tag:blogger.com,1999:blog-90755725674422276712026-05-18T05:43:35.181-03:00ALWAYSBACKUnknownnoreply@blogger.comBlogger11992125tag:blogger.com,1999:blog-9075572567442227671.post-85162348097636728462016-06-26T14:19:00.003-03:002016-06-26T14:19:49.936-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12107"></a>12107 - VAN MORRISON - ...IT'S TOO LATE TO STOP NOW...VOLUMES II, III & IV, DISC THREE (2016)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">VAN MORRISON<br />
''...IT'S TOO LATE TO STOP NOW... VOLUMES II, III, IV, DISC THREE''<br />
JUNE 10 2016<br />
214:47<br />
**********<br />
DISC ONE (VOLUME II) (RECORDED LIVE AT THE TROUBADOUR, LOS ANGELES 23 MAY 1973)<br />
01 - Come Running 02:55<br />
02 - These Dreams of You 03:35<br />
03 - The Way Young Lovers Do 04:11<br />
04 - Snow in San Anselmo 04:35<br />
05 - I Just Want to Make Love to You 03:37 (Willie Dixon)<br />
06 - Bring It on Home to Me 03:59 (Sam Cooke)<br />
07 - Purple Heather 05:22<br />
08 - Hey, Good Lookin' 02:13 (Hank Williams)<br />
09 - Bein' Green 04:54 (Joseph Raposo)<br />
10 - Brown Eyed Girl 03:30<br />
11 - Listen to the Lion 09:07<br />
12 - Hard Nose the Highway 05:01<br />
13 - Moondance 05:09<br />
14 - Cyprus Avenue 08:45<br />
15 - Caravan 08:46<br />
*****<br />
DISC TWO (VOLUME III) (RECORDED LIVE AT THE SANTA MONICA CIVIC, CALIFORNIA 29 JUNE 1973)<br />
01 - I've Been Working 03:57<br />
02 - There There Child 03:16 (Van Morrison, John Platania)<br />
03 - No Way 03:48 (Jeff Labes)<br />
04 - Since I Fell for You 04:29<br />
05 - Wild Night 04:25<br />
06 - I Paid the Price 04:45 (Van Morrison, John Platania)<br />
07 - Domino 04:11<br />
08 - Gloria 03:14<br />
09 - Buona Sera 02:42 (Peter De Rose, Carl Sigman)<br />
10 - Moonshine Whiskey 06:51<br />
11 - Ain't Nothing You Can Do 03:05 (Don Robey, Joseph Scott)<br />
12 - Take Your Hand Out of My Pocket 03:20 (Sonny Boy Williamson I)<br />
13 - Sweet Thing 04:43<br />
14 - Into the Mystic 04:30<br />
15 - I Believe to My Soul 03:36 (Ray Charles)<br />
*****<br />
DISC THREE (VOLUME IV) (RECORDED LIVE AT THE RAINBOW, LONDON 23 & 24 JULY 1973)<br />
01 - Listen to the Lion 07:51<br />
02 - I Paid the Price 05:45 (Van Morrison, John Platania)<br />
03 - Bein' Green 04:47 (Joseph Raposo)<br />
04 - Since I Fell for You 04:24 (Buddy Johnson)<br />
05 - Into the Mystic 04:58<br />
06 - Everyone 03:22<br />
07 - I Believe to My Soul 03:29 (Ray Charles)<br />
08 - Sweet Thing 05:50<br />
09 - I Just Want to Make Love to You 05:32 (Willie Dixon)<br />
10 - Wild Children 04:46<br />
11 - Here Comes the Night 03:21 (Bert Berns)<br />
12 - Buona Sera 02:39 (Peter De Rose, Carl Sigman)<br />
13 - Domino 04:21<br />
14 - Caravan 08:32<br />
15 - Cyprus Avenue 08:15<br />
**********<br />
Tracks By Van Morrison Except As Indicated<br />
**********<br />
Van Morrison – vocal<br />
Nathan Rubin – first violin<br />
Tom Halpin or Tim Kovatch – violin<br />
Nancy Ellis – viola<br />
Teressa Adams – cello<br />
Bill Atwood – trumpet, backing vocals<br />
Jack Schroer – alto, tenor and baritone saxophones, tambourine, backing vocals<br />
Jef Labes – piano, organ<br />
John Platania – guitar, backing vocals<br />
David Hayes – bass guitar, backing vocals<br />
Dahaud Shaar (David Shaw) – drums, backing vocals<br />
Production personnel<br />
Van Morrison, Ted Templeman – producers<br />
Van Morrison, Jef Labes (strings), Jack Schroer (horns) – arrangements<br />
**********<br />
REVIEW/AMG<br />
Thom Jurek<br />
When Van Morrison's double-length It's Too Late to Stop Now was released in 1974, it was an anomaly. Compiled from eight nights on his 1973 tour with his 11-piece Caledonia Soul Orchestra, it appeared months prior to Hard Nose the Highway. Contrary to standard industry practice of the time, its contents weren't doctored in the studio afterwards: There were no added overdubs or masked flubs. Some critics took issue with its sound -- claiming the band, particularly the horns, were too thin -- but there was no debate about the performances. It remains revered as one of the greatest concert recordings ever.<br />
<br />
Sony Legacy has appended the original album by releasing a separate box set that includes three audio discs from those gigs and a live DVD set divided by concert. These are newly issued tracks, containing no overlaps with the original album. Some song selections may be the same, but these are completely different performances. Volume II is drawn from L.A.'s Troubadour in May 1973, Vol. III from Santa Monica Civic Center in June, and Volume IV compiled from two nights in July at London's Rainbow Theater. Guy Massey's remix offers stellar sound. There is a lot more balance between horns and strings, more emphasis on piano and lead guitar, while bass and drums are set just behind Morrison's vocals. Compilation producer Andrew Sandoval took great care in assembling the contents. He provides enough variation in selection with some wonderfully contrasting performances of various tunes, whether they be originals or covers. (Compare the versions of Ray Charles' "I Believe to My Soul," Willie Dixon's "I Just Want to Make Love to You," "Cypress Avenue," "Caravan," and "Domino" with one another.) Night to night, these tunes undergo shifts in vocal syncopation and improvisation, musical dynamic, and even tempo. The version of "I've Been Working" included here, a highlight on the original album, is revelatory in displaying the level of spontaneity and intensity Morrison and band were capable of on any given night. From his own catalog, "Brown Eyed Girl," "Come Running," and "Snow in San Anselmo," from Volume II; Volume III's "I Paid the Price," "Moonshine Whiskey," and "Wild Night," and Volume IV's "Domino," "Listen to the Lion," "Sweet Thing," and "Wild Children" are all standouts. The live DVD contains nine selections from the Rainbow. While this was taped by the BBC, it is not a replica of the oft-bootlegged simulcast -- it's shorter by three tracks, but it's superior in every other way.<br />
<br />
This package confirms in spades what Morrison himself always claimed: That he was not a rock singer but a jazz, blues, and R&B one. While most artists from the era were trying to distance themselves from the roots that birthed rock & roll, he was celebrating them -- without nostalgia -- as living, breathing traditions worthy of deeper exploration and exposition. It's Too Late to Stop Now...Vols. II, III, IV and DVD is an essential document for hardcore Morrison fans.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.<br />
<br />
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.<br />
<br />
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.<br />
<br />
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."<br />
<br />
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.<br />
<br />
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.<br />
<br />
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.<br />
<br />
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).<br />
<br />
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-Working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, and Joss Stone. <br />
**********<br />
<a href="#12107">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/ku9dyd5rtdjfn14/12107VMin3.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com61tag:blogger.com,1999:blog-9075572567442227671.post-7533395528768139582016-06-26T14:17:00.003-03:002016-06-26T14:19:49.930-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12106"></a>12106 - VAN MORRISON - ...IT'S TOO LATE TO STOP NOW...VOLUMES II, III & IV, DISC TWO (2016)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">VAN MORRISON<br />
''...IT'S TOO LATE TO STOP NOW... VOLUMES II, III, IV, DISC TWO''<br />
JUNE 10 2016<br />
214:47<br />
**********<br />
DISC ONE (VOLUME II) (RECORDED LIVE AT THE TROUBADOUR, LOS ANGELES 23 MAY 1973)<br />
01 - Come Running 02:55<br />
02 - These Dreams of You 03:35<br />
03 - The Way Young Lovers Do 04:11<br />
04 - Snow in San Anselmo 04:35<br />
05 - I Just Want to Make Love to You 03:37 (Willie Dixon)<br />
06 - Bring It on Home to Me 03:59 (Sam Cooke)<br />
07 - Purple Heather 05:22<br />
08 - Hey, Good Lookin' 02:13 (Hank Williams)<br />
09 - Bein' Green 04:54 (Joseph Raposo)<br />
10 - Brown Eyed Girl 03:30<br />
11 - Listen to the Lion 09:07<br />
12 - Hard Nose the Highway 05:01<br />
13 - Moondance 05:09<br />
14 - Cyprus Avenue 08:45<br />
15 - Caravan 08:46<br />
*****<br />
DISC TWO (VOLUME III) (RECORDED LIVE AT THE SANTA MONICA CIVIC, CALIFORNIA 29 JUNE 1973)<br />
01 - I've Been Working 03:57<br />
02 - There There Child 03:16 (Van Morrison, John Platania)<br />
03 - No Way 03:48 (Jeff Labes)<br />
04 - Since I Fell for You 04:29<br />
05 - Wild Night 04:25<br />
06 - I Paid the Price 04:45 (Van Morrison, John Platania)<br />
07 - Domino 04:11<br />
08 - Gloria 03:14<br />
09 - Buona Sera 02:42 (Peter De Rose, Carl Sigman)<br />
10 - Moonshine Whiskey 06:51<br />
11 - Ain't Nothing You Can Do 03:05 (Don Robey, Joseph Scott)<br />
12 - Take Your Hand Out of My Pocket 03:20 (Sonny Boy Williamson I)<br />
13 - Sweet Thing 04:43<br />
