• Amy Speace Gives Tribute To Judy Collins on 'Born To The Breed'

    Dez 3 2008, 4h53 por musicdish

    'Born To The Breed - A Tribute to Judy Collins, Vol. I' featuring Amy Speace alongside the likes of legends Dolly Parton, Rufus Wainwright, Shawn Colvin, Chrissie Hynde, James Murdriczki, Jim Lauderdale, Leonard Cohen, Dar Williams, Bernadette Peters, ALI ESKANDARIAN, Joan Baez, Kenny White, Jimmy Webb, and The Webb Sisters.

    Take a listen to Amy Speace's remake of "TocarBorn to the Breed":
    http://www.facebook.com/pages/Amy-Speace/6091046107
    http://soundcloud.com/musicdish/born-to-the-breed-by-amy-speace

    "'TocarBorn to the Breed' is a splendid cover of Judy Collins' classic track. In her adaptation, Amy Speace takes a powerful folk song and adds a hint of country flair to it. Amy sings with conviction and a commanding voice, with the result being a wonderful tribute to one of the icons of folk music." - Eric Hartline, MusicDish

    To purchase 'Born To The Breed - A Tribute to Judy Collins, Vol. I' , visit:
    http://www.amazon.com/Born-Breed-Tribute-Judy-Collins/dp/B0018K6QSQ
    http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=291704315&s=143441

    Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that's already taken her across the United States. She's also won considerable critical acclaim, with The Village Voice observing that Speace is "taking her Americana away from twangy contemplation toward tangy confrontation" and noting that she's "not another of those breathy would-be child poets, but a real singing writer of songs." Time Out New York stated, "Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability," while The Nashville Scene noted that she "balances wry humor with open-hearted honesty." And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a "new star."
    http://www.amyspeace.com
  • Amy Speace Opening For Judy Collins & Shawn Colvin This November

    Nov 12 2008, 15h39 por musicdish



    Grassy Hill Entertainment singer-songwriter Amy Speace will be opening for Folk icon Judy Collins as well as Shawn Colvin (1989 Best Contemporary Folk Grammy winner) this month. In between, she will be performing a showcase to industry insiders gathered at NERFA (Northeast Regional Folk Alliance Conference) in Kerhonkson, NY.

    Thursday, November 13th - 8:00 PM
    Opening For Shawn Colvin
    Tarrytown Music Hall
    13 Main Street, Tarrytown NY
    http://www.tarrytownmusichall.org/

    Thursday, November 14th - 11:05 - 11:20 PM
    North East Regional Folk Alliance (NERFA)
    Dutchess Room at the Hudson Valley Resort
    Kerhonkson, NY

    Sunday, November 16th - 3:00 and 7:30 PM
    Opening For Judy Collins
    Sellersville Theater
    24 W. Temple Avenue
    Sellersville, PA
    http://st94.com/music/2008_11.html#collins

    Amy was recently joined by Shawn Colvin as well as noted artists Rufus Wainwright, Shawn Colvin and Jimmy Webb for Joe's Pub 10th Anniversary Concert paying tribute to Judy Collins last October 10th (see photo - credit Jeffrey Fasano). The tribute coincided with Wildflower Records' release of 'Born to the Breed (A Tribute to Judy Collins)', featuring Amy Speace singing the title track alongside contributions by Dolly Parton, Joan Baez, Chrissie Hynde, Leonard Cohen, Rufus Wainwright.)

    About Amy Speace
    Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that's already taken her across the United States. She's also won considerable critical acclaim, with The Village Voice observing that Speace is "taking her Americana away from twangy contemplation toward tangy confrontation" and noting that she's "not another of those breathy would-be child poets, but a real singing writer of songs." Time Out New York stated, "Amy Speace plays sweet, twangy folk music with a clear voice and an innocent vulnerability," while The Nashville Scene noted that she "balances wry humor with open-hearted honesty." And renowned Nashville critic Robert K. Oermann, writing in Music Row, dubbed her a "new star."
    http://www.amyspeace.com
    http://amyspeace.musicdish.net

    About Judy Collins
    Folk icon Judy Collins has thrilled audiences with her unique blend of interpretative folksongs and contemporary themes. For nearly 45 illustrious years, her dulcet tones have graced our ears and her poetic lyrics have galvanized a generation. She's released more than 40 albums (including several gold & platinum sellers) yielding numerous Top 10 hits such as "Both Sides Now" & "Amazing Grace" and whose version of Stephen Sondheim's "Send in the Clowns" won Song of the Year Grammy. Returning to Sellersville - this time with musical accompaniment - Judy Collins continues to create music of hope & healing that lights up the world and speaks to the heart.

