Full House (Fairport Convention album)
Full House is the fifth album by folk rock group Fairport Convention, released in 1970. The album was their first without a female vocalist. Founder member Ashley Hutchings had left for Steeleye Span, Dave Pegg had joined on bass. Richard Thompson was to leave the band for a solo career early the following year; as their previous album, Liege & Lief, had reinterpreted a number of traditional folk tunes, so did Full House. Many were sewn into two medleys, "Dirty Linen" and "Flatback Caper"; the album featured the nine-minute track "Sloth", which remained part of the group's live set for many years and has been described as "haunting, dazzling". The album cover was a non-laminated gatefold sleeve featuring notes by Richard Thompson. For example: AT MAIDS MONEY: Some of the hottest dice-throwing for years; the Doctor's Druids egg stood him in good stead. Protests by 11,000 Virgins of Cologne against cruel sports. Wandering Jew killed in brawl with Hangman, hacked in two with a ploughshare. Allmusic described the album as "actually more viscerally exciting than its predecessor and Lief, if not quite as important as that record".
Full House entered the British album charts on 18 July 1970, where it stayed for 11 weeks, peaking at number 13. Rolling Stone magazine's reviewer was enthusiastic, describing the album as "... an English equivalent to The Band... they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they still maintain their roots in rock". The original issue of Full House was intended to comprise the following tracks: Test pressings were made following this sequence, but before the album was released, Richard Thompson requested that "Poor Will and the Jolly Hangman" be removed, since he was not happy with his guitar solo. A black block had to be printed over the original list with the revised track listing overprinted in gold, but a few sleeves were issued to the public without the overprinting and with the incorrect track listing. All subsequent printings had the corrected track listing despite the fact that the sleeve notes still referred to the missing track.
The track ordering of the actual release was: In 2001, Island Records re-issued an expanded edition of Full House that followed the original track ordering and included four additional tracks: "Now Be Thankful" "Sir B. McKenzie's Daughter's Lament for the 77th Mounted Lancers Retreat from the Straits of Loch Knombe, in the Year of Our Lord 1727, on the Occasion of the Announcement of Her Marriage to the Laird of Kinleakie" "Bonny Bunch of Roses" "Now Be Thankful""Now Be Thankful" and "Sir B. McKenzie's..." were released as a 1970 Island, UK single, WIP-6089. Both songs were recorded on 22 July 1970 at London. Fairport Convention's studio recording of "Sir B. McKenzie's..." consisted of "Biff, Crash", "The Kilfenora", "Boston Tea Party"". By the time the single was issued, the band was playing the medley as "Bonny Kate", "The Kilfenora," "Boston Tea Party," and "Biff, Crash." Within a few years, "Sir B. McKenzie's..." consisted of the amended medley followed by "Tail Toddle". By the late 1970s, the medley included the traditional tune "Up The Chimney."
The title "Sir B. McKenzie's Daughter's Lament For the 77th Mounted Lancers Retreat From The Straits of Loch Knombe, In The Year of Our Lord 1727, On The Occasion of the Announcement of Her Marriage to the Laird of Kinleakie" was the band's attempt to get into the Guinness Book of Records for the longest song title. "Bonny Bunch of Roses", recorded one month after the Full House sessions at Gold Star Studios in Los Angeles, was mixed 18 years for the release on the Fairport Convention compilation Meet on the Ledge: The Classic Years, issued on A&M Records in 1999. The stereo mix of "Now Be Thankful" was created by Lee Hamblin and Frank Kornelussen and released on Island Life, 25 Years Of Island Records in 1988. Produced by Joe Boyd for Witchseason Productions, Ltd. Recorded at Sound Techniques, February – March 1970 vocals recorded at Vanguard Studios, New York City, April 1970 Engineered by John Wood Sleeve notes by Richard Thompson Dave Swarbrick – vocals, viola, mandolin Richard Thompson – vocals, electric guitar Dave Pegg – vocals, bass guitar, mandolin Dave Mattacks – drums, harmonium, bodhran Simon Nicol – vocals, electric & acoustic guitars, bass guitar, electric dulcimer cduniverse.com Official History
Pour Down Like Silver
Pour Down Like Silver is the third album by the British duo of singer-songwriter and guitarist Richard and vocalist Linda Thompson. It was recorded in the summer of 1975 and released in November 1975; the Thompsons had moved into a commune in London. The songs on this album reflect their new faith and the relief that Richard Thompson had found in that faith, it seems that conflicting pressures were bearing down on the duo at the time. Linda Thompson:'... At one point our Sheikh forbade Richard to do music... On the other hand, he always encouraged me, "you have a voice and you've got to sing".' Jo Lustig:'Richard came to me and said "look, my Mullah doesn't want me to play electric guitar. I don't know what I'm going to do about my career... I'm not going to be working."'And there was a recording contract. The Thompsons owed Island Records an album; the compromise seems to have been that the album to be delivered was to have a strong spiritual aspect. Linda Thompson:'Pour Down Like Silver was when Sheikh Abdul Q'adir said we could make music as long as it was to God...
