Recorded at Nashville's historic Ryman Theater as a sort of a musical wrap party for the Coen Brothers' 2000 film O Brother Where Art Thou, this album offers live versions of several of the traditional American folk songs featured in the film, with a few additions along the same vein. Sounding almost like an all-traditional country episode of "A Prairie Home Companion," the guests (including Alison Krauss, Dan Tyminski, the Whites, the Fairfield Four, and the Cox Family, among others) amiably exchange songs on-stage, reveling in the atmosphere of warm country, bluegrass, and blues music. Highlights include two non-traditional tracks from Gillian Welch and David Rawlings, whose earthy compositions fit in seamlessly with the time-honored traditional songs, and Emmylou Harris' contribution "Green Pastures" (which originally appeared on Roses in the Snow, her own Americana revival album from some 20 years earlier). Highlights include hometown favorites the Fairfield Four hair-raising rendition of the work song/spiritual "Po' Lazarus." Of particular note is fiddler and folklorist John Hartford's cheery rendition of the hobo fantasy "Big Rock Candy Mountain," which proved to be his last recorded performance before his death nearly a year later. The concert is recorded so well that it is occasionally surprising to hear applause at the end of the songs; the performances are so nearly flawless it is easy to forget that this was a live recording. Fans of traditional American folk music and those who have enjoyed the O Brother soundtrack will not be disappointed. (Allmusic)
trax:
1. Po' Lazarus - The Fairfield Four 2. Big Rock Candy Mountain - John Hartford 3. Wild Bill Jones - Alison Krauss & Union Station 4. Blue And Lonesome - Alison Krauss & Union Station 5. I Am Weary (Let Me Rest) - The Cox Family 6. Will There Be Any Stars In My Crown - The Cox Family 7. My Dear Someone - Gillian Welch & David Rawlings 8. I Want To Sing That Rock And Roll - Gillian Welch & David Rawlings 9. Sandy Land - The Whites 10. John Law Burned Down The Liquor Sto' - Chris Thomas King With Colin Linden 11. Green Pastures - Emmylou Harris 12. I'll Fly Away - Alison Krauss & Gillian Welch
...served by Gyro1966...

12 comments:
"DOWN FROM THE MOUNTAIN"
...served by Gyro1966...
gitit! no pw
http://www38.zippyshare.com/v/VtioHYF2/file.html
BONUS 4 OF 7
LOU DONALDSON - At His Best '65 @320
Lou Donaldson At His Best is an album by jazz saxophonist Lou Donaldson recorded for the Cadet label in 1966 and performed by Donaldson with Bill Hardman, Billy Gardner, Calvin Newborn, and Grady Tate.[2]
A1
Greasy Papa
6:25
A2
Tangerine
3:02
A3
Wig Blues
3:53
A4
Blues #3
5:54
B1
Win, Lose Or Draw
6:08
B2
Be Anything But Be Mine
4:53
B3
Day By Day
http://www7.zippyshare.com/v/VHNOLmRD/file.html
INFO
http://www.discogs.com/Lou-Donaldson-At-His-Best/release/2447326
BONUS 5 OF 7
THE MAVERICKS - What A Crying Shame '94 @256
The Mavericks fully hit their stride with their third album, 1994's What a Crying Shame, in which the band's blend of rootsy country and vintage pop sounds finally found the balance they'd been searching for. While producer Don Cook gave the band a significantly glossier sound than that of their first two albums, with a hefty number of guest musicians (and guest songwriters) on board, remarkably enough The Mavericks' personality wasn't subsumed in the process; if anything, the high-priced help seemed to have prodded the boys into playing at the top of their game. Raul Malo's keening tenor gets a superb workout on "I Should Have Been True" and the title cut (the latter of which boasts a guitar hook Roger McGuinn would have been proud to come up with), while "Pretend" and "There Goes My Heart" are honky tonk floor-fillers of the first order. Robert Reynolds and Paul Deakin are a rhythm section who can give these songs the nervy drive of a rock band without betraying The Mavericks' country leanings, and they give the covers of "All That Heaven Will Allow" and "O What a Thrill" a taut foundation most contemporary Nashville acts lack. Truth to tell, What a Crying Shame doesn't have a single dud track, and offers encouraging proof that it's still possible to make an engaging and idiosyncratic country album while signed to the Nashville division of a major label...and the best news is, the band managed to turn that accomplishment into a hat trick over the next few years. (Mark Deming, Allmusic)
http://www12.zippyshare.com/v/O664PgyT/file.html
INFO
http://www.amazon.com/What-Crying-Shame-Mavericks/dp/B000002OR0
http://www.allmusic.com/album/what-a-crying-shame-mw0000108379
BONUS 6 OF 7
JIMMY SMITH - Midnight Special '60 @320
Midnight Special is a perfect complement to Back at the Chicken Shack, which was recorded the same day. Organist Jimmy Smith, tenor saxophonist Stanley Turrentine, and guitarist Kenny Burrell always make for a potent team, and with drummer Donald Bailey completing the group, the quartet digs soulfully into such numbers as the groovin' "Midnight Special," "Jumpin' the Blues," and "One O'Clock Jump." Highly recommended. (Scott Yanow, Allmusic)
"Midnight Special" is the lesser-known sister album of Jimmy Smith's monumental "Back at the Chicken Shack." The "Midnight Special" album has exactly the same sound (lineup) and the songs on "Midnight Special" seem to pick up right where "Chicken Shack" left off. Jimmy shines as master of his art, making jamming on the electric organ sound as easy as walking. He's bluesy, funky, and bopping all at the same time. And if the electric organ is the heart of this album, then the saxophone is the soul. There simply isn't a bad note on this album, and it's a shame it isn't remembered with as much popularity and praise as "Chicken Shack." It's just as good. (Soul Jazz Review)
http://www53.zippyshare.com/v/BD7iWN0i/file.html
INFO
http://www.allmusic.com/album/midnight-special-mw0000198938
http://www.amazon.com/Midnight-Special-Jimmy-Smith/dp/B000005HC8
BONUS 7 OF 7
TIA BLAKE - Folksongs & Ballads '71 @320
Great psych folk with guitars, dobro, flute and fantastic fragile female vocals.
