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Belle
09-15-2009, 06:36 PM
1969

Produced by Los Lonely Boys
Lonely Tone Records © 2009
Playing In Traffic

Henry Garza - Guitar, acoustic guitar and vocals
JoJo Garza - Bass acoustic guitar and vocals
Ringo Garza - Drums and vocals
Carmelo Torres - percussion
Rayna - Hammond Organ on "Roadhouse Blues"



LOS LONELY BOYS ANNOUNCE THEIR NEW RELEASE
1969
A TRIBUTE TO A GREAT YEAR OF MUSIC


FIRST EVER ACOUSTIC TOUR SET FOR OCTOBER
WITH ALEJANDRO ESCOVEDO & HACIENDA ON THE BILL

August 19, 2009 (Austin, TX) – Los Lonely Boys (Henry, Ringo, and Jojo Garza) announce the upcoming release of 1969 (Lonely Tone/Playing in Traffic), an EP of covers that pays tribute to one of America’s most musically hailed years.

Five years after crossing into the mainstream with the GRAMMY winning single “Heaven,” the brothers take this opportunity to invoke the sound of a generation that walked the moon and transcended Woodstock. They lend praise to songs that provided a soundtrack for so many and inspired their own multi-platinum success. With their signature blend of Latin rhythms, searing guitar leads and impeccable harmonies, the band takes the opportunity to trace their musical lineage through the following tracks Carlos Santana’s “Evil Ways,” The Beatles’ “She Came In Through the Bathroom Window,” Tony Joe White’s “Polk Salad Annie,” and The Doors’ “Roadhouse Blues.”

Legendary engineer Andy Johns provides his signature, timeless sound to 1969. In addition to recording Blind Faith’s “Well All Right” – also a featured track on the EP – Johns is well known for his work on Led Zeppelin II, III, IV and The Rolling Stones’ Exile on Main St.

Close friend Carlos Santana once told the brothers "When you're up on that stage or when you record, you want to be the tool that shines light through to everybody."

Los Lonely Boys always took his message to heart and more so now than ever with their spirited renditions of these classic tracks that they hope will appeal to their current audiences as well as attract new ones that appreciate this generation of music.

"Peace, love and gracias to Carlos Santana, Eric Clapton, Steve Winwood, Buddy Holly, The Beatles, Tony Joe White, The Doors - some of the many musicians and songwriters that made 1969 a pathway for us to follow,” offers Henry Garza on the upcoming project.

1969 also marks the first one via their new label home, the Austin-based Playing in Traffic Records and their own imprint Lonely Tone Records.

The brothers have been on the road for nearly six straight years with few weeks off in between. This fall they’re switching the format up a bit and setting out on their first-ever, acoustic tour fitly named “The Acoustic Brotherhood Tour” with supporters Alejandro Escovedo and Hacienda.

“This tour allows us to play the way we play in our backyards and really show the tradition of our Texican roots,” Ringo says about the Brotherhood tour.
The brothers met fellow Texan Alejandro Escovedo during a tribute project for him called Por Vida: A Tribute to the Songs of Alejandro Escovedo in 2004 and have been musical comrades every since. San Antonio’s Hacienda was an attractive addition after hearing about their work with Black Keys’ Dan Auerbach and the excitement they were creating in throughout their home state.

On the tour, Los Lonely Boys will play songs off of 1969, and their previous studio releases Forgiven (2008), Sacred (2006) and Los Lonely Boys (2004).

Belle
09-15-2009, 06:37 PM
http://i307.photobucket.com/albums/nn290/texasbelle_02/LLB%20graphics/evilways.jpg

© 1969 Santana



From Wikipedia: (http://en.wikipedia.org/wiki/Evil_Ways)



Copy and Paste lyrics
You've got to change your evil ways, baby,
before I stop lovin' you.
You've got to change, baby,
and every word that I say is true.
You got me runnin' and hidin' all over town.
You got me sneakin' and peepin' and runnin' you down.
This can't go on.
Lord knows you got to change.

Change, baby.

When I come home, baby,
my house is dark and my pots are cold.
You hang around, baby,
with Jean and Joan and-a who knows who.
I'm gettin' tried of waitin' and foolin' around.
I'll find somebody who won't make me feel like a clown.
This can't go on.
Lord knows you got to change.
[Repeat 2nd verse]

"Evil Ways" is a song by Santana from their 1969 album "Santana". It was written by Clarence (Sonny) Henry and recorded earlier by Willie Bobo.