"Dimming of the Day", "Beat the Retreat", "Night Comes In", they're all about God, considering they're all about God some of them aren't bad.' Despite these surrounding constraints and conflicts, the album is recognisably a Richard and Linda Thompson album in terms of melodies and the lyrical style. Pour Down Like Silver was recorded at Sound Techniques studio with John Wood engineering. Richard Thompson would have been familiar with both engineer and studio from his time with Fairport Convention. Joe Boyd, who had both produced and managed Fairport, did the vast majority of his production work at Sound Techniques and with Wood at the controls. Richard Thompson had left Fairport Convention in 1971 with a considerable reputation as an electric guitar soloist. However, the first few albums of his post-Fairport career had placed more emphasis on the vocals and the songs themselves; as noted above, Thompson was under increasing pressure from his spiritual teacher to abandon the electric guitar. What recent live work there had been had placed the emphasis on acoustic guitar.
So it was notable that Pour Down Like Silver and the live shows either side of the album’s release saw Thompson’s electric guitar returning to the spotlight. Concert performances featured extended guitar solos on "The Calvary Cross" and on "Night Comes In" and "For Shame of Doing Wrong" from the newly released Pour Down Like Silver; the electric guitar is prominent indeed on the third Linda album. More so because of the sparser arrangements and production that distinguish this album from its more lush sounding predecessor. Subsequently, Thompson disclosed that this stark and simple production was more by accident than design. "It was a stark record, but I think it was by accident in a sense – we were intending to have Simon come and play rhythm guitar but he wasn’t available so everything ended up sounding stark and I was always going to overdub rhythm guitar and stuff, but we thought we’ll just leave it, what the hell."Thompson may be regarded as being a little too off-hand here. In fact he overdubbed mandolin and multiple guitar parts on some tracks, session musicians were called in.
Another noticeable instrumental element of the album is the accordion of John Kirkpatrick, prominent both on this album and during the Thompsons' live shows in 1975. The understated and elegant "Dimming of the Day" was sung by Linda Thompson on this album, but Richard Thompson has continued to feature it in his own live shows for many years - an indication of its deep personal significance; this song is an example of Thompson writing in a centuries-old Sufic tradition of expressing divine love in earthly terms. On the album "Dimming of the Day" segues into a solo guitar performance of Scots composer James Scott Skinner's "Dargai" that matches the mood of the song and serves to bring the album to a contemplative conclusion. "Night Comes In" is another song of profound personal significance and recounts Richard Thompson's formal initiation into the Sufi faith. The song is notable for several prominent passages of electric guitar playing notable for their lyrical intensity - the closing, multi-tracked solo.
