#vince gill

[musicmags]

[myvinylplaylist]

Johnny Cash: Songwriter (2024)

Limited Edition

WalMart exclusive variant on translucent black & white splatter.

Songwriter's unreleased 11 songs have been updated by his son John Carter Cash and his co-producer David Ferguson.

Mercury Records

[shiftythrifting]

- upsetting monkey

- UAW memorial bible

- unicorn image

- James Dean image

- never forgor (1945-George)

- some guy

- handmade Nelson jacket. Had a lot of puffy glitter fabric paint with entire stanzas of lyrics in various places

[lightscamerabitchsmileee]

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[whereifindsanity]

Vince Gill & Luke Combs - One More Last Chance

[whileiamdying]

A snapshot of ’70s excess and the soundtrack to the comedown.

In early 1976, the Eagles released Their Greatest Hits 1971-1975, a compilation that would spend the next half decade on the Billboard 200 and go on to become the biggest-selling album of the 20th century in the United States. But the band’s most popular, career-defining song was still months away: the title track to Hotel California, the record where the Eagles expunged any lingering trace of their country-rock roots and took up residence in the football stadiums of the world.

That shift can be largely attributed to the new kid in town: guitarist Joe Walsh, who added the exclamation point to Don Henley’s eerie narrative with one of the most dramatic guitar solos in the rock canon. That swagger spills over into the brontosaurus stomp of “Victim of Love” and the disco-fied “Life in the Fast Lane,” a—the?—definitive account of Hollywood hedonism. Hotel California is both a portrait of ’70s excess from behind the velvet rope and the soundtrack to the inevitable cruel comedown.

“There was some friction but that was all creative. After that, we achieved an amount of success beyond our wildest imagination, and there was no turning back.”

— Joe Walsh Eagles

[jeffcbliss]

Vince Gill (left) and Timothy B. Schmit of The Eagles - Sphere; Las Vegas, NV (10-11-24). @VGcom @timothybschmit @the_eagles @SphereVegas

Photo: Jeff Bliss

[krispyweiss]

Album Review: Johnny Cash - Songwriter

Given what they had to work with, co-producers John Carter Cash and David Ferguson probably did the best they could with Johnny Cash’s abandoned, 1993 album of original songs. That leaves the question as to why they decided to resurrect Songwriter more than 30 years after the fact, for, despite a latent classic in “Well Alright,” the posthumous LP is a weight on Cash’s legacy.

Songs such as “Hello out There” and “Drive On” are ethereal, with effects on Cash’s voice as he laments humanity’s failures and the Vietnam experience, respectively, and their production betrays their unfinished status. The Nashville Sound permeates the cheesy “I Love You Tonight” and “She Sang Sweet Baby James,” though the former is notable for being one of two Songwriter tracks to feature backing vocals from Cash’s former Highwaymen bandmate Waylon Jennings.

Other contributors include Dan Auerbach on “Spotlight,” Vince Gill on “Poor Valley Girl” and Marty Stuart on virtually everything. Despite the heavyweights’ good intentions, only the aforementioned “Well Alright,” a playful ditty about finding love in the laundromat driven by Cash’s signature boom-chuck-guitar, is a keeper.

The rest are worth borrowing for fans who want to check in on what Cash was up to just before the American Recordings albums came along.

Grade card: Johnny Cash - Songwriter - C-

7/3/24

[music-wrestling-nascar-fangirl]

[dopescissorscashwagon]

Carly Pearce, EmmyLou Harris, Vince Gill, & Ashley McBryde in September 2023

[dreaminginthedeepsouth]

Vince Gill, Alison Krauss, Ricky Skaggs – Go Rest High On That Mountain (Live)

+

I know your life On earth was troubled And only you could know the pain You weren't afraid to face the devil You were no stranger to the rain

Go rest high on that mountain Son your work on earth is done Go to heaven a-shoutin' Love for the Father and the Son

Oh, how we cried the day you left us We gathered 'round your grave to grieve Wish I could see the angels faces When they hear your sweet voice sing

Go rest high on that mountain Son your work on earth is done Go to heaven a-shoutin' Love for the Father and the Son

Go rest high on that mountain Son your work on earth is done Go to heaven a-shoutin' Love for the Father and the Son

Go to heaven a-shoutin' Love for the Father and the Son

[searchingwardrobes]

Hym Saturday: "Softly and Tenderly" Keith and Kristyn Getty, Vince Gill, Ellie Holcomb, Sierra Hull, and Deborah Klemme

Tagging: @jrob64 @snowbellewells @kmomof4 @whimsicallyenchantedrose

[mywifeleftme]

304: Guy Clark // Better Days

Better Days Guy Clark 1983, Warner Bros.

I realized two things listening to Guy Clark’s Better Days today. One, is that I’m partial to lyricists who tell me about finding things they’d shoved in a drawer and forgotten about. It suggests they’re old enough to have possessed a drawer for a long time; that they prefer to use concrete imagery to tell me the things they’re repressing instead of blathering about abstractions or using therapyspeak; and that their writing’s concerned with memory and how it’s kept. Guy Clark’s lyrical universe is almost unparalleled in its collection of drawers, work benches, knives, hammers, bolts, and wrenches. He has a song called “Stuff That Works,” and it’s just a list of what it says on the tin.

The other thing I realized is that I’m more game for what I’ll simply refer to as “Jimmy Buffett Shit” than I was ready to admit before I took on this project. My favourite song by forty knots on this consummate songwriter’s record isn’t anything writerly—it’s the marinacore pop rocker “Supply and Demand.” We open with a flip-flop tapping take-off of the “Jack & Diane” intro, interpolate a little Chuck Berry, gloop on some AOR lead guitar, and put anchor in Margaritaville for an easy-drinking near-nonsense chorus that absolutely will not leave my head. It rules. Clark’s always had this gear—the song feels like a throwback to his slightly-underrated second record, Texas Cookin’—and it turns out a lot of my favourite songwriters have it too, from honorary Parrothead Jerry Jeff Walker to lupine Californian Warren Zevon. The problem was always Jimmy himself, it turned out. I’m absolutely down for hedonistic goof rock, but Jimmy was a hack.

Anyway, Better Days will top few Clark fans’ personal rankings, but I’ve never heard a record of his that was a complete miss. Better Days is one of his swings at pop country (1983 style), so there’s a fair amount of varnish on the carpentry compared to rustic Americana-era efforts like Dublin Blues (which contains a superior take on the best song here, “The Randall Knife”) or My Favorite Picture of You, but the craftsmanship is true. Clark offers a gently rollicking version of Townes Van Zandt’s sly “No Deal,” while “Uncertain Texas” finds Clark dueting with sideman Vince Gill, who sounds ready for the stardom he was still a few years off from. “Tears” is probably the most traditional honky tonk Clark ever cut, and “Homegrown Tomatoes” remains a nice little back porch retread of his debut’s standout “Rita Ballou.”

Add this one to Clark’s long list of working stuff.

304/365

[lightscamerabitchsmileee]

Vote for your fave, reblog & share your thoughts and other faves (even outside of this list) in the tags I would love to hear it 😊😊

Check out my masterpost for the other artist/band polls 😊😊 thank you and have fun 😊😊

[whereifindsanity]

Vince Gill with Patty Loveless - Pocket Full Of Gold