14 - Into the Mystic 04:30<br />
15 - I Believe to My Soul 03:36 (Ray Charles)<br />
*****<br />
DISC THREE (VOLUME IV) (RECORDED LIVE AT THE RAINBOW, LONDON 23 & 24 JULY 1973)<br />
01 - Listen to the Lion 07:51<br />
02 - I Paid the Price 05:45 (Van Morrison, John Platania)<br />
03 - Bein' Green 04:47 (Joseph Raposo)<br />
04 - Since I Fell for You 04:24 (Buddy Johnson)<br />
05 - Into the Mystic 04:58<br />
06 - Everyone 03:22<br />
07 - I Believe to My Soul 03:29 (Ray Charles)<br />
08 - Sweet Thing 05:50<br />
09 - I Just Want to Make Love to You 05:32 (Willie Dixon)<br />
10 - Wild Children 04:46<br />
11 - Here Comes the Night 03:21 (Bert Berns)<br />
12 - Buona Sera 02:39 (Peter De Rose, Carl Sigman)<br />
13 - Domino 04:21<br />
14 - Caravan 08:32<br />
15 - Cyprus Avenue 08:15<br />
**********<br />
Tracks By Van Morrison Except As Indicated<br />
**********<br />
Van Morrison – vocal<br />
Nathan Rubin – first violin<br />
Tom Halpin or Tim Kovatch – violin<br />
Nancy Ellis – viola<br />
Teressa Adams – cello<br />
Bill Atwood – trumpet, backing vocals<br />
Jack Schroer – alto, tenor and baritone saxophones, tambourine, backing vocals<br />
Jef Labes – piano, organ<br />
John Platania – guitar, backing vocals<br />
David Hayes – bass guitar, backing vocals<br />
Dahaud Shaar (David Shaw) – drums, backing vocals<br />
Production personnel<br />
Van Morrison, Ted Templeman – producers<br />
Van Morrison, Jef Labes (strings), Jack Schroer (horns) – arrangements<br />
**********<br />
REVIEW/AMG<br />
Thom Jurek<br />
When Van Morrison's double-length It's Too Late to Stop Now was released in 1974, it was an anomaly. Compiled from eight nights on his 1973 tour with his 11-piece Caledonia Soul Orchestra, it appeared months prior to Hard Nose the Highway. Contrary to standard industry practice of the time, its contents weren't doctored in the studio afterwards: There were no added overdubs or masked flubs. Some critics took issue with its sound -- claiming the band, particularly the horns, were too thin -- but there was no debate about the performances. It remains revered as one of the greatest concert recordings ever.<br />
<br />
Sony Legacy has appended the original album by releasing a separate box set that includes three audio discs from those gigs and a live DVD set divided by concert. These are newly issued tracks, containing no overlaps with the original album. Some song selections may be the same, but these are completely different performances. Volume II is drawn from L.A.'s Troubadour in May 1973, Vol. III from Santa Monica Civic Center in June, and Volume IV compiled from two nights in July at London's Rainbow Theater. Guy Massey's remix offers stellar sound. There is a lot more balance between horns and strings, more emphasis on piano and lead guitar, while bass and drums are set just behind Morrison's vocals. Compilation producer Andrew Sandoval took great care in assembling the contents. He provides enough variation in selection with some wonderfully contrasting performances of various tunes, whether they be originals or covers. (Compare the versions of Ray Charles' "I Believe to My Soul," Willie Dixon's "I Just Want to Make Love to You," "Cypress Avenue," "Caravan," and "Domino" with one another.) Night to night, these tunes undergo shifts in vocal syncopation and improvisation, musical dynamic, and even tempo. The version of "I've Been Working" included here, a highlight on the original album, is revelatory in displaying the level of spontaneity and intensity Morrison and band were capable of on any given night. From his own catalog, "Brown Eyed Girl," "Come Running," and "Snow in San Anselmo," from Volume II; Volume III's "I Paid the Price," "Moonshine Whiskey," and "Wild Night," and Volume IV's "Domino," "Listen to the Lion," "Sweet Thing," and "Wild Children" are all standouts. The live DVD contains nine selections from the Rainbow. While this was taped by the BBC, it is not a replica of the oft-bootlegged simulcast -- it's shorter by three tracks, but it's superior in every other way.<br />
<br />
This package confirms in spades what Morrison himself always claimed: That he was not a rock singer but a jazz, blues, and R&B one. While most artists from the era were trying to distance themselves from the roots that birthed rock & roll, he was celebrating them -- without nostalgia -- as living, breathing traditions worthy of deeper exploration and exposition. It's Too Late to Stop Now...Vols. II, III, IV and DVD is an essential document for hardcore Morrison fans.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.<br />
<br />
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.<br />
<br />
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.<br />
<br />
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."<br />
<br />
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.<br />
<br />
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.<br />
<br />
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.<br />
<br />
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).<br />
<br />
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-Working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, and Joss Stone. <br />
**********<br />
<a href="#12106">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/4vdzvt899vg2b0o/12106VMin2.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-81708394708374259872016-06-26T14:15:00.003-03:002016-06-26T14:19:49.933-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12105"></a>12105 - VAN MORRISON - ...IT'S TOO LATE TO STOP NOW...VOLUMES II, III & IV, DISC ONE (2016)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqEpqa9WLbduMpbzpHxGETXfgG7_S3nRUP4mrvpeUqNsnh-oAyOFXidBespXcwxCw9Eo_D6Dpv3ELbEjNNqcg0nHWmlewbyKBwqnJ7C6qhn6POUZtQKeJlWz-DAl0a4-qARp1G2efSkOtC/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">VAN MORRISON<br />
''...IT'S TOO LATE TO STOP NOW... VOLUMES II, III, IV, DISC ONE''<br />
JUNE 10 2016<br />
214:47<br />
**********<br />
DISC ONE (VOLUME II) (RECORDED LIVE AT THE TROUBADOUR, LOS ANGELES 23 MAY 1973)<br />
01 - Come Running 02:55<br />
02 - These Dreams of You 03:35<br />
03 - The Way Young Lovers Do 04:11<br />
04 - Snow in San Anselmo 04:35<br />
05 - I Just Want to Make Love to You 03:37 (Willie Dixon)<br />
06 - Bring It on Home to Me 03:59 (Sam Cooke)<br />
07 - Purple Heather 05:22<br />
08 - Hey, Good Lookin' 02:13 (Hank Williams)<br />
09 - Bein' Green 04:54 (Joseph Raposo)<br />
10 - Brown Eyed Girl 03:30<br />
11 - Listen to the Lion 09:07<br />
12 - Hard Nose the Highway 05:01<br />
13 - Moondance 05:09<br />
14 - Cyprus Avenue 08:45<br />
15 - Caravan 08:46<br />
*****<br />
DISC TWO (VOLUME III) (RECORDED LIVE AT THE SANTA MONICA CIVIC, CALIFORNIA 29 JUNE 1973)<br />
01 - I've Been Working 03:57<br />
02 - There There Child 03:16 (Van Morrison, John Platania)<br />
03 - No Way 03:48 (Jeff Labes)<br />
04 - Since I Fell for You 04:29<br />
05 - Wild Night 04:25<br />
06 - I Paid the Price 04:45 (Van Morrison, John Platania)<br />
07 - Domino 04:11<br />
08 - Gloria 03:14<br />
09 - Buona Sera 02:42 (Peter De Rose, Carl Sigman)<br />
10 - Moonshine Whiskey 06:51<br />
11 - Ain't Nothing You Can Do 03:05 (Don Robey, Joseph Scott)<br />
12 - Take Your Hand Out of My Pocket 03:20 (Sonny Boy Williamson I)<br />
13 - Sweet Thing 04:43<br />
14 - Into the Mystic 04:30<br />
15 - I Believe to My Soul 03:36 (Ray Charles)<br />
*****<br />
DISC THREE (VOLUME IV) (RECORDED LIVE AT THE RAINBOW, LONDON 23 & 24 JULY 1973)<br />
01 - Listen to the Lion 07:51<br />
02 - I Paid the Price 05:45 (Van Morrison, John Platania)<br />
03 - Bein' Green 04:47 (Joseph Raposo)<br />
04 - Since I Fell for You 04:24 (Buddy Johnson)<br />
05 - Into the Mystic 04:58<br />
06 - Everyone 03:22<br />
07 - I Believe to My Soul 03:29 (Ray Charles)<br />
08 - Sweet Thing 05:50<br />
09 - I Just Want to Make Love to You 05:32 (Willie Dixon)<br />
10 - Wild Children 04:46<br />
11 - Here Comes the Night 03:21 (Bert Berns)<br />
12 - Buona Sera 02:39 (Peter De Rose, Carl Sigman)<br />
13 - Domino 04:21<br />
14 - Caravan 08:32<br />
15 - Cyprus Avenue 08:15<br />
**********<br />
Tracks By Van Morrison Except As Indicated<br />
**********<br />
Van Morrison – vocal<br />
Nathan Rubin – first violin<br />
Tom Halpin or Tim Kovatch – violin<br />
Nancy Ellis – viola<br />
Teressa Adams – cello<br />
Bill Atwood – trumpet, backing vocals<br />
Jack Schroer – alto, tenor and baritone saxophones, tambourine, backing vocals<br />
Jef Labes – piano, organ<br />
John Platania – guitar, backing vocals<br />
David Hayes – bass guitar, backing vocals<br />
Dahaud Shaar (David Shaw) – drums, backing vocals<br />
Production personnel<br />
Van Morrison, Ted Templeman – producers<br />
Van Morrison, Jef Labes (strings), Jack Schroer (horns) – arrangements<br />
**********<br />
REVIEW/AMG<br />
Thom Jurek<br />
