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Chance Martin - In Search MP3


Tracklist


1Loser Till You Win3:34
2Just Your Way Of Tellin' Me3:45
3Sunn Of Gunn5:05
4Drema4:08
5Dust Roads Of Yesterday2:57
6High Test5:25
7Don't Cry Wolf3:39
8Mr. Freedom Man5:30
9Too High To Land3:22
10Dead Medley5:01
11Blue Monday3:15
12Love By Chance4:09
13Angel3:22

Versions


CategoryArtistTitle (Format)LabelCategoryCountryYear
PoB-07Chance Martin In Search ‎(LP)Paradise of BachelorsPoB-07US2013
PoB-07Chance In Search ‎(CD, Album, RE, RM)Paradise of BachelorsPoB-07US2013

Video


Info


Формируйте собственную коллекцию записей Chance Martin. Chance and his gang holed up in the Dead End, the kitted-out bonus room above his parents garage on a cul-de-sac in a residential South Nashville neighborhood, complete with reel-to-reels, bed, bar, a Head of Security, and a Sergeant at Arms. Under the direction of Chance as guru, they spent five years in secrecy and self-imposed musical isolation, writing songs and recording endless hours of work tapes, periodically emerging under the cover of night, in a convoy of limos and people-movers, to record midnight sessions at the Music Mill and Cowboy Jack Clements. Handel: Messiah - Sylvia McNair, Anne Sofie Von Otter, Michael Chance, Jerry Hadley, Robert Lloyd, Academy of St. Martin in the Fields Chorus. Лента с персональными рекомендациями и музыкальными новинками, радио, подборки на любой вкус, удобное управление своей коллекцией. In Search is outsider art at its best. Guided by Martin's vision and shaped via collective process, it uses familiar forms to create a spaced-out language all its own it is a listening experience like no other. Track Listing. In Search. Chance Martin worked as right-hand man to Johnny Cash throughout the 1970s, serving as the Man in Blacks stage manager and lighting designer. But in 1981, he cut his own musical path with In Search, an otherworldly mix of country, garage, and psychedelia, a little-heard Southern Gothic gem delivered by a spacesuit-wearing lovin man. We didnt want it to sound like anything else happening, Martin says of the LP, which was written on Cashs very own D35 Martin. I still dont think it does. Originally, In Search received a super-limited vinyl release - only 1,000 copies were pressed. Chance Martin, former stage manager and lighting director for Johnny Cash, made an expansive, genre-hopping record in 1981. He wrote it on Cash's Martin D35 and produced the LP with a full band. It had a very limited release of 1000 copies then, but has languished in obscurity until now. Recently picked up by Paradise of Bachelors, the record is slated for a full-fledged reissue July 16th, including CD, digital, and vinyl versions. In Search, is a sprawling blend of psychedelic and country, with equal parts of harmonica and trippy organ sounds, with some arbitrary disco thrown in for good. Chance Manfred Mann's Earth Band album. Chance is Manfred Mann's Earth Band's tenth album, released in 1980. The album cover art was an adaptation of Danish artist Ole Kortzau's poster Strandstole deck chairs. The album marked the temporary return of guitarist and founding member Mick Rogers to the band. John Lingwood replaced drummer Geoff Britton, who left due to illness. It is also the last album that bassist Pat King appeared on. See which songs from which albums Chance Martin played through the years. Chance Martin Albums total. Browse by Chance is an album by jazz bassist Joe Martin. The album was recorded at Sear Sound, New York City in January 2009. Martin was also the producer. All but one of the tracks was written by Martin. Chris Potter mostly plays tenor saxophone, but uses bass clarinet on The Balloon Song and soprano sax on the title track. The album was released by Anzic Records on September 15, 2009. Semente 8:50. In the Meantime 8:35. Caché 8:26. A Dream 9:19. The Balloon Song 3:53

Chance Martin - In Search MP3
Performer: Chance Martin
Genre: Rock / Soul
Title: In Search
Country: US
Released: 1981
Style: Psychedelic Rock, Goth Rock, Country Rock
MP3 album: 1312 mb
FLAC album: 1873 mb
Rating: 4.5
Votes: 041
Source: Vinyl, Album, LP
№ Cat: MR-1000
Label: Macho

Iriar
The popular American perception of Nashville has changed radically since 1966, when Charles Portis lovingly lampooned the city’s ambitious, strenuously earnest musicians laboring out on the road and in the honky-tonks night after lonesome night, “singing their songs, some trash, some gold, about hearts and wrecks and teardrops.” What hasn’t changed is Nashville’s predilection for the fertile fringes. By fringe, we don’t mean the variety found on Western shirts, skirts, and Nudie suits, but rather the cultural fringe, the underground realms of outsiders and weirdos prowling their own private, dimly lit lairs on the stoned periphery of the ubiquitous Nashville machine, in the company of likeminded eccentrics and heroes.

As ringleader, maestro, and indomitable troubadour of Nashville’s most private, elusive, and exclusive far-out scene—the Dead End—visionary artist and Nashville lifer Chance Martin (aka Alamo Jones, the Voice in Black aka the Stoned Ranger) could have stepped from the pages of a Portis novel, Barry Hannah story, or Coen Bros. script. After working for and touring with his friend and mentor Johnny Cash as cue card man, stage manager, and lighting designer for eight years, in 1977 Chance began a new life. By the time he was thirty-one, he had already worked stagehands union gigs for all the greats, hung with them and partied with them backstage, and realized that it was now or never—time to turn off all the outside influences, hunker down, and make it new, or else. So he started writing songs on Johnny Cash’s D35 Martin, a gift from the master.

Chance and his gang holed up in the Dead End, the kitted-out “bonus room” above his parents’ garage on a cul-de-sac in a residential South Nashville neighborhood, complete with reel-to-reels, bed, bar, a Head of Security, and a Sergeant at Arms. Under the direction of Chance as guru, they spent five years in secrecy and self-imposed musical isolation, writing songs and recording endless hours of work tapes, periodically emerging under the cover of night, in a convoy of limos and people-movers, to record midnight sessions at the Music Mill and Cowboy Jack Clement’s. (These days Chance hosts a radio show with Cowboy Jack on Sirius XM’s Outlaw Country Station.)

The result was In Search (1981), a fierce, inimitable, and mythmaking countrydelic masterpiece of insular inspiration and absolutely singular vision and scope. Despite its intensely personal origins, long gestation, substantial financial costs, and deadly serious deliberation, the album betrays very little in the way of outside influences or traceable authorship. Commanding, aggressive, and unabashedly masculine, it literally sounds like nothing else we’ve ever heard—this is as close as we’ve gotten to unique music (if there is such a thing), the real deal, an obsessive, private-press triumph of the imagination. The closest analog we can (tentatively) venture is some unholy pot likker of Waylon Jennings, Funkadelic, the Fields of Nephilim, and the Bob Seger System: a strange Southern Gothic, alternately frightening and funky, and utterly transfixing. One can only wonder as to which interstellar channels Chance is tuned, but whatever he’s hearing is not the same transmission that the rest of us hear. And God bless him for it.