Neither we nor any third parties provide any warranty or guarantee as to the accuracy, timeliness, performance, completeness or suitability of the information and materials found or offered on this website for any particular purpose. The content of the pages of this website is for your general information and use only. The use of this website is subject to the following terms of use: The term ‘you’ refers to the user or viewer of our website. The term ‘Discrepancy Records’ or ‘us’ or ‘we’ refers to the owner of the website whose registered office is. If you disagree with any part of these terms and conditions, please do not use our website. If you continue to browse and use this website, you are agreeing to comply with and be bound by the following terms and conditions of use, which together with our privacy policy govern Discrepancy Records’s relationship with you in relation to this website. # links are broken, waiting to update #/3y2a2y1lh6r7/J0hnn圜ashSilver1979Reissue2003FLACStere02488.2.rar.Welcome to our website. # links are broken, waiting to update #/f2546995cr0e/J0hnn圜 # links are broken, waiting to update #/6kmq44bf9bsc/J0hnn圜 # links are broken, waiting to update #/mmo37x85ajfe/J0hnn圜 # links are broken, waiting to update #/fm6sy5jrq1cg/J0hnn圜 I’m Gonna Sit On The Porch And Pick On My Old Guitar Lately I Been Leanin’ Toward The Bluesġ0. Hall’s “The L&N Don’t Stop Here Anymore” a cover of “(Ghost) Riders in the Sky” (a song that’s hard to ruin) with contributions from Ricky Skaggs, Wayne Jackson, and the Carter Family and veteran cohort Jack Clement’s memorably titled “West Canterbury Subdivision Blues.” George Jones adds harmony vocals to “I’ll Say It’s True,” and the 2002 CD reissue on Columbia/Legacy adds two previously unreleased duets with Jones on remakes of the late-’50s Cash recordings “I Still Miss Someone” and “I Got Stripes”.Ġ9. Some of the better songs include his reading of Tom T. Still, erratic production can’t smother Cash’s strengths, and the record’s not terrible, just uninspired. The idea was probably to make Cash sound less old-fashioned the ironic result was to make it sound more dated and flat than most of the rest of his catalog, without comparing to his better recordings in the quality of the content. Plenty of session help was on hand as well, sometimes on trumpet and French horn, and it’s usually not a great sign when the list of players on some tracks run to more than a dozen. Brian Ahern, who produced Emmylou Harris, was at the helm of a set that often put a more contemporary sheen on the sound with filters and phase shifters. Silver was a below-average Cash outing, due both to the routine material and the mixed attempt to update his sound with more modern production techniques. Or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 37:15 min | Art | 736 MB
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