Jim Kweskin, Mel Lyman & The Lyman Family | Jim Kweskin's America

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Folk: Traditional Folk Folk: Folk-Jazz Moods: Type: Acoustic
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Jim Kweskin's America

by Jim Kweskin, Mel Lyman & The Lyman Family

JAPANESE IMPORT. The 1971 Jim Kweskin classic folk album digitally remastered in 2013, featuring Jim Kweskin, Mel Lyman, Etta Green, Mayne Smith, Reed Wasson, Richard Herbruck, and Marilyn Kweskin.
Genre: Folk: Traditional Folk
Release Date: 

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  Song Share Time Download
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1. Back in the Saddle
Jim Kweskin, Mel Lyman & The Lyman Family
2:48 $1.19
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2. Sugar Babe
Jim Kweskin, Mel Lyman & The Lyman Family
3:00 $1.19
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3. Okie from Muskogee
Jim Kweskin, Mel Lyman & The Lyman Family
3:53 $1.19
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4. 99 Year Blues
Jim Kweskin, Mel Lyman & The Lyman Family
3:46 $1.19
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5. Ramblin' Round Your City
Jim Kweskin, Mel Lyman & The Lyman Family
5:43 $1.19
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6. Amelia Earhart's Last Flight
Jim Kweskin, Mel Lyman & The Lyman Family
5:01 $1.19
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7. Stealin'
Jim Kweskin, Mel Lyman & The Lyman Family
4:29 $1.19
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8. Old Rugged Cross
Jim Kweskin, Mel Lyman & The Lyman Family
7:56 $1.19
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9. Dark as a Dungeon
Jim Kweskin, Mel Lyman & The Lyman Family
6:36 $1.19
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10. Old Black Joe
Jim Kweskin, Mel Lyman & The Lyman Family
7:01 $1.19
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
JAPANESE IMPORT.

Liner notes:
When Jim first called me in New York to come out to San Francisco and help him produce an album of "American" music I was more than a little hesitant as I was currently engaged in trying to start the second "American" Revolution and didn't quite know if the two projects were reconcilable. Having just recently closed my now defunct "History of Rhythm and Blues" series with KPFK in Los Angeles I was more than a little wary of entering upon a new musical enterprise but he assured me that there would be no outside interference and I was free to follow my own whims and impulses as time and space allowed and so I dismissed any further creeping uncertainties and cast my fate to the wind. I embarked upon my new adventure by air and can even now recall how with great confidence and bravado I impressed upon Captain Pettigrew the importance of this record. We stood in the lounge of the 747 Jet excitedly discussing the merits of this or that kind of music and when I told him people were flying in from all over the country to participate in this album he was duly amazed. By this time I was quite overtaken by the spirit of this record we were about to create and I even ventured so far as to guarantee him it would be a success. I don't know who was flying the plane.
Jim's Road Manager, O.D. Long, met me at the airport and accompanied me to my Suite and early the next morning I entered Mr. Weston's studio for the first time. All the musicians had already arrived. Mel Lyman had flown in from Boston. Reed Wasson, the renowned Jazz Bassist, had left his job as legal advisor to the Tehachapee Indians in upper New Mexico and flown in by private plane. Etta Green had abandoned her post with the Philadelphia Symphony Orchestra to come out and attempt to imitate country fiddle on her cello. Mayne Smith had come down from Alaska to play the dobro. Many more were assembled and as we milled around making small talk and getting acquainted we somehow felt we were on the verge of some great historic gathering. I, myself, was almost in tears when Jim asked me to play the tuba on "Stealing" as there are so few who really can comprehend the virtues of that great instrument. But that was only the beginning.

From the very opening moments there was an aura of excitement in the air, this was no ordinary recording session, the Muses were with us! The music flowed easily and the studio reverberated with a sound that we knew we were only partly responsible for. When I delivered the stirring testimonial in "Okie from Muskogee" the words seemed to enter and pass through me from some far off distant place, I scarcely knew what I said. Mel crouched over his harmonica and seemed to shake all over, Reed towered and swayed as though on the strings of some gigantic puppeteer. The women drifted in and out like remnants of a celestial choir and Jim was clearly in another world. Etta later testified she had never reached more inspiring heights and even Phil, the recording engineer, could not restrain himself from occasionally bursting into song. All in all it was a magnificent experience, one to never be duplicated. As the last day of the session drew to a close all the musicians magically left their instruments and gathered around a microphone to join voices in a glowing tribute to the beloved Stephen Foster.

And then we were done. the spirit of this once great country of ours had come and left its mark as minute little tracings in a plastic disc and the second American Revolution was underway.

sincerely, Richard Herbruck

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