Brownie Mcghee & Sonny Terry a Long Way from Home Mp3, Flac

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Brownie McGhee & Sonny Terry A Long Way From Home mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: A Long Way From Home Country: US Released: 1998 Style: Country Blues MP3 version RAR size: 1105 mb FLAC version RAR size: 1376 mb WMA version RAR size: 1146 mb Rating: 4.7 Votes: 374 Other Formats: AHX DXD MMF MIDI AUD WMA WAV Tracklist Hide Credits Long Way From Home A1 1:57 Written-By – Terry* Big Question A2 3:40 Written-By – McGhee* Rock Island Line A3 2:23 Arranged By – McGhee-Terry*Written-By – Traditional Night And Day A4 4:52 Written-By – McGhee-Terry* You Just Usin' Me For A Convenience A5 3:45 Written-By – McGhee* Hole In The Wall A6 3:46 Written-By – McGhee* Life Is A Gamble B1 4:31 Written-By – McGhee* Don't Mistreat Me B2 3:24 Written-By – McGhee-Terry* Packin' Up, Gettin' Ready B3 5:55 Written-By – McGhee* Wailin' And Whoopin' B4 2:56 Written-By – Terry* B.M. Special B5 7:34 Written-By – McGhee*, Bond*, Francis*, Johnson*, Terry* Companies, etc. Distributed By – Universal Music Credits Bass – Jimmy Bond Drums – Panama Francis Engineer – Bernie Grundman Photography By, Design – Phil Melnick* Piano, Electric Piano, Tambourine – Ray Johnson Producer – Ed Michel Vocals, Guitar, Electric Guitar – Brownie McGhee Vocals, Harmonica – Sonny Terry Notes Recorded March 1, 1969 Barcode and Other Identifiers Barcode: 008811175627 Other versions Category Artist Title (Format) Label Category Country Year Brownie McGhee & A Long Way From BLS-6028 Bluesway BLS-6028 US 1969 Sonny Terry* Home (LP, Album) Brownie McGhee & A Long Way From BLS-6028 Bluesway BLS-6028 Canada 1969 Sonny Terry* Home (LP, Album) Sonny Terry & A Long Way From SSL 10291 Stateside, EMI SSL 10291 UK 1969 Brownie McGhee Home (LP) Related Music albums to A Long Way From Home by Brownie McGhee & Sonny Terry Sonny Terry, Brownie McGhee - Going It Alone Lightnin' Hopkins + Sonny Terry & Brownie McGhee - Blues Is Life Brownie McGhee - Lightnin' Hopkins - Big Joe Williams - Sonny Terry - Down South Summit Meetin' Brownie Mcghee Sonny Terry With Earl Hooker - I Couldn`t Believe My Eyes Sonny Terry & Brownie McGhee - Home Town Blues Brownie McGhee And Sonny Terry - Guitar Highway Brownie Mcghee & Sonny Terry - You Hear Me Talkin' Brownie McGhee, Sonny Terry With Earl Hooker - I Couldn't Believe My Eyes Plus... Sonny Terry And Brownie McGhee - Blues Legends In London Brownie McGhee & Sonny Terry - Glory / Heart In Sorrow / Preachin' The Blues / Can't Help Myself.

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TN Bluesletter Week 10 080310.Cdr
(About the Blues continued) offered rich, more complex guitar parts, the beginnings of a blues trend towards separating lead guitar from rhythm playing. Shows begin at 6:30 unless noted Texas acoustic blues relied more on the use of slide, In case of inclement weather, shows will be held just down the and artists like Lightnin' Hopkins and Blind Willie street at the Grand Theater, 102 West Grand Avenue. Johnson are considered masters of slide guitar. Other June 1 Left Wing Bourbon local and regional blues scenes - from New Orleans MySpace.com/LeftWingBourbon June 8 The Pumps to Atlanta, from St. Louis to Detroit - also left their mark ThePumpsBand.com on the acoustic blues sound. MySpace.com/ThePumpsBand When African-American musical tastes began to June 15 The Blues Dogs change in the early-1960s, moving towards soul and August 3, 2010 at Owen Park MySpace.com/SteveMeyerAndTheBluesDogs rhythm & blues music, country blues found renewed June 22 Pete Neuman and the Real Deal popularity as the "folk blues" and was sold to a PeteNeuman.com June 29 Code Blue with Catya & Sue primarily white, college-age audience. Traditional YYoouunngg BBlluueess NNiigghhtt Catya.net artists like Big Bill Broonzy and Sonny Boy Williamson July 6 Mojo Lemon reinvented themselves as folk blues artists, while MojoLemon.com Piedmont bluesmen like Sonny Terry and Brownie MySpace.com/MojoLemonBluesBand McGhee found great success on the folk festival July 13 Dave Lambert DaveLambertBand.com circuit. The influence of original acoustic country July 20 Deep Water Reunion blues can be heard today in the work of MySpace.com/DWReunion contemporary blues artists like Taj Mahal, Cephas & July 27 The Nitecaps Wiggins, Keb' Mo', and Alvin Youngblood Hart.