When Van Morrison's double-length It's Too Late to Stop Now was released in 1974, it was an anomaly. Compiled from eight nights on his 1973 tour with his 11-piece Caledonia Soul Orchestra, it appeared months prior to Hard Nose the Highway. Contrary to standard industry practice of the time, its contents weren't doctored in the studio afterwards: There were no added overdubs or masked flubs. Some critics took issue with its sound -- claiming the band, particularly the horns, were too thin -- but there was no debate about the performances. It remains revered as one of the greatest concert recordings ever.<br />
<br />
Sony Legacy has appended the original album by releasing a separate box set that includes three audio discs from those gigs and a live DVD set divided by concert. These are newly issued tracks, containing no overlaps with the original album. Some song selections may be the same, but these are completely different performances. Volume II is drawn from L.A.'s Troubadour in May 1973, Vol. III from Santa Monica Civic Center in June, and Volume IV compiled from two nights in July at London's Rainbow Theater. Guy Massey's remix offers stellar sound. There is a lot more balance between horns and strings, more emphasis on piano and lead guitar, while bass and drums are set just behind Morrison's vocals. Compilation producer Andrew Sandoval took great care in assembling the contents. He provides enough variation in selection with some wonderfully contrasting performances of various tunes, whether they be originals or covers. (Compare the versions of Ray Charles' "I Believe to My Soul," Willie Dixon's "I Just Want to Make Love to You," "Cypress Avenue," "Caravan," and "Domino" with one another.) Night to night, these tunes undergo shifts in vocal syncopation and improvisation, musical dynamic, and even tempo. The version of "I've Been Working" included here, a highlight on the original album, is revelatory in displaying the level of spontaneity and intensity Morrison and band were capable of on any given night. From his own catalog, "Brown Eyed Girl," "Come Running," and "Snow in San Anselmo," from Volume II; Volume III's "I Paid the Price," "Moonshine Whiskey," and "Wild Night," and Volume IV's "Domino," "Listen to the Lion," "Sweet Thing," and "Wild Children" are all standouts. The live DVD contains nine selections from the Rainbow. While this was taped by the BBC, it is not a replica of the oft-bootlegged simulcast -- it's shorter by three tracks, but it's superior in every other way.<br />
<br />
This package confirms in spades what Morrison himself always claimed: That he was not a rock singer but a jazz, blues, and R&B one. While most artists from the era were trying to distance themselves from the roots that birthed rock & roll, he was celebrating them -- without nostalgia -- as living, breathing traditions worthy of deeper exploration and exposition. It's Too Late to Stop Now...Vols. II, III, IV and DVD is an essential document for hardcore Morrison fans.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.<br />
<br />
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.<br />
<br />
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.<br />
<br />
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."<br />
<br />
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.<br />
<br />
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.<br />
<br />
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.<br />
<br />
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).<br />
<br />
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-Working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, and Joss Stone. <br />
**********<br />
<a href="#12105">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/4zpl7xeyqk2vxz2/12105VMin1.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-25220906683206839212016-06-26T14:10:00.003-03:002016-06-26T14:12:00.559-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12104"></a>12104 - VAN MORRISON - A TWO RECORD SET: RECORDED LIVE IN CONCERT LOS ANGELES AND LONDON SUMMER 1973, DISC TWO (1974)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJOH6lvh_PcBZ4_GPUuzPPvAf7nZRw4LLSpjgMW_Gsha8FaOenOdJURX0AAj1HYjRh6CL8H47wPpoB0ojzO2DpmC98HbLMVJwYtNseMpQ76A8XZhfD99LAZiMr33wAFPP7-9MExGEHf4c/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJOH6lvh_PcBZ4_GPUuzPPvAf7nZRw4LLSpjgMW_Gsha8FaOenOdJURX0AAj1HYjRh6CL8H47wPpoB0ojzO2DpmC98HbLMVJwYtNseMpQ76A8XZhfD99LAZiMr33wAFPP7-9MExGEHf4c/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">VAN MORRISON<br />
''A TWO RECORD SET: RECORDED LIVE IN CONCERT LOS ANGELES AND LONDON SUMMER 1973, DISC TWO''<br />
FEBRUARY 1974<br />
RECORDED 24 MAY-24 JULY 1973 AT THE TROUBADOUR IN LOS ANGELES, SANTA MONICA CIVIC AUDITORIUM IN SANTA MONICA AND RAINBOW THEATRE IN LONDON<br />
92:36<br />
**********<br />
DISC ONE<br />
01 - Ain't Nothin' You Can Do 03:47 (Joseph Scott)<br />
02 - Warm Love 03:05<br />
03 - Into the Mystic 04:31<br />
04 - These Dreams of You 03:37<br />
05 - I Believe to My Soul 04:08 (Ray Charles)<br />
06 - I've Been Working 03:55<br />
07 - Help Me 03:25 (Sonny Boy Williamson II, Ralph Bass, Willie Dixon)<br />
08 - Wild Children 05:04<br />
09 - Domino 04:47<br />
10 - I Just Want to Make Love to You 05:14 (Willie Dixon)<br />
*****<br />
DISC TWO<br />
01 - Bring It on Home to Me 04:42 (Sam Cooke<br />
02 - Saint Dominic's Preview 06:17<br />
03 - Take Your Hand Out of My Pocket 04:04 (Sonny Boy Williamson II)<br />
04 - Listen to the Lion 08:43<br />
05 - Here Comes the Night 03:14 (Bert Berns)<br />
06 - Gloria 04:14<br />
07 - Caravan 09:21<br />
08 - Cyprus Avenue 10:19<br />
**********<br />
Tracks By Van Morrison Except As Indicated<br />
**********<br />
Van Morrison – vocal<br />
Nathan Rubin – first violin<br />
Tom Halpin or Tim Kovatch – violin<br />
Nancy Ellis – viola<br />
Teressa Adams – cello<br />
Bill Atwood – trumpet, backing vocals<br />
Jack Schroer – alto, tenor and baritone saxophones, tambourine, backing vocals<br />
Jef Labes – piano, organ<br />
John Platania – guitar, backing vocals<br />
David Hayes – bass guitar, backing vocals<br />
Dahaud Shaar (David Shaw) – drums, backing vocals<br />
Production personnel<br />
Van Morrison, Ted Templeman – producers<br />
Van Morrison, Jef Labes (strings), Jack Schroer (horns) – arrangements<br />
**********<br />
<a href="https://en.wikipedia.org/wiki/It's_Too_Late_to_Stop_Now" target="_blank">ABOUT THE ALBUM/WIKIPEDIA</a><br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.<br />
<br />
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.<br />
<br />
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.<br />
<br />
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."<br />
<br />
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.<br />
<br />
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.<br />
<br />
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.<br />
<br />
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).<br />
<br />
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-Working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, and Joss Stone. <br />
**********<br />
<a href="#12104">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/wvqo5vaw4ps3s5r/12104VMtr2.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-49151340682528058422016-06-26T14:08:00.000-03:002016-06-26T14:12:00.562-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12103"></a>12103 - VAN MORRISON - A TWO RECORD SET: RECORDED LIVE IN CONCERT LOS ANGELES AND LONDON SUMMER 1973, DISC ONE (1974)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJOH6lvh_PcBZ4_GPUuzPPvAf7nZRw4LLSpjgMW_Gsha8FaOenOdJURX0AAj1HYjRh6CL8H47wPpoB0ojzO2DpmC98HbLMVJwYtNseMpQ76A8XZhfD99LAZiMr33wAFPP7-9MExGEHf4c/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHJOH6lvh_PcBZ4_GPUuzPPvAf7nZRw4LLSpjgMW_Gsha8FaOenOdJURX0AAj1HYjRh6CL8H47wPpoB0ojzO2DpmC98HbLMVJwYtNseMpQ76A8XZhfD99LAZiMr33wAFPP7-9MExGEHf4c/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">VAN MORRISON<br />
''A TWO RECORD SET: RECORDED LIVE IN CONCERT LOS ANGELES AND LONDON SUMMER 1973, DISC ONE''<br />
FEBRUARY 1974<br />
RECORDED 24 MAY-24 JULY 1973 AT THE TROUBADOUR IN LOS ANGELES, SANTA MONICA CIVIC AUDITORIUM IN SANTA MONICA AND RAINBOW THEATRE IN LONDON<br />
92:36<br />
**********<br />
DISC ONE<br />
01 - Ain't Nothin' You Can Do 03:47 (Joseph Scott)<br />
02 - Warm Love 03:05<br />
03 - Into the Mystic 04:31<br />
04 - These Dreams of You 03:37<br />
05 - I Believe to My Soul 04:08 (Ray Charles)<br />
06 - I've Been Working 03:55<br />
07 - Help Me 03:25 (Sonny Boy Williamson II, Ralph Bass, Willie Dixon)<br />
08 - Wild Children 05:04<br />
09 - Domino 04:47<br />
10 - I Just Want to Make Love to You 05:14 (Willie Dixon)<br />
*****<br />
DISC TWO<br />
01 - Bring It on Home to Me 04:42 (Sam Cooke<br />
02 - Saint Dominic's Preview 06:17<br />
03 - Take Your Hand Out of My Pocket 04:04 (Sonny Boy Williamson II)<br />
04 - Listen to the Lion 08:43<br />
05 - Here Comes the Night 03:14 (Bert Berns)<br />
06 - Gloria 04:14<br />
07 - Caravan 09:21<br />
08 - Cyprus Avenue 10:19<br />
**********<br />
Tracks By Van Morrison Except As Indicated<br />
**********<br />
Van Morrison – vocal<br />
Nathan Rubin – first violin<br />
Tom Halpin or Tim Kovatch – violin<br />
Nancy Ellis – viola<br />
