Download Bobby Bare mp3

Artist: Bobby Bare: mp3 download    Genre(s):  Country     Discography:      The Moon Was Blue    Year: 2005    Tracks: 11      The Essential Bobby Bare    Year: 1997    Tracks: 20      Drunk And Crazy    Year: 1980    Tracks: 13      Detroit City / 500 Miles Away From Home    Year: 1963    Tracks: 24 Bobby Bare's news account is nearly as captivating as his medicine. Bare's mother died when he was v. His father couldn't earn enough money to flow his children, forcing the fellowship to rip up. Bare was working on a farm by the time he was 15 years honest-to-god, later working in factories and marketing ice cream to support himself. Building his modest guitar, he began playing music in his previous teens, acting with a local Ohio band in Springfield. In the previous '50s, he moved out to Los Angeles. Bare's low appearance on record book was in 1958, as he recorded his own talking blues "The All American Boy," which was credited to Bill Parsons. A figure of labels refused the record before the Ohio-based Fraternity Records bought it for $50; the fee too included the publication rights. "The All American Boy" was released in 1959 and it astonishingly became the second-biggest individual in the U.S. that December, crossing all over to the pop charts and peaking at number ternion. The exclusive was too a big hit in the U.K., reaching number 22. Before Bare could capitalise on his success, he was drafted into the armed forces. While he was on tariff, Fraternity leased another isaac M. Singer to become Bill Parsons and sent him kayoed on turn. After Bare left the army, he became roommates with Willie Nelson. During this time, he distinct to go a pop singer. Soon, he was touring with pop/rock stars like Roy Orbison and Bobby Darin, recording records for a number of California labels. Meanwhile, his songs were being recorded by a figure of artists; ternion of his tunes were featured in the Chubby Checker motion picture Adolescent Millionaire. Level though he was having some meek success, Bare decided he wasn't fulfilled playing pop music. Instead, he turned back to rural area, development a distinctive portmanteau word of area, folk, and pop. In 1962, Chet Atkins sign-language him to RCA Records. By the end of the year, he had a dispatch with "Dishonor on You," which was renowned for organism one of the first records out of Nashville to make concessions to the pop charts by featuring horns. The production worked, as the individual bust into the pop charts. The following year, he recorded Mel Tillis and Danny Dill's "Motown City," which became his instant straight single to make both the land and drink down charts. Bare followed up the exclusive with a traditional folks song, "five hundred Miles from Home." It was some other liberal dispatch for the singer, peaking in the Top Ten on both the area and pop charts. Bare continued to rack up hits in 1964 and 1965, as easily as appearance in the Western motion picture A Distant Trumpet. As the '60s progressed, Bare continued to blur the lines betwixt country and folk, as he was influenced by songwriters like Bob Dylan, recording material by Dylan and several of his contemporaries. Not only did he explore American folk, simply Bare travelled to England, where he was pop. In 1968, he recorded an album with a Liverpool rural area band called the Hillsiders (The English Country Side), which signaled his artistic drive. Stripped switched record labels in 1970, sign language with Mercury Records. He stayed at the label for deuce age, producing a string of Top Ten hits, including "How I Got to Memphis," "Please Don't Tell Me How the Story Ends," and "Come Sundown." Upon leaving Mercury, he recorded an album for United Artists called This Is Bare Country, which remained unreleased until 1976; rather, the label released a collection, The Very Best of Bobby Bare. After going UA, he re-signed with RCA in 1973. Later on in 1973, Bare released a forked album of Shel Silverstein songs, Bobby Bare Sings Lullabys, Legends and Lies. Not only did the album interpret the beginning of a collaboration with Silverstein, it was arguably the low rural area conception album, adding fire to the lawless movement of the '70s in the work on. The record was a remove with rural area audiences as good as rock candy fans, gaining airplay on FM wireless stations of the Cross. The following year, he had his outset number one individual with "Marie Laveau." Bare released some other record of Silverstein songs, Bobby Bare and the Family Singin' in the Kitchen, in 1975. Unfortunately, the singer's oldest girl died shortly afterward transcription the album; she was only 15. In 1977, Bare received a major packaging push from Bill Graham, the legendary stone concert booster. Graham signed the isaac Bashevis Singer to his direction company, proclaiming that Bare was the "Springsteen of country music." Soon, the vocalist found new audiences at college campuses and in Canada. He switched record labels the same year, transcription the self-generated Naked for Columbia. Two age later, he released Sleeper Whenever I Fall, which featured contributions from Rodney Crowell and rearranged careen & vagabond songs like the the Rolling Stones' "The Last Time" and the Byrds' "Feel a Whole Lot Better." Bare resumed his coaction with Silverstein in 1980, releasing the lively ingathering Downward and Dirty, which spawned 2 humourous hits, "Book of Numbers" and "Tequila Sheila." The following year, he released As Is, which showed that he was continuing to record a diverse pick of songwriters, including Townes Van Zandt, J.J. Cale, and Guy Clark. Disdain the fact that his act was consistently critically acclaimed, Bare's record sales began to slip in the early '80s, as the 1982 Silverstein coaction Drinkin' from the Bottle, Singin' from the Heart and his 1985 record for EMI failed to set up whatsoever major hit singles. Nevertheless, Bare continued to retain a devoted undermentioned in the U.S. and the U.K., and his influence on contemporary rural area music remains apparent. In 2005, the Dualtone label coaxed Bare out of retreat and released a new record album, The Moon Was Blue.

