Track listing
Show track credits
- A1 Down South Jukin' 2:12
-
bass
-
drums
-
guitar
-
guitar
-
producer
-
guitar
-
saxophone
-
backup vocals
-
backup vocals
-
backup vocals
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Tim Smithproducer
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- A2 Saturday Night Special 5:08
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bass, background vocals
-
guitar
-
keyboards
-
drums
-
moog synthesizer, producer
-
- A3 Gimme Three Steps 5:00
-
bass
-
keyboards
-
drums
-
guitar
-
producer
-
- A4 What's Your Name 3:31
-
bass
-
keyboards
-
drums
-
guitar
-
- A5 You Got That Right 3:46
-
bass
-
keyboards
-
drums
-
guitar, vocals
-
- B1 Gimme Back My Bullets 3:28
-
bass
-
keyboards
-
drums
-
producer
-
- B2 Sweet Home Alabama 4:44
-
bass
-
drums
-
lead guitar
-
keyboards
-
producer
-
background vocals
-
background vocals
-
- B3 Free Bird 14:10
-
bass
-
keyboards
-
drums
-
guitar
-
producer
-
- C1 That Smell 5:47
-
bass
-
backup vocals
-
backup vocals
-
backup vocals
-
keyboards
-
drums
-
guitar
-
The Honkettesbackground vocals
-
- C2 On the Hunt 5:25
-
bass
-
guitar
-
keyboards
-
drums
-
producer
-
- C3 I Ain't the One 3:17
-
bass
-
keyboards
-
drums
-
guitar
-
producer
-
- C4 Whiskey Rock-A-Roller 4:33
-
bass
-
guitar
-
keyboards
-
drums
-
producer, background vocals
-
David Fosterkeyboards
-
- D1 Simple Man 5:57
-
drums
-
bass
-
keyboards
-
producer
-
organ
-
- D2 I Know a Little 3:28
-
bass
-
keyboards
-
drums
-
guitar
-
- D3 Tuesday's Gone 7:32
-
bass
-
keyboards
-
producer
-
Mellotron, backup vocals, harmony vocals
-
drums
-
- D4 Comin' Home 5:30
-
guitar
-
producer
-
backup vocals
-
Tim Smithproducer, backup vocals
-
piano
-
drums, backup vocals
-
bass
-
- Total length: 83:28
Rate/Catalog
Catalog
Set listening
Review
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15 Issues
- Release view [combined information for all issues]
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Gold & Platinum [p] 33 rpm, Gatefold
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Gold & Platinum 33 rpm, Gatefold
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Gold & Platinum 33 rpm, Gatefold
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Gold and Platinum Gatefold
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Gold & Platinum 33 rpm
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Gold & Platinum 33 rpm, Gatefold
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Gold & Platinum 33 rpm
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16 Reviews
Coming of age during the 1970’s left it’s mark on many of us. I was in my twenties, old enough to know when I was being stupid, yet young enough not to care. There are a ton of things that floated across the airwaves, things which stick out from those years, though when it comes to music, there are but two that just continue to creep me out. It was impossible to be in my car and not hear Fleetwood Mac and Lynyrd Skynyrd in constant rotation, often on more than one station at a time, impossible to escape ... I was determined never to hear the song “Freebird” again, so sitting here, writing this gives me a rather strange feeling. Never the less, Lynyrd Skynyrd flew with tragedies and triumphs, laying out some of the most memorable southern rock music to ever grace this planet, and while the band may have been whittled down to but one member from the original lineup, there is an essence at the core of their music, and a light which is impossible to extinguish.
Most people lock the band into the 1970’s, but truth be told, their roots stretch back to the psychedelic years of 1965 and 66 when they immortalized their their teacher [Leonard Skinner], who was forever busting on the boys. Like the Allmond Brothers, Lynyrd Skynyrd was a huge band, with more members than I will ever keep straight, specializing in songs of mammoth length that sonically washed, drained, and hung you out to dry. One of the reasons for their great success was their early work with the renowned Al Kooper, who was able to help the band define not only their style, but presentation, though the band is beholding to know one. As opposed to The Allmond Brothers, who’s music was very bluesy, and open ended, Lynyrd Skynyrd were hard rockin’, boisterous, cocky and full of regional pride; an aspect that offended much of America at the time, due to Civil Rights Legislation, and racism ... though I am in no way implying that Lynyrd Skynyrd had anything to do with those southern tactics.