"Hard Luck Stories" is the most musically upbeat song on the album, with sardonic lyrics and a incisive guitar solo. After this album and the following short tour and Linda Thompson took a sabbatical from recording and performing music. All songs written by Richard Thompson except "Dargai", written by J. Scott Skinner and arranged by Thompson. "Streets of Paradise" - 4.17 "For Shame of Doing Wrong" - 4.44 "The Poor Boy Is Taken Away" - 3.35 "Night Comes In" - 8.12 "Jet Plane in a Rocking Chair" - 2.48 "Beat the Retreat" - 5.52 "Hard Luck Stories" - 3.51 "Dimming of the Day"/"Dargai" - 7.16 Available on 2003 Island Reissue "Streets of Paradise" - 3.57 "Night Comes In" - 12.22 "Dark End of the Street" - 4.16 "Beat the Retreat" - 6.25 Richard Thompson - guitar, mandolin, Appalachian dulcimer, Hammered dulcimer, electric piano Linda Thompson - vocals Timi Donald - drums Pat Donaldson - bass guitar Dave Mattacks - drums Dave Pegg - bass guitar John Kirkpatrick - accordion, concertina Ian Whiteman - flute, shakuhachi Aly Bain - fiddle Nic Jones - fiddle Henry Lowther - trumpet Clare Lowther - cello Jack Brymer - clarinet Dargai by James Scott Skinner
Ballad of Easy Rider
"Ballad of Easy Rider" is a song written by Roger McGuinn, with input from Bob Dylan, for the 1969 film, Easy Rider. The song was released in August 1969 on the Easy Rider soundtrack album as a Roger McGuinn solo performance, it was issued in an alternate version as a single by McGuinn's band the Byrds on October 1, 1969. The Byrds' single reached number 65 on the Billboard Hot 100 and was issued in most international territories, although it was not released in the United Kingdom. Senior editor for Rolling Stone magazine, David Fricke, has described the song as capturing the social mood of late 1969 and highlighting "the weary blues and dashed expectations of a decade's worth of social insurrection." The star and script writer of Easy Rider, Peter Fonda, had intended to use Bob Dylan's song "It's Alright, Ma" in the film, but after failing to license the track, Fonda asked Roger McGuinn of the Byrds to record a cover version of the song instead. Fonda wanted Dylan to write the film's theme song, but Dylan declined scribbling the lines - "The river flows, it flows to the sea/Wherever that river goes, that's where I want to be/Flow, flow" - on to a napkin, before telling Fonda to "give this to McGuinn.
He'll know what to do with it." The lyric fragment was dutifully passed on to McGuinn, who took the lines and expanded upon them with his own lyrical and musical contributions to produce the finished song. When Dylan saw a private screening of Easy Rider and realised that he had been credited as co-writer of the film's theme song, he telephoned McGuinn and demanded that his name be removed from both the film's closing credits and all subsequent releases of the song. McGuinn has theorised in interviews that Dylan disowned the song because "he didn't like the movie that much, he didn't like the ending. He wanted to see the truck blow up, he didn't seem to understand Peter Fonda's anti-hero concept." Other critics have speculated that Dylan's reason for insisting his co-writing credit be removed was the belief that his name was being exploited to boost the film's street credibility. The version of "Ballad of Easy Rider" used in the film and included on the Easy Rider soundtrack album is listed as a solo performance by McGuinn and features the singer accompanying himself on acoustic guitar, with fellow Byrd Gene Parsons playing harmonica.
This McGuinn solo version is a different take from the version that McGuinn's band the Byrds would release as a single and include on their Ballad of Easy Rider album. In the 21st century, McGuinn continues to perform the song during his solo concerts and a recording of it appears on his 2007 live album, Live from Spain; the Byrds' version of the song was recorded on June 18, 1969, is performed at a quicker tempo than the soundtrack version. The song was lengthened by producer Terry Melcher by editing a copy of the first verse onto the end of the second creating a third verse. In addition, Melcher added an orchestral overdub to the track in an attempt to emulate recent hit singles like Glen Campbell's "Gentle on My Mind" and Harry Nilsson's "Everybody's Talkin'"; as recording sessions for the Byrds' eighth studio album continued, interest in the band mounted as a result of their involvement with the Easy Rider film, leading McGuinn to announce in interviews that the band's next album would be titled Captain America, in honor of Peter Fonda's character in the film.
However, this idea was discarded and the song "Ballad of Easy Rider" gave the new Byrds' album its title. The B-side of the Byrds' single was the traditional song "Oil in My Lamp", although there are copies of the single known to exist with the Goffin-King song "Wasn't Born to Follow" on the B-side instead; the Byrds' recording of "Wasn't Born to Follow" first appeared on their 1968 album, The Notorious Byrd Brothers, but since it had been featured prominently in Easy Rider, Columbia Records saw fit to include the song on some copies of "Ballad of Easy Rider". CBS Records in the United Kingdom went a step further by reissuing "Wasn't Born to Follow" as the A-side of a single in September 1969, in the hopes that it might provide the Byrds with a fluke hit."Ballad of Easy Rider" was first introduced into the Byrds' live concert repertoire during February 1969 and would go on to be performed frequently throughout the rest of the year and into 1970. However, the song was played only between 1971 and the band's break-up in 1973.