Mp3 music: Brenda Lee

Artist: Brenda Lee: mp3 download    Genre(s):  Country Pop Other     Brenda Lee's discography:      The Definitive Collection    Year: 2006    Tracks: 28      Brenda Lee    Year: 1991    Tracks: 10      Bye Bye Blues    Year: 1966    Tracks: 12      Sincerely    Year: 1962    Tracks: 12      All The Way    Year: 1961    Tracks: 12      Little Miss Dynamite, Vol. 4    Year:     Tracks: 31      Little Miss Dynamite, Vol. 3    Year:     Tracks: 28      Little Miss Dynamite, Vol. 2    Year:     Tracks: 30      Little Miss Dynamite, Vol. 1    Year:     Tracks: 33      Bonus Tracks    Year:     Tracks: 12      All Time Greatest Hits Disk 3    Year:     Tracks: 12      All Time Greatest Hits Disk 2    Year:     Tracks: 12      All Time Greatest Hits Disk 1    Year:     Tracks: 12 One of the biggest pop stars of the early '60s, Brenda Lee hasn't attracted as practically critical respect as she deserves. She is sometimes inaccurately characterized as unrivalled of the few female adolescent idols. More crucially, the course credit for achieving success with pop-country crossovers commonly goes to Patsy Cline, although Lee's efforts in this date of reference were arguably of equate importance. While she made few recordings of note afterwards the mid-'60s, the c. H. Best of her outset base decennium is hunky-dory so, wide non just now the pour down ballads that were her biggest hits, just uncoiled region and some astonishingly tearing rockabilly. Lee was a kid presage, appearance on national television system by the age of ten, and making her first recordings for Decca the next year (1956). Her first few Decca singles, in fact, have a pretty fair bid for the topper preteenager rock music & roll performances this face of Michael Jackson. "BIGELOW 6-200," "Dynamite," and "Little Jonah" ar all exceptionally powerful rockabilly performances, with robust vocals and white-hot backup from the lick of Nashville's session musicians (including Owen Bradley, Grady Martin, Hank Garland, and Floyd Cramer). Lee would non experience her low gear big hits until 1960, when she toughened the rockabilly with stripling god pop on "Fresh Nothin's," which went to the Top Five. The comparing betwixt Lee and Cline is to be expected, granted that both singers were produced by Owen Bradley in the early '60s. Naturally, many of the same seance musicians and backup vocalists were employed. Brenda, however, had a larger in with the pop audience, non just because she was noneffervescent a stripling, just because her corporeal was more pop than Cline's, and non as country. Between 1960 and 1962, she had a stunning series of vast hits: "I'm Sorry," "I Want to Be Wanted," "Emotions," "You Can Depend on Me," "Dum Dum," "Fool away #1," "Break It to Me Gently," and "All Alone Am I" all made the Top Ten. Their crossover invoke is no mystery. While these were ballads, they were delivered with sufficiency lovesick longing to appeal to adolescents, and sufficiency adulthood for the adults. The first class melodious songwriting and professional orchestral production guaranteed that they would not be ghettoized in the land market place. Lee's net Top Ten pop hit was in 1963, with "Losing You." While she noneffervescent had hits through the mid-'60s, these became smaller and less buy at with the uprise of the British Invasion (although she remained very democratic abroad). The topper of her after hits, "Is It True?," was a surprisingly hard-rocking performance, recorded in 1964 in London with Jimmy Page on guitar. 1966's "Approaching on Strong," yet, would turn out to be her net Top 20 entry. In the early '70s, Lee reunited with Owen Bradley and, care so many other white person rock & roll stars, returned to rural area euphony. For a clip she was reasonably successful in this field, fashioning the land Top Ten sextuplet times in 1973-1974. Although she remained active as a recording and touring artist, for the last couple of decades she's been little more than than a living legend, directing her intermittent artistic efforts to the state audience.

James Solberg

Mantas

   
Artist: Mantas

   Genre(s): 
Other
   

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Discography:


   
 Zero Tolerance

   Year: 2004   
Tracks: 10


   
 Winds Of Change (LP)

   Year: 1988   
Tracks: 9

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Mantas was the band formed by quondam Venom guitarist Jeff Dunn (aka Mantas, by nature) following his acrimonious discharge from the group, and their splashy, synthesizer-driven voiceless consonant rock and roll healthy was indeed a far cry from the legendarily raw black alloy pioneers. Not that the latter in whatever agency translated into increased record crying sales, since the group's 1988 debut album -- competently named Winds of Change, and in reality recorded four-spot years preferably -- was released by the promotionally challenged Neat Records. Rather, both the album and 1989's more or less more aggressive Beguiler EP were summate busts with one-time fans and prospective new ones alike, proving that you Mantas the band (which, by the way, was rounded out by Pete Harrison, second gear guitarist Al Barnes, keyboardist Keith Nichol, and a membranophone machine!!!) disintegrated in front visual perception the nineties, just a modern batten order featuring sometime Atomkraft and Venom bassist/vocalist Tony Dolan was briefly convened to record 2004's Zero Tolerance LP.