Wishbone Ash used to WOW me with their twin lead guitars, but Skynyrd often preformed songs that contained three guitar solos, great rock harmonies, and songs that you’d forever find popping to mind, and slipping out of your mouth before you even realized it. Now I’m not gonna say that I even dig half of Skynyrd’s material, but that leaves a huge body of work that I’ve had to come to terms with, and I’ve gotta tell you ... I can’t fault it.
There is a mark of demarcation defined as Skynyrd pre-airplane crash, and Skynyrd post-airplane crash ... I much prefer the original line up, and will carry those members as THE Lynyrd Skynyrd, leaving the other reincarnations as just that, carrying on in name only. As I said earlier, I in no way feel that Skynyrd were racist, or represent that aspect of America, but to be honest, who really knows ... I do know that this present incarnation, though supporting a good cause, a scholarship fund for children of disabled veterans, they are connected at the hip with the very divisive Sean Hannity, and his right winged agenda.
Which of course brings me to their song “Sweet Home Alabama” ... [I've used several sources here, along with my own thoughts, but sight only when using quotes]
"Well, I hope Neil Young will remember, a southern man don't need him around anyhow ..." Thanks to Neil Young, Lynyrd Skynyrd was inspired to write the song "Sweet Home Alabama." Without Young's songs that were so critical of the South's segregationist and racist attitudes for inspiration, it is doubtful that the band would have produced a song with such a long lasting duration that continues to sell so well thirty years after its release. But the ultimate irony of "Sweet Home Alabama" is that for so many, the song's implied put down of Neil Young was not meant as criticism but as support of Young's anti-racism. Thus, for those who think it’s so cleaver to put down Neil Young using the phrase, "Hope Neil Young will remember, a southern man don't need him around anyhow ... ," little do they realize that they have the meaning backwards. Every day, someone searches the "Neil Young putdown" without comprehending that they've actually praised him. Similarly, with the State of Alabama using the phrase "Sweet Home Alabama" as an official slogan on license plates, one truly has to wonder what they were thinking the song was about. Somewhere, Ronnie is still having a good laugh at Alabama officials and Neil Young bashers. Such is the duality of the southern thing.
As for the "Boo, boo, boo!" chorus, some have dismissed it as Skynyrd's wink at racism. Joshua Marshall writes in Talking Points Memo, "It always seemed to me more likely that that shadow lyric is a mocking allusion to anti-Wallace protestors." None the less, many still regard the song to be a beacon to the South's disregard for the civil rights movement. The last line in the song is an ad-lib by Van Zant that is rarely understood. He says, "Montgomery got the answer.” Some of the original band members revealed this in a radio interview a few years back and possibly references the infamous march from Selma to Montgomery, Alabama, led by civil rights leader Martin Luther King. George Wallace was the governor of Alabama when this was released and he apparently loved the song, especially the line, "In Birmingham they love the governor." At best, this is ambiguous. At it's worst, this can be seen as an endorsement of the racist policies of the Alabama state capitol. Wallace, in the end, made the band honorary Lieutenant Colonels in the state militia. Immediately after the band sings the verse "Well, I heard Mr. Young sing about her," one can hear in the background what sounds like the phrase "Southern Man." Many believe it was Young's original recording being played. However, others claim it to be the album's producer, Al Kooper, impersonating Young. Furthermore, Lynyrd Skynyrd sang "Now Watergate does not bother me.” Sadly, it would seem not only were Lynyrd Skynyrd untroubled by racism but were not terribly concerned by corruption at the highest levels of the U.S. government.
And this my friends is what I have never been able to get passed ... racism scarred this nation, racism spilled over into the hating of gay and lesbians, racism is the cause of so many of our current situations, and try as I might, this song, supported by the band's current affiliation with right winged characters only cements my thinking that Lynyrd Skynyrd, while perhaps not supporting or espousing racism and inequality, certainly accepted it as part of who they were ... and that I will not abide.
IF I were to only listen to the music, and pass not emotional judgement, I would have to rate this as the place to begin with Skynrd, and probably the place to end.