Teressa Adams – cello<br />
Bill Atwood – trumpet, backing vocals<br />
Jack Schroer – alto, tenor and baritone saxophones, tambourine, backing vocals<br />
Jef Labes – piano, organ<br />
John Platania – guitar, backing vocals<br />
David Hayes – bass guitar, backing vocals<br />
Dahaud Shaar (David Shaw) – drums, backing vocals<br />
Production personnel<br />
Van Morrison, Ted Templeman – producers<br />
Van Morrison, Jef Labes (strings), Jack Schroer (horns) – arrangements<br />
**********<br />
<a href="https://en.wikipedia.org/wiki/It's_Too_Late_to_Stop_Now" target="_blank">ABOUT THE ALBUM/WIKIPEDIA</a><br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer, Van Morrison is among popular music's true innovators, a restless seeker whose incantatory vocals and alchemical fusion of R&B, jazz, blues, and Celtic folk produced perhaps the most spiritually transcendent body of work in the rock & roll canon. Subject only to the whims of his own muse, his recordings cover extraordinary stylistic ground yet retain a consistency and purity virtually unmatched among his contemporaries, connected by the mythic power of his singular musical vision and his incendiary vocal delivery: spiraling repetitions of wails and whispers that bypass the confines of language to articulate emotional truths far beyond the scope of literal meaning.<br />
<br />
George Ivan Morrison was born in Belfast, Northern Ireland, on August 31, 1945; his mother was a singer, while his father ardently collected classic American jazz and blues recordings. At 15, he quit school to join the local R&B band the Monarchs, touring military bases throughout Europe before returning home to form his own group, Them. Boasting a fiery, gritty sound heavily influenced by Morrison heroes like Howlin' Wolf, Brownie McGhee, Sonny Boy Williamson, and Little Walter, Them quickly earned a devout local following and in late 1964 recorded their debut single, "Don't Start Crying Now." The follow-up, an electrifying reading of Big Joe Williams' "Baby Please Don't Go," cracked the U.K. Top Ten in early 1965. Though not a major hit upon its original release, Them's Morrison-penned "Gloria" endures among the true classics of the rock pantheon, covered by everyone from the Doors to Patti Smith. Lineup changes plagued the band throughout its lifespan, however, and at the insistence of producer Bert Berns, over time session musicians increasingly assumed the lion's share of recording duties. A frustrated Morrison finally left Them following a 1966 tour of the U.S., quitting the music business and returning to Belfast.<br />
<br />
After Berns relocated to New York City to form Bang Records, he convinced Morrison to travel stateside and record as a solo artist; the sessions produced arguably his most familiar hit, the jubilant "Brown-Eyed Girl" (originally titled "Brown-Skinned Girl"), a Top Ten smash in the summer of 1967. By contrast, however, the resulting album, Blowin' Your Mind, was a bleak, bluesy effort highlighted by the harrowing "T.B. Sheets." The sessions were originally intended to produce only material for singles, so when Berns released the LP against Morrison's wishes, he again retreated home to Ireland while the album tanked on the charts. Berns suffered a fatal heart attack in late 1967, which freed Morrison of his contractual obligations and energized him to start working on new material.<br />
<br />
His first album for new label Warner Bros., 1968's Astral Weeks, remains not only Morrison's masterpiece, but one of the greatest records ever made. A haunting, deeply personal collection of impressionistic folk-styled epics recorded by an all-star jazz backing unit including bassist Richard Davis and drummer Connie Kay, its poetic complexity earned critical raves but made only a minimal commercial impact. The follow-up, 1970's Moondance, was every bit as brilliant; buoyant and optimistic where Astral Weeks had been dark and anguished, it cracked the Top 40, generating the perennials "Caravan" and "Into the Mystic."<br />
<br />
The first half of the 1970s was the most fertile creative period of Morrison's career. From Moondance onward, his records reflected an increasingly celebratory and profoundly mystical outlook spurred on in large part by his marriage to wife Janet Planet and the couple's relocation to California. After His Band and the Street Choir yielded his biggest chart hit, "Domino," Morrison released 1971's Tupelo Honey, a lovely, pastoral meditation on wedded bliss highlighted by the single "Wild Night." In the wake of the following year's stirring Saint Dominic's Preview, he formed the Caledonia Soul Orchestra, featured both on the studio effort Hard Nose the Highway and on the excellent live set It's Too Late to Stop Now. However, in 1973 he not only dissolved the group but also divorced Planet and moved back to Belfast. The stunning 1974 LP Veedon Fleece chronicled Morrison's emotional turmoil; he then remained silent for three years, reportedly working on a number of aborted projects but releasing nothing until 1977's aptly titled A Period of Transition.<br />
<br />
Plagued for some time by chronic stage fright, Morrison mounted his first tour in close to five years in support of 1978's Wavelength; his performances became more and more erratic, however, and during a 1979 date at New York's Palladium, he even stalked off-stage in mid-set and did not return. Into the Music, released later that year, evoked a more conventionally spiritual perspective than before, a pattern continued on successive outings for years to come. Albums like 1983's Inarticulate Speech of the Heart, 1985's A Sense of Wonder, and 1986's No Guru, No Method, No Teacher are all largely cut from the same cloth, employing serenely beautiful musical backdrops to explore themes of faith and healing. For 1988's Irish Heartbeat, however, Morrison teamed with another of his homeland's musical institutions, the famed Chieftains, for a collection of traditional folk songs.<br />
<br />
Meanwhile, Avalon Sunset heralded a commercial rebirth of sorts in 1989. While "Whenever God Shines His Light," a duet with Cliff Richard, became Morrison's first U.K. Top 20 hit in over two decades, the gorgeous "Have I Told You Lately That I Love You" emerged as something of a contemporary standard, with a Rod Stewart cover cracking the U.S. Top Five in 1993. Further proof of Morrison's renewed popularity arrived with the 1990 release of Mercury's best-of package; far and away the best-selling album of his career, it introduced the singer to a new generation of fans. A new studio record, Enlightenment, appeared that same year, followed in 1991 by the ambitious double set Hymns to the Silence, widely hailed as his most impressive outing in years.<br />
<br />
Following the uniformity of his 1980s work, the remainder of the decade proved impressively eclectic: 1993's Too Long in Exile returned Morrison to his musical roots with covers of blues and R&B classics, while on 1995's Days Like This he teamed with daughter Shana for a duet on "You Don't Know Me." For the Verve label, he cut 1996's How Long Has This Been Going On, a traditional jazz record co-credited to longtime pianist Georgie Fame, while for the follow-up Tell Me Something: The Songs of Mose Allison he worked with guest of honor Allison himself. Morrison continued balancing the past and the future in the years to follow, alternating between new studio albums (1997's The Healing Game, 1999's Back on Top) and collections of rare and live material (1998's The Philosopher's Stone and 2000's The Skiffle Sessions and You Win Again).<br />
<br />
It wasn't until 2002 that an album of new material surfaced, but in May his long-anticipated Down the Road was released. Three years later, Morrison issued Magic Time. Pay the Devil, a country-tinged set, appeared in 2006 on Lost Highway Records. That same year, Morrison released his first commercial DVD, Live at Montreux 1980 and 1974, drawn from two separate appearances at the Montreux Jazz Festival. In 2008, Morrison released Keep It Simple, his first album of all-original material since 1999's Back on Top. In November of that same year, Morrison performed the entire Astral Weeks album live at two shows at the Hollywood Bowl in Los Angeles, which resulted in 2009's Astral Weeks: Live at the Hollywood Bowl album and Astral Weeks Live at the Hollywood Bowl: The Concert Film. His 34th studio album, Born to Sing: No Plan B, recorded in Belfast, appeared in the fall of 2012. In 2015, Morrison made his debut for RCA Records with Duets: Re-Working the Catalogue, which found him sharing the vocal mike on 16 songs from throughout his career with artists such as Michael Bublé, Steve Winwood, Mick Hucknall, and Joss Stone. <br />
