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The American Epic Sessions on the Road Again

Written By Friday, 20 May 2022 Add Comment Edit

2017 soundtrack album by Various artists

Music from The American Epic Sessions: Original Motion Film Soundtrack
Music from The American Epic Sessions 312x312.jpg
Soundtrack anthology by

Various artists
Released June 9, 2017
Genre Cajun, country, dejection, folk, Hawaiian, Hispanic, Mexican, stone, Tex-Mex
Length 89:35 (deluxe), 36:47 (standard)
Label Lo-Max, Columbia, Third Human being
Producer T Bone Burnett, Jack White, Knuckles Erikson, Bernard MacMahon
American Ballsy chronology
American Epic: The Soundtrack
(2017) 		Music from The American Epic Sessions: Original Motion Movie Soundtrack
(2017) 		American Epic: The Best Of Blues
(2017)

Music from The American Ballsy Sessions: Original Move Picture show Soundtrack is the official 2017 soundtrack album of the award-winning pic The American Epic Sessions. The anthology features twenty-three music acts recording songs live on the restored first electrical sound recording system from the 1920s.[1] The artists participating include Nas, Alabama Shakes, Elton John, Willie Nelson, Merle Haggard, Jack White, Taj Mahal, Ana Gabriel, Pokey LaFarge, Beck, Ashley Monroe, and Steve Martin.[2] The anthology won a Grammy Award for Best American Roots Performance for the Alabama Shakes' operation of "Killer Diller".[3] [iv]

Groundwork [edit]

"Our original idea was to film a typical 1920s recording session, so I got in touch with Frank Fairfield and the Americans—who play very much in the fashion and spirit of that flow—and with T Bone Burnett providing production advice, we filmed a number of songs. It was like a séance, communing with the musical ghosts of the past through this equipment that had not been used in almost ninety years—it felt like the echoes of Bessie Smith, Louis Armstrong, and Jimmie Rodgers were all the same flowing through the wires. And the sound was amazing: clear and punchy, but utterly dissimilar from a modern recording."[5]

– Bernard MacMahon

The American Ballsy Sessions film and soundtrack was conceived by director Bernard MacMahon every bit a practical implementation of the music and technology explored in the first three American Epic films which focused on the commencement recordings of roots music in the USA in the 1920s.[half-dozen] Film producer Allison McGourty explained, "if the first three American Epic films are like the story of the Apollo [beginning manned moon landing] mission, with unseen film footage, interviews with the astronauts and scientists, and so…The American Epic Sessions, is where we rebuild the rocket and go to the moon ourselves."[6] MacMahon added that the idea for The American Epic Sessions pic and the soundtrack album was born out of a desire to empathize on a practical level how the showtime electrical recordings in the 1920s were made, "you tin can simply truly appreciate history, and sympathise why things were done the way they were washed, by actually going out and doing them yourself."[7] The soundtrack album involved replicating a 1920s recording session, down to the smallest detail, with xx-3 gimmicky music acts recording live on the original 1920s equipment in dorsum to dorsum sessions merely equally the original rural performers would have done over 80 years ago.[eight] The flick and soundtrack involved a decade of work restoring the automobile, which was pieced together from spare parts scattered across the world.[ix] MacMahon invited Jack White and T Bone Burnett to produce the sessions,[10] and secured the employ of Vox studios in Hollywood,[11] purportedly the oldest private recording studio in the world, built in 1936, to pic and record the live performances.[12]

Content [edit]

