Back to the Future Now - Live At Arizona Charlie's, Las Vegas
Download links and information about Back to the Future Now - Live At Arizona Charlie's, Las Vegas by Asleep At The Wheel. This album was released in 1997 and it belongs to Rock, Country genres. It contains 12 tracks with total duration of 54:19 minutes.
Artist: | Asleep At The Wheel |
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Release date: | 1997 |
Genre: | Rock, Country |
Tracks: | 12 |
Duration: | 54:19 |
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Tracks
[Edit]No. | Title | Length |
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1. | Ain't Nobody Here But Us Chickens | 4:30 |
2. | Miles and Miles of Texas | 4:19 |
3. | Roly Poly | 4:02 |
4. | Ida Red | 4:00 |
5. | My Baby Thinks She's a Train | 5:39 |
6. | The Letter That Johnny Walker Read | 3:52 |
7. | God Bless the Child | 7:15 |
8. | Fat Boy Rag | 3:55 |
9. | Cherokee Boogie | 3:58 |
10. | Hot Rod Lincoln | 4:38 |
11. | Boogie Back to Texas | 3:43 |
12. | House of Blue Lights | 4:28 |
Details
[Edit]"Why another live record?" asks bandleader Ray Benson in his liner notes to Asleep at the Wheel's fourth concert disc, and he has two answers, both valid. First, with hundreds of gigs per year, Asleep at the Wheel is essentially a live band, and live records reflect that. Second, Benson has cooked up a reunion performance in which original bandmembers Lucky Oceans and LeRoy Preston sit in with the current lineup, along with departed veterans Chris O'Connell, Floyd Domino, Tony Garnier, and Tim Alexander, as well as guest stars Tracy Byrd, Wade Hayes, the McGuire Sisters, and Johnny Lee Carpenter. Of course, the defining element in the group's sound remains Benson's big baritone, which he puts at the service of many of the band's hits, including "The Letter That Johnny Walker Read," "House of Blue Lights," "Miles and Miles of Texas," "Boogie Back to Texas," and "Hot Rod Lincoln." The recordings are taken from a December 1996 club date, which gives the show an unusual intimacy. Given that warmth and the survey the album provides of the band's career, Back to the Future Now makes a good primer of Asleep at the Wheel, even if the question Benson should have asked is, "Why not another live record?," to which the answer would be, "because it's redundant."