**********<br />
<a href="#12103">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/erb6x2ue07rzb5n/12103VMtr1.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9075572567442227671.post-70279681387209499272016-06-26T14:06:00.003-03:002016-06-26T14:06:34.479-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12102"></a>12102 - DANNY JOHNSON - LOVE SWEAT AND BLOOD (2012)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzpU7XZtL1_McjT7-ef9NczVqa1TPyBh16RXLHJh-yuNRksLKxFhaZuEH9Kl3P06AlrqGx2YLwJUzSmWMAm1UCE6d2_nUyXS20_u06ZAbL55yIUPybJ6XqE4NS6VRMlkv7qCewke0eHBb/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBzpU7XZtL1_McjT7-ef9NczVqa1TPyBh16RXLHJh-yuNRksLKxFhaZuEH9Kl3P06AlrqGx2YLwJUzSmWMAm1UCE6d2_nUyXS20_u06ZAbL55yIUPybJ6XqE4NS6VRMlkv7qCewke0eHBb/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">DANNY JOHNSON<br />
''LOVE SWEAT AND BLOOD''<br />
MARCH 24 2012<br />
46:30<br />
**********<br />
01 - Hell With The Devil 02:19<br />
02 - Drive 02:54 (Buddy Burford, Danny Johnson)<br />
03 - The Stuff 03:42<br />
04 - House Of The Rising Sun 03:59 (Traditional)<br />
05 - Crow's Yard 01:59<br />
06 - Up And Down 02:25<br />
07 - Misty Blue 02:50<br />
08 - Swag 03:10<br />
09 - Sleep Walk 02:19<br />
10 - Steel Cowboys 03:02<br />
11 - Weather The Storm 05:02<br />
12 - Wish 03:35<br />
13 - Faith 03:12<br />
14 - Long Haul 02:46<br />
15 - Wide Open Spaces 03:09<br />
Tracks By Danny Johnson Except 02, 04<br />
**********<br />
BIOGRAPHY/AMG<br />
Jana Pendragon<br />
Danny Johnson was born and raised in Louisiana, where he was discovered by another one of rock & roll's guitar greats, Rick Derringer. A young Danny Johnson can be heard on four of Derringer's CBS projects, where Johnson's talents are exhibited not only as a budding guitar master, but also as a songwriter and vocalist. Johnson's evolution from son of the South to world-renowned artist included a stint with his own trio, Axis. A contract with RCA followed. Eventually, Rod Stewart became aware of Johnson and offered him the opportunity to write, record, and tour with him. The 1981 Warner Brothers release Tonight I'm Yours includes Johnson's haunting style. Over the years, he's been in demand by the likes of Eddie Van Halen, Alice Cooper, country/rockabilly kid Billy Burnette, Danny Tate, and Steppenwolf. While he holds an impressive place in the annals of rock history, he has also distinguished himself as a honky tonker, a contributor to the genre of country-blues, and a film composer whose credits include Wayne's World, Gremlins II, and a documentary about baseball hero Nolan Ryan. The result of Johnson's multi-level involvement is a well-rounded artist who can honestly be considered a contributor to the continuation of American roots music. With the release of a 1997 solo project on Who-Doo Records, Grih-Grih Thing, Johnson has entrenched himself and his distinctive style in the consciousness of American music. Noted for his charismatic presence on-stage, this future legend tours the world on behalf of his own music, as well as supporting John Kay and Steppenwolf. <br />
**********<br />
<a href="http://dannyjohnsondj.com/bio/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12102">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/73725fxu44uzxll/12102DJlb.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9075572567442227671.post-41813542379201223902016-06-26T14:04:00.000-03:002016-06-26T14:04:00.231-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12101"></a>12101 - DANNY JOHNSON - OVER CLOUD NINE (2004)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiapSzY6ZRpbnaEUTZ95sStugVZy1b8UmQDG8vwILqZTfhQGw2OZRT-vCOjIdWjAq0WLyl8HFHHGl_OUb8vkS8jNJ7xQ1cJ8f9STUOHAThhBI06bHviTFCqfzh3pLLtJa1vphhbypL5eBcI/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiapSzY6ZRpbnaEUTZ95sStugVZy1b8UmQDG8vwILqZTfhQGw2OZRT-vCOjIdWjAq0WLyl8HFHHGl_OUb8vkS8jNJ7xQ1cJ8f9STUOHAThhBI06bHviTFCqfzh3pLLtJa1vphhbypL5eBcI/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">DANNY JOHNSON<br />
''OVER CLOUD 9''<br />
AUGUST 24 2004<br />
62:43<br />
**********<br />
01 - Backstreet Cabaret 05:06<br />
02 - Boot State 03:41<br />
03 - Sweet Sinamine 04:16<br />
04 - The Stuff 03:09<br />
05 - House Of The Rising Sun 04:01 (Traditional)<br />
06 - The Heroes Song 03:47 (Danny Johnson, Ann Stokes)<br />
07 - Over Cloud Nine 04:14<br />
08 - Higher Power 03:46 (Danny Johnson, Lex Price)<br />
09 - Up And Down 03:52<br />
10 - Dandylion 04:08<br />
11 - Idle Days Drive 04:34<br />
12 - Cry Wolf 02:51 (Danny Johnson, John Fred Young)<br />
13 - Tribal Stomp 03:06<br />
14 - Sundance 04:32<br />
15 - Biloxi Flattop 02:25 (Karen Brooks)<br />
16 - Models, Inc 05:07 (Danny Johnson, Pat Regan, Kevin Valentine)<br />
Tracks By Danny Johnson Except As Indicated<br />
**********<br />
Carmine Appice/Drums<br />
Graham Bonnet/Vocals<br />
Jay Davis/Bass<br />
Rick Derringer/Guitar<br />
Walter Downey/Violin<br />
Eric Gorfain/Violin<br />
Ron Hurst/Drums<br />
Celeste Johnson/Vocals (Background)<br />
Chad Johnson/Vocals, Vocals (Background)<br />
Danny Johnson/Arranger, Djembe, Dobro, Guitar, Guitar (Bass), Harmonica, Mandolin, Vocals<br />
Leo Lyons/Bass<br />
Richard "Dread" Mann/Percussion<br />
Barry Masters/Mandolin<br />
Lex Price/Bass, Guitar (Bass)<br />
Tom Shinness/Bass (Upright)<br />
Hassell Teekell/Keyboards<br />
Roy Vogt/Bass (Upright), Bass<br />
Michael Wilk/Keyboards<br />
**********<br />
BIOGRAPHY/AMG<br />
Jana Pendragon<br />
Danny Johnson was born and raised in Louisiana, where he was discovered by another one of rock & roll's guitar greats, Rick Derringer. A young Danny Johnson can be heard on four of Derringer's CBS projects, where Johnson's talents are exhibited not only as a budding guitar master, but also as a songwriter and vocalist. Johnson's evolution from son of the South to world-renowned artist included a stint with his own trio, Axis. A contract with RCA followed. Eventually, Rod Stewart became aware of Johnson and offered him the opportunity to write, record, and tour with him. The 1981 Warner Brothers release Tonight I'm Yours includes Johnson's haunting style. Over the years, he's been in demand by the likes of Eddie Van Halen, Alice Cooper, country/rockabilly kid Billy Burnette, Danny Tate, and Steppenwolf. While he holds an impressive place in the annals of rock history, he has also distinguished himself as a honky tonker, a contributor to the genre of country-blues, and a film composer whose credits include Wayne's World, Gremlins II, and a documentary about baseball hero Nolan Ryan. The result of Johnson's multi-level involvement is a well-rounded artist who can honestly be considered a contributor to the continuation of American roots music. With the release of a 1997 solo project on Who-Doo Records, Grih-Grih Thing, Johnson has entrenched himself and his distinctive style in the consciousness of American music. Noted for his charismatic presence on-stage, this future legend tours the world on behalf of his own music, as well as supporting John Kay and Steppenwolf. <br />
**********<br />
<a href="http://dannyjohnsondj.com/bio/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12101">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/ch1cs61o3xo5zch/12101DJon.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-3724574164787382222016-06-26T14:00:00.003-03:002016-06-26T14:00:52.896-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12100"></a>12100 - DANNY JOHNSON - GRIH-GRIH THING (1997)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh69I35CId8gmMFSBzQjeIM-nhaeh2wz9viGQtoAT1t4yS6mWwprWzbB12yLNdpLen0le_fkmlZkNxdFiHFwJIx2haJbF0agkrmqKYSaWvU7rXNjQ9Nfmp7GFp6zhw4riZjbdPMlRB1qHQt/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh69I35CId8gmMFSBzQjeIM-nhaeh2wz9viGQtoAT1t4yS6mWwprWzbB12yLNdpLen0le_fkmlZkNxdFiHFwJIx2haJbF0agkrmqKYSaWvU7rXNjQ9Nfmp7GFp6zhw4riZjbdPMlRB1qHQt/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">DANNY JOHNSON<br />
''GRIH-GRIH THING''<br />
JULY 1 1997<br />
47:38<br />
**********<br />
01 - Grih-Grih Thing 04:11<br />
02 - Spirit Fly Blues 06:01<br />
03 - Hell To Pay 03:48<br />
04 - Decadent Days 03:57<br />
05 - Please Don't Let Me Misunderstood 04:48 (Bennie Benjamin, Gloria Caldwell, Sol Marcus)<br />
06 - Doin' Hard Time 04:47<br />
07 - King Of Hearts 03:54<br />
08 - Desiree 04:13 (Morgan Cavett, Danny Johnson)<br />
09 - Cry Cry Cry 04:01<br />
10 - One More Last Chance 04:19<br />
11 - Nuit Du Rev; Night Of Dreams 03:34<br />
Tracks By Danny Johnson Except 05, 08<br />
**********<br />
Danny Johnson - vocals, guitar, keyboards<br />
Jessy Green - violin, background vocals<br />
Michael Wilk - keyboards<br />
Zeke Clark - drums, background vocals<br />
Kevin Valentine, Ron Hurst - drums<br />
Sharon Bryant, Mortonette Jenkins - background vocals<br />
**********<br />
REVIEW/AMG<br />
Jana Pendragon<br />
Danny Johnson has been a daunting guitar presence since the tender age of 18. Often compared to Hendrix and Clapton, this project takes Johnson beyond such comparisons and allows him to stand firmly on his own talent and style. A bluesy rocker, Grih-Grih Thing combines the artist's Louisiana roots with a lifetime of experience on and off the road. Johnson demonstrates a wisdom beyond his years on such self-penned tunes as "Hell to Pay," "One More Last Chance" and the mature, autobiographical "King of Hearts." This disc is well-rounded and diverse and includes a stunning cover of the Animals "Don't Let Me Be Misunderstood," as well as an instrumental piece showing off Johnson's deft touch.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jana Pendragon<br />