    About Shawn Collins
    Colvin is one of those rare performers, like Bonnie Raitt, Emmylou Harris, or her youthful idol Joni Mitchell, who has been able to grow up alongside her audience and mature into her role as singer and songwriter. Although she was rewarded with a Best Contemporary Folk Grammy for her 1989 debut disc, Steady On, Colvin didn’t reach a broad mainstream audience until eight years later, when her story of a housewife’s fiery revenge, “Sunny Came Home,” became an unlikely top ten pop single fifteen months after the album it was taken from, A Few Small Repairs, was released. Her latest album, These Four Walls a is very much an album of shared experiences, common epiphanies.
  • Amy Speace To Perform Joe's Pub 10th Anniversary Gala

    Out 2 2008, 14h35 por musicdish

    New York, NY - Grassy Hill Entertainment artist Amy Speace will be joining an impressive line-up during Joe's Pub 10th Anniversary Gala in tribute to legendary musician, champion of emerging artists, and New Yorker Judy Collins. The Gala will take place on October 10th and will begin with a celebration dinner at The Chinatown Brasserie and will continue at the Anspacher Theater at The Public Theater for the Judy Collins Tribute.

    Produced by Joe's Pub and Katherine DePaul (President, Wildflower Records) Joe's Pub 10th Anniversary Gala will be hosted by legendary WFUV DJ, Pete Fornatale and will honor Judy Collins' impressive career that has spanned nearly 50 years, her commitment to the music industry, and her history with the Public Theater.

    The benefit tribute concert will coincide with the release of 'Born To The Breed - A Tribute to Judy Collins, Vol. I' due for release October 14th on Wildflower Records. The disc features Amy Speace alongside the likes of legends Dolly Parton, Rufus Wainwright, Shawn Colvin, Chrissie Hynde, James Murdriczki, Jim Lauderdale, Leonard Cohen, Dar Williams, Bernadette Peters, ALI ESKANDARIAN, Joan Baez, Kenny White, Jimmy Webb, and The Webb Sisters.

    From the rustic rush of "TocarStep Out of the Shade" to the bittersweet lilt of "Water Landing" to the gentle acoustic intimacy of "Two," Songs for Bright Street's 12 original compositions (plus a slyly countrified reading of the Blondie classic "Dreaming") showcase Speace's unique gifts, offering catchy Americana with indelible hooks, sharply observed lyrics and a gritty urban edge. Among those impressed by her sassy songcraft is legendary folk-pop songstress Judy Collins, who chose Songs for Bright Street to release on her new Wildflower label.

    Amy Speace has already won a loyal grass-roots fan base, thanks in large part to live performances that merge warmth, humor and emotional immediacy, and to a tireless touring schedule that's already taken her across the United States. She's also won considerable critical acclaim, with The Village Voice observing that Speace is "taking her Americana away from twangy contemplation toward tangy confrontation" and noting that she's "not another of those breathy would-be child poets, but a real singing writer of songs."

    http://www.amyspeace.com
  • Swing Out Sister

    Jun 19 2008, 11h48 por fmera

    Swing Out Sister is a British pop musical group best known worldwide for their 1986 hit single TocarBreakout.

    History
    Although Swing Out Sister is currently a duo, they began as a trio in the UK. The group was formed by Andy Connell (born Andrew John Connell, Jul 26, 1961, Nottingham; keyboards) and Martin Jackson (drums), and were later joined by Corinne Drewery (born Sep 21, 1959, Nottingham; vocals). The group's name came from a 1945 movie called Swing Out, Sister, and they reportedly chose the name because there was only one thing they could agree on: they all hated it! Both Connell and Jackson had been playing in other bands prior to forming SOS, while Drewery was actually a fashion designer and model before she became the band's lead vocalist.

    It's Better To Travel (1987, debut album)
    Together with their producer, Paul Staveley O'Duffy, they signed with Mercury Records Limited. Prior to their first album, they released the single TocarBlue Mood in the UK in November 1985. However, it did not chart. In late 1986, the single "Breakout" was released. It peaked at #4 on the UK charts, and #6 in the United States. Consequently, when they released their debut album, It's Better to Travel, on May 11, 1987, it reached #1 on the UK album charts.

