Various - Truckers, Kickers, Cowboy Angels Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD)
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Various - Truckers, Kickers, Cowboy Angels: Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD)
TRUCKERS, KICKERS, COWBOY ANGELS
The Blissed-Out Birth of Country Rock 1966-1968; Volume 1
Did it start in July 1954 when Elvis Presley applied his twitchy energy to Bill Monroe's regal bluegrass waltz, Blue Moon Of Kentucky? Or a couple of years later when Carl Perkins recorded Dixie Fried, deluding himself into thinking that northern pop stations would play it? Or was it 'Beatles For Sale' in 1964 or Rick Nelson's startling self-reinvention in 1966? Or the early International Submarine Band singles? Or the Byrds' Time Between or Old John Robertson?
Country Rock was quintessentially Californian while its forebear, Rockabilly, was quintessentially Southern, but both were reactions against then-prevailing music. Both seemed to prove Isaac Newton's third law of motion; that for every action there is an equal and opposite reaction. Every rockabilly single was a finger thrust in the face of smug, perfectly formed 1950s pop. Country Rock (or "longhair country" as the trade press called it) was a reaction against the self-absorption of psychedelia. In 1968 - the year Country Rock became a thing - Iron Butterfly released 'In-a-Gadda-da Vida.' The title song consumed one entire side of the LP, and, without drugs, it was unlistenable. Concurrently, there was a dematerializing back-to-the-land movement - an attempt to recapture any slice of Eden that hadn't been paved over.
Country Rock wasn't trying to supplant or reinvent Nashville. These were times as bitterly polarized as our own. Country music as it was made and played in Nashville every day derided hippies, just as hippies derided Nashville. True, a few subversives in Nashville reached out to the subculture, just as the Byrds famously tried to bridge the divide from the other side by playing the Grand Ole Opry, but the gulf was too deep. In the end, Gram Parsons' dream that country radio would sandwich his singles between George Jones and Loretta Lynn was no more than a dream. Country Rock was tailored to the newly minted underground FM rock format, not AM country.
By the mid-1970s, the rough edges in this music, harking back to hillbilly and rockabilly's unruly past, had become reduced to the Eagles' slick commercial equations. This CD and its companions tell the story of Country Rock from our arbitrarily assigned moment of its birth around 1966 until 1975. It's sequenced more or less chronologically so you can get a sense of the genre unfolding.
A final word: if a couple of your favorite tracks aren't here, there are several reasons. Perhaps we didn't know about them. Perhaps we didn't like them. Or, far more likely, the originating label wouldn't license to us.
Colin Escott
Video von Various - Truckers, Kickers, Cowboy Angels - Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD)
Article properties: Various - Truckers, Kickers, Cowboy Angels: Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD)
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Interpret: Various - Truckers, Kickers, Cowboy Angels
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Album titlle: Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD)
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Genre Country
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Label Bear Family Records
- Preiscode BS
- Edition 2 Deluxe Edition
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Artikelart CD
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EAN: 5397102173615
- weight in Kg 0.2
| Various - Truckers, Kickers, Cowboy Angels - Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD) CD 1 | ||||
|---|---|---|---|---|
| 01 | Truck Driving Man | International Submarine Band | ||
| 02 | You Just Can’t Quit | Nelson, Rick | ||
| 03 | Nashville Cats | Lovin’ Spoonful, The | ||
| 04 | Pay The Price | Buffalo Springfield | ||
| 05 | Tried So Hard | Clark, Gene & The Gosdin Brothers | ||
| 06 | Grizzely Bear aka Grizzly Bear | Youngbloods, The | ||
| 07 | So You Say You Lost Your Baby | Clark, Gene & The Gosdin Brothers | ||
| 08 | Tell Me | Gosdin Brothers, The | ||
| 09 | Darlin’ Companion | Lovin’ Spoonful | ||
| 10 | I’m Movin’ On | Everly Brothers, The | ||
| 11 | Ode To Billie Joe | Gentry, Bobbie | ||
| 12 | Child’s Claim To Fame | Buffalo Springfield | ||
| 13 | Bowling Green | Everly Brothers, The | ||
| 14 | Niki Hoeky | Gentry, Bobbie | ||
| 15 | Luxury Liner | International Submarine Band | ||
| 16 | Blue Eyes | International Submarine Band | ||
| 17 | What Am I Doing Hangin' Round | Monkees, The | ||
| 18 | Old John Robertson | Byrds, The | ||
| 19 | Sugar Babe | Youngbloods, The | ||
| 20 | Ain’t That A Shame | Vernon, Kenny | ||
