+----------------+------------------------------------------+----------------+
| |
| Artist : Lucinda Williams |
| Album : Live At The Fillmore (Advance) |
| Bitrate : VBR kbps |
| |
+-------------------------------[Release Info]-------------------------------+
| |
| Label : UMG Recordings |
| Year : 2005 |
| Genre : Funk |
| Ripper : Kournikova |
| Rip date : 2005-05-03 |
| Store date : 2005-05-10 |
| Size : 173 megs |
| |
+--------------------------------[Track List]--------------------------------+
| |
| Disc 1/2 |
| -------- |
| 1. Ventura 5:06 |
| 2. Reason To Cry 4:22 |
| 3. Fruits Of My Labor 5:04 |
| 4. Out Of Touch 7:21 |
| 5. Sweet Side 4:45 |
| 6. Lonely Girls 4:28 |
| 7. Overtime 4:16 |
| 8. Blue 4:22 |
| 9. Changed The Locks 4:07 |
| 10. Atonement 5:58 |
| ----------------------------------------------------------------------- |
| 49:49 |
| Disc 2/2 |
| -------- |
| 1. I Lost It 3:27 |
| 2. Pineola 4:04 |
| 3. Righteously 4:55 |
| 4. Joy 8:20 |
| 5. Essence 7:16 |
| 6. Real Live Bleeding Fingers And Broken Guitar Strings 4:57 |
| 7. Are You Down 6:29 |
| 8. Those Three Days 5:02 |
| 9. American Dream 5:24 |
| 10. World Without Tears 4:42 |
| 11. Bus To Baton Rouge 6:26 |
| 12. Words Fell 4:34 |
| ----------------------------------------------------------------------- |
| 65:36 |
| |
+-------------------------------[Release Notes]------------------------------+
| |
| The object of cultish adoration for years, singer/songwriter Lucinda |
| Williams was universally hailed as a major talent by both critics and |
| fellow musicians, but it took quite some time for her to parlay that |
| respect into a measure of attention from the general public. Part of the |
| reason was her legendary perfectionism: Williams released records only |
| infrequently, often taking years to hone both the material and the |
| recordings thereof. Plus, her early catalog was issued on smaller labels |
| that agreed to her insistence on creative control but didn't have the |
| resources or staying power to fully promote her music. Yet her |
| meticulous attention to detail and staunch adherence to her own vision |
| were exactly what helped build her reputation. When Williams was at her |
| best (and she often was), even her simplest songs were rich in literary |
| detail, from her poetic imagery to her flawed, conflicted characters. |
| Her singing voice, whose limitations she readily acknowledged, |
| nonetheless developed into an evocative instrument that seemed entirely |
| appropriate to her material. So if some critics described Williams as |
| "the female Bob Dylan," they may have been oversimplifying things |
| (Townes Van Zandt might be more apt), but the parallels were certainly |
| too strong to ignore.Williams was born in Lake Charles, LA, on January |
| 26, 1953. Her father was Miller Williams, a literature professor and |
| published poet who passed on not only his love of language, but also of |
| Delta blues and Hank Williams. The family moved frequently, as Miller |
| took teaching posts at colleges around Louisiana, Mississippi, Georgia, |
| Arkansas, and even Mexico City and Santiago, Chile. Meanwhile, Lucinda |
| discovered folk music (especially Joan Baez) through her mother and was |
| galvanized into trying her own hand at singing and writing songs after |
| hearing Dylan's Highway 61 Revisited. Immersed in a college environment, |
| she was also exposed to '60s rock and more challenging |
| singer/songwriters like Leonard Cohen and Joni Mitchell. She started |
| performing folk songs publicly in New Orleans and during the family's |
| sojourn in Mexico City. In 1969, she was ejected from high school for |
| refusing to say the Pledge of Allegiance, and she spent a year working |
| her way through a reading list supplied by her father before leaving |
| home.Williams performed around New Orleans as a folk artist who mixed |
| covers with traditional-styled originals. In 1974, she relocated to |
| Austin, TX, and became part of that city's burgeoning roots-music scene; |
| she later split time between Austin and Houston, and then moved to New |
| York. A demo tape got her the chance to record for the Smithsonian's |
| Folkways label, and she went to Jackson, MS, to lay down her first album |
| at the Malaco studios. Ramblin' on My Mind (later retitled simply |
| Ramblin') was released in 1979 and featured a selection of traditional |
| blues, country, folk, and Cajun songs. Williams returned to Houston to |
| record the follow-up, 1980's Happy Woman Blues. As her first album of |
| original compositions, it was an important step forward, and although it |
| was much more bound by the dictates of tradition than her genre-hopping |
| later work, her talent was already in evidence.However, it would be some |
| time before that talent was fully realized. Williams flitted between |
| Austin and Houston during the early '80s, then moved to Los Angeles in |
| 1984, where she started to attract some major-label interest. CBS signed |
| her to a development deal in the mid-'80s but wound up passing since |
| neither its rock nor its country divisions knew how to market her; |
| around the same time, a short-lived marriage to drummer Greg Sowders |
| dissolved. Williams eventually caught on with an unlikely partner ù the |
| British indie label Rough Trade, which was historically better known for |
| its punk output. The simply titled Lucinda Williams was released in |
| 1988, and although it didn't make any waves in the mainstream, it |
| received glowing reviews from those who did hear it. |
| |
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