    The album registered with listeners for its mix of and , with a blend of real horns, synths (arranged subtly, to sound like strings), drums, and xylophones, scored by producer-arranger Richard Niles. The follow-up single to the effervescent "Breakout" was the brooding TocarSurrender, which featured a trumpet solo performed by John Thirkell. It rose to #7 on the UK charts in January 1987. The next single was the more serious and jazzy TocarTwilight World. This song was the subject of many remixes and was a dance club favorite worldwide. The final single TocarFooled by a Smile returned to the upbeat pop orientation characteristic of "Breakout".

    The group was subsequently nominated for two American Grammy Awards in 1988: Best New Artist and Best Pop Vocal Performance by a Group or Duo (for "Breakout").

    In addition to long-time partner O'Duffy as well as Thirkell, Swing Out Sister had also enlisted the talents of saxophonist Gary Barnacle (who with Thirkell also comprise the Henpecked Horns, known for their work with Level 42); percussionist Luis Jardim; guitarist Tim Cansfield; trumpet/fluegelhorn master Jerry Hey; and songwriter-arranger Jimmy Webb.

    Kaleidoscope World (1989)
    Original member Jackson, whose acoustic drums drove the "Surrender" single, left the group during the making of the second album, Kaleidoscope World. Although the liner notes give "special thanks to Martin Jackson" and his co-writing credits appear on the songs TocarTainted and TocarBetween Strangers, they also point out that "Swing Out Sister are Corinne Drewery and Andy Connell." Drewery and Connell have since become the core group on all subsequent albums. After leaving Swing Out Sister, Jackson later worked for Frank Zappa.

    Kaleidoscope World was released in May 1989 and achieved critical acclaim. Their turn away from contemporary styles towards retro musical sources on this album would establish the musical path that they would continue to follow with their subsequent albums. The duo found inspiration in music, from the likes of Burt Bacharach, as well as songwriter Webb, who arranged two tracks, TocarPrecious Words and TocarForever Blue, the latter "an impeccable example of the band's craft"1 which was "reminiscent of John Barry's classic TocarMidnight Cowboy theme"2. The incorporation of an orchestra to their recordings realized their sound in a richer, fuller way than their previous effort which relied more heavily on synthesizers. Consequently, this album featured arrangements and a songwriting style that were more classical in inclination. The lead-off single TocarYou on My Mind featured a more sophisticated blend of musical components than their previous efforts, while the upbeat tone of "Breakout" was echoed in the lead USA single TocarWaiting Game. Further singles included TocarWhere in the World and "Forever Blue".

    1, 2: http://www.asterion.se/sosblog.html

    Get In Touch With Yourself (1992)
    In May 1992, the group's retro orientation became even more evident in both their sound and image on their third album, Get In Touch With Yourself. With strong dance rhythms reverberating throughout the entire album, tracks draw influences from 1960s and 1970s , , , and , including a breezy cover of the Barbara Acklin late '60s classic TocarAm I the Same Girl? (which became their last US hit, reaching #1 on the AC chart). The album's title track, a blend of 1970s soul music and modern pop, gained the duo heavy airplay on smooth-jazz radio and was a crossover hit, gaining airtime on adult contemporary stations. The musical influences of Stevie Wonder, The Jackson 5, and others would not only become evident in this album but continue on through their later releases. In line with the album theme, Drewery also grew out her hair from her trademark bob which had become a visual signature for their early years.

    The Living Return (1994)
    Numerous changes were afoot by the time their fourth album, The Living Return was released in September 1994. The replacement of producer Paul O'Duffy after initial studio sessions with Ray Hayden contributed to a looser, raw feel to the songs that were often the results of studio jam sessions. Though Drewery and Connell still fronted Swing Out Sister, additional musicians (including former 52nd Street bassist Derick Johnson; Pa'lante percussionist Chris Manis; drummer Myke Wilson, formerly of the Jazz Defectors; and trumpet player John Thirkell increased their group to 10 members that replicate the live performances that had been captured on the Japan-only release Live at the Jazz Cafe. The album featured the single and cover song TocarLa La (Means I Love You), which was also included on the Four Weddings and a Funeral soundtrack.

    Shapes and Patterns (1997)
    Few of the band's releases charted highly on the pop listings in Western countries after their successful debut album (though they became radio-airplay staples on jazz stations). The band, however, became extremely popular in Japan. Their song TocarNow You're Not Here (from their fifth album Shapes and Patterns, one of several released only in Japan) was used as the theme to a Japanese TV program, and received a Japanese 'Grand Prix' (the equivalent of a Grammy) for best international single in 1997.

