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The songs are listed in the index by accession number, rather than (for example) by subject matter or in order of importance. Some well-known songs have low Roud numbers (for example, many of the Child Ballads), but others have high ones. Some of the songs were also included in the collection Jacobite Reliques by Scottish poet and novelist ...
"Cripple Creek" is an Appalachian-style old time tune and folk song, often played on the fiddle or banjo, listed as number 3434 in the Roud Folk Song Index. The lyrics are probably no older than the year 1900, and the tune is of unknown origin. It has become a standard among bluegrass musicians and is often one of the first songs a banjo picker ...
"Grass" is a song written by Colin Moulding of the English rock band XTC, released as the lead single from their 1986 album Skylarking. It reached number 100 on the UK Singles Chart . Background
You Can Play These Songs with Chords is an early (1996–97) demo from the rock band Death Cab for Cutie, which at the time consisted entirely of founder Ben Gibbard. This demo was originally released on cassette by Elsinor Records.
Doug Kershaw - fiddle; Jimmy Colvard, Johnny Christopher, Troy Seals - guitar Curly Chalker, Stu Basore - pedal steel; Joe Allen, Tommy Cogbill - bass Bobby Emmons, Bobby Woods - keyboards
The album was released with a sticker containing an infamous quote from Steve Earle: "Townes Van Zandt is the best songwriter in the whole world and I'll stand on Bob Dylan's coffee table in my cowboy boots and say that." Van Zandt responded with the famous quip, "I've met Bob Dylan's bodyguards, and I don't think Steve could get anywhere near ...
The song reached number 15 on the U.S. Billboard Hot 100 the week ending September 6, 1969, [4] and number 12 on the Cash Box Top 100. [5] In Canada, "I'd Wait a Million Years" spent three weeks at number 12.
"Boots of Spanish Leather" ranked 19th in a Paste list of "The 42 Best Bob Dylan Songs". In an article accompanying the list, critic Cameron Wade notes that in "just four-and-a-half minutes, Dylan creates two richly layered and dynamic characters, each reckoning with the messy emotions of young love coming to an end" and calls it "Dylan at his most open and vulnerable—a rare sight for the ...