Released as a single in late 1969, it became the band's first top forty and top ten hit in the U.S., peaking at number nine on the Billboard Hot 100 singles chart. Gregg Rolie performs the lead vocals and plays a Hammond organ solo in the middle section. The double-time coda includes a guitar solo performed by Carlos Santana.


Also:
* Carlos Santana born 7/20/47 in Autlan de Navarro, Mexico
* Santana was inducted into the Rock & Roll Hall Of Fame in March of '98





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Belle
09-15-2009, 06:38 PM
http://i307.photobucket.com/albums/nn290/texasbelle_02/LLB%20graphics/well.jpg


©1958 Buddy Holly
http://www.secondhandsongs.com/song/12671
Written by: Buddy Holly, Norman Petty, Jerry Allison, Joe Mauldin
First release: On audio single Heartbeat (November 5, 1958)

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Copy and Paste lyrics
Well, all right, so I've been foolish.
Well, all right, let people know
'bout the dreams and wishes that you wish
in the night when lights are low.

Well, all right. Well, all right.
You know we'll live and love with all our might.
Well, all right. Well, all right.
You know our lifetime love will be all right.

Well, all right, so I'm not working.
Well, all right, let people say
that those foolish kids can't be ready
for the love that comes their way.



©1969 Blind Faith (Cover of Well, All Right)
From netflix.com: (http://www.netflix.com/Movie/Blind_Faith_London_Hyde_Park_1969/70056456?mqso=80020215&partid=Blind_Faith__London_Hyde_Park__1969)

Get set for a legendary concert as a group of British rock superstars debut their new band in London's Hyde Park. On June 7, 1969, the newly formed Blind Faith -- guitarist Eric Clapton, vocalist and keyboardist Steve Winwood, bassist Rick Grech and drummer Ginger Baker -- performed for a huge audience of enthusiastic fans. Selections include "Well All Right," "Under My Thumb," "Do What You Like," "Sea of Joy," "Can't Find My Way Home" and more.



Song Review:
Click here for source: All Music (http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:dpfyxx80ldde)
"Well...All Right" was one of numerous Buddy Holly songs that got relatively little attention and sales during his lifetime, but became something of a standard after his death, when the abundance of riches in the Holly catalog began to gain true appreciation. Its initial release was certainly low-profile: it was the B-side of Holly's low-charting single "Heartbeat," at a time when B-sides often got little or no airplay, and sometimes went unplayed even by those who'd bought the 45 for the A-side. To be frank, "Well...All Right" might have stood little chance of being a hit single had it been pushed as the A-side (though, interestingly, it made the Top 30 in Australia). That wasn't because of the quality of the song, which was superb. It was because its structure and texture was so uncommon for rock'n'roll of the era, in some ways looking forward to folk-rock more than it did backward to rockabilly. For one thing, the folk-country-pop chord sequence, full of sharp descensions, was simply far removed from much of basic early three-chord rock'n'roll. It's not that the melody's so complicated, just that it's so different, and when early rock'n'roll stuck to basic three-chord prototypes so often, that difference made it sound really different. Too, the arrangement relied primarily on hasty, galloping acoustic guitars that constantly shifted key, and percussion consisting solely of rattled, almost shamanistic cymbals. The lyric was a little odd, too, bristling with contained adolescent rebellion against grown-ups trying to get in the way of young love. Holly's more characteristic optimism won out in the buoyant chorus, in which he pledged that love would turn out all right, yet alternating the volume with a tension suggesting restrained frustration. The almost hypnotic quality of the track came to an abrupt close with a couple of particularly emphatic cymbal rattles. Although it might seem like "Well...All Right" is too idiosyncratic to spin off successful cover versions, Blind Faith made one a highlight of their sole (and chart-topping) album in 1969. The group took great liberties with the tune, so many in fact that those familiar with the Holly original might not have recognized it at first, starting it with a snaky, unsettling hard rock guitar riff by Eric Clapton. Singer Stevie Winwood stuck close to the original melody in the verse and chorus, however, though with a radically different arrangement that turned it into a soulful blues-rock tune. For all the changes, it was a pretty decent track, one that succeeded in recasting an original into a quite different musical genre. Santana also did a cover of the song, on the 1978 album Inner Secrets.



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Belle
09-15-2009, 06:40 PM
http://i307.photobucket.com/albums/nn290/texasbelle_02/LLB%20graphics/she.jpg

© 1969 The Beatles

Copy and Paste lyrics
[Ah, listen to this now. Look out!]
She came in through the bathroom window,
protected by a silver spoon.
But now she sucks her thumb and wanders
by the banks of her own lagoon.