Danny Johnson was born and raised in Louisiana, where he was discovered by another one of rock & roll's guitar greats, Rick Derringer. A young Danny Johnson can be heard on four of Derringer's CBS projects, where Johnson's talents are exhibited not only as a budding guitar master, but also as a songwriter and vocalist. Johnson's evolution from son of the South to world-renowned artist included a stint with his own trio, Axis. A contract with RCA followed. Eventually, Rod Stewart became aware of Johnson and offered him the opportunity to write, record, and tour with him. The 1981 Warner Brothers release Tonight I'm Yours includes Johnson's haunting style. Over the years, he's been in demand by the likes of Eddie Van Halen, Alice Cooper, country/rockabilly kid Billy Burnette, Danny Tate, and Steppenwolf. While he holds an impressive place in the annals of rock history, he has also distinguished himself as a honky tonker, a contributor to the genre of country-blues, and a film composer whose credits include Wayne's World, Gremlins II, and a documentary about baseball hero Nolan Ryan. The result of Johnson's multi-level involvement is a well-rounded artist who can honestly be considered a contributor to the continuation of American roots music. With the release of a 1997 solo project on Who-Doo Records, Grih-Grih Thing, Johnson has entrenched himself and his distinctive style in the consciousness of American music. Noted for his charismatic presence on-stage, this future legend tours the world on behalf of his own music, as well as supporting John Kay and Steppenwolf. <br />
**********<br />
<a href="http://dannyjohnsondj.com/bio/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12100">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/fm3h7dtdf69fuja/12100DJgt.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-9711350015054873252016-06-26T13:57:00.002-03:002016-06-26T13:57:40.100-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12099"></a>12099 - AXIS - IT'S A CIRCUS WORLD (1978)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUw4Hs0lS_UZLP8YENl1fVbaRvEkwQamm97JXNciiyjCJSPLFXmXufzXSwgvhMJkI_ZWx1JuKe0KiII1rEKVlZvdqpqtEA_CvkXK9ndyFUBwag3lz_Bxaxmhl8LOgR0fiF3AduOm4sLAf/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUw4Hs0lS_UZLP8YENl1fVbaRvEkwQamm97JXNciiyjCJSPLFXmXufzXSwgvhMJkI_ZWx1JuKe0KiII1rEKVlZvdqpqtEA_CvkXK9ndyFUBwag3lz_Bxaxmhl8LOgR0fiF3AduOm4sLAf/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">AXIS<br />
''IT'S A CIRCUS WORLD''<br />
1978<br />
39:30<br />
**********<br />
01 - Brown Eyes 04:19 (Danny Johnson)<br />
02 - Busted Love 03:50 (Jay Davis, Danny Johnson, Vnny Appice<br />
03 - Juggler 03:27 (Danny Johnson)<br />
04 - Soldier Of Love 03:42 (Danny Johnson)<br />
05 - Train 04:52 (Jay Davis)<br />
06 - Armageddon 02:51 (Jay Davis, Vinny Appice<br />
07 - Ray's Electric Farm 03:06 (Danny Johnson)<br />
08 - Stormy Weather 02:48 (Danny Johnson)<br />
09 - Cats In The Alley 02:54 (Danny Johnson)<br />
10 - Bandits Of Rock 03:53 (Danny Johnson)<br />
11 - Circus World 03:42 (Danny Johnson)<br />
**********<br />
Jay Davis - Bass Guitar, Vocals<br />
Vinny Appice - Drums, Backing Vocals<br />
Danny Johnson - Guitar, Vocals<br />
**********<br />
REVIEW/AMG<br />
Alex Henderson<br />
Over the years, rock & roll has had its share of one-album wonders-artists who only recorded one album when it seemed like they should have built a large catalogue. Axis turned out be one of those one-album wonders, which came as a surprise because the late 1970s power trio had potential. Consisting of Vinny Appice (Carmine Appice's brother) on drums and background vocals, Jay Davis on bass and lead vocals and Danny Johnson on guitar and lead vocals, Axis boasted talented musicians even though its material fell short of mind-blowing. It's A Circus World isn't a gem, but it's a decent collection of commercial arena rock. Catchy, if unremarkable, tunes like "Ray's Electric Farm" and "Cats in the Alley" gave one reason to believe that Axis might be around for awhile-the listener figured that even though this 1978 LP is imperfect, Axis could easily develop into a major force in arena rock on subsequent albums. But there were no subsequent albums for Axis, whose first album was also its last.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jana Pendragon<br />
Danny Johnson was born and raised in Louisiana, where he was discovered by another one of rock & roll's guitar greats, Rick Derringer. A young Danny Johnson can be heard on four of Derringer's CBS projects, where Johnson's talents are exhibited not only as a budding guitar master, but also as a songwriter and vocalist. Johnson's evolution from son of the South to world-renowned artist included a stint with his own trio, Axis. A contract with RCA followed. Eventually, Rod Stewart became aware of Johnson and offered him the opportunity to write, record, and tour with him. The 1981 Warner Brothers release Tonight I'm Yours includes Johnson's haunting style. Over the years, he's been in demand by the likes of Eddie Van Halen, Alice Cooper, country/rockabilly kid Billy Burnette, Danny Tate, and Steppenwolf. While he holds an impressive place in the annals of rock history, he has also distinguished himself as a honky tonker, a contributor to the genre of country-blues, and a film composer whose credits include Wayne's World, Gremlins II, and a documentary about baseball hero Nolan Ryan. The result of Johnson's multi-level involvement is a well-rounded artist who can honestly be considered a contributor to the continuation of American roots music. With the release of a 1997 solo project on Who-Doo Records, Grih-Grih Thing, Johnson has entrenched himself and his distinctive style in the consciousness of American music. Noted for his charismatic presence on-stage, this future legend tours the world on behalf of his own music, as well as supporting John Kay and Steppenwolf. <br />
**********<br />
<a href="http://dannyjohnsondj.com/bio/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12099">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/dwb57m0g9ujswxu/12099Aiw.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-9075572567442227671.post-35405652359450150012016-05-23T20:42:00.001-03:002016-05-23T20:42:11.971-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12098"></a>12098 - THE HIGHWAYMEN - THE VERY BEST OF THE HIGHWAYMEN (2016)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJeX9lzhJIGCOIaoBzBPd8G0FXiDSM7qAEtlSglRrrzmmv46a_rw5jZUjX_vQbPRzMpOBlbFt_U-uhvhjwu7JYk493asJNXDRoGDoTRaMEWU1uqCM6fuGNhTpb8mNFSzvk0EAJGpyWEQS/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvJeX9lzhJIGCOIaoBzBPd8G0FXiDSM7qAEtlSglRrrzmmv46a_rw5jZUjX_vQbPRzMpOBlbFt_U-uhvhjwu7JYk493asJNXDRoGDoTRaMEWU1uqCM6fuGNhTpb8mNFSzvk0EAJGpyWEQS/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">THE HIGHWAYMEN<br />
''THE VERY BEST OF THE HIGHWAYMEN''<br />
MAY 20 2016<br />
58:22<br />
**********<br />
01 - Highwayman 03:02 (Jimmy Webb)<br />
02 - Silver Stallion 03:12 (Lee Clayton)<br />
03 - Desperados Waiting for a Train 04:36 (Guy Clark)<br />
04 - City of New Orleans (Live) (1990 Version) 05:07 (Steve Goodman)<br />
05 - Big River (Live) 03:22 (Johnny Cash)<br />
06 - The Last Cowboy Song 03:09 (Ed Bruce, Ron Peterson)<br />
07 - Live Forever 02:47 (Billy Joe Shaver, Eddy Shaver)<br />
08 - Born and Raised in Black and White 04:00 (Don Cook, John Barlow Jarvis)<br />
09 - One Too Many Mornings 02:33 (Bob Dylan)<br />
10 - The Road Goes On Forever 04:42 (Robert Earl Keen Jr.<br />
11 - American Remains 04:07 (Rivers Rutherford)<br />
12 - Against the Wind 03:49 (Bob Seger)<br />
13 - Living Legend 03:58 (Kris Kristofferson)<br />
14 - Deportee (Plane Wreck at Los Gatos) 03:45 (Woody Guthrie, Martin Hoffman)<br />
15 - Welfare Line 02:35 (Paul Kennerley)<br />
16 - The King Is Gone (So Are You) Live (1990 Version) 03:30 (Roger Ferris)<br />
**********<br />
Al Anderson/Guitar<br />
Kenny Aronoff/Drums<br />
Johnny Cash/Guitar, Vocals<br />
Gene Chrisman/Drums<br />
Johnny Christopher/Guitar<br />
J.R. Cobb/Guitar<br />
Paul Davis/Keyboards, Vocals (Background)<br />
Bobby Emmons/Keyboards<br />
Mark Goldenberg/Guitar<br />
Waylon Jennings/Guitar, Vocals <br />
Kris Kristofferson/Guitar, Vocals <br />
Shawn Lane/Guitar<br />
Mike Leech/Bass<br />
Chips Moman/Guitar, Vocals (Background)<br />
Willie Nelson/Guitar, Vocals<br />
Mickey Raphael/Harmonica<br />
Michael Rhodes/Bass<br />
Johnny Rodriguez/Guitar<br />
Marty Stuart/Guitar, Mandolin<br />
Benmont Tench/Hammond B3<br />
Danny Timms/Keyboards, Piano<br />
Jimmy Tittle/Bass<br />
Robbie Turner/Guitar (Steel)<br />
Robby Turner/Dobro, Guitar (Steel), Pedal Steel<br />
Bobby Wood/Keyboards<br />
Reggie Young/Guitar <br />
**********<br />
REVIEW/AMG<br />
Stephen Thomas Erlewine<br />