The musicians were encouraged to record both a vintage song and a song they had written.[13] MacMahon and Duke Erikson created a list of vintage songs that they wanted to feature in the picture and specifically chose songs for particular performers; "Mal Hombre" for Ana Gabriel,[14] "On the Road Again" for Nas, "Tomi Tomi" for the Hawaiians and "Nobody'southward Muddied Concern" for Bettye LaVette.[xv] Other performers researched the menstruum and selected their ain vintage songs; Jack White unearthed "Matrimonial Intentions", The Avett Brothers chose "Jordan Am a Hard Road" and Rhiannon Giddens covered Ida Cox's "One Hr Mama".[15] Most of the performers recorded two songs, although the duration of the motion picture precluded all these performances appearing in the finished flick.[16] Some performers wrote songs specifically for the moving-picture show - Merle Haggard equanimous "The But Man Wilder Than Me" every bit a duet for him and Willie Nelson to perform.[17] Elton John arrived at the studio with a lyric entitled "Two Fingers of Whiskey" that Bernie Taupin had written specifically for the flick. Elton proceeded to write the melody alive on camera and arrange the song with Jack White and recorded the vocal live direct to disc without leaving the room during the whole process.[18] [19] The soundtrack included twelve additional songs non featured in the film,[xx] including "1 Mic" by Nas, "Mama's Angel Kid" by Jack White, "Come up On In My Kitchen" past Stephen Stills, and "Josephine" by Pokey Lafarge.

Recording [edit]

Western Electric recording organisation [edit]

In 1925, Western Electric launched a new electronic recording organization.[21] The machine revolutionized the recording of music because it could record every type of musical instrument and vox whereas the acoustic horn recordings that predated information technology were severely limited in what they could record finer.[22] [23] [24] The new system consisted of an electrical microphone whose signal was amplified by a 6' amplifier rack. The amplified betoken was then sent to a cutting head that cut a wax disc on a Scully cutting lathe that was pulley powered by a 100Ib contumely weight.[25] In the 1920s as radio took over the pop music business organisation, record companies were forced to expand their markets and get out their studios in major cities in search of new musical styles and markets.[26] They organized field recording sessions beyond America and recorded dejection, gospel, Cajun, country, Hawaiian, Native American, and many other hitherto unrecorded types of music. The Western Electric system technologically made these recordings possible.[2] These recordings would go on to have vast cultural bear upon in North America and the residuum of the world.[1] [6] [21] The recording system was leased out to the major record labels who had to pay a royalty, on every record sold, to Western Electric.[i] The success of these music recordings led to the system being leased by the major Hollywood studios for talking pictures later initial resistance.[27] [28] Although there are no records of how many of these machines were leased out to the record companies, estimates range from a dozen to 2 dozen.[21] Prior to the release of The American Epic Sessions, the recording system was mysterious and had not been seen in about 80 years.[29] [xxx] American Epic engineer Nicholas Bergh explained, "I had two mentors when I was getting into sound who started their careers in the late 1930s in America and both of them told me that even by the late '30s this system was basically mythical and they had never seen whatsoever components of it or even pictures. And then fifty-fifty in ten years information technology had basically disappeared off the face of the globe."[25]

Restoring the recording system [edit]

At the outset of the pre-production of the American Epic documentary series there were no known photos or moving picture footage of the Western Electric system.[30] [31] Midway through the research on the film, MacMahon was introduced to sound engineer Nicholas Bergh as a possible collaborator. Bergh revealed that he had spent most a decade attempting to restore the Western Electric organization,[32] scavenging spare parts from effectually the world in places as far abroad as Japan and Europe in his quest to complete the system.[i] "All the individual items had to come from dissimilar places, oft thousands of miles apart" he explained, "I was able to confirm my progress by studying the few crude music studio pictures that started to show up."[32] Nevertheless, Bergh was missing a vital part of the set up up – the pulley driven Scully lathe. On an exploratory trip to the Scully family unit looking for photographs, MacMahon discovered in the family's basement maybe the only surviving 1924 Scully lathe and persuaded them to loan it to the production.[33] [34] MacMahon and then set up about persuading Bergh to engineer a session with gimmicky artists recording on the organization. Bergh was nervous about doing this as "moving that [the recording system] into a production surroundings, that was a major change."[xx] MacMahon persuaded Bergh to participate in a test session with 2 new artists so as to limit the force per unit area. Frank Fairfield and The Americans were the outset musicians to record on the system in over 80 years.[8] [26] [35] "The results were satisfactory" MacMahon explained, "but Nick wanted to operate the auto more finer".[xvi] Producer and co-writer Allison McGourty gained access to the AT&T archive which kept the research documents for Western Electric. Within the archive they located engineers' casebooks and bookkeeping forms that gave some more clues every bit to how to operate the machine. They also managed to locate 1920s photographs of the recording system beingness used in the Western Electric laboratory.[xvi] [36] Armed with this new information, Bergh agreed to MacMahon's plan to endeavour a full recording session with twenty-3 artists.[10]