| 21 | Ode To Billie | Nashville West | ||
| Various - Truckers, Kickers, Cowboy Angels - Vol.01, The Blissed-Out Birth Of Country Rock 1966-68 (2-CD) CD 2 | ||||
|---|---|---|---|---|
| 01 | Do You Know How It Feels To Be Lonesome | International Submarine Band | ||
| 02 | Wasn’t Born To Follow | Byrds, The | ||
| 03 | I’ll Be Your Baby Tonight | Dylan, Bob | ||
| 04 | The Weight | Band, The | ||
| 05 | She Sang Hymns Out Of Tune | Hearts & Flowers | ||
| 06 | I Shall Be Released | Band, The | ||
| 07 | You Ain't Going Nowhere | Byrds, The | ||
| 08 | Hickory Wind | Byrds, The | ||
| 09 | Turn Around | Beau Brummels, The | ||
| 10 | The Loneliest Man In Town | Beau Brummels, The | ||
| 11 | Never Goin’ Back | Lovin’ Spoonful | ||
| 12 | One Hundred Years From Now | Byrds, The | ||
| 13 | Train Leaves Here This Morning | Dillard & Clark | ||
| 14 | Make Up Your Mind | Spencers, The | ||
| 15 | The Radio Song | Dillard & Clark | ||
| 16 | Nobody Knows | Dillards, The | ||
| 17 | Listen To The Sound | Dillards, The | ||
| 18 | The Conscience Of You | Payne, Dennis | ||
| 19 | T For Texas | Everly Brothers, The | ||
| 20 | I Wonder If I’ll Care As Much (#2) | Everly Brothers, The | ||
TRUCKERS, KICKERS, COWBOY ANGELS
The Blissed-Out Birth of Country Rock
On January 12, 1970, 'Time' magazine placed The Band on its cover with the headline, 'The New Sound of Country Rock.' In the taxonomy of popular music, Country Rock was now a thing, a categoryby 1970. There were Country Rock browser bins in some stores, and trade magazines like 'Billboard'routinely classified records as country-rock or country/rock, expecting readers to know what they meant.
A category as vague and fissiparous as Country Rock can be defined narrowly or broadly. We've focused on rock musicians who embraced the concision, narrative drive, melodicism, and folk roots of country music, but we've also included a few country artists reaching out the other way. Rock musicians began trekking to Nashville after Bob Dylan began recording in Nashville in 1966, and they come still. Taking their cue from Dylan, a new breed of country songwriters, led by John Hartford, Mickey Newbury, Willie Nelson, and Kris Kristofferson, began writing songs that dared to stray from the I-IV-V chord norm. A scene coalesced around them, attracting guys like Donnie Fritts, Billy Joe Shaver, and Tony Joe White. Before long, established country artists like Waylon Jennings and Johnny Cash began to think about not making records the way Nashville liked to make them. Whether from Nashville, Los Angeles, or someplace else, country rock was enough of a category by 1970 to attract artists who often understood neither country nor rock. We tried to avoid bandwagon jumpers, preferring those who brought an original spin to their music.
Licensing can be a problem with compilations like this. Artists as well-known as Crosby, Stills, Nash & Young and Creedence Clearwater Revival were unavailable to us, alongside inexplicable denials like Rig. Some artists like Shiloh were on labels that have fallen into a contractual black hole. So if a recording that seems to belong here is missing, there's probably a clause in an aging contract explaining that. Even so, there's still plenty to love on the road to 1975.
Colin Escott
"There was a shared sense of direction that was in tune with the times. The Band, the Byrds, Poco, Crosby, Stills, Nash & Young, Dylan were all exploring traditional music augmented by the power of rock 'n' roll. Psychedelia had had its moment and we were continuing to evolve what we believed to be the logical next step in American music."
(Robert Hunter, lyricist for the Grateful Dead)
"The winds that were blowing moved us all along. We each had different approaches - different tacks and different sails in the wind - but we mostly headed the same direction, just because of the push. I had no notion of country rock as a possible genre, although we used the phrase among ourselves as First National Band members. This was more to frame up and focus a feeling of playing. We weren't conscious of this being innovative. It was fun to play like that, and there was plenty to say with it, and we enjoyed listening to it, to each other. I listened to all the bands at some point, but not until some time after the form was well under way. We were all immersed in playing it and giving it voice; we only slowly discovered each other over time. Ideas come along like this regularly that push everyone along. No one controls it; no one leads it. Certainly, no one invents it. It is the moment when the songs start to sing the singers, and not the other way round. Everyone who plays and sings knows this when it happens, and it is the most fun you can have playing music. Like flying in your dreams, effortlessly - and especially fun if you find someone up there with you. You wave and smile and acknowledge the forces at work."