    Shapes and Patterns was first released in Japan in March 1997, and then in Europe and USA the year after. Producer Paul O'Duffy, who co-wrote half of the songs, was back at the helm. As an orchestra was once again employed (led by Gavyn Wright), the lush arrangements characteristic of Kaleidoscope World resurfaced. The liner notes, written by Mary Edwards, point out the influences of Bacharach, Webb, and composer John Barry, which are perceptible in the string arrangements and rhythms, as well as that of Minnie Riperton, Rotary Connection, and The 5th Dimension.

    The album included TocarStoned Soul Picnic, a cover of Laura Nyro's original, as well as the original version of TocarBetter Make it Better, which appeared in a different mix on their previous album. A pervasive longing marks songs such as TocarNow You're Not Here, TocarSomewhere in the World, TocarYou Already Know, and TocarIcy Cold as Winter. This album would also mark the beginning of the duo's use of Japanese musicians in their studio sessions.

    Filth and Dreams (1999)
    Filth and Dreams, their sixth album, proved yet again that Swing Out Sister were eager to reinvent themselves. The album was released in Japan in March 1999, and it remains the only album not released in any other country. This album featured stronger jazz leanings than some of their early pop-oriented albums, and is restrained in mood. The track TocarWho's Been Sleeping was promoted as a single and released with several remixes. The album has a feel to it. For this record, SOS adapted to the growing popularity of in the late '90s. "Who's Been Sleeping" kicks off the record with an aggressive beat and a few hip-hop flourishes (such as Drewery's counting and uttering "Yeah..." in the background). The rest of the record incorporates such sounds a bit more subtly, through the soaring retro stylings of TocarCloser Than the Sun and TocarWhen Morning Comes, the excitable of the title track TocarFilth and Dreams, to the mid-tempo trip-hop of TocarInvisible and scratch-laced TocarSugar Free. Traditional SOS sounds are challenged successfully with the dark if dreamy TocarIf I Had the Heart and TocarMake You Stay. Background noises, from phone conversations to child's play, are layered in to enrich the record and give the listener much more to cue in on. Drewery strays out of the usual love lyrics and colors a portrait of a darker world (as the title indicates) by singing about more urban subjects such as drugs (the eerie TocarHappy When You're High) and prostitution ("When Morning Comes"). All of their experimentation works surprisingly well and the result is probably the strongest SOS outing to date. Ironically, Filth and Dreams is the first SOS record not released in their native England, and is currently the most difficult CD to find.

    Somewhere Deep in the Night (2001)
    A seventh album, Somewhere Deep In The Night, was recorded in France, and released in May 2001 in Japan (with subsequent release in Europe and USA). It was dedicated to their friend Kazuhiko Yanagida. While it is quintessential Swing Out Sister, with lush orchestral arrangements, the melodic tunes often feature melancholy, languid, or introspective atmospherics and are more sombre in tone. Many of the tracks are instrumental, or only feature vocalised harmonies sans lyrics. One song even features a soliloquy in French. O'Duffy, who produced the album, also has co-writing credits on all the songs, and provided backing vocals along with Connell and Cansfield.

    Due to declining sales, their record label Universal dropped them from their contract in America. Consequently, they signed on with Shanachie Records.

    Where Our Love Grows (2004)
    Undeterred, the duo bounced back with their eighth studio effort, Where Our Love Grows. It was released in Japan on April 28, 2004 with the UK edition following in July. GQ reviewed it and called it "indisputably their finest record to date". The album features a return to a rich, upbeat retro sound, with tracks like Love Won't Let You Down, TocarWhen the Laughter Is Over, and TocarLet the Stars Shine, that fuses jazz, soul, R&B, latin, and easy listening music. Samples of Roger Nichols & The Small Circle Of Friends and Herbie Mann were incorporated also into some songs.

    Beautiful Mess (2008)
    Late 2005 saw Swing Out Sister return to their studio in London to commence recording of their new album. The band planned on making a second tour of the US in 2006. However, due to recording commitments, this had to be canceled. In 2006, they composed incidental music for the ITV1 drama The Outsiders. August 2007 saw a new single Secret Love.

