Maddox Brothers & Rose - America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 CD

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 buy CD music Around the time of his 71st birthday, rock-&-roll legend Jerry Lee Lewis unveiled LAST MAN STANDING, a celebratory outing that features a stunning cast of guest musicians, ranging from B.B. King and Little Richard to Merle Haggard and Neil Young. Among the many highlights of this album are Lewis's lively collaboration with guitarist Jimmy Page on Led Zeppelin's "Rock N' Roll," a rendition that wonderfully plays up the tune's 1950s leanings, and the Killer's honky-tonk spin on Hank Williams's "Lost Highway," which points to his often-overlooked country recordings and features Delaney Bramlett's searing six-string work. Like the latter-day recordings of his old Sun labelmate Johnny Cash, this Lewis collection points to a remarkable legacy, while also displaying his still-formidable talents, resulting in a musical testament to aging impressively well. Personnel: Jerry Lee Lewis (vocals, piano); Keith Richards, B.B. King, Willie Nelson, Buddy Guy (vocals, guitar); Delaney Bramlett, Don Henley, George Jones, John Fogerty, Kid Rock, Little Richard, Merle Haggard, Mick Jagger, Neil Young, Ringo Starr, Rod Stewart, Toby Keith, Bruce Springsteen (vocals); Eric Clapton, Jimmy Page, Jimmy Rip, Kenny Lovelace, Robbie Robertson (guitar); Ron Wood (pedal steel guitar); Ivan Neville (organ); Butch Hutchinson (bass guitar); Jim Keltner (drums).

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 CD music On his debut album, Fulks keeps the spirit of cry-in-your-beer honky-tonk music alive. While he's musically conservative, employing traditional, mostly acoustic instrumentation and classic country song structures, his lyrical muse runs further afield. On "She Took A Lot Of Pills And Died," the mere title of which should earn him a spot in the Country Hall Of Fame, and "Let's Live Together," his sardonic humor adds a twist to the proceedings, but he never gets self-conscious or detached enough to mitigate the emotional impact. Stark, self-effacing tunes like "Barely Human" and "Rock Bottom, Pop. 1" combine heartfelt sentiment with Fulks' knack for killer songwriting, making a direct connection to the heart and head simultaneously. Fulks, who has already been covered by country-rock cult heroes the Five Chinese Brothers, is backed here by some fine players, including members of the celebrated roots-rock band The Skeletons, and the album moves with ease between the various sub-genres of trad country. From barroom weepers to barnstormers and western swing, Fulks' rough-and-ready vocal delivery and top-shelf tunes come across with freshness and vitality. COUNTRY LOVE SONGS is the closest a fella whose name ain't George Jones can come to making a perfect honky-tonk album. Recording information: Chicago, IL; Springfield, MO. Photographer: Elaine Moore. Personnel: Robbie Fulks (vocals, guitar); Ora Jones (vocals); D. Clinton Thompson (electric guitar); Paul Carestia, Tom Brumley (pedal steel); Keith Bauman (lap steel); Tuey Connell (lap steel, banjo); Casey Driessen (fiddle); Steve Rosen (fiddle, background vocals); Joe Terry (piano, keyboards); Brett Simmons, Daren Wilcox, Lou Whitney (bass); Dan Massey, Bobby Lloyd Hicks (drums); The Skeletons (background vocals). Personnel: Robbie Fulks (vocals, guitar); Ora Jones (vocals); D. Clinton Thompson (electric guitar); Keith Baumann (lap steel guitar); Steve Rosen (fiddle, background vocals); Casey Driessen (fiddle); Joe Terry (piano, keyboards); Lou Whitney (bass guitar); Bobby Lloyd Hicks (drums); The Skeletons (background vocals).

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 songs Recorded between 1946 and 1952. Includes liner notes by Tony Russell. FREIGHT TRAIN BOOGIE contains tracks from the Delmore Brothers years with the King/Federal labels. The original country rockers? Well, no, not in the Eagles sense. But when you hear these songs, recorded between 1946 and 1952, what you're hearing is either the template for rockabilly or the missing link between rockabilly and western swing--in other words, one of the earliest documented instances of white boys really getting down to the heart of hep. Unofficial Delmore Brother Wayne Raney's harmonica work on songs like "Trouble Ain't Nothin' But the Blues" owes very little to country, while a Delmore original like "Used Car Blues" points to Chuck Berry and the future. Revelatory stuff, and very exciting. One of the great "Brother" groups of country music, influential guitar duets. Additional personnel includes: Louis Innis, Jethro Burns, Roy Lanham, Merle Travis, Zeke Turner, Al Myers (guitar); Al Strickland (steel guitar); Lonnie Glosson, Wayne Raney (harmonica); Roy Starkey, Ralph Gunter (bass). Personnel: Alton Delmore (vocals, guitar); Rabon Delmore (vocals, tenor guitar); Al Myers, Roy Lanham, Zeke Turner (guitar, electric guitar); Louis Innis, Merle Travis (guitar); Jethro Burns (electric guitar, mandolin); Al Strickland (steel guitar); Lonnie Glosson, Wayne Raney (harmonica). Recording information: Chicago, IL (01/??/1946-05/21/1952); Cincinnati, OH (01/??/1946-05/21/1952); Hollywood, CA (01/??/1946-05/21/1952). The Delmore Brothers: Alton Delmore (vocals, guitar); Rabon Delmore (vocals, tenor guitar).

