Mamas & the Papas, and their vocals closing the disc out by embracing Kenny Rogers' wonderful "Look Around, I'll Be There" very well could have made it a sleeper hit and changed the band's history. Rogers would take over right after this, and as valuable as his contributions to country/pop would eventually turn out to be, the First Edition were more than just one person; The First Edition's Second proves that. It's by no means the lost Sgt. Pepper's, but it does have lots to offer and should be dusted off and given new life. (Joe Viglione, Allmusic)
INFO
http://www.allmusic.com/album/the-first-editions-2nd-mw0001882463
BONUS 4 OF 6
Peter, Paul & Mary - In the Wind (1963, Audio Fidelity 2014) @320
http://www10.zippyshare.com/v/29130708/file.html
Their third recording was one of the group's stronger outings, even if it confirms their status as folk popularizers rather than musical innovators. In particular, this record was essential to boosting the profile of Bob Dylan, including their huge hit cover of "Blowin' in the Wind," their Top Ten version of "Don't Think Twice, It's All Right," and the bluesy "Quit Your Lowdown Ways," which Dylan himself would not release in the '60s (although his version finally came out on The Bootleg Series). "Stewball," "All My Trials," and "Tell It on the Mountain" were other highlights of their early repertoire, and the dramatic, strident, but inspirational "Very Last Day" is one of the best original tunes the group ever did. (Richie Unterberger, Allmusic)
"In the Wind" was the third album put out by Peter, Paul & Mary and was so successful that when it hit #1 on the Billboard album charts it dragged their two previous albums back into the Top 10 as well. The album was released in October 1963, which meant is was only a month before the assassination of JFK and a few months before the arrival of the Beatles heralded the British Invasion. But at this point in musical history the folk music revival was in full flower.
The first two singles from this album were also what popularized the music of Bob Dylan. "Blowin' in the Wind" made it to #2 on the charts while "Don't Think Twice, It's All Right" made it to #9. PP&M also recorded a third and unreleased Dylan song, "Quit Your Low Down Ways." Their cover of "Stewball" was the third single released and made it to #35. The fourth single from the album, "Tell It on the Mountain" (#33), is an alternative version of the African-American spiritual "Go Tell It on the Mountain," that shifts the meaning from the Nativity of Jesus to the Exodus, with the refrain "Let my people go" easily adaptable to the Civil Rights movement.
Two of the other standout songs are the haunting traditional tune "All My Trials," and the opening track, "Very Last Day," which is a rare original song by the group. The only knock against PP&M is that they are popularizers of folk music rather than musical innovators, but when you listen to their three part harmonies and the earnestness they provide to each performance (in contrast to the peppy sound of groups like the New Christie Minstrels), that hardly seems to be negative idea. (Crawdaddy)
INFO
http://www.allmusic.com/album/in-the-wind-mw0000315197
http://www.amazon.com/In-Wind-Peter-Paul-Mary/dp/B000002LLM
BONUS 5 OF 6
BILLY BOY ARNOLD - Crying & Pleading (1957) Vee Jay (Charly LP) @320
http://www20.zippyshare.com/v/92700279/file.html
This vinyl collection of Arnold's complete Vee Jay output is mid-'50s Chicago blues at its best. Includes "I Wish You Would," "I Was Fooled," "Rockinitis" and the original "I Ain't Got You," later covered by The Yardbirds. (Cub Koda, Allmusic)
A1
I Wish You Would
A2
I Was Fooled
A3
Don't Stay Out All Night
A4
I Ain't Got You
A5
Here's My Picture
A6
You Got Me Wrong
B1
My Heart Is Crying
B2
Kissing At Midnight
B3
Prisoner's Plea
B4
No, No, No, No, No
B5
Every Day, Every Night
B6
Rockinitis
INFO
http://www.discogs.com/Billy-Boy-Arnold-Crying-Pleading/release/4279112
BONUS 6 OF 6
THE BEATLES - Imagine Clouds Dripping 91971) @320
http://www55.zippyshare.com/v/38912229/file.html
(a soniclovenoize re-imagining)
Side A:
1. Power To The People
2. What is Life
3. Dear Boy
4. Bangla Desh
5. Jealous Guy
6. The Back Seat of My Car
Side B:
7. Imagine
8. Another Day
9. Art of Dying
10. Oh My Love
11. Uncle Albert/Admiral Halsey
12. Isn’t It A Pity?
This is the second in a series of albums that asks the question we’ve all asked at some time or another: What if The Beatles never broke up? This theoretical album attempts to cull the best of The Beatles solo material from 1971 (with some holdovers from All Things Must Pass) to create what could have been the band’s 1971 follow-up to my previous re-imagined Beatles album, Instant Karma! This album is called Imagine Clouds Dripping, a surreal Yoko Ono quote that John had felt was particularly inspirational and sets the tone for a rather colorful album.
The songs were chosen not only for quality but for what could continue to carry ‘the Beatles torch’. While the solo members continued to stylistically diverge, there were always songs that could be described, in my opinion, as “Beatlesque” and we have the luxury of choosing those above the other more idiosyncratic numbers. The best and least brickwalled/clipping remasters were chosen for source material, volume levels adjusted for song-to-song balance and all songs are tightly book-ended to make a continuous two sides of music. Also, a completely unique edit of “Dear Boy” and “Bangla Desh” is created when the two are hard-edited together, making them a medley.
Musically, Imagine Clouds Dripping abandons the bare-bones arrangements on the previous re-imagining for the lush Phil Spector arrangements George had requested for his songs. “What Is Life”, “Art of Dying” and “Isn’t It A Pity” are all used on this album because they fit better with the RAM/Imagine contributions than with the Plastic Ono Band/McCartney contributions on the previous album. The one drawback here is no contribution from Ringo; literally none of the Sentimental Journey and Beaucups of Blues songs even remotely fit on this or the previous album, and his more interesting solo singles chronologically appear later in my series. But one must consider that over the course of The Beatles’ thirteen 1960s albums, a few albums had no Ringo contributions, such as Magical Mystery Tour and Let It Be; Imagine Clouds Dripping is simply one of those albums. I feel this fellow Ringo-less album is excusable because this resulting album is so solid and unified.
Read all about this album here:
http://albumsthatneverwere.blogspot.com/search?q=beatles
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Thanks RYP. I've never had a proper introduction to this artist.
Thanks
@wolf
The Heart Of Southern Soul Volume 3
http://www28.zippyshare.com/v/72445375/file.html
Here area couple of videos shot by Unsteady Freddie at The Deke Dickerson, Los Straightjackets, and Fleshtones halloween show night at The Bell House.
https://www.youtube.com/watch?v=5w68ohWyXd4
https://www.youtube.com/watch?v=I8aXQn6HwNM&feature=youtu.be
This Peter, Paul & Mary album was the one that made me realize that they were more than a "Puff the Magic Dragon" type of folk band. I had it years ago on record but got rid of it during a purge. Now it sounds better than ever with the new remaster. Thanks so much!
Shines is a favorite of mine; what a voice! Great stuff here; I love "Last Night's Dream" as well...from '69, I think? Looking forward to the Billy Boy as well!!
@Jillem
Thanks so much for this.!!!
Hello, thanks so much for the J.Shines comp - sounds great!
If it's ok here are the full credits of all the tunes:
Credits:
12. "You Don't Have To Go": (1966)
Johnny Shines - vocal and guitar
Big Walter Horton - harmonica
Otis Spann - piano
Lee Jackson - bass
Fred Below - drums
7,8,5,4,2,11: (1967)
Johnny Shines - vocals, guitar
Big Walter Horton - harmonica
Otis Spann - piano
Lee Jackson - bass
Fred Below - drums
9. "Fat Mama": (1969)
Johnny Shines - vocal and guitar
Big Walter Horton - harmonica
Luther Allison - guitar
Prince Candy - bass
Bill Brown - Drums
1,3: (1970)
Johnny Shines - vocals, elec guitar
Phillip Walker - elec guitar
David Li - baritone sax
Nat Dove - piano
Charles Jones - bass
Murl Downy - drums
6,10: (1971)
Johnny Shines - Acoustic Guitar, Vocals
, cheers Daniel, from Spain...
great selection of music. Thanks very much.
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