Folksongs & Ballads is the only document of Tia Blake's short-lived stint as a folk performer. In 1970, Blake was an American teenager living in Paris who stumbled into a recording contract that resulted in a single LP of 11 public domain folk compositions. There was only one live performance in Paris to promote the album's release, and the next summer Blake left France, never to return and never to record or perform publicly again. California reissue label Water extends the original album with some rehearsal tapes, as well as three songs from 1976 recorded by the Canadian Broadcasting Company but never used, representing just about every song the artist ever put to tape in her time. With minimal orchestration of two guitars, Blake's darkly powerful voice, and the occasional flute or dobro flourish, these traditional songs are rendered either gorgeously wistful -- as on the breezy "Wish I Was a Single Girl Again" or the trucker's anthem "Plastic Jesus" -- or crushingly sad. Swinging between these extremes, the album finds a quiet gracefulness that bests some of the most successful folk albums of its time. As Blake winds her smoky voice around delicate standards, one is reminded of folkstress Karen Dalton's second album In My Own Time and its dour take on familiar popular tunes, or even ESP artist Patty Waters' fractured lens on folk dirges. The album exists in the same insular headspace as Dylan's earliest albums, and while far less extroverted and rambling than those albums (or any of the big-name folk artists that would define the genre in popular memory) Blake cultivates a world of fragile intricacy that is by turns weighty and carefree. This collection definitely falls into the "lost classic" category, predicting the less freaky side of freak folk songwriters like Josephine Foster, MV & EE, or Devendra Banhart decades in advance, while existing in a lush stillness all its own. (Allmusic)
http://www4.zippyshare.com/v/31162467/file.html
INFO
http://www.allmusic.com/album/folksongs-ballads-mw0001766076
Thank you VERY much for this gem!
I have to contradict Don McLeese though: these are all stellar performances! Special mention for the Cox Family:"I Am Weary" this is simply heartbreaking stuff!
Thanksfully artwork is enclosed!
Is there any chance of a Flac version? Or the dvd from this event?
Thanks again, you just made my day!
Rank Stranger
Thanks for the Jimmy Smith
Thanks for posting the Jimmy Smith. That was first Blue Note album back in the early '60's and I still think that Midnight Special is one of the best blues tunes out there.
Meu caro colega, aqui é o Benjamin Lopez (Mr Memory), eu te convido à conhecer o blog, intitulado “Mr Memory – Sou Eu Mesmo (http://mrmemory-soueumesmo.blogspot.com.br)”, criado junto com o amigo Sidney Ferreira Firmino. O blog é PRIVADO e você é o meu convidado à disfrutar de tudo aquilo que será postado nele, tendo acesso a SENHA da conta privada da MINHATECA (http://minhateca.com.br/osenhorsaudade), aonde estão sendo armazenados os arquivos. Se você tem interesse em acessar os links é só me comunicar através do e-mail sidney.vinil@hotmail.com. Está é a forma que eu retribuo aos colegas. MUITO OBRIGADO À TODOS VOCÊS!!!
Wow - that Tia Blake LP is a real beauty and completely off my radar. Thanks very much.
Thanks for Jimmy Smith
LittleJack
Gyro, I must thank you again for Jimmy Smith : I love the jazz of New Orlean but for the rest of the jazz very often I don't understand anything. It's not that I don't love, just I don't have enough knowledge in jazz to appreciate. BUT from times to times I discover a jazz album that I love: for exemple the box of Billy Holliday was Fantastic !! Today it's the third time that I hear this album of Jimmy Smith and I LOVE IT AND I'LL BUY IT. Thanks again for this beautiful discover.
LittleJack
Post a Comment