Recording process [edit]

The Western Electrical system was a live Direct-to-disc recording recording method. The earliest condenser microphone was wired into a six-human foot amplifier rack comprising a preamplifier, a showtime level meter, a monitor amplifier, a line amplifier to drive the cutting head which etched the grooves onto a wax disc on the turntable of a Scully cut lathe that was rotated by a caster organization and a 100 pounds (45 kg) weight.[25] The performers gathered around the microphone and carefully positioned themselves to reach the right balance.[37] The performers were cued into when they needed to outset and stop playing by a light arrangement operated past the sound engineer that hung in the live room.[seven] The caster immune approximately iii and a half minutes to record before the weight striking the floor. The calibration of the lathe has adamant the length of the pop single to this 24-hour interval.[1] [38]

The Western Electric recording organisation favored small song-led groups, and this had a fundamental influence on them being the dominant musical assemblage to this day.[24] The recording organization does not let for any changes to exist made to the live recording.[39]

Release [edit]

Music from the American Epic Sessions was released on June 9, 2017, three days after the United states circulate of The American Epic Sessions. It was released in a standard and deluxe format. The standard edition contained xiii tracks, and was released as a download. The deluxe format contained 32 tracks and was released on double CD, digital download and triple vinyl.[40] The vinyl release was launched with American Epic film screenings at Tertiary Man Records in Detroit and Nashville. The albums sold at both these events were an exclusive white vinyl pressing.[41]

Disquisitional reception [edit]

Professional ratings
Review scores
Source Rating
The Australian [42]
The Herald Very favorable[43]
The Contained [44]

The album was released to widespread disquisitional acclaim, with many publications praising the performances and the quality of the audio. Iain Shedden in The Australian awarded it v stars and wrote that "this double album features the highlights of those sessions and it's an exquisite representation of the archaic power of American roots music and its indelible charm – music that stirs soul."[45] Greil Marcus in The Village Voice praised "performances so good you can hardly listen without thinking of how shut each recording is to not existing at all."[46] Andy Gill in The Contained praised "Nas's hip-hop adaptation of the Memphis Jug Band'southward "On The Road Again" reflecting timeless themes and vocabulary of the black experience" adding that "Alabama Shakes' terrific version of "Killer Diller Blues" is awash of the bounce and sass."[47] In France, Dominique Boulay in Paris Motility wrote "for this beautiful soundtrack, Nicholas Bergh is the brilliant engineer who has collected the original parts of the recording system and it is therefore thanks to him (and the artists of form) that nosotros now have this gem!"[48] Ludovic Hunter-Tilney in the Financial Times noted that "New York Rapper Nas does a superb encompass of the Memphis Jug Band's "On the Road Again", exposing the hip-hop blueprint inside the 1928 stomper."[49] Jerobear in Review Corner wrote that "It's impressive, and it contains enough of the antique feel to exist quaint, and only enough studio engineering science to sound good to mod ears. Producers T Bone Burnett and (predictably) Jack White line upwards a roster of stars in front of the mic to sing the one-time songs, and information technology works a treat."[fifty] Keith Bruce in The Herald concluded that the album "resulted in a slew of recording sessions, far beyond what was used on the programmes, where musicians old and young responded to the challenge of one-accept recording to a disc-cut lathe operated by clock-work and pulleys, that fourth dimension-express your performance. "You feel similar your soul is coming out of the speaker," says Rhiannon Giddens. She is i of the younger contributors to this wonderful double album, along with Pokey LaFarge and Nas (Nasir Jones), who is a revelation."[51]

