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Lucinda Williams - Southern Soul: From Memphis to Muscle Shoals & More '2020

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Southern Soul: From Memphis to Muscle Shoals & More
ArtistLucinda Williams Related artists
Album name Southern Soul: From Memphis to Muscle Shoals & More
Country
Date 2020
Genre
Play time 45:27
Format / Bitrate 24 BIT Stereo 1720 Kbps / 48 kHz
Media WEB
Size 558 / 345 MB
PriceDownload $4.95
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Tracks list

Tracklist:

01. Games People Play
02. Youll Lose a Good Thing
03. Ode to Billie Joe
04. I Cant Stand the Rain
05. Misty Blue
06. Main Street Mission
07. You Dont Miss Your Water
08. It Tears Me Up
09. Rainy Night in Georgia
10. Take Me to the River
11. Still I Long for Your Kiss


 Read MoreHowever, it would be some time before that talent was fully
realized. Williams flitted between Austin and Houston during the early 80s, then
moved to Los Angeles in 1984, where she started to attract some major-label
interest. CBS signed her to a development deal in the mid-80s but wound up
passing since neither its rock nor its country divisions knew how to market her;
around the same time, a short-lived marriage to drummer Greg Sowders dissolved.
Williams eventually caught on with an unlikely partner -- the British indie
label Rough Trade, which was historically better known for its punk output. The
simply titled Lucinda Williams was released in 1988, and although it didnt make
any waves in the mainstream, it received glowing reviews from those who did hear
it. With help from guitarist/co-producer Gurf Morlix, Williams sound had evolved
into a seamless blend of country, blues, folk, and rock; while it made perfect
sense to roots music enthusiasts, it didnt fit into the rigid tastes of radio
programmers. But it was clear that she had found her songwriting voice -- the
album brimmed with confidence, and so did its assertive female characters, who
seemed to answer only to their own passions.

Many critics hailed Lucinda Williams as a major statement by a major new talent.
Rough Trade issued a couple of EPs that featured live performances and material
from Lucinda Williams, and Patty Loveless covered The Nights Too Long for a Top
20 country hit. However, it would be four years before Williams completed her
official follow-up. She signed with RCA for a time but left when she felt that
the label was pressuring her to release material she didnt deem ready for public
consumption. Instead, she went to the small Elektra-distributed label Chameleon,
which finally released Sweet Old World in 1992. A folkier outing than Lucinda
Williams, Sweet Old World was an unflinching meditation on death, loss, and
regret. Even its upbeat moments were colored by songs like the title track and
Pineola, two stunning, heartbreaking accounts of a family friends suicide (poet
Frank Stanford, not, as many listeners assumed, Williams own brother). Needless
to say, the record won rave reviews once again, and Williams toured Australia
with Rosanne Cash and Mary Chapin Carpenter.

Cowgirls PrayerOn that tour, Carpenter decided to record Passionate Kisses, the
key track and statement of purpose from Lucinda Williams. It shot into the
country Top Five in 1993 and won its writer a Grammy for Country Song of the
Year. Other artists soon started mining Williams back catalog for material:
avowed fan Emmylou Harris recorded Crescent City on 1993s Cowgirls Prayer and
cut Sweet Old World for her 1995 alternative country landmark Wrecking Ball; and
Tom Petty covered Changed the Locks for 1996s movie-related Shes the One. As the
buzz around Williams grew, so did anticipation for her next album. With
Chameleon having gone under, she signed with Rick Rubins American Recordings
label and began sessions with Morlix again co-producing. Dissatisfied with the
results, Williams rigorous retouching led to Morlixs departure from the project.
In 1995, she moved into Harris neighborhood in Nashville and through Harris
hired Steve Earle and his production partner Ray Kennedy. At first, she was so
enamored with their work that she re-recorded the entire album from scratch.
When it was finished, she decided that the results sounded too produced, and
took the record to Los Angeles, where she enlisted Roy Bittan (onetime E Street
Band keyboardist) to co-produce a series of overdub sessions that bordered on
obsessive. During the long wait for the album, the media began to pay more
attention to Williams; some of the coverage was fairly unflattering, painting
her as a neurotic control freak, but she always countered that it was unfair to
criticize the process if the results were worthwhile.

Rubin mixed the final tracks, but the album was further delayed when he entered
into negotiations to sell the American label. Mercury stepped in to purchase the
rights to the album, which was finally released in 1998 under the title Car
Wheels on a Gravel Road. Boasting a bright, contemporary roots rock sound with
strong country and blues flavors, not to mention major-label promotional power,
the album won universal acclaim, making many critics year-end Top Ten lists and
winning The Village Voices prestigious Pazz & Jop survey. It also won Williams a
Grammy for Best Contemporary Folk Album (despite being the least folk-oriented
record in her catalog) and became her first to go gold, proving to doubters that
she was not just a songwriter, but a full-fledged recording artist in her own
right. After a merger shakeup at Mercury, Williams wound up on the
Universal-distributed roots imprint Lost Highway. She was the subject of an
extensive, widely acclaimed profile in The New Yorker in 2000 written by Bill
Buford, who was nominated for a National Magazine Award for his work; however,
Williams and some of her supporters took issue with some of his more
objective-minded analysis.

Live @ The FillmoreWilliams delivered her next album, Essence, in 2001, after a
relatively scant wait of just three years. An introspective collection, it often
found Williams taking a simpler, more minimalist lyrical approach and was
greeted with rapturous reviews in most quarters. The track Get Right with God
won Williams her third Grammy, this time for Best Female Rock Vocal, which
further consolidated her credibility as a singer, not just a songwriter. Paring
down the time between album releases even further, Williams returned in 2003
with World Without Tears, which became her highest-charting effort to date when
it debuted in the Top 20. Two live recordings were released in 2005, one (Live @
the Fillmore) for Lost Highway and the other (Live from Austin, TX) for New
West. West arrived in 2007, followed by Little Honey in 2008. Williams returned
to the studio in 2010 with producer Don Was at the helm with help from Eric
Liljestrand and husband/manager Tom Overby (the latter two co-produced Little
Honey), with some of the same guests from her previous offering, including
Matthew Sweet and Elvis Costello, who sang and played on almost half the record.
(Costello and Williams had already worked together; she dueted with Costello on
his 2004 album The Delivery Man.) Entitled Blessed, the album was released in
early 2011 in two editions, one a standard CD and the other as a limited deluxe
version with a bonus disc that included the working demos for the songs on
Blessed, recorded in Williams kitchen.

The Ghosts of Highway 20In early 2014, Williams reissued her 1988 self-titled
album with bonus material via funding from a PledgeMusic campaign. If the
crowd-funding campaign suggested Williams was moving away from the standard
music business paradigm, she confirmed it by forming her own record label,
Highway 20 Records, which released Down Where the Spirit Meets the Bone, an
ambitious two-disc set that appeared in September 2014. Apparently inspired by
her new independence, Williams released another double album, The Ghosts of
Highway 20, through her own label in February 2016, only a year-and-a-half after
Down Where the Spirit Meets the Bone. In 2017, Williams marked the 25th
anniversary of Sweet Old World with the release of This Sweet Old World, in
which she recorded new and sometimes revised versions of the songs from the 1992
album, accompanied by her road band. In 2020, Williams and Highway 20 presented
Good Souls Better Angels, a stripped-down and often rollicking effort that
included the fierce political broadside Man Without a Soul. ~ Steve Huey

Lucinda Williams


Album


Live album