Most people lock the band into the 1970’s, but truth be told, their roots stretch back to the psychedelic years of 1965 and 66 when they immortalized their their teacher [Leonard Skinner], who was forever busting on the boys. Like the Allmond Brothers, Lynyrd Skynyrd was a huge band, with more members than I will ever keep straight, specializing in songs of mammoth length that sonically washed, drained, and hung you out to dry. One of the reasons for their great success was their early work with the renowned Al Kooper, who was able to help the band define not only their style, but presentation, though the band is beholding to know one. As opposed to The Allmond Brothers, who’s music was very bluesy, and open ended, Lynyrd Skynyrd were hard rockin’, boisterous, cocky and full of regional pride; an aspect that offended much of America at the time, due to Civil Rights Legislation, and racism ... though I am in no way implying that Lynyrd Skynyrd had anything to do with those southern tactics.
Wishbone Ash used to WOW me with their twin lead guitars, but Skynyrd often preformed songs that contained three guitar solos, great rock harmonies, and songs that you’d forever find popping to mind, and slipping out of your mouth before you even realized it. Now I’m not gonna say that I even dig half of Skynyrd’s material, but that leaves a huge body of work that I’ve had to come to terms with, and I’ve gotta tell you ... I can’t fault it.
There is a mark of demarcation defined as Skynyrd pre-airplane crash, and Skynyrd post-airplane crash ... I much prefer the original line up, and will carry those members as THE Lynyrd Skynyrd, leaving the other reincarnations as just that, carrying on in name only. As I said earlier, I in no way feel that Skynyrd were racist, or represent that aspect of America, but to be honest, who really knows ... I do know that this present incarnation, though supporting a good cause, a scholarship fund for children of disabled veterans, they are connected at the hip with the very divisive Sean Hannity, and his right winged agenda.
Which of course brings me to their song “Sweet Home Alabama” ... [I've used several sources here, along with my own thoughts, but sight only when using quotes]
"Well, I hope Neil Young will remember, a southern man don't need him around anyhow ..." Thanks to Neil Young, Lynyrd Skynyrd was inspired to write the song "Sweet Home Alabama." Without Young's songs that were so critical of the South's segregationist and racist attitudes for inspiration, it is doubtful that the band would have produced a song with such a long lasting duration that continues to sell so well thirty years after its release. But the ultimate irony of "Sweet Home Alabama" is that for so many, the song's implied put down of Neil Young was not meant as criticism but as support of Young's anti-racism. Thus, for those who think it’s so cleaver to put down Neil Young using the phrase, "Hope Neil Young will remember, a southern man don't need him around anyhow ... ," little do they realize that they have the meaning backwards. Every day, someone searches the "Neil Young putdown" without comprehending that they've actually praised him. Similarly, with the State of Alabama using the phrase "Sweet Home Alabama" as an official slogan on license plates, one truly has to wonder what they were thinking the song was about. Somewhere, Ronnie is still having a good laugh at Alabama officials and Neil Young bashers. Such is the duality of the southern thing.
As for the "Boo, boo, boo!" chorus, some have dismissed it as Skynyrd's wink at racism. Joshua Marshall writes in Talking Points Memo, "It always seemed to me more likely that that shadow lyric is a mocking allusion to anti-Wallace protestors." None the less, many still regard the song to be a beacon to the South's disregard for the civil rights movement. The last line in the song is an ad-lib by Van Zant that is rarely understood. He says, "Montgomery got the answer.” Some of the original band members revealed this in a radio interview a few years back and possibly references the infamous march from Selma to Montgomery, Alabama, led by civil rights leader Martin Luther King. George Wallace was the governor of Alabama when this was released and he apparently loved the song, especially the line, "In Birmingham they love the governor." At best, this is ambiguous. At it's worst, this can be seen as an endorsement of the racist policies of the Alabama state capitol. Wallace, in the end, made the band honorary Lieutenant Colonels in the state militia. Immediately after the band sings the verse "Well, I heard Mr. Young sing about her," one can hear in the background what sounds like the phrase "Southern Man." Many believe it was Young's original recording being played. However, others claim it to be the album's producer, Al Kooper, impersonating Young. Furthermore, Lynyrd Skynyrd sang "Now Watergate does not bother me.” Sadly, it would seem not only were Lynyrd Skynyrd untroubled by racism but were not terribly concerned by corruption at the highest levels of the U.S. government.