The album won a Grammy Award for the Alabama Shakes' functioning of "Killer Diller".[three] [4]

Track list [edit]

Deluxe edition CD [edit]

Disc one [edit]

No. Title Writer(s) Artist Length
one. "Killer Diller" Memphis Minnie Alabama Shakes 2:12
2. "On The Road Once more" J.B. Jones and Will Shade Nas two:00
iii. "Candy Man" Rev. Gary Davis Jerron "Bullheaded Boy" Paxton two:53
iv. "2 Fingers Of Whiskey" Elton John and Bernie Taupin Elton John and Jack White 2:52
5. "The Coo Coo Bird" Traditional Steve Martin and Edie Brickell 3:19
6. "Like A Rose" Ashley Monroe, Guy Clark, Jon Randall Ashley Monroe 3:06
seven. "The Merely Man Wilder Than Me" Merle Haggard Willie Nelson & Merle Haggard two:03
eight. "Matrimonial Intentions" Traditional Jack White 3:08
ix. "1 Hour Mama" Porter Grainger Rhiannon Giddens 3:06
10. "Mal Hombre" Lydia Mendoza Ana Gabriel 3:35
11. "El Cascabel" Lorenzo Barcelata Los Lobos 2:24
12. "Closer Walk With Thee" Traditional The Avett Brothers 3:28
13. "Fourteen Rivers, 14 Floods" Beck Hansen Beck two:41
Total length: 34:47

Disc two [edit]

No. Title Writer(south) Artist Length
1. "Nobody's Dirty Business concern" Frank Stokes Bettye LaVette 2:15
ii. "St. Louis Blues" West.C. Handy Pokey Lafarge 3:thirty
3. "High Water Everywhere, Part 2" Charley Patton Taj Mahal iii:12
4. "One Mic" Nasir Jones, Chucky Thompson Nas 3:18
5. "Pretty Saro" Traditional Rhiannon Giddens ii:41
6. "Jubilee" Jean Ritchie Ashley Monroe and The Americans 2:43
vii. "Tous les Matins" Louis Michot The Lost Bayou Ramblers two:46
viii. "When I Woke Up this Morning" Jim Jackson Bettye LaVette ii:29
9. "If The River Was Whiskey" Charlie Poole Frank Fairfield two:05
10. "Stealin Stealin" Will Shade Raphael Saadiq 2:40
xi. "Jordan am a Hard Road to Travel" Daniel Emmett The Avett Brothers two:47
12. "Sail Away Ladies" Traditional The Americans two:04
13. "Tomi Tomi" Traditional The Hawaiians 2:29
14. "Concluding Kind Words" Geeshie Wiley Christine Pizzuti 2:50
15. "Come up On In My Kitchen" Robert Johnson Stephen Stills 2:21
16. "Mama's Angel Child" Sweet Papa Stovepipe Jack White iii:01
17. "Josephine" Pokey Lafarge Pokey Lafarge 3:12
18. "Hilo Hanakahi" Keola Nalium The Hawaiians 3:44
xix. "Old Fashioned Dear" James P. Johnson, Cecil Mack Willie Nelson and Merle Haggard 2:41
Total length: 52:48

Vinyl [edit]

Side 1 [edit]

No. Title Writer(s) Creative person Length
i. "Killer Diller"" Memphis Minnie Alabama Shakes 2:12
ii. "On The Road Over again" J.B. Jones and Will Shade Nas 2:00
3. "Candy Man" Rev. Gary Davis Jerron "Blind Male child" Paxton two:53
4. "2 Fingers Of Whiskey" Elton John and Bernie Taupin Elton John and Jack White ii:52
5. "The Coo Coo Bird" Traditional Steve Martin and Edie Brickell three:19
6. "Like A Rose" Ashley Monroe, Guy Clark, Jon Randall Ashley Monroe three:06
Total length: 16:22

Side two [edit]