In addition to its appearance on the Ballad of Easy Rider album, the song can be found on several Byrds' compilations, including The Best of The Byrds: Greatest Hits, Volume II, History of The Byrds, The Very Best of The Byrds, The Essential Byrds. An extended, alternate mix of the song, featuring more prominent percussion and Clarence White's lead guitar solo, was included as a bonus track on the 1997 Columbia/Legacy reissue of Ballad of Easy Rider. In addition, a live performance of the song, recorded at the Felt Forum in New York City on March 1, 1970, was included as a bonus track on the remastered album in 2000. "Ballad of Easy Rider" has been covered by the British folk rock band Fairport Convention and their version of the song was included as a bonus track on the 2003 re-release of the band's 1969 album, Unhalfbricking. Folk and blues singer Odetta recorded a version of "Ballad of Easy Rider" for the 1969 various artists compilation, The Original Hits Of Right Now Plus Some Heavies From The Motion Picture "Easy Rider".
Additionally, the arranger and composer Percy Faith released a recording of the song on his 1970 album, He
Rock and roll
Rock and roll is a genre of popular music that originated and evolved in the United States during the late 1940s and early 1950s from musical styles such as gospel, jump blues, boogie woogie, rhythm and blues, along with country music. While elements of what was to become rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until 1954. According to Greg Kot, "rock and roll" refers to a style of popular music originating in the U. S. in the 1950s prior to its development by the mid-1960s into "the more encompassing international style known as rock music, though the latter continued to be known as rock and roll." For the purpose of differentiation, this article deals with the first definition. In the earliest rock and roll styles, either the piano or saxophone was the lead instrument, but these instruments were replaced or supplemented by guitar in the middle to late 1950s; the beat is a dance rhythm with an accentuated backbeat, always provided by a snare drum.
Classic rock and roll is played with one or two electric guitars, a double bass or string bass or an electric bass guitar, a drum kit. Beyond a musical style and roll, as seen in movies, in fan magazines, on television, influenced lifestyles, fashion and language. In addition and roll may have contributed to the civil rights movement because both African-American and white American teenagers enjoyed the music, it went on to spawn various genres without the characteristic backbeat, that are now more called "rock music" or "rock". The term "rock and roll" now has at least two different meanings, both in common usage; the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the other hand, regards it as the music that originated in the mid-1950s and developed "into the more encompassing international style known as rock music"; the phrase "rocking and rolling" described the movement of a ship on the ocean, but was used by the early twentieth century, both to describe the spiritual fervor of black church rituals and as a sexual analogy.
Various gospel and swing recordings used the phrase before it became used more – but still intermittently – in the 1940s, on recordings and in reviews of what became known as "rhythm and blues" music aimed at a black audience. In 1934, the song "Rock and Roll" by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round. In 1942, Billboard magazine columnist Maurie Orodenker started to use the term "rock-and-roll" to describe upbeat recordings such as "Rock Me" by Sister Rosetta Tharpe. By 1943, the "Rock and Roll Inn" in South Merchantville, New Jersey, was established as a music venue. In 1951, Ohio, disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it; the origins of rock and roll have been fiercely debated by historians of music. There is general agreement that it arose in the Southern United States – a region that would produce most of the major early rock and roll acts – through the meeting of various influences that embodied a merging of the African musical tradition with European instrumentation.
The migration of many former slaves and their descendants to major urban centers such as St. Louis, New York City, Chicago and Buffalo meant that black and white residents were living in close proximity in larger numbers than before, as a result heard each other's music and began to emulate each other's fashions. Radio stations that made white and black forms of music available to both groups, the development and spread of the gramophone record, African-American musical styles such as jazz and swing which were taken up by white musicians, aided this process of "cultural collision"; the immediate roots of rock and roll lay in the rhythm and blues called "race music", country music of the 1940s and 1950s. Significant influences were jazz, gospel and folk. Commentators differ in their views of which of these forms were most important and the degree to which the new music was a re-branding of African-American rhythm and blues for a white market, or a new hybrid of black and white forms. In the 1930s, swing, both in urban-based dance bands and blues-influenced country swing, were among the first music to present African-American sounds for a predominantly white audience.