Didn’t anybody tell her? Didn’t anybody see?
Sunday’s on the phone to Monday.
Tuesday’s on the phone to me.

She said she’d always been a dancer.
She worked in 15 clubs a day.
And though she thought I knew the answer,
well I knew, but I could not say.

And so I quit the police department
and got myself a steady job,
and though she tried her best to help me,
she could steal but she could not rob.

Didn’t anybody tell her? Didn’t anybody see?
Sunday’s on the phone to Monday.
Tuesday’s on the phone to me.
Oh yeah.




From Wikipedia: (http://en.wikipedia.org/wiki/She_Came_in_Through_the_Bathroom_Window)
"She Came in Through the Bathroom Window" is a song written by Paul McCartney (although credited to Lennon/McCartney) and performed by The Beatles on their album Abbey Road as part of the Abbey Road medley.

In the 2006 DVD documentary The Classic Artists Series: The Moody Blues (DVD UK, released October 2006), Mike Pinder, the former keyboard player of Birmingham R&B band The Moody Blues, states that the inspiration for the song actually rests with an incident that happened to them—a groupie climbing into an open bathroom window in the band's home and spending the night with band member Ray Thomas. The next day, Pinder and Thomas recounted the story to McCartney, who—guitar in hand—strummed and sang "She came in through the bathroom window..."

However, a number of "Apple Scruffs" (a certain type of Beatles fan), as well as McCartney himself, insist that the song is about them. They say that a group of Apple Scruffs broke into McCartney's St John's Wood home. Diane Ashley, one of the group, says: "We were bored, he was out and so we decided to pay him a visit. We found a ladder in his garden and stuck it up at the bathroom window which he'd left slightly open. I was the one who climbed up and got in." She then opened the front door to let the others in, and they stole a number of photographs. Another Apple Scruff, Margo Bird, remembers being good friends with McCartney - she would often take his dog for walks - and later got a job at Apple Corps. She says that she was asked to retrieve a certain photograph, which she did.

Belle
09-15-2009, 06:41 PM
http://i307.photobucket.com/albums/nn290/texasbelle_02/LLB%20graphics/polk.jpg

© 1969 Tony Joe White

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Copy and Paste lyrics
Tell y’all a little story ‘bout a girl out in Louisiana. She used to go out in a turnip patch and pick something that looked kinda like a turnip green, something we call polk salad, something like this….

Down in Louisiana where the alligators grow so mean,
there lived a girl that I swear to the world made the alligators look tame.

Polk salad Annie. Polk salad Annie. Everybody said it was a shame
‘cause her mama was a working on the chain-gang. Yes, she was.
(a mean, vicious woman).

Everyday before supper time she'd head out over to the truck patch
and pick her a mess o' Polk salad and carry it home in a tote sack.

Polk salad Annie, 'gators got you granny. [chomp chomp]
Everybody said it was a shame
'cause her mama was a workin' on the chain-gang. Yes, she was.
[Come on Polk salad, Texican style. Let’s go.]

Her daddy was lazy and no count. Claimed he had a bad back.
All her brothers were fit for was stealin'
watermelons out of my truck patch.
Polk salad Annie, oh that gator’s got your granny. Yeah.
Oh, everybody said it was a shame,
‘cause her mama was a working' on the chain gang. Yes, she was.
Come on, mama. Yeah.

Everybody said it was a shame
‘cause her momma was working on a chain gang. Yes, she was.

Mean ol’ mama, ol’ Annie. C’mon, granny.




From Wikipedia: (http://en.wikipedia.org/wiki/Poke_Salad_Annie)
"Poke Salad Annie" or "Polk Salad Annie" is a 1969 song written and performed by Tony Joe White. It was recorded in Muscle Shoals, Alabama. Its lyrics describe the lifestyle of a generic Southern girl. Traditionally, the term to describe the type of food highlighted in the song is "poke salad." Its 1969 single release peaked at #8 on the Billboard Hot 100.

The single, released by Monument Records had been out nine months before it finally charted, and had been written off by Monument as a failure. Said White: "They had done given up on it, but we kept getting all these people in Texas coming to the clubs and buying the record. So we would send up to Nashville saying, 'Send us a thousand more this week.' They would send us these 'Do Not Sell' examples, so we would have to sit down and mark out the 'Do Not Sell' and then send them to the record stores. All these stores in South Texas kept calling our house saying, 'We need more.' So we just kept hanging on. And finally a guy in L.A. picked it up and got it across. Otherwise, 'Polk' could have been lost forever."