No. Championship Author(s) Artist Length
one. "The Only Homo Wilder Than Me" Merle Haggard Willie Nelson & Merle Haggard 2:03
2. "Matrimonial Intentions" Traditional Jack White three:08
3. "One Hour Mama" Porter Grainger Rhiannon Giddens three:06
4. "Mal Hombre" Lydia Mendoza Ana Gabriel 3:35
5. "El Cascabel" Lorenzo Barcelata Los Lobos ii:24
Total length: 14:xvi

Side three [edit]

No. Championship Writer(s) Artist Length
1. "Closer Walk With Thee" Traditional The Avett Brothers 3:28
two. "Fourteen Rivers, Fourteen Floods" Beck Hansen Beck ii:41
3. "Nobody's Dirty Business" Frank Stokes Bettye LaVette 2:fifteen
4. "St. Louis Blues" W.C. Handy Pokey Lafarge 3:30
five. "Loftier Water Everywhere, Part 2" Charley Patton Taj Mahal three:12
Total length: fifteen:06

Side four [edit]

No. Title Writer(due south) Artist Length
1. "One Mic" Nasir Jones, Chucky Thompson Nas 3:18
2. "Pretty Saro" Traditional Rhiannon Giddens 2:41
three. "Jubilee" Jean Ritchie Ashley Monroe and The Americans 2:43
4. "Tous les Matins" Louis Michot The Lost Bayou Ramblers 2:46
5. "When I Woke Up this Morning" Jim Jackson Bettye LaVette two:29
Full length: xvi:02

Side 5 [edit]

No. Title Writer(s) Artist Length
one. "Stealin Stealin" Volition Shade Raphael Saadiq two:40
2. "Hashemite kingdom of jordan am a Hard Road to Travel" Daniel Emmett The Avett Brothers ii:47
3. "Sail Away Ladies" Traditional The Americans 2:04
4. "Tomi Tomi" Traditional The Hawaiians ii:29
v. "Final Kind Words" Geeshie Wiley Christine Pizzuti 2:fifty
Full length: 12:l

Side half dozen [edit]

No. Title Writer(south) Artist Length
1. "Come On In My Kitchen" Robert Johnson Stephen Stills 2:21
2. "Mama's Angel Child" Sugariness Papa Stovepipe Jack White 3:01
three. "Josephine" Pokey LaFarge Pokey LaFarge three:12
four. "Hilo Hanakahi" Keola Nalium The Hawaiians 3:44
5. "Old Fashioned Dear" James P. Johnson, Cecil Mack Willie Nelson and Merle Haggard ii:41
Full length: 14:59

Standard edition digital [edit]

No. Championship Writer(south) Creative person Length
1. "Killer Diller" Memphis Minnie Alabama Shakes 2:12
2. "On The Road Once again" J.B. Jones and Will Shade Nas 2:00
3. "Candy Human being" Rev. Gary Davis Jerron "Bullheaded Boy" Paxton 2:53
four. "2 Fingers Of Whiskey" Elton John and Bernie Taupin Elton John and Jack White ii:52
5. "The Coo Coo Bird" Traditional Steve Martin and Edie Brickell 3:19
6. "Like A Rose" Ashley Monroe, Guy Clark, Jon Randall Ashley Monroe three:06
vii. "The Only Man Wilder Than Me" Merle Haggard Willie Nelson & Merle Haggard 2:03
8. "Matrimonial Intentions" Traditional Jack White 3:08
9. "One Hour Mama" Porter Grainger Rhiannon Giddens 3:06
10. "Mal Hombre" Lydia Mendoza Ana Gabriel three:35
eleven. "El Cascabel" Lorenzo Barcelata Los Lobos 2:24
12. "Closer Walk With Thee" Traditional The Avett Brothers three:28
13. "Fourteen Rivers, Fourteen Floods" Beck Hansen Beck ii:41
Total length: 34:47

Performers [edit]

Groups [edit]

Other musicians [edit]

  • Daru Jones - Drums
  • Alfredo Ortiz - Drums
  • Joshua Smith - Guitar

Production personnel [edit]

