Lynyrd Skynyrd Discography [Kosjeyr]

  • 14.06.2016, 05:32,
  • Music
This is an almost round off discography of Lynyrd Skynyrd from their accumulation until our times except for one album which I cannot find.

From Lynyrd Skynyrd's Proper Website

Beyond the disaster, the retailing, the raging guitars and the bluebeard songs, at the end of the day, Lynyrd Skynyrd is about an unafraid will. About survival of spirit; unbowed, uniquely American, stubbornly resolute.

With their first set of new studio documentation since 2003’s Flagitious Return, heroic crag bind Lynyrd Skynyrd returns with God & Guns, due out September 29 on Ear-Splitting & Proud/Roadrunner Records. Recorded in Nashville in 2008-2009, the reckon was interrupted—but, tellingly, not ended—by the deaths of founding member/keyboardist Billy Powell and longtime bassist Ean Evans earlier this year.

Driven by sum members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Lynyrd Skynyrd have recorded an album (“under incarceration, as workaday,” according to Van Zant) that very much lives up to the legacy begun some 35 years ago in Jacksonville, Florida, and halted for a decade by the 1977 uninterrupted collapse that killed three bind members, including Ronnie Van Zant and Steve Gaines. Since then, the bind tragically misplaced Allen Collins, Leon Wilkeson and Hughie Thomasson, yet they crag on.

With the casual of Powell and Evans, “a lot of people probably expected us to say enough is enough,” admits Medlocke. But that would not be the way of this Crag & Scroll Hired Hall of Name powerhouse. With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations, and God & Guns is a apt joining to the canon. The Skynyrd Land awaits.

“We wanted to can the people that not only are we doing the old documentation, keeping the music going, but we still have some new tricks up our sleeves, too,” says founding guitarist Gary Rossington.

Returning to the studio after the ruin of Powell, whose keyboards can be heard on more than half the songs on God & Guns, was “very uncompromising, I ain’t gonna lie to you,” says Van Zant. “But we got through it, as Lynyrd Skynyrd seems to always do. Music’s a enthusiastic healer. These songs needed to be out there, this privately needed to be made. Gary, Rickey and myself just said ‘let’s go for it, let’s get this fetish done.’”

Unfortunately, coping with injury is privy to to this bind. “We just class of level privately in,” says Rossington. “We’ve been doing this a eat one's heart out leisure, so you just class of do what you do. As you get older, you get a little more used to it. You know it’s coming, and it’s coming to you, too. I just thank God for every day and all the leisure I had with the guys that aren’t with us anymore.”

The crying is over and now it’s leisure to crag. “We’ve had some really bad moments this year already, and I’m pleased we’re able to pick ourselves up by our boot straps and just carry on with to behaviour,” says Medlocke. “For us to rise above through this makes this privately even more specific. I’m sure Billy and Ean are looking down upon us with big smiles.”

With famous crag in Bob Marlette, input from guitarist John 5, and a wherewithal of documentation written by the bind and a cadre of elite Skynyrd-minded songwriters, a singular album emerged. “We never really worked with producers that well, we class of always wanted to do it our way,” admits Rossington. “But Bob Marlette came on and he’s such a enthusiastic guy; he figured out how to talk to us musically, and we became friends instantly. He had a lot of green ideas and ways to do things, and also wanted to apprehension the old sounds, too.”

Of John 5, Rossington adds, “he’s probably one of the best guitar players I’ve ever played with, and I’ve played with a lot of enthusiastic ones. He just lives with a guitar on him, and he knows that neck like nobody I’ve ever seen.”

With a sturdiness of Southern crag and wilderness, spirited Van Zant vocals, and trademark layered guitars, God & Guns manages to contend the iconic Skynyrd box while sounding from beginning to end concurrent. Sure to entice heed in these politically divided times is the inscription street, which harbors a intelligibility of intimidation and unwillingness to privately down that hearkens privately to Skynyrd’s earliest days. The bind knows the prevarication, and others like “That Ain’t My America,” will have their critics, but Medlocke says listeners should get beyond the inscription.

“It’s not just the words ‘God and guns.’ you gotta look that and look at what this wilderness was founded on: power,” Medlocke says. “Everybody should be able to clear the way their own decisions and not be led around by a nose pack and told what to do and when to do it.”

And if some critics don’t like it, “that’s called power of alternative,” says Medlocke, who carries his Hereditary American lore with gem be proud of. “I’m sure some critics will look at it, God & Guns, the rednecks are privately.’ Well, the guys in this bind aren’t rednecks, Rickey Medlocke’s the only two hoots in hell redneck in this bind ‘cause I got red skin.”

The inscription street, along with the unmistakable Skynyrd chew of the first lone “Still Unbroken,” clear the way thematic songs for an album laden with orientation, pluck and wilfully. “Skynyrd’s about lore,” says Medlocke. “We are guys that don’t go around preaching about our own physical or bureaucratic beliefs, although I’m sure you could probably guestimate coalfield. In this privately is physical disaster, physical relationships and being on the means, all under that brolly of material life-force. That’s what we think, that’s what we believe, and we counter next to that inscription, God & Guns.”

To render Skynyrd as a cluster of “gun nuts” would be fallacious, according to Van Zant. “I’m class of like Ronnie, ‘handguns are made for slaying,’ and I’ve never seen anybody fling a deer with a .38,” he says. “I do own a cluster of rifles, I existent out in the swamp, and you’ve got to shield yourself.”

Skynyrd is a bind, after all, that has never shied away from prominence up and speaking for a part of the residents whose voices are infrequently heard. “Everybody’s so frightened to say abilities these days, that’s not what I’m about,” says Van Zant. “We existent in America, we can symbolize our minds. These are our values. That doesn’t mean we’re always right in everybody’s be firm. Hopefully, we don’t slight a cluster of people. And if we do, well, get a privately parcel out, man, and clear the way your own songs.”

This is a bind well cognizant of the job that comes with putting the name ‘Lynyrd Skynyrd’ on anything, be it an album or a concert. “We see like we have to keep the standards anticyclone,” says Rossington. “I wouldn’t put this privately out, I’d clash not to, if I didn’t think it was good.”

And so Skynyrd stands, “still unbroken,” in 2009. “People may say, ‘they need the readies,’ well I don’t think any of us need the readies,” Van Zant says. “It’s just that we adulation the music, it’s bigger than the readies, it’s not even about that any more. We have to clear the way a living, sure, but it’s about the legacy of Lynyrd Skynyrd, and what it stands for, what the fans are all about. There’s nothing like getting out there playing a enthusiastic can with Skynyrd and seeing people adulation this music.”

Adds Rossington, “We’re still prominence, still keeping the music going. We wanted to do the guys who aren’t with us any more proud, and keep the name proud, too.”

Gary Rossington- Guitar
Johnny Van Zant- Vocals
Rickey Medlocke- Guitar
Devalue «Sparky» Matejka- Guitar
Michael Cartellone- Drums
Robert Kearns — Bass
Peter “Keys” Pisarczyk — Keyboards
Dale Krantz Rossington- Subsidy Vocals
Carol Track- Subsidy Vocals

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