One noteworthy example of a jazz song with recognizably rock and roll elements is Big Joe Turner with pianist Pete Johnson's 1939 single Roll'Em Pete, regarded as an important precursor of rock and roll. The 1940s saw the increased use of blaring horns, shouted lyrics and boogie woogie beats in jazz-based music. During and after World War II, with shortages of fuel and limitations on audiences and available personnel, large jazz bands were less economical and tended to be replaced by smaller combos, using guitars and drums. In the same period on the West Coast and in the Midwest, the development of jump blues, with its guitar riffs, prominent beats and shouted lyrics, prefigured many developments. In the documentary film Hail! Hail! Rock'n' Roll, Keith Richards proposes that Chuck Berry developed his brand of rock and roll by transposing the familiar two-note lead line of jump blues piano directly to the electric guitar, creatin
Robert Thomas Christgau is an American essayist and music journalist. One of the earliest professional rock critics, he spent 37 years as the chief music critic and senior editor for The Village Voice, during which time he created and oversaw the annual Pazz & Jop poll, he has covered popular music for Esquire, Newsday, Rolling Stone, Billboard, NPR, MSN Music, was a visiting arts teacher at New York University. Christgau is known for his terse, letter-graded capsule album reviews, first published in his "Consumer Guide" columns during his tenure at The Village Voice from 1969 to 2006, he has authored three books based on those columns, including Christgau's Record Guide: Rock Albums of the Seventies and Christgau's Record Guide: The'80s, along with two collections of essays. He continued writing reviews in this format for MSN Music and Noisey—Vice's music section—where they are published in his "Expert Witness" column. Christgau was born in Greenwich Village and grew up in Queens, the son of a fireman.
He has said he became a rock and roll fan when disc jockey Alan Freed moved to the city in 1954. After attending a public school in New York City, he left New York for four years to attend Dartmouth College, graduating in 1962 with a B. A. in English. While at college his musical interests turned to jazz, but he returned to rock after moving back to New York. Christgau has said that Miles Davis' 1960 album Sketches of Spain initiated in him "one phase of the disillusionment with jazz that resulted in my return to rock and roll", he was influenced by New Journalism writers such as Gay Talese and Tom Wolfe. "My ambitions when I went into journalism were always, to an extent, literary", Christgau said. Christgau wrote short stories, before giving up fiction in 1964 to become a sportswriter, a police reporter for the Newark Star-Ledger, he became a freelance writer after a story he wrote about the death of a woman in New Jersey was published by New York magazine. Christgau was among the first dedicated rock critics.
He was asked to take over the dormant music column at Esquire, which he began writing in June 1967. After Esquire discontinued the column, Christgau moved to The Village Voice in 1969, he worked as a college professor. From early on in his emergence as a critic, Christgau was conscious of his lack of formal knowledge of music. In a 1968 piece he commented: I don't know anything about music, which ought to be a damaging admission but isn't... The fact is that pop writers in general shy away from such arcana as key signature and beats to the measure... I used to confide my worries about this to friends in the record industry, they didn't know anything about music either. The technical stuff didn't matter, I was told. You just gotta dig it. In early 1972, he accepted a full-time job as music critic for Newsday. Christgau returned to the Village Voice in 1974 as music editor, he remained there until August 2006, when he was fired shortly after the paper's acquisition by New Times Media. Two months Christgau became a contributing editor at Rolling Stone.
Late in 2007, Christgau was fired by Rolling Stone, although he continued to work for the magazine for another three months. Starting with the March 2008 issue, he joined Blender, where he was listed as "senior critic" for three issues and "contributing editor". Christgau had been a regular contributor to Blender, he continued to write for Blender until the magazine ceased publication in March 2009. In 1987, he was awarded a Guggenheim Fellowship in the field of "Folklore and Popular Culture" to study the history of popular music. Christgau has written for Playboy and Creem, he appears about the Replacements. He taught during the formative years of the California Institute of the Arts; as of 2007, he was an adjunct professor in the Clive Davis Department of Recorded Music at New York University. In August 2013, Christgau revealed in an article written for Barnes & Noble's website that he is writing a memoir. On July 15, 2014, Christgau debuted a monthly column on Billboard's website. Christgau is best known for his "Consumer Guide" columns, which have been published more-or-less monthly since July 10, 1969, in the Village Voice, as well as a brief period in Creem.