  • Nicholas Bergh - Engineer, transfers, mastering
  • Jack White - producer
  • T Bone Burnett - producer
  • Bernard MacMahon - producer
  • Allison McGourty- conceived by, executive producer, music supervisor
  • Duke Erikson - restoration, mastering, producer
  • John Polito - mastering
  • Ellis Burman - mastering
  • Patrick Ferris - associate producer
  • Jack McLean - acquaintance producer
  • Nat Strimpopulos: artwork

References [edit]

Notes [edit]

  1. ^ a b c d e "The Long-Lost, Rebuilt Recording Equipment That First Captured the Sound of America". WIRED . Retrieved 2018-02-15 .
  2. ^ a b "BBC - Arena: American Ballsy - Media Centre". www.bbc.co.u.k. . Retrieved 2018-02-15 .
  3. ^ a b "60th Almanac GRAMMY Awards". GRAMMY.com. 2017-11-28. Retrieved 2018-02-15 .
  4. ^ a b "Sentinel Alabama Shakes Travel Dorsum In Time With Cover Of 'Killer Diller'". NPR.org . Retrieved 2018-02-15 .
  5. ^ Bibliography| Wald, McGourty, MacMahon 2017, p. 241
  6. ^ a b c Lewis, Randy. "Reinventing the machine that let America hear itself on the PBS-BBC physician 'American Epic'". latimes.com . Retrieved 2018-02-15 .
  7. ^ a b [1] Wald, McGourty, MacMahon 2017, p. 255
  8. ^ a b "AMERICAN Ballsy - A Journey Through the Music that Transformed America | PBS About". AMERICAN EPIC - A Journey Through the Music that Transformed America | PBS About . Retrieved 2018-02-fifteen .
  9. ^ "'American Epic': Inside Jack White and Friends' New Roots-Music Doc". Rolling Stone . Retrieved 2018-02-15 .
  10. ^ a b [1] Wald, McGourty, MacMahon 2017, pp. 241-243
  11. ^ "An 'Epic' Journey | MaxTheTrax". maxthetrax.com . Retrieved 2018-02-xv .
  12. ^ "Vox Recording Studios, Los Angeles |". www.soundonsound.com . Retrieved 2018-02-fifteen .
  13. ^ Willman, Chris (2017-06-07). "Tv set Review: 'The American Epic Sessions'". Variety . Retrieved 2018-02-15 .
  14. ^ [ane] Wald, McGourty, MacMahon 2017, p. 243
  15. ^ a b Amstrong, Nikki (February–March 2018). "American Epic". Big City Rhythm & Blues. p. 31.
  16. ^ a b c MacMahon, Bernard (September 28, 2016). "An Interview with Bernard MacMahon". Breakfast Idiot box (Interview). Interview with Jill Belland. Calgary: City
  17. ^ "The Performers in 'The American Epic Sessions'". WTTW Chicago Public Media - Television and Interactive. 2017-06-06. Retrieved 2018-02-15 .
  18. ^ "Spotter Elton John and Jack White Duet on "Two Fingers of Whiskey"". Spin. 2017-06-01. Retrieved 2018-02-15 .
  19. ^ Eccleston, Danny (June 2017). "American Ballsy". mojo.com . Retrieved 2018-02-15 .
  20. ^ a b Vicious, Adam (June ix, 2017). "Stars recorded using restored 1920s arrangement in new film". audiomediainternational.com . Retrieved 2018-02-15 .
  21. ^ a b c Wald, Elijah; McGourty, Allison; MacMahon, Bernard; Bergh, Nicholas (2017). American Epic: The Collection . Legacy / Lo-Max. pp. liner notes essay. ASIN B071RHDMB8.
  22. ^ "WAMS - Acoustical Recording". world wide web.shellac.org . Retrieved 2018-02-15 .
  23. ^ [1] Wald, McGourty, MacMahon 2017, p. 15
  24. ^ a b "America Hears Itself". WTTW Chicago Public Media - Telly and Interactive. 2017-05-16. Retrieved 2018-02-15 .
  25. ^ a b c "Restoring a vintage 1920s recording system for 'American Epic'". Retrieved 2018-02-15 .
  26. ^ a b American Epic. 2017-05-02. ISBN9781501135606.
  27. ^ "SXSW review: 'The American Epic Sessions' | Austin Movie Web log". Retrieved 2018-02-15 .
  28. ^ Lewis, Randy. "'American Ballsy' explores how a business organisation crisis ignited a musical revolution". latimes.com . Retrieved 2018-02-15 .
  29. ^ "And the Winners are… | Calgary International Film Festival". world wide web.calgaryfilm.com . Retrieved 2018-02-fifteen .
  30. ^ a b [1] Wald, McGourty, MacMahon 2017, pp. 235-237
  31. ^ "PBS's American Ballsy chronicles America's early on, raw expression on record - The Vinyl District". The Vinyl District. 2017-05-17. Retrieved 2018-02-15 .
  32. ^ a b [1] Wald, McGourty, MacMahon 2017, pp. 238-239
  33. ^ "American Ballsy: How Jack White helped piece together the story of a nation'due south musical roots - Uncut". Uncut. 2017-04-21. Retrieved 2018-02-15 .
  34. ^ [ane] Wald, McGourty, MacMahon 2017, p. 240
  35. ^ [1] Wald, McGourty, MacMahon 2017, pp. 240-241
  36. ^ "On PBS: American Epic - FAR-West". www.far-west.org . Retrieved 2018-02-15 .
  37. ^ Boyd, Joe (2017-05-19). "How the record industry crisis of 1925 shaped our musical world". the Guardian . Retrieved 2018-02-16 .
  38. ^ "American Ballsy Sessions: In conversation with the director of a truly one of a kind music documentary". world wide web.gigwise.com . Retrieved 2018-02-16 .
  39. ^ "SXSW 'sixteen: Reviving recording history in "American Epic"". Retrieved 2018-02-xvi .
  40. ^ "American Epic: The Drove & The Soundtrack Out May 12th | Legacy Recordings". Legacy Recordings. 2017-04-28. Retrieved 2018-02-sixteen .
  41. ^ "Tertiary MAN RECORDS TO SCREEN THE AMERICAN EPIC Series IN BOTH LOCATIONS". Tertiary Homo Records . Retrieved 2018-02-16 .
  42. ^ Shedden, Iain (July 15, 2017). "Reviews: American Epic: The Sessions". The Australian.
  43. ^ Keith, Keith (June 8, 2017). "Anthology review: Various Artists, American Epic: The Sessions (Columbia/Lo-Max)". The Herald.
  44. ^ Gill, Andy (June seven, 2017). "American Ballsy". The Independent.
  45. ^ Shedden, Iain (July fifteen, 2017). "Reviews: American Ballsy: The Session". The Australian.
  46. ^ "Greil Marcus' Existent Life Rock Meridian 10: The Epic Tradition". Retrieved 2018-02-16 .
  47. ^ "Album reviews: Sufjan Stevens, London Grammar, Katy Perry, and more". The Independent. 2017-06-07. Retrieved 2018-02-twenty .
  48. ^ "AMERICAN EPIC - The Sessions - Paris Move". Paris Move . Retrieved 2018-02-16 .
  49. ^ Hunter-Tilney, Ludovic (May 19, 2017). "American Epic". Fiscal Times . Retrieved 2018-02-16 .
  50. ^ "Various: Music from The American Ballsy Sessions". Review Corner. 2017-07-04. Retrieved 2018-02-16 .
  51. ^ "Album review: Various Artists, American Epic: The Sessions (Columbia/Lo-Max)". HeraldScotland . Retrieved 2018-02-sixteen .

Bibliography [edit]

  • Wald, Elijah & McGourty, Allison & MacMahon, Bernard. American Epic: The Starting time Time America Heard Itself. New York: Touchstone, 2017. ISBN 978-1501135606.

External links [edit]

  • Official website
  • The American Epic Sessions at IMDb

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Source: https://en.wikipedia.org/wiki/Music_from_The_American_Epic_Sessions:_Original_Motion_Picture_Soundtrack

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