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Belle
09-15-2009, 06:42 PM
http://i307.photobucket.com/albums/nn290/texasbelle_02/LLB%20graphics/roadhouse.jpg

© 1969 The Doors

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Copy and Paste lyrics
[Ah yeah, Texican style, y’all. Yeah. Unh!]

Keep your eyes on the road,
and your hands upon the wheel. [2x]
Yeah, we're going to the roadhouse,
Gonna have a real good-time.
Yeah, good time.
Yeah, the backdoor of the roadhouse,
They got some bungalows. [2x]
They dance for the people
Who like to go down slow.
yeah.

Let it roll, baby, roll. [3x]
Let it roll, all night long.
Yeah, we can do it, too, y’all.

Ashen lady. Ashen lady.
Give up your vow. Give up your vow.
Save our city. Save our city.
Alright now. yeah.
Alright, yeah, yeah, yeah.

Well, I woke up this morning and I got myself a beer. [2x]
The future's uncertain and the end is always near.
C’mon, baby, roll.
Let it roll, baby, roll. [2x]
Let it roll, all night long. [2x]



From Wikipedia (http://en.wikipedia.org/wiki/Roadhouse_Blues):
"Roadhouse Blues" is a blues-rock song written and recorded by the American rock band The Doors. The song, which appeared on the B-side of "You Make Me Real", was first released as a single from the album Morrison Hotel in March 1970 and peaked at #50.

The song took two days to record (November 4th-5th, 1969), producer Paul A. Rothchild striving for perfection. Several takes from these sessions were included on the new 2006 remastered album. Rothchild can be heard instructing the band members on their musicianship, notably when he exclaims to Robbie Krieger about his introductory guitar riff that "we're going to the roadhouse, Robbie, not the bathroom!" Surprisingly, he does not comment on Morrison, who is apparently intoxicated, "going into full blues singer mode" in the words of engineer Bruce Botnick, improvising and simultaneously flubbing several lyrics and repeating the blues phrase "Money beats soul every time".

The sessions only took off on the second day, when resident Elektra guitarist Lonnie Mack joined in on bass and harmonicist John Sebastian (appearing under the pseudonym G. Puglese out of loyalty to his recording contract or to avoid affiliation with The Doors after the Miami controversy) joined in on the sessions and Ray Manzarek switched from his Wurlitzer electric piano to a tack piano (the same used on The Beach Boys "Good Vibrations"). One classic moment is when Morrison shouts "Do it, Lonnie! Do it!" when Mack rips off the solo (often misheard as "Do it, Robby! Do it!", as if Morrison was addressing his bandmate Robby Krieger).

Lonnie Mack was playing bass on that song and had borrowed Krieger's guitar to develop some blues guitar lines. Mack also played the lead guitar solo on the track, but was only credited for bass as to not embarrass Krieger. Krieger copied some of Mack's lines in later takes. No one really knows whose take made it on the final cut. An interesting fact about this song is that Morrison has used few Nepalese words in his lyrics.





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mamacitaRuth
09-16-2009, 05:17 AM
Belle, I don't want to mess up your discography catalog, so you can delete it, but I just wanted to point out that the song "Well...All Right" was written and recorded first by Buddy Holly in 1959, on The Buddy Holly Story, Vol. 2. I sent you a listen....:)

Belle
09-16-2009, 03:42 PM
Thanks, Ruth. I'll add that. Like I said in the first post - this thread is under construction, so it's not too late to fix anything.

Anyone else got something about these songs, just holler! :cool:

mmmbopnmommy
09-22-2009, 08:32 AM
Thanks for the History Lesson on the songs!!!
I was unfamiliar w/ some, and had to be "reminded" on others that i did know them! LOL
But it was cool learning about them. :D

loopie girl
10-24-2009, 06:53 PM
Belle, Thanks for posting all of the lyrics. I was having trouble getting them while listening. This will help alot. Have agreat weekend, that is whta's left of it. :)

williamsmith
04-03-2010, 01:50 AM
Hi MamacitaRuth


Its sounds good

mamacitaRuth
04-03-2010, 09:37 PM
Hi MamacitaRuth


Its sounds good

Hi there! Welcome to Crossroads, wiliamsmith!! :cool: