<h4>Alabama Bound - The Charlatans</h4>

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	Rola:	Alabama Bound
	Intérprete:	The Charlatans
	Compositor:	Traditional, arreglado por The Charlatans
	Disco:	The Charlatans
	Productor:	Dan Healy, The Charlatans

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HISTORIA

"I'm Alabama Bound" is a ragtime melody composed by Robert Hoffman in 1909. Hoffman "respectfully" dedicated it to one M. T. Scarlata.[1] The cover of its first edition (published by Robert Ebberman, New Orleans, 1909) advertises the music as "Also Known As The Alabama Blues" which has led some to suspect it of being one of the first blues songs. However, as written, it is an up-tempo rag (Rag Time Two Step) with no associated lyrics. It has been recorded numerous times in different styles—both written and in sound recordings—with a number of different sets of lyrics. Two recording artists claimed composing credits for the tune under two different titles and both with differing lyrics: Trixie Smith for "Railroad Blues" (Paramount 12262, 1925) and Ferdinand "Jelly Roll" Morton for "Don't You Leave Me Here" (Bluebird 10450, 1939). Huddie "LeadBelly" Ledbetter recorded perhaps the best-known version of "I'm Alabama Bound" ("Alabama Bound", Victor 27268, 1940).

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DATOS DE LA GRABACIÓN

	Duración:	47:00
	Año:	1969
	Formato:	L.P.
	A la venta:	01/10/1969
	Disquera:	Phillips

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MÚSICOS

Mike Wilhelm - Vocals, Guitar, Fretted instruments, Percussion Richard Olsen - Vocals, Bass, Woodwind instruments, Percussion Darrell DeVore – Vocals, Piano/Keyboards, Bass, Percussion Terry Wilson – Drums, Percussion

ESCUCHA LA ROLA

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LETRA

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Original

Traducción

Oh, don't you leave me here Oh, don't you leave me here But if you must go anyhow Just leave a dime for beer Oh don't you be like me Oh don't you be like me Drink your good sweet cherry wine And let that whiskey be I'm Alabama bound I'm Alabama bound And if the train don't stop and turn around I'm Alabama bound Well your hair don't curve And your eyes ain't blue Well if you don't want me, Polly Ann Well I don't want you

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EL L.P. QUE CONTIENE LA ROLA

LADO A 1. "High Coin" 2. "Easy When I'm Dead" 3. "Ain’t Got the Time" 4. "Folsom Prison Blues" 5. "The Blues Ain't Nothin'" 6. "Time to Get Straight"

LADO B 1. "When I Go Sailin' By" 2. "Doubtful Waltz" 3. "Wabash Cannonball" 4. "Alabama Bound" 5. "When the Movies Are Over"

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The Charlatans is the self-titled debut album by the influential San Francisco psychedelic rock band The Charlatans and was released by Philips Records in 1969. The album was recorded at Pacific High Studios, San Francisco, with production and engineering by Dan Healy and The Charlatans. Although the record was The Charlatans' debut album, it was recorded and released relatively late in the band's career, a factor which contributed to its commercial failure. By 1969, the band's lineup had changed considerably from their 1965 – 1967 heyday, leaving Mike Wilhelm (lead guitar, vocals) and Richard Olsen (bass, vocals) as the only original members. Terry Wilson (drums) and Darrell DeVore (piano/keyboards, vocals) were recruited in order to flesh out the band, prior to the recording of the album. Unfortunately, The Charlatans was a critical and commercial flop upon its release. A contributing factor to the album's lack of success was the fact that The Charlatans' sound had become somewhat outdated by 1969, with their brand of jug band blues and gentle psychedelia being largely eschewed by the public in favor of a heavier rock sound. In his book, The Summer of Love: The Inside Story of LSD, Rock & Roll, Free Love and High Times in the Wild West, author Joel Selvin describes the album as "an unenthusiastic coda to a misspent career." Other reviewers have been kinder towards the album, with critic Bruce Eder, noting that the album "is a rather gorgeous and gently challenging piece of San Francisco rock, incorporating elements of blues and big-band swing, as well as '50s rock & roll and elegant '60s pop." A single taken from the album, coupling the Van Dyke Parks-penned song, "High Coin", with "When I Go Sailin' By", was released by Philips Records in 1969 but this too was met with commercial failure. Disillusioned by the album's lack of success, The Charlatans had broken up by the end of 1969. The Charlatans has been reissued on CD three times to date. Firstly, in 1992 by Eva Records as an unofficial (or bootleg) CD, where it was coupled with another unofficial Charlatans' album, a compilation of unreleased recordings titled Alabama Bound. The second reissue was on One Way Records in 1995 and included two bonus tracks, "The Shadow Knows" and "32-20", both of which had appeared on The Charlatans' debut single in 1966. The third reissue of the album was released under the title San Francisco 1969 by Acadia Records in 2004 and was digitally remastered from the original master tapes. The Acadia release also included a 1969 Philips Records' radio advertisement for the album as a bonus track. Of all the CD reissues, the Acadia release boasts by far the best sound quality.