    The new album from the band was entitled Beautiful Mess and was released by Japanese record company Avex Trax on February 27, 2008. The title is taken from one of the tracks on the album. Prior to its release, in late December 2007, two other tracks were made available for download: TocarButterfly and TocarSomething Every Day.



    Something Every Day, from the album Beautiful Mess (Feb 2008)


    2008 Asian Tour
    In 2008, Swing Out Sister went back on tour and appeared at the Jakarta Convention Center, then toured several venues in Japan including Tokyo, Nagoya, Osaka, and Fukuoka, and in the Philippines, filling up the Araneta Coliseum in Manila. The SOS Asian tour was reportedly a success and they may appear again soon in the UK, Europe, and America this summer.

    Miscellaneous
    The song TocarO Pesadelo Dos Autores from the album The Living Return (1994) features a medley of cover versions of "Brazilian Rhyme", "Celebration Suite", "Come With Me", "My Cherie Amour", "The Smiling Hour", and "Butterfly".

    In 2002, Swing Out Sister and female Japanese singer Akiko recorded TocarWaters of March, an English cover version of legendary Brazilian singer-songwriter Antônio Carlos Jobim's TocarAguas de Marco.

    Albums
    It's Better to Travel (1987) UK #1, US #40
    Kaleidoscope World (1989) UK #9
    Another Non-Stop Sister (1989)
    Get In Touch With Yourself (1992) UK #27
    Swing Out Singles (1992)
    Live at the Jazz Cafe (1993)
    The Living Return (1994)
    The Big Elsewhere (1996)
    Shapes and Patterns (1997)
    Swing 3 (1997)
    The Best of Swing Out Sister (1997)
    Filth and Dreams (1999)
    Somewhere Deep In The Night (2001)
    Cafe Orange: Swing Out Sister Cafe Best (2002)
    Where Our Love Grows (2004)
    Live in Tokyo (2005)
    Beautiful Mess (2008)



    See also:
    Swing Out Sister’s official MySpace page
    Swinghistory - a compleat chronicle of the dashing duo by Björn Wahlberg

    Sources:
    http://en.wikipedia.org/wiki/Swing_Out_Sister (version of Jun 17, 2008) http://www.swingoutsister.com/
    http://www.asterion.se/sos.html
  • SMILE

    Abr 7 2008, 18h04 por ColoradoRain





    "Smile" is so good, it makes "Pet Sounds" stink [...]
    (Dennis Wilson)

    ----------------------------------

    [...] If "Pet Sounds" was his (Brian's) blue periode, then "Smile" would have been his cutest [...] I mean it would have been that radical [...] a move from one art to another and would have influenced - I think - music at that time as much as Picasso's cutest periode influenced art [...]
    (David Anderle / friend / record producer)

    ----------------------------------

    Van Dike and I wanted to make a title that would catch people's ears, so that they want to hear it [...] so we said: SMILE [...] which we thought was a very appropriate title, so people would say: Hey, what's that SMILE all about? We gonna see, what's SMILE is all about [...]
    (Brian Wilson)

    ----------------------------------

    Brian Wilson was one of the first - if not the first guy around - who recognized [...] the studio's potential as an interactive part of the band and the performers making off the record [...]
    (Jimmy Webb / musician)

    ----------------------------------

    He's advancing how the equipment, how the engineers and how those musicians are working. He's taking those elements and he's pushing them [...]
    (Lou Adler)

    ----------------------------------

    He got to the studio with an idea what he wanted to do. He would explain to the guys what he was looking for, if they were having a problem with him [...] he picked the instruments up and he would play [...] He was showing them what he was thinking. Then he would come into the controll room and he would do the board. I mean, Brian was a total music maker [...]
    (David Anderle / friend / record producer)

    ----------------------------------

    He wanted them trying to get emotions out of them [...] I think, a lot of them were shocked, because they were just used to playing notes correctly [...]
    (Danny Hutton / friend / Three Dog Night)

    ----------------------------------

    You could see in his eyes he was a constant thinker [...]
    (Don Randi / musician)

    ----------------------------------

    He heard sounds - combination of sounds - that were not written before at all. And I think because he didn't have any rules [...]
    (Carol Kaye / session musician)

    ----------------------------------

    In my opinion - above The Beatles, above any other actor - he was the man [...]
    (Danny Hutton / friend / Three Dog Night)

    ----------------------------------

    He was playing, he was performing and he was writing and arranging [...]
    (Sir Georg Marin / record producer The Beatles)

