3/13/2021 0 Comments John Prine Pink Cadillac Rar
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and well take care of it shortly.Rose and Pete Donnelly MAGNET KRYPTONITE Upon The Revelation Hidden Cities ( Citys T David Gagne QUEEN OF HEARTS GONE TOO Michael J.How Lucky 03:38 10.Ubangi Stomp 02:42 John Prine went to Sam Phillips studio in Memphis to make his sixth album, Pink Cadillac, and got some of the Sun Records sound of 1950s rockabilly on a record produced by Phillips sons Knox and Jerry.
Sam produced two of the tracks himself.) Slapback bass here, a Bo Diddley beat there, and an overall loose feel characterized music that may have been more fun to make than it is to listen to, even though its quite entertaining. Prine wrote only five of the ten songs, however, and even though the covers were of high caliber -- notably Roly Salleys Killing the Blues and Arthur Gunters Baby Lets Play House, a song Elvis Presley did at Sun -- Pink Cadillac was a good idea that went slightly awry in the execution. If Prine had had the songs as well as the studio, it would have been among his best. Recorded At Sam Phillips Recording Studio Mastered At Ardent Studios Mastered At Elektra Sound Recorders Licensed From Asylum Records Credits Art Direction, Design Ron Coro Bass Tom Piekarski Design Kathy Morphesis Drums Angie Varias Keyboards, Harmonica, Saxophone Howard Levy Lead Guitar John Burns (11) Mastered By Larry Nix, Terry Dunavan Mixed By, Edited By John Prine Photography By Gary Heery Producer, Mixed By, Edited By Jerry Phillips, Knox Phillips Recorded By, Mixed By, Edited By Richard Rosebrough Rhythm Guitar, Acoustic Guitar, Electric Guitar, Lead Vocals John Prine Notes Recorded at Sam Phillips Recording Studio, Memphis, Tennessee. 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Prine underwent surgery and radiation treatment for the cancer, and in 1999 was well enough to complete the album, which was released as In Spite of Ourselves and featured contributions from Emmylou Harris, Lucinda Williams, Trisha Yearwood, Patty Loveless, Connie Smith, and more. If anything, Prines 1971 debut offered a kind of rebuttal to Dylans poetic opacity, a set of songs whose philosophies were as immediate as bumper stickers and juggled subjects of existential heft with conversational wit. Be kind to old folks (Hello in There), smoke weed if you need to (Illegal Smile), beware your glass house (Your Flag Decal Wont Get You Into Heaven Anymore) and know that behind every face lies a lifetime of aspirations and disappointments not even their beholder may understand (Angel From Montgomery). Produced by Atlantic Records legendary Arif Mardin and executed by a group of Memphis musicians who had worked with Elvis and Dusty Springfield, the album was a musically square affairdrummer Hayward Bishop later complained that finding a groove within Mardins prescribed confines was like trying to milk a dog. But listen to the hayride bomp of Spanish Pipedream or the waltz of Donald and Lydia (which may or may not be about a missed connection and two people pleasuring themselves to the memory of each other hours after the opportunity passed) and one hears the bridges between Nashville, Appalachia and New York, country polish and folk ruggedness, hippie and heartland and the kind of universal humanism that knows no cultural lines. Listen to it once and youll sing along to a couple by the second chorus; listen again and see if you dont hit them all. While Prines songs were most often rooted in folk and country flavors, he was no stranger to rock roll, RB, and rockabilly, and could readily adapt his rough but expressive voice to his musical surroundings. Prine never scored a major hit of his own, but his songs were recorded by a long list of well-respected artists, many of them celebrated songwriters themselves, including Johnny Cash, Bonnie Raitt, Kris Kristofferson, George Strait, Bette Midler, Paul Westerberg, and Dwight Yoakam. Prines self-titled debut album, released in 1971, was widely regarded as an instant classic and featured some his best-known songs, including Sam Stone, Hello in There, Paradise, and Illegal Smile, while 1972s Diamonds in the Rough was considered nearly as strong. Bruised Orange was a low-key return to the tone of his debut, and 1979s Pink Cadillac was a tribute to his love of rockabilly and first-generation rock roll. In the 1980s, Prine broke away from the major labels to form his own label, Oh Boy Records, and working at his own pace and following his own inclinations, he produced a handful of fine and idiosyncratic albums, including 1991s The Missing Years, the 1999 duets collection In Spite of Ourselves, and 2018s graceful finale The Tree of Forgiveness. Raised by parents firmly rooted in their rural Kentucky background, at age 14 Prine began learning to play the guitar from his older brother while taking inspiration from his grandfather, who had played with Merle Travis. After a two-year tenure in the U.S. Army, Prine returned to Illinois and became a fixture on the Chicago folk music scene in the late 60s, befriending another young performer named Steve Goodman while holding down a day job as a mailman. Prine earned his first press coverage of note in 1970 when film critic Roger Ebert stopped into a bar where Prine was playing in search of a beer after attending a screening and was captivated by Prines performance. When Goodman found himself opening for Kris Kristofferson, he urged the songwriter to check out his friend Prine. Kristofferson recognized their talent, and when they visited New York City a few months later, Kristofferson allowed the two Chicagoans to play three songs each at one of his shows. An executive from Atlantic Records was in the audience, who offered Prine a recording contract the next day. In 1971, Prine went to Memphis to record his eponymously titled debut album; though not a commercial success, critics praised the LP, and songs like Sam Stone (the harsh but compassionate tale of a drug-addled Vietnam veteran) and Hello in There (a first-person meditation on old age) were singled out for particular praise. Neither 1972s Diamonds in the Rough nor 1973s Sweet Revenge fared any better on the charts, but Prines work won great renown among his fellow performers; the Everly Brothers and Johnny Cash both covered his song Paradise, while Bette Midler and Joan Baez offered renditions of Hello in There, and Bonnie Raitt memorably interpreted Angel from Montgomery. For 1975s Common Sense, Prine turned to producer Steve Cropper, the highly influential house guitarist for the Stax label; while the albums sound shocked the folk community with its reliance on husky vocals and booming drums, it served notice that Prine was not an artist whose work could be pigeonholed, and was his only LP to reach the U.S. Top 100. Despite its relative success, it was his last album for Atlantic, and Steve Goodman took over the reins for 1978s folky Bruised Orange, Prines debut for Asylum Records. With 1979s Pink Cadillac, he took another left turn and recorded an electric rockabilly workout produced at Sun Studios by the labels legendary founder Sam Phillips and his son Knox. ![]() The labels first release was 1984s Aimless Love, and under his own imprint, Prines music thrived, as 1986s country-flavored German Afternoons earned a Grammy nomination in the Contemporary Folk category. After 1988s John Prine Live, his first concert set, he released 1991s Grammy-winning The Missing Years; co-produced by Howie Epstein of Tom Pettys Heartbreakers, the album featured guest appearances from Bruce Springsteen, Bonnie Raitt, and Tom Petty and proved to be Prines biggest commercial success to date, selling nearly 250,000 copies. After making his film debut in 1992s John Mellencamp-directed Falling from Grace, Prine returned in 1995 with Lost Dogs and Mixed Blessings, also produced by Epstein, which earned him another Grammy nomination. In 1998, while Prine was working on an album of malefemale country duets, he was diagnosed with squamous cell carcinoma, with the cancer forming on the right side of his neck.
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