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Lightnin' Hopkins
Lightnin' Hopkins Samuel John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time. The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act". Life Hopkins was born in Centerville, Texas, and as a child was immersed in the sounds of the blues. He developed a deep appreciation for this music at the age of 8, when he met Blind Lemon Jefferson at a church picnic in Buffalo, Texas. That day, Hopkins felt the blues was "in him".He went on to learn from his older (distant) cousin, the country blues singer Alger "Texas" Alexander. (Hopkins had another cousin, the Texas electric blues guitarist Frankie Lee Sims, with whom he later recorded.) Hopkins began accompanying Jefferson on guitar at informal church gatherings. Jefferson reputedly never let anyone play with him except young Hopkins, and Hopkins learned much from Jefferson at these gatherings. In the mid-1930s, Hopkins was sent to Houston County Prison Farm; the offense for which he was imprisoned is unknown. In the late 1930s, he moved to Houston with Alexander in an unsuccessful attempt to break into the music scene there. By the early 1940s, he was back in Centerville, working as a farm hand. Hopkins took a second shot at Houston in 1946. While singing on Dowling Street in Houston's Third Ward (which would become his home base), he was discovered by Lola Anne Cullum of Aladdin Records, based in Los Angeles.
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Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting.
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Sonny Terry & Brownie Mcghee “Folk Alive” May 1, 1974 Host: Good
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Guy Davis & Fabrizio Poggi
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Notes to Flyright LP 4705 "New York Country Blues"
_ YORK COUNTRY BLUES Higration patterns showing movements of negroes from rural to urban settlements and from South to North and West have not only helped to interweave regional blues styles but have frequently concentrated artists from specific southern rural areas into certain ei ties . Obvious routes 11e westwards from Texas and the Southwest into California; from the Deep South of the Mississippi bottomlands and Alabama to Chicago _ perhaps the hest documented of all - and from the southeastern states to New York. :lUl selections on this anthology typify the general drift from rural southern communi ties into the New York metropolis. Sometimes the rural roots are more in evidence but nowhere are the compldte urban influences which dominated the blues in the e1 ty by the 1960s. These sides from the 1940s and 19508 show the breadth and wealth of musical talent in this city of supposed greater opportunity in the immediate postwar years - and the bulk reflect the gentle, lH ting sounds of the southeastorn states. Some of the artists had moved into the city some time before they r ocorded there. Alec Seward has made his home there since 1 924, although his first journoy to the city was in 1922. From Newport News, Virginia, Seward recalls many fine artists from the Chesapeake Bay area (none of whom have ever been recorded) yet it waB with the rougher voiced Louis &yes, a guitarist from North Carolina, that he teamed up in 1947. Their two-guitar sides epitomise the relaxed and deceptively languid blues style of the Piedmont, issued as the Back Porch Boys, this pseudonym was merely one of many colourful ones that were used on their releases.
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On the Trail of the Grea Lead Belly.Layout
And somehow, he'll always be there whenever you see a group of children dance while singing: chasing the great You gotta jump down, turn around Lead Belly To pick a bale of cotton by mark dvorak You gotta jump down, turn around To pick a bale a day... Then you'll begin to realize how Lead Belly's own voice and music has T o get there, you must follow Interstate 20, going west out of Shreveport. It is a travelled and spread right along with our own aural tradition to somehow good highway and new. Then head north on Greenwood-Mooringsport Road on transcend time, race, religion, culture and class; and you'll find yourself up through Longwood. Up there it won't seem much like Louisiana; or at least like the Louisiana a northern person might already have pictured in their mind. wanting to make up the songs that Lead Belly made up. Songs that for generations have been considered nothing more than old folk songs; songs As you drive, you'll see oil derricks scattered across the grassy fields. Their that might at first appear dated but are actually stubbornly timeless; songs greasy, boney frames slowly bob, pulling crude from beneath the Louisiana soil. that will forever breathe with life so long as humans gather to sing about You'll pass through some patches of piney woods and if you listen, you'll hear their trouble, joy and hope. birds singing in the trees. There'll be some sawmills around, and you'll see farms that grow mostly cotton, and corn that dries and yellows early; compared to the And if you listened to the records that many times, you would soon find yourself wanting to get as close as you could to the place where Lead corn crop in the north.
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Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2005 Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Studies Commons, History Commons, and the Music Commons Recommended Citation anderson, Benjamin Park, "Blue Notes and Brown Skin: Five African-American Jazzmen and the Music They Produced in Regard to the American Civil Rights Movement" (2005). Dissertations, Theses, and Masters Projects. Paper 1539626478. https://dx.doi.org/doi:10.21220/s2-9ab3-4z88 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. BLUE NOTES AND BROWN SKIN Five African-American Jazzmen and the Music they Produced in Regard to the American Civil Rights Movement. A Thesis Presented to The Faculty of the American Studies Program The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts By Benjamin Park Anderson 2005 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts imin Park Anderson Approved by the Committee, May 2005 Dr. Arthur Knight, Chair Ids McGovern . Lewis Porter, Rutgers University, outside reader ii TABLE OF CONTENTS Page Acknowledgements iv List of Illustrations V List of Musical Examples vi Abstract vii Introduction 2 Chapter I.
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120675Bk Leadbelly 26/2/03 10:46 Am Page 2
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“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
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