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Jim Baker Carlin Glynn Brenda Baker Blanche Baker Ginny Edward Andrews Howard Billie Bird Dorothy Carole Cook Helen Max Showalter Fred Liane Curtis Album) John Cusack Bryce Darren Harris Cliff Debbie Pollack Lumberjack as Deborah Pollack Ross Berkson Ray Gun Geek 1 Jonathan Chapin Jimmy Montrose Joan Cusack Geek Girl 1 Brian Doyle-Murray Reverend Bekka Eaton Female D.

Paula Elser But here, the smiling, good-natured Rawlings is front and center. His voice is OK at best; his songs often simple constructions. What jumps out, and what brings the audience, are his guitar solos. He had a few guitars on hand, but mostly used one mighty mahogany Epiphone Olympic, with a sprucewood arched top. It seemed a tiny instrument — less than 14 inches wide — for all he brought out of it.

With a tone midway between the high, bright sound of a mandolin and the deeper tones of a more conventional guitar, he flatpicks his way into a superhighway of inventive melody with one turn inspiring the next, faster and faster, but never losing its soul or appeal. Applause greeted nearly every solo and the rest of the band rose to join his musicality. Guitarist Willie Watson, formerly of the Old Crow Medicine Show actually has a better voice but is self-effacingly ineffective on bongos the one time he tried.

Welch, of course, keeps the rhythm locked down on acoustic guitar and bolsters the harmonies throughout. Lee passed away in before the music could be released, but his wife Evi carefully oversaw this project released October The result is a collection of jazzy, funky, and mellow performances; 13 selected tracks played by a world-class band made up of talented musicians at their peak with Alvin leading expertly through tasteful guitar work and outstanding vocals.

Let me just begin this review by saying this about this album: It annoys my cat. He likes to hang out on my desk, but whenever I put this album on he flees the room. And that should tell you something. Painkiller, Pig Destroyer, Killdozer—he can stomach them all. Hell, he has even sat steadfast through the horrorshow that is Foreigner. Hell, it unsettles me. Inthe label reverts to the normal Epic yellow label with black print.

These were produced by Gold- Mor, who believed the covers and labels should be the same as the parent LP. At this point, the label changes to the s orange Epic label. George didn't show any interest in it, so I said to him "If you don't cut this, I will". Well, he did decide to cut it, of course, and though Chet Atkins was RCA's producer of record for the session, I basically arranged and produced it - which was not unusual then.

See, Chet would often let artists and musicians have their heads anyhow, and the session would be sort of a collaboration. It was his way of drawing out the best of the music for the project and it was a great part of his technique in sort of catalyzing what came to be known as "the Nashville sound".

But on this one, I remember him out in the studio playing on the session that's his riff on the intro as I worked the board from the control room.

Shortly after we finished with it, maybe the very next LP, I got a call from my publisher Wesley Rose to come over to Acuff-Rose. When I got there he was in his office with Bob Gibson and Lester Brown, Bob's manager, and I was informed that they had made a deal whereby Wes would publish the song and my name would be added as writer.

I accepted their terms though I shared my royalties with George IVbut over the years I've realized that the fairest way I could have been acknowledged and repaid for my efforts LP helping the song become the hit it was would have been for Wes to recognize that I actually did the work of the publisher there finding the song and placing it with the right artist, for example.

My royalties really should have come from the publisher's share. I expect that the whole deal was designed by Wesley, but by the time I arrived the three of them had already agreed that Wesley would get all the publishing half the royalties and that we three would divide the other half the writer's share. I agreed too, we all shook hands, and that was the end of it.

Meridian Greendaughter of Bob Gibson, folk musician and song writer who has worked with ex-Byrd's Gene Parsons and has recorded a version of Abilene on her album In The Heart of this Townwrote me: The story behind "Abilene" has always been mysterious. My dad never talked about what happened that this song, that he recorded in and copyrighted insuddenly had so many co-writers!

What my dad did say was, "When you write a song, if there is another person in the room, that person could be considered a co-writer. Bob recorded Abilene" on I Come For To Sing in February and it was a minor hit on Chicago area radio, though not a big enough hit at that point for Les Brown to seek credit as a co-writer.

Back in it may have saved his life. He was pretty strung out in the early 60s and if he'd gotten a larger share of the Abilene royalties he might have done himself even greater harm. But now, as the original copyright is coming up for the final period, I'm hoping the rights to this song will finally revert to my family. The song has been recorded many times, using different song titles on Folk albums around He called the song Abolineand had some of his own lyrics added.

Erik was later part of The Rooftop Singers. Forbes later recorded Abilene for a solo album. Ben Steneker covered it in Dutch as Ameland: "Ameland, wat is er met je aan de hand, boren ze maar in je zand. Wie er nu komt, die kent het niet, allemaal mannen die je ziet", singing about the oil and gas found on this North Sea island.

On the picture sleeve a map figures but the oil towers are drawn on the wrong island Terschelling! Jim Jenkins, columnist for newsobserver. Gasoline, gasoline, oh, gasoline Filled my tank just the other night watched that meter just spin out of sight Don't I wish they would lower the price of gasoline, oh, gasoline Over 40 years later, iTunes didn't know what to make of it and had half of the tracks listed as The Other Singers, and half had Barry McGuire and Kane listed as artists.

Roy Berkeley Mar. Darling-composition, Billboard reviews: "song is dedicated to the Kansas town" Les Missiles Oct. Curley Williams for the budget Viking label. Loudermilklive on Austin City Limits.

The Texas Plainsmen feat. Yodelin' Donnie Walsercd Live on the Air, release of radio recordings. Tim Timebombdaily internet song blog. To a few sound samples of unreleased songs. Loudermilk unless otherwise specified. Marvin Rainwater Jan. Margie Bowes Sep. Porter Wagoner Aug. Bob Luman Oct. Brian Hyland Dec. Floyd Robinson Dec. Johnny Ferguson Dec. Loudermilk Lita Marino Sep. Everly Brothers Jan. Bobby Vee Jan. Jana Louise Oct.

Bob Luman Mar. The Language of Love. Jimmy Bell MayAlbum) Gogi Grant Apr. Sammy Salvo Jun. Sammy Salvo Jan. Loudermilk12 sides of John D. Good song, written inrecordedbut first released on a album. Jay Fanning Jun. Sue Thompson Aug. I'm just sitting here waiting for you to come home And turn me on Norah Jones world-hit version inspired many covers of the 16 Candles - The Golden Gate Strings - A String Of Hits (Vinyl after year Any info? Mark Dinning Jul.

Connie Francis Sep. Hollywood US picture sleeve release; US 14 pop hit. Norris Wilson Oct. Mark Dinning Dec. Joe Melson Jun. Sue Thompson Nov. Sue Thompson Jun. Song written 16 Candles - The Golden Gate Strings - A String Of Hits (Vinyl recorded inbut it took 4 years to be released.

Tommy Zang Apr. Don Cherry Feb. Frank Ifield Nov. Mark Dinning Feb. Gomer Pyle U. George Hamilton IV Mar. Loudermilk Sep12 sides of John D. This song could well be written end s, is there an earlier recording?

Loudermilk Mar. Cynthia Muse Mar. Norris Wilson MayMonument Sue Thompson Oct. At this point, the label changes to the s orange Epic label. There was also a series with an "N7" prefix which used the normal Epic yellow label with black print. The labels say that these Little LPs were printed in the U.


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