In its original format, the "Consumer Guide" consisted of 18 to 20 single-paragraph album reviews, each of, given a letter grade ranging from A+ to E−. These reviews were collected and extensively revised in a three-volume book series, the first of, published in 1981 as Christgau's Record Guide: Rock Albums of the Seventies. In his original grading system from 1969 to 1990, albums were given a grade ranging from A+ to E-. Under this system, Christgau considered a B+ or higher to be a personal recommendation, he noted. In 1990, Christgau changed the format of the "Consumer Guide" to focus more on the albums. B+ records that Christgau deemed "unworthy of a full review" were given brief comments and star marks ranging from three down to one, denoting an honorable mention", records which Christgau believed may be of interest to their own target audience. Lesser albums were filed under categories such as "Neither" and "Duds" (which indicated bad records and were listed without fur
Jack Henderson Clement was an American singer and record and film producer. Raised and educated in Memphis, Clement was performing at playing guitar and Dobro. Before embarking on a career in music, he served in the United States Marines. In 1953, he made his first record for Sheraton Records in Boston, but he did not pursue a full-time career in music, instead choosing to study at Memphis State University from 1953 to 1955. Nicknamed "Cowboy" Jack Clement, during his student days, he played steel guitar with a local band. In 1956, Clement was part of one of the seminal events in rock-and-roll history when he was hired as a producer and engineer for Sam Phillips at Sun Records. Subsequently, Clement worked with future stars such as Carl Perkins and Johnny Cash. Most notably, he discovered and recorded Jerry Lee Lewis while Phillips was away on a trip to Florida. One of those recordings, "Whole Lotta Shakin' Goin' On", was selected in 2005 for permanent preservation in the National Recording Registry at the Library of Congress.
In 1957, Clement wrote the song "Ballad of a Teenage Queen", which became a crossover hit for Johnny Cash. Other Cash hits written by Clement include "Guess Things Happen That Way", No. 1 on the country chart and No. 11 on the pop chart in 1958, the comedic "The One on the Right Is on the Left", a No. 2 country and No. 46 pop hit in 1966. Clement produced Cash's No. 1 hit, "Ring of Fire," in 1963. Clement performed "Guess Things Happen That Way" on the "Johnny Cash Memorial Tribute" on CMT in November 2003. In 1958, Clement released the single "Ten Years", covered by Johnny Western, Rex Allen and Roger Mews. In 1959, Clement accepted an offer to work as a producer at RCA Victor in Nashville the most important label in the record industry. In 1961, he moved to Beaumont, joining the producer and publisher Bill Hall in opening the Gulf Coast Recording Studio and the Hall-Clement publishing company, he returned to Nashville permanently in 1965, becoming a significant figure in the country music business, establishing a publishing business, founding a recording studio, making records for stars such as Charley Pride and Ray Stevens.
In 1971, he co-founded the J-M-I Record Company. Clement wrote a number of successful songs that have been recorded by singing stars such as Johnny Cash, Dolly Parton, Ray Charles, Carl Perkins, Bobby Bare, Elvis Presley, Jim Reeves, Jerry Lee Lewis, Cliff Richard, Charley Pride, Tom Jones, Dickey Lee and Hank Snow, he was inducted into the Nashville Songwriters Hall of Fame in 1973. He produced albums by Townes Van Zandt and Waylon Jennings. Clement was involved in a few film projects as a songwriter of soundtracks, he produced the 1975 horror film Dear Dead Delilah, the last film performance by the actress Agnes Moorehead. In 1987, Clement was approached by U2 to record at Sun Studio in Memphis. Clement was oblivious to U2's catalog, but nonetheless agreed to arrange the session upon the urging of someone in his office; the result was a portion of the U2 album Rattle and Hum, as well as the Woody Guthrie song "Jesus Christ", included on the 1988 album Folkways: A Vision Shared—A Tribute to Woody Guthrie & Leadbelly.
Portions of the two sessions appear in the film Rattle and Hum. In 2005, a documentary about Clement, Shakespeare Was a Big George Jones Fan, was created by Robert Gordon and Morgan Neville, pieced together from Clement's home videos and interviews with peers, including Jerry Lee Lewis and Bono. Clement hosted a weekly program on Sirius XM Satellite Radio, he was inducted into the Rockabilly Hall of Fame, the Memphis Music Hall of Fame, the Music City Walk of Fame. On June 25, 2011, a fire destroyed his studio on Belmont Boulevard in Nashville. Clement was unhurt. On April 10, 2013, it was announced. Clement died at his home in Nashville, Tennessee, on August 8, 2013, he had suffered from liver cancer. He had two children, a daughter, Alison a singer and writer, a son, Niles, an engineer and photographer. Jack Clement on IMDb Nashvillesongwritersfoundation.com Sirius.com 3 part video interview with Jack Clement Music Row legend's home destroyed in fire Cmt.com