For a band that only released three albums, the Highwaymen have a lot of compilations -- at least four full-fledged CDs prior to this 2016 set, which was released in conjunction with the triple-disc package Live: American Outlaws. The Very Best of the Highwaymen covers familiar ground, adding three selections -- "City of New Orleans," "Big River," and "The King Is Gone (So Are You)" -- from Live: American Outlaws, along with the "One Too Many Mornings" from Johnny Cash and Waylon Jennings' 1986 Heroes, now featuring harmonies by Willie Nelson and Kris Kristofferson. Outside of this, the 16-track collection contains six selections from their first (and best) album from 1985, four tracks from 1990's Highwayman 2 and a couple of cuts from 1995's The Road Goes on Forever. It's a good cross-section of their material and sequenced nicely, making for the best single-disc overview of the supergroup's recordings.<br />
**********<br />
BIOGRAPHY/AMG<br />
Steve Huey<br />
Before rock & roll gave listeners the Traveling Wilburys, country music spawned the Highwaymen, a supergroup of mythic proportions that featured living legends Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson. The foursome had worked together in various combinations over the years, but teamed up under the Highwaymen umbrella in 1985. Their first single together, "Highwayman," topped the country charts that year and spawned an album of the same name on Columbia. The album also proved mightily popular, hitting number one on the country listings and producing a Top 20 follow-up single in a cover of Guy Clark's "Desperadoes Waiting for a Train." Afterward, the members returned to their individual careers for a few years, but reconvened in 1990 to record a sequel, Highwayman 2. It reached number four on the country album charts and spun off the minor hit "Silver Stallion," but didn't cause quite the same stir overall as its predecessor. Another layoff followed, and when the Highwaymen returned for a third outing in 1995, they inked a new deal with Liberty/Capitol. The Road Goes on Forever was produced by Don Was, but proved a distinct commercial disappointment, and the group did not record again prior to Jennings' death in 2002. An archival collection of concert recordings by the Highwaymen, Live: American Outlaws, was released in 2016. <br />
**********<br />
<a href="#12098">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/c5q5cngaoqke25q/12098Hbo.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com14tag:blogger.com,1999:blog-9075572567442227671.post-18833990597903727762016-05-23T20:40:00.000-03:002016-05-23T20:40:00.790-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12097"></a>12097 - HIGHWAYMEN - THE ROAD GOES ON FOREVER (10TH ANNIVERSARY EDITION) (1995)(2005)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXjIffyxIBSk3vbviiNp3gSYAo4INVkAyey2pCkk45anIKxP4k8PA0Bhe32hyphenhyphen2jKlPkQQPtazNBuxeqex4nW56TzWSUUcfuLaHWqXXloIDlyq-qPSFRe2Ncmn7Hg4g7um6_zv6MGvM_LHu/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXjIffyxIBSk3vbviiNp3gSYAo4INVkAyey2pCkk45anIKxP4k8PA0Bhe32hyphenhyphen2jKlPkQQPtazNBuxeqex4nW56TzWSUUcfuLaHWqXXloIDlyq-qPSFRe2Ncmn7Hg4g7um6_zv6MGvM_LHu/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">HIGHWAYMEN<br />
''THE ROAD GOES ON FOREVER (10TH ANNIVERSARY EDITION)''<br />
2005<br />
1995<br />
49:47<br />
**********<br />
01 - The Devil's Right Hand 03:13 (Steve Earle)<br />
02 - Live Forever 02:47 (Billy Joe Shaver, Eddy Shaver)<br />
03 - Everyone Gets Crazy 02:54 (Kevin Welch)<br />
04 - It Is What It Is 03:39 (Stephen Bruton, John Fleming)<br />
05 - I Do Believe 03:25 (Waylon Jennings)<br />
06 - The End Of Understanding 02:42 (Willie Nelson)<br />
07 - True Love Travels A Gravel Road 03:21 (Dallas Frazier, A. L. Owens)<br />
08 - Death And Hell 02:50 (John R. Cash, Johnny Cash)<br />
09 - Waiting For A Long Time 04:18 (Stephen Bruton)<br />
10 - Here Comes That Rainbow Again 02:49 (Kris Kristofferson)<br />
11 - The Road Goes On Forever 04:39 (Robert Earl Keen Jr.)<br />
12 - If He Came Back Again 03:33 (Barry Alfonso, Craig Bickhardt)<br />
13 - Live Forever (Acoustic Demo) 02:11 (Billy Joe Shaver, Eddy Shaver)<br />
14 - I Ain't Song (Acoustic Demo) 01:56 (Waylon Jennings)<br />
15 - Pick Up The Tempo (Acoustic Demo) 02:18 (Willie Nelson)<br />
16 - Closer To The Bone (Acoustic Demo) 02:14<br />
17 - Back In The Saddle Again (Acoustic Demo) 00:50 (Gene Autry, Ray Whitley)<br />
**********<br />
Al Anderson/Guitar (Acoustic), Guitar (Electric)<br />
Kenny Aronoff/Drums<br />
Johnny Cash/Guitar, Vocals<br />
Mark Goldenberg/Guitar (Acoustic), Guitar (Baritone), Sitar (Electric)<br />
Waylon Jennings/Guitar, Vocals<br />
Kris Kristofferson/Guitar, Vocals<br />
Willie Nelson/Guitar, Vocals<br />
Mickey Raphael/Harmonica<br />
Luis Resto/Wurlitzer, Wurlitzer Piano<br />
Michael Rhodes/Bass<br />
Benmont Tench/Hammond B3, Organ (Hammond)<br />
Daniel Timms/Piano<br />
Robby Turner/Dobro, Pedal Steel Guitar<br />
Reggie Young/Guitar (Electric)<br />
**********<br />
REVIEW/AMG<br />
Stephen Thomas Erlewine<br />
For their third album, The Road Goes on Forever, the Highwaymen hired Don Was to produce. Was had previously worked with every member of the group but Johnny Cash, so he was, theoretically, a natural choice and on the surface, The Road Goes on Forever has all the trappings of being the classic Highwaymen album. It has great material, from standards like Dallas Frazier's "True Love Travels on a Gravel Road" to contemporary favorites by Steve Earle ("The Devil's Right Hand") and Billy Joe Shaver ("Live Forever"), to new cuts from all four members. It has a crisp sound and a focused production, with fine performances from everyone involved.<br />
**********<br />
BIOGRAPHY/AMG<br />
Steve Huey<br />
Before rock & roll gave listeners the Traveling Wilburys, country music spawned the Highwaymen, a supergroup of mythic proportions that featured living legends Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson. The foursome had worked together in various combinations over the years, but teamed up under the Highwaymen umbrella in 1985. Their first single together, "Highwayman," topped the country charts that year and spawned an album of the same name on Columbia. The album also proved mightily popular, hitting number one on the country listings and producing a Top 20 follow-up single in a cover of Guy Clark's "Desperadoes Waiting for a Train." Afterward, the members returned to their individual careers for a few years, but reconvened in 1990 to record a sequel, Highwayman 2. It reached number four on the country album charts and spun off the minor hit "Silver Stallion," but didn't cause quite the same stir overall as its predecessor. Another layoff followed, and when the Highwaymen returned for a third outing in 1995, they inked a new deal with Liberty/Capitol. The Road Goes on Forever was produced by Don Was, but proved a distinct commercial disappointment, and the group did not record again prior to Jennings' death in 2002. An archival collection of concert recordings by the Highwaymen, Live: American Outlaws, was released in 2016. <br />
**********<br />
<a href="#12097">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/uw6hz1azeq4yayc/12097Hrf.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-41836118968861022832016-05-23T20:37:00.002-03:002016-05-23T20:37:26.512-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12096"></a>12096 - HIGHWAYMEN - HIGHWAYMAN 2 (1990) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge0k1hktr8HDu0ewmyhOeOmE2tB6cRWtNlySng0kVJFT9AfzL9BWMnSaqPhEojbkZSPRmabyE0VEndOz9AoGnCMtVFJxcYpTvpju61V9c0Ns_SCxgGtkI86BxPoQLL_c4nPp4mXIxAv8XS/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge0k1hktr8HDu0ewmyhOeOmE2tB6cRWtNlySng0kVJFT9AfzL9BWMnSaqPhEojbkZSPRmabyE0VEndOz9AoGnCMtVFJxcYpTvpju61V9c0Ns_SCxgGtkI86BxPoQLL_c4nPp4mXIxAv8XS/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">HIGHWAYMEN<br />
''HIGHWAYMAN 2''<br />
1990<br />
32:48<br />
**********<br />
01 Silver Stallion (Lee Clayton) 03:10 <br />
02 Born and Raised in Black and White (Don Cook, John Barlow Jarvis) 03:59 <br />
03 Two Stories Wide (Willie Nelson) 02:32 <br />
04 We're All in Your Corner (Buddy Emmons, Troy Seals) 03:02 <br />
05 American Remains (Rivers Rutherford) 04:03 <br />
06 Anthem '84 (Kris Kristofferson) 02:43 <br />
07 Angels Love Bad Men (Waylon Jennings, Roger Murrah) 03:30 <br />
08 Songs That Make a Difference (Johnny Cash) 02:53 <br />
09 Living Legend (Kris Kristofferson) 03:56 <br />
10 Texas (Willie Nelson) 02:38 <br />
**********<br />
Johnny Cash /Guitar, Vocals<br />
Gene Chrisman /Drums<br />
Johnny Christopher /Guitar<br />
Bobby Emmons /Keyboards<br />
Waylon Jennings /Guitar, Vocals<br />
Kris Kristofferson /Guitar, Vocals<br />
Shawn Lane /Guitar<br />
Mike Leech /Bass<br />
Chips Moman /Guitar, Producer<br />
Willie Nelson /Acoustic Guitar, Vocals<br />
Mickey Raphael /Harmonica, Harp<br />
Robby Turner /Guitar (Steel)<br />
Bobby Wood /Keyboards<br />
Reggie Young /Guitar<br />
**********<br />
REVIEW/AMG<br />
Matt Fink<br />
