Lucinda Williams - Southern Soul: From Memphis to Muscle Shoals & More '2020
24bit
Artist | Lucinda 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 |
Price | Download $4.95 |
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Pre-order albumTracks 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
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Lucinda Williams
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- 2020 Good Souls Better Angels [2]
- 2020 Bobs Back Pages: A Night Of Bob Dylan Songs
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- 2020 Lone Star Memories: Two Classic Broadcasts From Texas 1981 & 1995
- 2020 Runnin Down a Dream: A Tribute to Tom Petty
- 2020 Southern Soul: From Memphis to Muscle Shoals & More
- 2017 This Sweet Old World
- 2016 The Ghosts Of Highway 20 (2CD)
- 2016 Side Of The Road (live, Kpfk Studios La. Feb 26 1989)
- 2016 Free State of Jones (Original Motion Picture Soundtrack)
- 2016 The Ghosts of Highway 20
- 2014 Down Where the Spirit Meets the Bone
- 2014 Lucinda Williams (Deluxe Edition)
- 2011 Blessed (CD1)
- 2011 Blessed (CD2)
- 2011 Blessed [3]
- 2008 Little Honey
- 2007 West
- 2007 World Without Tears, Essence, Car Wheels On A Gravel Road, Sweet Old World, Lucinda Williams
- 2006 Car Wheels On A Gravel Road [2]
- 2005 Car Wheels On A Gravel Road
- 2005 Live @ The Fillmore (2CD)
- 2003 World Without Tears
- 2001 Essence
- 1998 Car Wheels On A Gravel Road (Deluxe Edition) (2CD)
- 1992 This Sweet Old World (2017 Remaster)
- 1992 Sweet Old World
- 1991 Ramblin'
- 1989 Passionate Kisses
- 1988 Lucinda Williams [3]
- 1980 Happy Woman Blues
- 1979/1991 Ramblin
- 1979 Ramblin' (1991 Remaster)
Live album