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The Blasters American Music (CD)

American Music (CD)

catalog number: CDHIGH8086

weight in Kg 0,100


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The Blasters: American Music (CD)

Video von The Blasters - American Music (CD)

(1997/Hightone) 19 tracks (46:29) with 12 page booklet.
A Classic album, pressed for the Rollin Rock label in a small quantity and commanding prices of $ 100 and up, is now available as remastered CD with unreleased tracks.
Marie-Marie, playin' guitar on the back porch I sit in my car Oh, while she sings so sad, Marie-Marie
Marie-Marie, it's so lonely in these farmlands Please come with me To the bright lights down town,
Marie-Marie I said, hey pretty girl, don't you understand I just want to be your lovin' man
Marie-Marie, the sun is down in the cornfield The evening is dark And you sing so sad Marie-Marie
Marie-Marie, I got two weeks in back pay There's gas in my car And your folks say I must go, Marie-Marie
I said, hey pretty girl, don't you understand I just want to be your lovin' man
Marie-Marie, playin' guitar on the back porch I leave in my car Oh, while you sing so sad, Marie-Marie

'Marie Marie' - the best song Chuck Berry never wrote -



Blasters, The - American Music (CD) CD 1
1: American Music
2: Crazy Baby
3: Never No More Blues
4: Buzz Buzz Buzz
5: She's Gone Away
6: Barn Burning
7: Flat Top Joint
8: Real Rock Drive
9: Barefoot Rock
10: I Don't Want To
11: Marie, Marie
12: I Wish You Would
13: She Ain't Got The Best
14: Love 24 Hours A Day (prev.unreleased)
15: I Fell In Love (prev.unreleased)
16: So Glad (prev.unreleased)
17: Lonewolf (prev.unreleased)
18: 21 Days In Jail
19: Ashamed Of Myself


Artikeleigenschaften von The Blasters: American Music (CD)

  • Interpret: The Blasters

  • Albumtitel: American Music (CD)

  • Format CD
  • Genre Rock 'n' Roll

  • Title American Music
  • Release date 1997
  • Label HIGHTONE

  • SubGenre Rock - Rock'n'Roll

  • EAN: 0012928808620

  • weight in Kg 0.100

Artist description "Blasters, The"

The Blasters

When Phil and Dave Alvin first phoned me saying they had a band doing "Rockabilly"-type material, I thought to myself: "Sure, everybody claims to be doing it these days." But a few days later they stopped over at my house and played me a cassette of some of the stuff they'd been doing. I was astounded! Indeed this was the first L.A. band in a decade (aside from Ray Campi's) that really excited me. A while later I went to see them play in some bar. Yes, indeed, they were the "REAL THING." The news spread fast: The BLASTERS are IT! Overnight they have become the favorite band of such other Rock 'n' Roll celebrities as Ray Campi, Jimmie Lee Maslon, Johnny Legend, etc.

The Blasters' style is highly influenced by Rhythm & Blues, New Orleans, Cajun, Blues, Hillbilly and Rockabilly. They draw their inspiration from the roots of American music, yet their music is totally modern, a breath of fresh air to start off the 1980's!!! People have often described their style as "Rockabilly," "Rhythm 'n' Blues," or "Rock 'n' Roll," but when one asks Phil Alvin how he would describe it, the answer is disarmingly simple: "AMERICAN MUSIC." Ain't nothing else I can add to that!!! Keep on Rockin; — Rockin' Ronny Weiser, 1980

Dave Alvin about The Blasters

The Blasters owe a lot to a truck driver whose name I've forgotten. Phil, Bill, John and I were working day jobs, rehearsing at night in a factory in Gorden Grove and trying desperately to find any steady gig that paid more than free beer. Our friends, James Harman and Mike Foresta, had recorded a demo tape of us and we'd taken copies to every "cool" nightclub in the Hollywood! West L.A. area but no one was interested in a roots band, especially one from Downey, California, with no hip credentials. After reading somewhere about "Rockin" Ronny Weiser and his small rockabilly label, Phil called him about the possibility of recording us. Ronny was skeptical until Phil sang and played guitar over the phone and within an hour Phil and I were sitting in Ronny's living room playing him our tape.

Ronny dug the tape but still wouldn't make a commitment to record us, (After all, we'd only played in biker and country bars on the decid-edly untrendy southeast side of LA. County and we knew none of the Hollywood scenesters and tostemakers and they definitely didn't know us), until this truck driver came by Ronny's to pick up boxes of records to be shipped. "Who's this playin'?" He asked Ronny. "It's us." Phil said. "Is this what these records are? If it is, I'll buy a copy. My wife and I dig this kind of music. You can't find music like this anymore."

We couldn't have asked for more even if we had paid him a million bucks. After he left, Ronny quickly discussed when we'd record our first album and within a few weeks we were in Ronny's garage/studio. James and Mike were with us for moral support. We drank a lot of beer. Phil, the most experienced, led us patiently and sang his heart out. Crystal, Ronny's German Shepherd pup, barked through various takes (listen closely on "Crazy Baby"). James let me record with a white Fender Stratocaster that he swore once belonged to Magic Sam. I made mistakes I'll spend the rest of my life trying to forget, but Ronny kept pushing us to quit thinking too much and just keep it rockin' (and with a rhythm section like John and Bill, that was no problem).

After that first day of recording, we drove back to our side of town punching each other in excitement and jumping up and down in the car seats like little boys. We yelled at strangers in passing cars that we'd made a record and we were gonna be famous. I remember at one point all four of us had our heads out the car windows, laughing, cursing, screaming and howling at the moon. Wherever you are, Mister truck driver, thanks, man. --Dave Alvin, July 1997

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