    ----------------------------------

    [...] everybody was just having fun [...] and the guys, I mean, the guys loved it [...]
    (Hal Blaine / session drummer)

    ----------------------------------

    [...] before the Beach Boys came back from England, I was a little worried that they wouldn't like what I was doing [...]
    (Brian Wilson)

    ----------------------------------

    [...] he didn't get the support that he would have used. I think the issue wasn't that he needed or could have used and I think the question is that he didn't get what he should have had. And that bugged him deeply [...]
    (Van Dyke Parks / SMILE lyricist)

    ----------------------------------

    I knew that they were right for. They didn't know, but I knew. They didn't think they were right for but I knew they were right for [...]
    (Brian Wilson about The Beach Boys)

    ----------------------------------

    It was awful to watch because the procedure was always Brian going into the studio with the guys and going over the parts with him [...] and he was doing that with these lyrics [...]
    (David Anderle)

    ----------------------------------

    One night, Brian and I were driving [...] and he turned on the radio and something came out from the Beatles [...] and he just shook his head and said: They did it already. I said: They did what? And he said: What I wanted to do with SMILE [...]
    (Michael Vosse / friend / journalist about Brian's reaction on the Beatles "Stg. Pepper" album)

    ----------------------------------

    Mike did not like SMILE at all. He hate it. He hate it [...]
    (Brian Wilson)

    ----------------------------------

    I tell you from the heart: In 1967 the reason why I did not finish SMILE was: Mike didn't like it; I found it was too experimental; I found the "Fire" tape was too crazy; I found that people wouldn't understand what my head was said at that time [...]
    (Brian Wilson)

    ----------------------------------

    Knowing Brian, it does not surprise me at all that these pressures and whatever other chemicals or influences he was having to deal with, that he would shut down [...]
    (Lou Adler)

    ----------------------------------
    ----------------------------------

    Art is never finished - only abandoned.
    (Leonardo da Vinci)
  • "Pet Sounds" - an album that startled the music world

    Abr 3 2008, 11h51 por ColoradoRain




    [...] Record Companies never want to take riscs. The want to repeat the formula. And good artists don't do that. Good artists look for something new every time [...] So you don't listen to record companies. And you don't listen to frighten members of the band [...]
    (Sir Georg Martin / Record producer The Beatles)

    ----------------------------------------------------

    "Pet Sounds" is probably really the most significant album of our generation [...]
    (Jimmy Webb / singer / composer)

    ----------------------------------------------------

    I think, "Pet Sounds" is one of the great albums [...]
    (Burt Bacharach / composer)

    ----------------------------------------------------

    We used to play that album all the time in the writers room, because we thought: This is like the most incredible Rock 'n' Roll album we've ever heard [...]
    (Rob Rainer / writer / director)

    ----------------------------------------------------

    [...] It was absolutley amazing [...]
    (Andrew Loog Oldham / manager / producer The Rolling Stones 1963 - 1967)

    ----------------------------------------------------

    [...] I thought it was fantastic. And it gave the Beatles great inspiration. And it gave a challenge them too [...]
    (Sir Georg Martin / Record producer The Beatles)

    ----------------------------------------------------

    John and Paul called me after they heard "Pet Sounds" and told me how much they like it. It was quite an honor for me [...]
    (Brian Wilson)
  • Weakling & King "IS DEAD"

    Jan 18 2008, 12h03 por dodgystereo

    <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://a756.ac-images.myspacecdn.com/images01/87/l_3f5246411ec2765177ffb11a6ce138e3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px;" src="http://a756.ac-images.myspacecdn.com/images01/87/l_3f5246411ec2765177ffb11a6ce138e3.jpg"; border="0" alt="" /></a>

    NEW <a href="http://www.myspace.com/weaklingandking ">Weakling & King </a>RECORD "IS DEAD" AVAILABLE FREE NOW <a href="http://www.last.fm/music/Weakling%2B%2526%2BKing/Is+Dead">http://www.last.fm/music/Weakling%2B%2526%2BKing/Is+Dead</a>

