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Album: Truckers, Kickers, Cowboy Angels: The Blissed-Out Birth of Country Rock, Vol. 2: 1969 [Digipak]
# Song Title   Time
1)    Drug Store Truck Drivin' Man
2)    Christine's Tune
3)    Texas Me - The Sir Douglas Quintet
4)    Galveston - Glen Campbell
5)    Lay, Lady Lay
6)    Night They Drove Old Dixie Down, The
7)    Wheels
8)    Back Home Girl
9)    Through the Morning, Through the Night - Gene Clark
10)    Who's Gonna Mow Your Grass
11)    Pickin' Up the Pieces
12)    At the Crossroads - Doug Sahm/The Sir Douglas Quintet
13)    Up On Cripple Creek
14)    Sin City
15)    Level With Your Senses
16)    Silver Threads and Golden Needles
17)    Hot Burrito #1
18)    I'm Movin' On
19)    Vaccination For the Blues
20)    Make Me Smile
21)    We Need A While Lot More Jesus (And A Lot Less Rock And Roll)
22)    Lungs - Townes Van Zandt
23)    Ruby (Don't Take Your Love To Town)
 
Product Details
Performer Notes
  • Liner Note Author: Colin Escott.
  • Recording information: A&M Studio, Hollywood, California (01/09/1969); A&M Studio, La Brea Ave., Hollywood, California (01/09/1969); American Studio, Memphis, Tennessee (01/09/1969); Amigo Recording, North Hollywood, California (01/09/1969); Bakersfield International Studio (01/09/1969); Bradley's Barn, Mount Juliet, Tennessee (01/09/1969); Capitol Recording Studio, Hollywood, California (01/09/1969); Capitol Recording Studio, Nashville, Tennessee (01/09/1969); Columbia Recording Studio, San Francisco, California (01/09/1969); Columbia Studio D, Hollywood, California (01/09/1969); Columbia Studio, Hollywood, California (01/09/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (01/09/1969); Sunset Sound Recorders, Hollywood, California (01/09/1969); T.T. & G Studio, Hollywood, California (01/09/1969); The Hit Factory, New York, New York (01/09/1969); Wally Heider Recording, Inc., Hollywood, California (01/09/1969); A&M Studio, Hollywood, California (01/15/1969); A&M Studio, La Brea Ave., Hollywood, California (01/15/1969); American Studio, Memphis, Tennessee (01/15/1969); Amigo Recording, North Hollywood, California (01/15/1969); Bakersfield International Studio (01/15/1969); Bradley's Barn, Mount Juliet, Tennessee (01/15/1969); Capitol Recording Studio, Hollywood, California (01/15/1969); Capitol Recording Studio, Nashville, Tennessee (01/15/1969); Columbia Recording Studio, San Francisco, California (01/15/1969); Columbia Studio D, Hollywood, California (01/15/1969); Columbia Studio, Hollywood, California (01/15/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (01/15/1969); Sunset Sound Recorders, Hollywood, California (01/15/1969); T.T. & G Studio, Hollywood, California (01/15/1969); The Hit Factory, New York, New York (01/15/1969); Wally Heider Recording, Inc., Hollywood, California (01/15/1969); A&M Studio, Hollywood, California (01/16/1969); A&M Studio, La Brea Ave., Hollywood, California (01/16/1969); American Studio, Memphis, Tennessee (01/16/1969); Amigo Recording, North Hollywood, California (01/16/1969); Bakersfield International Studio (01/16/1969); Bradley's Barn, Mount Juliet, Tennessee (01/16/1969); Capitol Recording Studio, Hollywood, California (01/16/1969); Capitol Recording Studio, Nashville, Tennessee (01/16/1969); Columbia Recording Studio, San Francisco, California (01/16/1969); Columbia Studio D, Hollywood, California (01/16/1969); Columbia Studio, Hollywood, California (01/16/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (01/16/1969); Sunset Sound Recorders, Hollywood, California (01/16/1969); T.T. & G Studio, Hollywood, California (01/16/1969); The Hit Factory, New York, New York (01/16/1969); Wally Heider Recording, Inc., Hollywood, California (01/16/1969); A&M Studio, Hollywood, California (02/13/1969/02/14/1969); A&M Studio, La Brea Ave., Hollywood, California (02/13/1969/02/14/1969); American Studio, Memphis, Tennessee (02/13/1969/02/14/1969); Amigo Recording, North Hollywood, California (02/13/1969/02/14/1969); Bakersfield International Studio (02/13/1969/02/14/1969); Bradley's Barn, Mount Juliet, Tennessee (02/13/1969/02/14/1969); Capitol Recording Studio, Hollywood, California (02/13/1969/02/14/1969); Capitol Recording