(Michael Nesmith)
Excellent collection!!
What an excellent collection of music! The extensive liner notes make it like a trip to a really cool museum! Thank you for making this available!
Must have
Record Collector 01/15 "Phantastic sound, great looks - a must have!
enorm ineressante Compilation
R & R Musikmagazin 6/14 "..eine musikalisch und historisch enorm interessante Compilation nicht nur für eingefelischte Rock 'n' Roller."
Concerto 12/14 "Eine fein editierte und schön aufgemachte Möglichkeit, der Entstehung des Phänomen Country-Rock nachzuspüren."
Ein Extralob verdienen sich das noble Cover und die daumendicken, mit exzellenten Infos und hübschen Bildern versehenen Booklets.
Various Artist
Truckers, Kickers, Cowboy Angels - The Blissed-Out Birth Of Country Rock 1966-68, Vol. 1 + 1969, Vol. 2
Die Geburt des Country-Rock - in Wort, Song und Bild.
Das Jahr 1966 hatte es in sich: Deutschland verlor das WM-Finale gegen England wegen eines irregulären Treffers, die Beatles veröffentlichen REVOLVER, die Stones AFTER-MATH und die Beach Boys PET SOUNDS. Musikalisch also ein guter Jahrgang. Vor allem, weil nicht nur in Nashville kreative Köpfe an einem besonderen Mix werkelten - an der Kombination aus Country und Rock. Den Beginn dieser bis heute gültigen Erfolgsgeschichte erzählen die kompetenten Nachlassverwalter von Bear Family mit einer CD-Edition nach: THE BLISSED-OUT BIRTH OF COUNTRY ROCK. Volume 1 beleuchtet mit zwei CDs und insgesamt 41 Titeln den Zeitraum von 1966 bis 1968 - mit dabei: natürlich alle prominenten Pioniere und Ziehväter der neuen Stilrichtung. Also: The Byrds, Buffalo Springfield, The Band, The Everly Brothers, Bobbie Gentry, The Lovin' Spoonful und natürlich Meister Dylan. Alle da, alle mit ihren richtungsweisenden Klassikern. Aber auch: die weniger bekannten Wegbereiter wie die International Submarine Band (mit dem jungen Gram Parsons) oder die Hippie-Flüchtlinge aus San Francisco, The Beau Brummels. Volume 2 beschränkt sich mit einem Tonträger ganz auf 1969. Zu Recht, denn das Woodstock-Jahr war auch für die Country-Szene und Nashville gravierend: Dylan veröffentlichte seinen Meilenstein NASHVILLE SKYLINE und die Flying Burrito Brothers um Gram Parsons ihr epochales zweites Album. Mehr noch: Das Genre war erwachsen geworden und bot vielen unterschiedlichen Künstlern und Formationen eine neue Heimat, etwa Acts wie Doug Sahm, den Sanland Brothers oder der von Mike Neshmith produzierten Band The Corvettes. Sogar Elvis machte eine Hollywood-Pause und nahm in Memphis eine temperamentvolle Version des Hank-Snow-Songs >I'm Moving On< auf. Vor allem aber tauchten etliche neue Gesichter mit unverbrauchten Stimmen auf. Bands und Interpreten wie Linda Ronstadt und Poco, und der heute gottgleich gehuldigte Townes Van Zandt deutete mit >Lungs< sein Genie an. 1969 zweigte der Country-Rock aber auch schon ab in Richtung Kommerz: Glen Campbell steuerte mit >Galveston< und Kenny Rogers mit >Ruby< schnurstracks in die Charts. Ein Extralob verdienen sich das noble Cover und die daumendicken, mit exzellenten Infos und hübschen Bildern versehenen Booklets. Besser geht's wirklich nicht!
AWESOME
If you're into 60's and 70's country rock (The Byrds/Michael Nesmith/Gram Parson's sounding goodies) this is THE compilation for you. I recieved Vol 1 and 2 as a gift and it hasn't left the CD player since. Simply wonderful and excellent selections. Do yourself a favor and grab this set up! You won't be disappointed.
great
great sound, great compilation
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