    tracklisting;
    11 Lightning Quick
    12 Remember You (2)
    13 Last Ones A Rotten Egg
    14 Fuel The Flame (Spidey Inmsonia Mix)
    21 All Of The Things We've Made (Originally by Orchestral Manoeuvres in the Dark)
    22 Wichita Lineman (Originally by Jimmy Webb & Glen Campbell)
    23 What A Wonderful world (Originally by Louis Armstrong)
    24 Everybodys Talkin' (Originally by Harry Nilsson)
    31 Press Delete, No Thats Not Right (Demo)
    32 We Die (Demo)
    33 They Wish To Walk (Lions & Kings - W&K Strange Stains Mix)
    34 Mend With Spoons (BEW Remix)
    41 Different flights Of Stairs (Kidd Dynamo - W&K The Sight Of Stars Mix)
    42 Subtle Talk (KO Box - W&K Plink Plonk Plank Mix)

    all the old ones still available too
    http://www.last.fm/label/Weakling%2B%2526%2BKing/">http://www.last.fm/label/Weakling%2B%2526%2BKing/

    Go there and enjoy...
  • In the beginning was Soul

    Jan 12 2008, 7h39 por Slighthammer

    My last.fm went mad last year and for several weeks it double-scrobbled a bunch of tracks that rendered my previous charts annoyingly inaccurate and therefore growingly irrelevant. If you sign up to a service that logs what you're listening to, then I find you'd rather for it to be precise. So having given the site a rest, I've come back, cleared all previous data and decided to start over.

    In doing so I thought I'd return to my beginnings as a listener. Would it be fun to hear again the things that I'd obsessed upon when younger and would I learn anything about my taste now or even about myself as a result? Well, I'll find out hopefully.

    When you're a child, it's not always about the music. Back in 1977, I bought my first record based on the singer's ability to jump from a fire escape and bang down on his arse onto the roof of a car. He did it week after week on the credits of 'Starsky & Hutch' and good-humouredly answered questions about it on the 'Multicoloured Swap Shop'. Though his character didn't own it, he roared around in that cool Ford, and unlike Paul Michael Glaser, he had the same colour hair as me. It was probably inevitable that my first hero would be David Soul.

    I don't know whether I'd even heard TocarGoing In With My Eyes Open when I dragged my sister off to the shops to get it, but in that age before the Internet and instantaneous access to media, before MTV and even video recorders, vinyl was all you could own of these people. At five years old it was a revelation that the man had a life at all outside of the television on Saturday evenings and I needed to know what that exterior existence constituted.

    Getting it home, I remember being disappointed that neither side of the single was the theme music of 'Starsky & Hutch'. In fact, with its big orchestration and pedestrian melody, TocarGoing In With My Eyes Open was so far removed from what I expected of the New York Police Department that I doubted that this was Hutch at all. The b-side, TocarTopanga, was a bit of over-earnest singer-songwriting lauding the pleasures of bucolic life in California. There patchwork was some rarified pleasure and roosters crowed like tatty toy trumpets, allegedly - all very predictable given Mr. Solberg's folk-singing background, though I didn't know that then.

    I remained impressed by the single's coffee-coloured label and its smart monochrome sleeve nonetheless, and stuck with the Soul man for the follow-up, TocarSilver Lady. With its skipping, funky guitar intro and parping brass, it bore a more satisfying resemblance to the 'Starsky and Hutch' theme for about half a minute, when another orchestra came in and swamped all the funk out of it.

    So, what to say of David Soul and my first conscious musical choices? He had crazy pretensions to Jimmy Webb's writing standard and fell short of Glen Campbell's performing ease. Is that why I've enjoyed Richard Ashcroft's solo career?


    The sound of 'Starsky & Hutch' that I was actually looking for.
  • Do What You Gotta Do

    Ago 5 2007, 22h16 por daviesr7

    Do What You Gotta Do

    Listening to Meg Baird's sweet version reminded me of the many different versions of this Jimmy Webb song I've enjoyed.

    My favourite is still Mary Coughlan's version on her brilliant album Sentimental Killer which is wrongly listed as Ballad Of A Sad Young Man.

    Other versions I know are by Nina Simone, The Four Tops and Linda Ronstadt

    Anyone know any other great versions of this song?
  • 100 Best Songs Ever Written #006 "Wichita Lineman" by Jimmy Webb

    Mar 8 2007, 20h38 por MattWhitby

    According to Wikipedia: Jimmy Webb was inspired to write the lyrics when he saw a solitary lineman near the Kansas-Oklahoma.

    The song, with it's melodic skips, was influenced by Burt Bacharach to whom Webb was listening to at the time.

    The most well-known version of the song (and I would argue the best) was recorded by Glen Campbell back in 1968 and got to #3 in the US charts and stayed in the top #100 for 15 weeks.