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 album for sale The "king of the hillbilly piano players" shows up at his best on these 24 tracks, cut during his prime years, 1946 through 1954, when he was associated principally with King Records. It's easy to hear the roots of Jerry Lee Lewis's (as well as elements of Carl Perkins') sound in early cuts like "Cherokee Boogie", on which Moon Mullican and his band find room for a rippling, pounding performance on piano as well as a short, hot guitar solo around a jaunty, funny honky tonk core, and most of the rest of what's here is as good as that. Indeed, 90 percent of this collection would have passed as rock & roll a few years later, with "Rocket to the Moon" so suggestive as to have had the potential to be banned -- the latter also features one of the rare sax solos heard on this collection, which mostly features hot piano and guitar. There is some purer country here as well, including "I'll Sail My Ship Alone," Mullican's one serious hit, a ballad of lost love made special primarily by his flashy piano solo and its catchy chorus; the jaunty "Downstream," a lament about a life misspent; and a country waltz version of Leadbelly's "Goodnight Irene." There also a fair amount of country blues, including "I Done It" and "Moonshine Blues," both showcases for the artist's piano. The sound is excellent and the programming generous, and if there is one flaw, it's the lack of information about the recordings or the sessions in the notes, but that doesn't detract from the music at all. ~ Bruce Eder King of hillbilly piano players, his unique personal style incl. blues, cajun, country, ragtime and pop influences, 23 tracks. MOONSHINE JAMBOREE is a collection of twenty-three tracks which Mullican, a "hillbilly" pianist regarded as being a major influence on Jerry Lee Lewis, recorded for the King label between 1946 and 1954. Personnel: Moon Mullican (vocals, piano). Liner Note Author: Phillip J. Tricker. Photographer: Roger Armstrong. Personnel includes: Moon Mullican (piano, vocals).

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 CD music Recorded between 1947 & 1951. Includes liner notes by Jonny Whiteside. Culled from sessions dating from 1947 to 1951, the 30 songs on AMERICA'S MOST COLORFUL HILLBILLY BAND VOL. 2 present the band's golden period making it a great introduction, as well as a satisfying listen for longtime enthusiasts. The phrase "hillbilly music" could have been invented to describe the Maddox Brothers & Rose. All the hallmarks are here: folksy idioms, family harmonies, instruments fighting for room to solo, breakneck (for the era) tempos, and backing musicians that holler loudly and often, as if trying to bait the audience into having more fun than they are. The latter is the band's calling card and decades later the performances on this collection still crackle. The group pushes the tempo of each number, suggesting that they were only playing "hillbilly music" because rock & roll had not yet been invented. The Maddox Brothers & Rose: Cal Maddox (vocals, guitar, harmonica); Fred Maddox (vocals, bass); Rose Maddox, Mrs. Lulu Maddox (vocals); Cliff Maddox (mandolin); Henry Maddox (guitar, mandolin). Additional personnel: Jimmy Winkle (guitar); Bob Duncan (steel guitar).

America's Most Colorful Hillbilly Band: Their Original Recordings 1946 - 1951, Vol. 1 buy CD music Big Sandy And His Fly-Rite Boys: Big Sandy (vocal, acoustic guitar), Lee Jeffriess (steel guitar), Ashley Kingman (guitar), Wally Hersom (bass fiddle), Bobby Trimble (drums). While others may suggest that this Western swing/rockabilly outfit's second Hightone release, Swingin' West, is a more definitive representation of the band's potential and brilliance, it is more likely that those who have watched Big Sandy & His Fly-Rite Boys' development will stand by this debut project as the group's defining work. Much in the same way that Guitars, Cadillacs, Etc., Etc. gave Dwight Yoakam his calling card, Jumping from 6 to 6 gives Big Sandy and the band their identity in the minds of listeners. On this outstanding freshman effort with energy to spare, Big Sandy's voice is phenomenal. The band is tight, especially the teamwork displayed by steel man Lee Jeffriess and lead picker Ashley Kingman. As always, the King of California, Dave Alvin, is an impeccable producer who knows how to get the very best from each artist. The additions of guests Brantley Kearns on fiddle and Bobby Mizzell's rockin' piano on "Juiced" make for a well-layered musical experience that is multidimensional. Their treatment of Hank Sr.'s "Weary Blues from Waitin'" is inspired, as is "Honky Tonk Queen," an E.G. Thornton tune. Jeffriess lends his skills as a songwriter with outstanding cuts like "Hi-Billy Music" and "This Ain't a Good Time." The significance of this debut was not lost on the many bands that followed in the wake of Sandy's success. A landmark recording that opened the floodgates for others seeking to bring Western swing back to prominence, Jumping from 6 to 6 marks the birth a new era in country & western music. ~ Jana Pendragon Recorded at Capitol Records Studio B, Hollywood, California on January 27-30, 1994. Personnel: Big Sandy (vocals, guitar, acoustic guitar); Ashley Kingman (guitar); Lee Jeffriess (steel guitar); Wally Hersom, Brantley Kearns (fiddle); Bobby Mizzell (piano); Bobby Trimble (drums). Audio Mixer: Mark Linett. Recording information: Capitol Records Studio B (01/27/1994-01/30/1994). Photographer: Lori Eanes. Additional personnel: Brantley Kearns (fiddle), Bobby Mizzell (piano).