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INTÉRPRETE

The Charlatans: San Francisco The Charlatans were an influential psychedelic rock band that played a role in the development of the San Francisco music scene during the 1960s and are often cited by critics as being the first group to play in the style that became known as the San Francisco Sound. Exhibiting more pronounced jug band, country and blues influences than many bands from the same scene, the Charlatans’ rebellious attitude and distinctive, late 19th century fashions exerted a major influence on the Summer of Love in San Francisco. Their recorded output was small, with their first album, The Charlatans, not being released until 1969, some years after the band's heyday. The band is notable for featuring the first commercial appearance of Dan Hicks, later of Dan Hicks and his Hot Licks. Formed in the summer of 1964, by amateur avant-garde musician George Hunter and music major Richard Olsen, the earliest line up of The Charlatans featured George Hunter (autoharp, vocals), Olsen (bass, vocals), Mike Wilhelm (lead guitar, vocals), Mike Ferguson (piano/keyboards, vocals), and Sam Linde (drums). Linde's drumming was felt to be substandard by the rest of the band and he was soon replaced by Dan Hicks (drums, vocals). The group was known for their style of dress, clothing themselves in late 19th century attire, as if they were Victorian dandies or Wild West gunslingers. This eye-catching choice of clothing was influential on the emerging hippie counter-culture, with young San Franciscans dressing in similarly late Victorian and early Edwardian era clothing. In June 1965, the Charlatans began an extended residency at the Red Dog Saloon in Virginia City, Nevada, just across the border from Northern California. This six week stint at the Red Dog was important because band members Mike Ferguson and George Hunter produced a rock concert poster in advance of the residency to promote the performances. This poster — known as "The Seed" — is almost certainly the first psychedelic concert poster.[4] By the end of the decade, psychedelic concert poster artwork by artists such as Wes Wilson, Rick Griffin, Stanley Mouse, Alton Kelley, and Victor Moscoso had become a mainstay of San Francisco's music scene. There were, in fact, two "Seed" posters, which look almost identical. They are differentiated by their dates. The first lists the band as playing between June 1 and 15, while the second states "Opening June 21". Another reason that the Charlatans' extended stay at the Red Dog Saloon was important was that, immediately before their first performance at the club, the band members took LSD. This was the first time that a musical group had performed under the influence of LSD.[citation needed] As a result, the Charlatans are sometimes called the first acid rock band, although their sound is not representative of the feedback-drenched, improvisational music that would later come to define acid rock. The Charlatans returned to San Francisco at the end of summer 1965 and, in September, were given the chance to audition for Autumn Records, a label headed by local DJ, Tom "Big Daddy" Donahue. Autumn didn't sign the band, partly due to conflicts between the group and Donahue over suitable material and partly due to lack of money; the label was on the verge of bankruptcy and was sold to Warner Bros. Records early the following year. The failed Autumn Records audition proved to be only a minor setback as The Charlatans signed with Kama Sutra Records in early 1966. As home to the Lovin' Spoonful, one of the earliest folk rock bands to find international success, the group thought the label would be the ideal home for their music. However, after the band had recorded a number of songs for the record label and chosen to issue "Codine" as their debut single, the record company vetoed the release, due to the song's drug connotations.[5] Ironically, the tune, penned by folk artist Buffy Sainte-Marie, spoke of the dangers of drugs, rather than promoting their use, but Kama Sutra was adamant and refused to release the song. Instead, two other songs from the Kama Sutra sessions, "The Shadow Knows" and "32-20", were released by Kapp Records in 1966 as the band's first single, with some copies being housed in a very rare, promotional-only picture sleeve. Unfortunately, Kapp Records failed to adequately promote the release and the single was a commercial flop.[3] The remaining songs recorded for The Charlatans' debut album during the Kama Sutra sessions remained unreleased until they were officially issued for the first time by Big Beat Records in 1996, on The Amazing Charlatans album. Mike Ferguson was fired from the Charlatans in 1967 and replaced by Patrick Gogerty. Additionally, Terry Wilson was brought in to take over as drummer after Dan Hicks moved to rhythm guitar, enabling him to sing his compositions as a front man for the group. Hicks eventually left the group in 1968 to form his own band, Dan Hicks and his Hot Licks and Gogerty was subsequently fired from the band. Tensions between George Hunter and the rest of the band escalated throughout 1968 until Mike Wilhelm, Richard Olsen and Terry Wilson decided to disband the group, reforming soon afterward without inviting Hunter back into the band.[3] The Charlatans recruited new member, Darrell DeVore (piano/keyboards, vocals), and soon secured a recording contract with Philips Records. The band released one album with Philips in 1969, titled simply The Charlatans. Unfortunately, the album was a commercial failure, largely due to the band's sound being somewhat outdated by 1969, with the commercial explosion of San Francisco rock having passed them by.

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