Studio, Nashville, Tennessee (02/13/1969/02/14/1969); Columbia Recording Studio, San Francisco, California (02/13/1969/02/14/1969); Columbia Studio D, Hollywood, California (02/13/1969/02/14/1969); Columbia Studio, Hollywood, California (02/13/1969/02/14/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (02/13/1969/02/14/1969); Sunset Sound Recorders, Hollywood, California (02/13/1969/02/14/1969); T.T. & G Studio, Hollywood, California (02/13/1969/02/14/1969); The Hit Factory, New York, New York (02/13/1969/02/14/1969); Wally Heider Recording, Inc., Hollywood, California (02/13/1969/02/14/1969); A&M Studio, Hollywood, California (03/19/1969); A&M Studio, La Brea Ave., Hollywood, California (03/19/1969); American Studio, Memphis, Tennessee (03/19/1969); Amigo Recording, North Hollywood, California (03/19/1969); Bakersfield International Studio (03/19/1969); Bradley's Barn, Mount Juliet, Tennessee (03/19/1969); Capitol Recording Studio, Hollywood, California (03/19/1969); Capitol Recording Studio, Nashville, Tennessee (03/19/1969); Columbia Recording Studio, San Francisco, California (03/19/1969); Columbia Studio D, Hollywood, California (03/19/1969); Columbia Studio, Hollywood, California (03/19/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (03/19/1969); Sunset Sound Recorders, Hollywood, California (03/19/1969); T.T. & G Studio, Hollywood, California (03/19/1969); The Hit Factory, New York, New York (03/19/1969); Wally Heider Recording, Inc., Hollywood, California (03/19/1969); A&M Studio, Hollywood, California (03/1969-04/1969); A&M Studio, La Brea Ave., Hollywood, California (03/1969-04/1969); American Studio, Memphis, Tennessee (03/1969-04/1969); Amigo Recording, North Hollywood, California (03/1969-04/1969); Bakersfield International Studio (03/1969-04/1969); Bradley's Barn, Mount Juliet, Tennessee (03/1969-04/1969); Capitol Recording Studio, Hollywood, California (03/1969-04/1969); Capitol Recording Studio, Nashville, Tennessee (03/1969-04/1969); Columbia Recording Studio, San Francisco, California (03/1969-04/1969); Columbia Studio D, Hollywood, California (03/1969-04/1969); Columbia Studio, Hollywood, California (03/1969-04/1969); Sammy Davis, Jr.'s Poolhouse, Hollywood, California (03/1969-04/1969); Sunset Sound Recorders, Hollywood, California (03/1969-04/1969); T.T. & G Studio, Hollywood, California (03/1969-04/1969); The Hit Factory, New York, New York (03/1969-04/1969); Wally Heider Recording, Inc., Hollywood, California (03/1969-04/1969); A&M Studio, Hollywood, California (04/1969-05/1969); A&M Studio, La Brea Ave., Hollywood, California (04/1969-05/1969); American Studio, Memphis, Tennessee (04/1969-05/1969).
  • Illustrator: Colin Escott.
  • Photographer: Colin Escott.
  • The second volume of Bear Family's seven-disc country-rock history Truckers, Kickers, Cowboy Angels focuses on 1969, a crucial year in the music's development. It was the year Gram Parsons broke free from the Byrds to form the Flying Burrito Brothers, it was the year Bob Dylan released "Lay, Lady Lay," the year where the Band consolidated their success with their second album and its single "The Night They Drove Old Dixie Down," the year when the San Francisco-exiled Doug Sahm started to pine for "Texas Me," and, just as crucially, Glen Campbell adopted cinematic Hollywood production for "Galveston" as Buck Owens drenched "Who's Gonna Mow Your Grass' with fuzz guitars. Every one of these developments illustrated how country-rock was breaking into the mainstream and not from any one direction, either: there are bunches of Bakersfield twang but also Southern-fried soul, sultry Nashville production, a bit of proto-outlaw storytelling, and plenty of stuff that lies somewhere in between. What impresses most about this second volume of Truckers, Kickers, Cowboy Angels -- because this, like its predecessor, doesn't dig deep as much as it establishes history -- is how vibrant and exciting all these cultural cross-currents feel. The two years covered on Vol. 1 were the preamble: this is year zero of country-rock and in this excellent history, it still sounds invigorating and surprising. ~ Stephen Thomas Erlewine
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