And this my friends is what I have never been able to get passed ... racism scarred this nation, racism spilled over into the hating of gay and lesbians, racism is the cause of so many of our current situations, and try as I might, this song, supported by the band's current affiliation with right winged characters only cements my thinking that Lynyrd Skynyrd, while perhaps not supporting or espousing racism and inequality, certainly accepted it as part of who they were ... and that I will not abide.
IF I were to only listen to the music, and pass not emotional judgement, I would have to rate this as the place to begin with Skynrd, and probably the place to end.
Published
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Come back Outlaws - all is forgiven!
All I can say is that if this is the best of Lynyrd Skynyrd, I am really glad I didn't buy the box set of the first five studio albums as I was intending. I don't know how I'd have got through them because this was mostly purgatory on earth! I'm sure that every living American is going to disagree with me but I'm not from the States and the context just isn't there. Lynyrd Skynyrd seem to be basically and predominantly a boogie band, albeit with Southern Rock leanings. Boogie is one of rock's least endearing aspects and I really cannot stand it when bands, especially bands that can do a whole lot better, indulge in it so such a degree.They are quite tight but I'm afraid they don't come within a thousand miles of the musicianship or song-writing prowess of The Outlaws and it's not like I already had a bias because I heard Lynyrd Skynyrd first. I just never got it when I first heard their début album and still don't to this day. It also rankled with me that Hughie Thomasson, guitarist extraordinary of the aforementioned Tampa band, joined this lot with the general opinion of receiving a promotion, whereas, to me, it was a huge demotion; something akin to a General being patted on the back and subsequently getting reduced to the ranks.
It's not all bad, for amongst the dross there are some genuine gems. Indeed, I really do not need to mention the superb "Free Bird" which rightfully rates high in the Southern Rock pantheon but also "Sweet Home Alabama", "Simple Man", "Tuesday's Gone" and "Comin' Home" are all really strong efforts. It's just a pity I had to wade through the mire of the first six tracks to get to them and it took three efforts to get through the whole album. Normally I would applaud seventy-nine minutes as an album presentation but this was an hour too much for me.
Incidentally, the opening chords and indeed most of the riff for "Simple Man" was pinched wholesale by The Scorpions for their song "Always Somewhere" - so their influence in rock is clearly evident.
The entire rip I did of this album has been culled down to a mere six songs and I can safely state that will be that for Lynyrd Skynyrd. This Englishman probably stands alone but for Southern Rock, The Outlaws are so much more satisfying in every imaginable sphere.
Published
MCLD 19140 CD (1992)
-
A1
Down South Jukin'
-
A2
Saturday Night Special
-
A3
Gimme Three Steps
-
A4
What's Your Name
-
A5
You Got That Right
-
B1
Gimme Back My Bullets
-
B2
Sweet Home Alabama
-
B3
Free Bird
-
C1
That Smell
-
C2
On the Hunt
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C3
I Ain't the One
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C4
Whiskey Rock-A-Roller
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D1
Simple Man
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D2
I Know a Little
-
D3
Tuesday's Gone
-
D4
Comin' Home
Published
This double long play will give you all the Lynyrd Skynyrd you will ever need, well except for the live material on " One more From the Road". This compilation was released in 1979 and they have not recorded a tune since that would be added to this. Sad!
RIP Leon Wilkeson RIP Ronnie van Zant RIP Bob Burns
RIP Cassie Gaines RIP Billy Powell RIP Robert Nix
RIP Allen Collins RIP Jo Jo Billingsley RIP Ed King
RIP Leon Wilkeson RIP Ronnie van Zant RIP Bob Burns
RIP Cassie Gaines RIP Billy Powell RIP Robert Nix
RIP Allen Collins RIP Jo Jo Billingsley RIP Ed King
Published
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Music for hillbillies. Not appropriate for artsy wankers or dancey prancey types who don't like soulful rock 'n' roll with great songwriting and musicianship.
Yeah - I'm sure "hillbillies" really appreciate an anti-gun song like "Saturday Night Special". Oh, but SKYNYRD hails from the south, so they must be gun waving racist morons. Just like all us Canadians live in igloos and eat nothing but back bacon, eh.
