| | Red Steagall Dear Mama, I'm A Cowboy CD Red Steagall Discography of CDs
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Red Steagall And The Boys In The Bunkhouse: Red Steagall (vocals); Rich O'Brien, Buck Reams (vocals, guitar); Steve Gibson (guitar, banjo, mandolin); Bob Boatwright (fiddle); Mark Abbott (fiddle, bass); Tim Alexander (harmonica, accordion); Greg Hardy (drums).
Live Recording
Full performer name: Red Steagall & The Boys In The Bunkhouse.
Personnel: Red Steagall (vocals, guitar); Rich O'Brien (vocals, guitar); Buck Reams (vocals); Steve Gibson (guitar, banjo, mandolin); Bobby Boatwright, Mark Abbott (fiddle); Tim Alexander (harmonica, accordion); Greg Hardy (drums).
Audio Mixer: Toby Seay.
Recording information: Eagle Audio, Ft. Worth, TX.
Illustrator: Bill Owen. Dear Mama, I'm A Cowboy Music Red Steagall Dear Mama, I'm A Cowboy Songs Dear Mama, I'm A Cowboy Review
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Purchase Dear Mama, I'm A Cowboy CD To buy, Click on price to add to cart | Michael Martin Murphey Cowboy Songs CD (1990)
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| | Nashville: 1928 CD (1999) Import
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Details TBA. Universal.
| | Ornette Coleman At The Golden Circle, Stockholm, Vol. 2. CD (1965) Remastered
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Recorded live at the Golden Gircle, Stockholm, Sweden on December 3 & 4, 1965. Originally released on Blue Note (84225). Includes liner notes Ludvig Rasmusson and John Litweiler.
The second night of Ornette Coleman's two-week stand in Sweden was even fierier than the first, if the recorded documents are to be believed. For starters, December 4 was the night that Coleman brought out the violin and the trumpet on the first tune; "Snowflakes and Sunshine" must have taken club-goers by surprise. Those first notes skitter across the neck as the bow goes "scree" in the middle registers and bassist David Izenzon moves to create an atonal bed of rock for Coleman, while Charles Moffett plays in the triple time to a cipher of a time signature. And just as the violin starts to create a tension that is difficult for the other two members of his trio to endure musically, Coleman switches to trumpet and hauls it back inside, or at least to the ledge's edge before returning to the violin a few minutes later. The rhythm sect tries to rein him in, but he careens off Izenzon's arco playing and into an entirely new harmonic language. For the rest of the gig, it's back to the alto, with Coleman even going as far as to goof on Gershwin's "Rhapsody in Blue" on the opening bars of "Morning Song" before playing a ballad every bit as tender and angularly beautiful as one of his. "Riddles" is one of Coleman's Eastern screamers, played modally with the same kind of breathy acrobatics Coltrane used on the music that made it onto the posthumous Sunship. There are several drone modes created by Izenzon, with off-measure rhythmic figures cut by Moffett. Coleman plays the alto as one would a Tibetan oboe or a thighbone trumpet, reaching deep into the lower register to touch the drone and then sail off into scalar abandon. There is more than enough fire, but the astonishing thing is the color and texture Coleman gets from the horn. The set closes with a lovely, knotty piece called "Antiques," in which Izenzon and Coleman match modes for an interesting meeting of the minds in a dramatic wash of color and mood. This is the stronger of the two evenings, but they are both fine records by an under-recognized band in Coleman's development. ~ Thom Jurek
The second night of Ornette Coleman's two-week stand in Sweden was even fierier than the first, if the recorded documents are to be believed. For starters, December 4 was the night that Coleman brought out the violin and the trumpet on the first tune; "Snowflakes and Sunshine" must have taken club-goers by surprise. Those first notes skitter across the neck as the bow goes "scree" in the middle registers and bassist David Izenzon moves to create an atonal bed of rock for Coleman, while Charles Moffett plays in the triple time to a cipher of a time signature. And just as the violin starts to create a tension that is difficult for the other two members of his trio to endure musically, Coleman switches to trumpet and hauls it back inside, or at least to the ledge's edge before returning to the violin ...
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Recorded live at House Of Blues, New Orleans, Louisiana; Irving Plaza, New York, New York; Variety Playhouse, Atlanta, Georgia; House Of Blues, Chicago, Illinois; ...
| | Skeeter Davis Blueberry Hill/End Of The World CD (2004)
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2 LPs on 1 CD. BLUEBERRY HILL (1965)/THE END OF THE WORLD (1973).
In 2004 Collectables combined Skeeter Davis' 1965 album Blueberry Hill and her 1973 album The End of the World on one disc. Blueberry Hill finds Davis firmly in country-pop territory. Her strong vocals are surrounded by strings and syrupy arrangements and many of the songs are simple and corny ("The Little Music Box," "Lost to a Geisha Girl"). Davis sounds fully invested in the songs, though, and her aching sound manages to overcome the less than invigorating surroundings. The best songs are those that she wrote or co-wrote herself. "Somebody Else on Your Mind," "Homebreaker," and the bleak "Give Me Death" are the least over-produced and therefore most honest sounding tracks here, and unsurprisingly ...
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