Leon Russell "Sweet Emily" 1970 Chuck Blackwell Carl Radle John Fry mix VS Steve Hoffman скачать в хорошем качестве

Leon Russell "Sweet Emily" 1970 Chuck Blackwell Carl Radle John Fry mix VS Steve Hoffman

Presented here, with headphones use heavily suggested, are two mixes of a song Leon Russell wrote about one of dearest and closest female friends, Emily Smith, whose father owned the Tulsa Oilers baseball team. Emily said Rita Coolidge was enraged by the song. If you've seen the Homewood Sessions you surely remember Emily doing some baking and dancing with Claudia Lennear. In June 1973 Leon's Maple Ridge mansion in Tulsa was where Emily married Edward Simon Peter Miller-Mundy, Esq., who was a descendent of English nobility. Leon recorded "Sweet Emily" on September 20, 1970 in Sheffield, Alabama at Muscle Shoals Studios with Marlin Greene as the recording engineer. It went on his second album Leon Russell & The Shelter People in 1971, which was the name given to the musicians that recorded this song with Leon. They included Don Preston on guitar, John Gallie on organ, Joey Cooper on guitar, Carl Radle on bass, and Chuck Blackwell on drums. The song was released on a special promo single with Leon's "Ballad Of Mad Dogs and Englishmen," which encapsulated the spring 1970 Mad Dogs tour with Joe Cocker. Sent to radio stations, the promo single was accompanied by a letter form Shelter Records' National Promotion Director Dino Airali. Note that Shelter's label at that time still displayed the full inverted "Superman" logo in the egg, which was before the lawsuit by DC comics. Almost twenty years later when DCC acquired rights to issue Leon's 70s albums on digital format, ace engineer Steve Hoffman was hired for the digital remixing and remastering. From the master tapes for Leon's 1969-1975 songs, Hoffman put together a collection in 1991 of alternate mixes of ten songs titled Delta Lady, released on the Del Rack label. Among them was the second "Sweet Emily" presented here, which has nearly indiscernible differences, but with a concerted listening they can be heard, like the placement of Gallie’s organ, the double-tracked vocal and the end.