A great place to start (if you can find it) if you want to check out one of the best and most misunderstood band of the 1970's.
Yeah - I'm sure "hillbillies" really appreciate an anti-gun song like "Saturday Night Special". Oh, but SKYNYRD hails from the south, so they must be gun waving racist morons. Just like all us Canadians live in igloos and eat nothing but back bacon, eh.
A great place to start (if you can find it) if you want to check out one of the best and most misunderstood band of the 1970's.
Published
Lynyrd Skynyrd's sixteen song '70s retrospective, _Gold & Platinum_, which was initially pushed out in 1979, is packed with one down home, rebel flag wavin', whiskey rockin' roller bangin' headlong into the next track. It's swamp music with feel, passion, and a tear for each fallen band member. _Gold & Platinum_ would be the first of a seemingly endless set of post-plane-crash Skynyrd compilation recordings issued that cash-in on the recording career of the hard livin', nuthin' fancy, wild eyed Skynyd.
Featuring the pistol packin' "Saturday Night Special", "You Got That Right", "What's Your Name", "Sweet Home Alabama", the bad ass "Gimme Back My Bullets", the strung out "That Smell", "I Ain't the One", the emotionally gut-wrenching "Simple Man", "Tuesday's Gone", and of course the legendary "Free Bird" (the monumental fourteen-minute live version from _One More From The Road_), the set pays homage to the late Ronnie Van Zant and his Jacksonville partners in drinkin', fightin' 'n' rawkin'.
Missing in action: The hard charged "Workin' For MCA", which kicks-in with an unrelenting intro and showcases Van Zant in full-on authoritative vocal control. The omission of the Ed King/RVZ penned "Workin' For MCA" from _Gold & Platinum_ drops the ranking of the compilation disc slightly.
KNOCK IT BACK!
Featuring the pistol packin' "Saturday Night Special", "You Got That Right", "What's Your Name", "Sweet Home Alabama", the bad ass "Gimme Back My Bullets", the strung out "That Smell", "I Ain't the One", the emotionally gut-wrenching "Simple Man", "Tuesday's Gone", and of course the legendary "Free Bird" (the monumental fourteen-minute live version from _One More From The Road_), the set pays homage to the late Ronnie Van Zant and his Jacksonville partners in drinkin', fightin' 'n' rawkin'.
Missing in action: The hard charged "Workin' For MCA", which kicks-in with an unrelenting intro and showcases Van Zant in full-on authoritative vocal control. The omission of the Ed King/RVZ penned "Workin' For MCA" from _Gold & Platinum_ drops the ranking of the compilation disc slightly.
KNOCK IT BACK!
Published
MCAD2-6898 CD
Not that easy to find, but this is still a collection to be searched out, as many of the later ones that I've surveyed are missing "On the Hunt" which I consider an essential track. This was compiled by the surviving band members looking to create a definitive compilation back when the memory of the band's trajectory was still fresh. This also includes the live version of "Free Bird" which is absolutely the way to go with that old warhorse. The running crowd joke of yelling out "Free Bird" at any given show (I've heard it called for at Fiona Apple and Tom Waits shows) musta came from something. I like these guys more and more as we move through the years. Ronnie Van Zant was one smart southern cracker.
Published
Best Skynyrd compilation,but it´s real more for hillbillies!
Published
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Catalog
14 Jul 2023
5 Jul 2023
-
A1
Down South Jukin'
-
A2
Saturday Night Special
-
A3
Gimme Three Steps
-
A4
What's Your Name
-
A5
You Got That Right
-
B1
Gimme Back My Bullets
-
B2
Sweet Home Alabama
-
B3
Free Bird
-
C1
That Smell
-
C2
On the Hunt
-
C3
I Ain't the One
-
C4
Whiskey Rock-A-Roller
-
D1
Simple Man
-
D2
I Know a Little
-
D3
Tuesday's Gone
-
D4
Comin' Home
30 Jun 2023
29 Jun 2023
6 May 2023
29 Mar 2023
15 Mar 2023
30 Jan 2023
1 Jan 2023
10 Dec 2022
26 Nov 2022
23 Oct 2022
14 Oct 2022
4 Jul 2022
21 May 2022
| . | . | . | . |
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