Country music's version of the Traveling Wilburys, the Highwaymen's second album clocks in at just under a mere 33 minutes and covers little new territory for the group of country legends. Sadly, of the ten tracks, only six were penned by any of the members. Even the songs included are a little light for this group of country heavyweights, and the album suffers from an overall homogenous and dated 1980s studio sound. The opening track, "Silver Stallion," was the only minor hit from the album, though Cash, Nelson, and Kristofferson make solid contributions to the album. Overall, Highwayman 2 features a decent set of rather uneventful songs, but only the most dedicated fan will find this album a necessity.<br />
**********<br />
BIOGRAPHY/AMG<br />
Steve Huey<br />
Before rock & roll gave listeners the Traveling Wilburys, country music spawned the Highwaymen, a supergroup of mythic proportions that featured living legends Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson. The foursome had worked together in various combinations over the years, but teamed up under the Highwaymen umbrella in 1985. Their first single together, "Highwayman," topped the country charts that year and spawned an album of the same name on Columbia. The album also proved mightily popular, hitting number one on the country listings and producing a Top 20 follow-up single in a cover of Guy Clark's "Desperadoes Waiting for a Train." Afterward, the members returned to their individual careers for a few years, but reconvened in 1990 to record a sequel, Highwayman 2. It reached number four on the country album charts and spun off the minor hit "Silver Stallion," but didn't cause quite the same stir overall as its predecessor. Another layoff followed, and when the Highwaymen returned for a third outing in 1995, they inked a new deal with Liberty/Capitol. The Road Goes on Forever was produced by Don Was, but proved a distinct commercial disappointment, and the group did not record again prior to Jennings' death in 2002. An archival collection of concert recordings by the Highwaymen, Live: American Outlaws, was released in 2016. <br />
**********<br />
<a href="#12096">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/72c2c1q1k0vd8zl/12096H2.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9075572567442227671.post-8914489746443552102016-05-23T20:35:00.000-03:002016-05-23T20:35:12.162-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12095"></a>12095 - HIGHWAYMEN - HIGHWAYMAN (1985) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWlYvkPtioryH5ixYz55x7tHR25EtNr3PmrbPNz4tPpQXcoiKns7KpJ-83YeGrOqE8TZ4XgE3FZvz3mYwJnIdJOmnl9cP2k37kpM-r2x_Ib_mSz8kvuImq13zSGTEgVInmAdIsi-JhKEz/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWlYvkPtioryH5ixYz55x7tHR25EtNr3PmrbPNz4tPpQXcoiKns7KpJ-83YeGrOqE8TZ4XgE3FZvz3mYwJnIdJOmnl9cP2k37kpM-r2x_Ib_mSz8kvuImq13zSGTEgVInmAdIsi-JhKEz/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">HIGHWAYMEN<br />
''HIGHWAYMAN''<br />
1985<br />
33:43<br />
**********<br />
1/Highwayman/Jimmy Webb<br />
2/The Last Cowboy Song/Ed Bruce / Ron Peterson <br />
3/Jim, I Wore a Tie Today/Cindy Walker <br />
4/Big River/Johnny Cash <br />
5/Committed to ParkviewJohnny Cash <br />
6/Desperados Waiting for a Train/Guy Clark <br />
7/Deportee (Plane Wreck at Los Gatos)/Woody Guthrie / Martin Hoffman <br />
8/Welfare Line/Paul Kennerley <br />
9/Against the Wind/Bob Seger <br />
10/The Twentieth Century Is Almost Over/Steve Goodman / John Prine <br />
**********<br />
Johnny Cash /Vocals, Guitar, Vocals (Background)<br />
J.R. Cobb /Guitar<br />
Gene Crisman /Drums<br />
Paul Davis /Keyboards, Vocals (Background)<br />
Bobby Emmons /Keyboards<br />
Waylon Jennings /Guitar, Vocals, Vocals (Background)<br />
Kris Kristofferson /Guitar, Vocals, Vocals (Background)<br />
Mike Leech /Bass<br />
Chips Moman /Guitar, Producer, Vocals (Background)<br />
Willie Nelson /Guitar, Acoustic Guitar, Vocals (Background)<br />
Mickey Raphael /Harmonica, Harp<br />
Johnny Rodriguez /Vocals (Background)<br />
Marty Stuart /Guitar, Mandolin<br />
Jimmy Tittle /Bass<br />
Bobby Wood /Keyboards<br />
Reggie Young /Guitar<br />
**********<br />
REVIEW/AMG<br />
William Ruhlmann<br />
These old friends have appeared together in various combinations, but never as effectively as on the epic title song here, written by Jimmy Webb. And the rest of the record, including Guy Clark's "Desperados Waiting for a Train" and Woody Guthrie's "Deportee," lives up to the leadoff hit.<br />
**********<br />
BIOGRAPHY/AMG<br />
Steve Huey<br />
Before rock & roll gave listeners the Traveling Wilburys, country music spawned the Highwaymen, a supergroup of mythic proportions that featured living legends Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson. The foursome had worked together in various combinations over the years, but teamed up under the Highwaymen umbrella in 1985. Their first single together, "Highwayman," topped the country charts that year and spawned an album of the same name on Columbia. The album also proved mightily popular, hitting number one on the country listings and producing a Top 20 follow-up single in a cover of Guy Clark's "Desperadoes Waiting for a Train." Afterward, the members returned to their individual careers for a few years, but reconvened in 1990 to record a sequel, Highwayman 2. It reached number four on the country album charts and spun off the minor hit "Silver Stallion," but didn't cause quite the same stir overall as its predecessor. Another layoff followed, and when the Highwaymen returned for a third outing in 1995, they inked a new deal with Liberty/Capitol. The Road Goes on Forever was produced by Don Was, but proved a distinct commercial disappointment, and the group did not record again prior to Jennings' death in 2002. An archival collection of concert recordings by the Highwaymen, Live: American Outlaws, was released in 2016. <br />
**********<br />
<a href="#12095">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/54p6uji4dvfzb2v/12095H.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-28094654383340486462016-05-23T20:32:00.001-03:002016-05-23T20:32:31.437-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12094"></a>12094 - BRYAN FERRY - AVONMORE (2014) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfn8mPt4dIdDl-WGKVo_7XIg3vg5-K3zsMBuZPP1rqnz3r1Z1hqRjBGLugGX_4ueyngb4rtoE23JlqsdxsI0FT-g4Igt3cVr1o3oQf1p-C-aEt7et3C6bYDEkj3HfZeLN5gRu_hLkGsHjY/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfn8mPt4dIdDl-WGKVo_7XIg3vg5-K3zsMBuZPP1rqnz3r1Z1hqRjBGLugGX_4ueyngb4rtoE23JlqsdxsI0FT-g4Igt3cVr1o3oQf1p-C-aEt7et3C6bYDEkj3HfZeLN5gRu_hLkGsHjY/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRYAN FERRY<br />
''AVONMORE''<br />
NOVEMBER 17 2014<br />
43:04<br />
**********<br />
1 Loop De Li 04:16<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Nile Rodgers, Neil Hubbard, Oliver Thompson, David Williams, Steve Jones: guitar<br />
Marcus Miller: bass<br />
Tara Ferry: drums<br />
John Moody: oboe<br />
Richard White: saxophone<br />
Fonzi Thornton, Laura Mann, Emily Panic, Hannah Khemoh, Jodie Scantlebury, Bobbie Gordon: backing vocals<br />
<br />
2 Midnight Train 03:48<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Nile Rodgers, Jeff Thall, Neil Hubbard, Oliver Thompson, David Williams, Chris Spedding, Steve Jones, Jacob Quistgaard: guitar<br />
Marcus Miller, Guy Pratt: bass<br />
Tara Ferry, Andy Newmark: drums<br />
Fonzi Thornton: backing vocals<br />
<br />
3 Soldier of Fortune 04:23 (Bryan Ferry, Johnny Marr)<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Neil Hubbard, Steve Jones: guitar<br />
Marcus Miller: bass<br />
Tara Ferry: drums<br />
Paul Beard: keyboards<br />
Iain Dixon, Robert Fowler, Richard White: saxophone<br />
Fonzi Thornton: backing vocals<br />
<br />
4 Driving Me Wild 03:35<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Nile Rodgers, Neil Hubbard, Oliver Thompson: guitar<br />
Marcus Miller, Guy Pratt: bass<br />
Tara Ferry: drums<br />
Richard White: saxophone<br />
Cherisse Osei: percussion<br />
Fonzi Thornton: backing vocals<br />
<br />
5 A Special Kind of Guy 03:11<br />
Bryan Ferry: vocals, keyboards<br />
Nile Rodgers, Neil Hubbard, Steve Jones: guitar<br />
Marcus Miller, Guy Pratt: bass<br />
Tara Ferry: drums<br />
Fonzi Thornton: backing vocals<br />
<br />
6 Avonmore 05:13 (Bryan Fery, Oliver Thompson)<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Nile Rodgers, Neil Hubbard, Oliver Thompson, Steve Jones: guitar<br />
Flea, Guy Pratt, Paul Turner: bass<br />
Tara Ferry, Cherisse Osei: drums<br />
Richard White: alto saxophone<br />
Frank Ricotti: percussions<br />
<br />
7 Lost 02:46<br />
Bryan Ferry: vocals, keyboards<br />
Mark Knopfler, Neil Hubbard: guitar<br />
Neil Jason: bass<br />
Andy Newmark, Tara Ferry, Cherisse Osei: drums<br />
<br />
8 One Night Stand 05:05<br />
Bryan Ferry: vocals, keyboards<br />
Johnny Marr, Nile Rodgers, Jeff Thall, Neil Hubbard, Oliver Thompson, David Williams, Chris Spedding, Steve Jones, Jacob Quistgaard: guitar<br />
Marcus Miller: bass<br />
Tara Ferry: drums<br />
Paul Beard: keyboards<br />
Maceo Parker: alto saxophone<br />
Ronnie Spector, Hannah Khemoh, Sewuse Abwa, Shar White, Michelle John: backing vocals<br />
<br />
9 Send in the Clowns 04:00 (Stephen Sondheim)<br />
Bryan Ferry: vocals<br />
Johnny Marr: guitar<br />
Marcus Miller: bass<br />
Chris Laurence, Tom Wheatley: double bass<br />
Tara Ferry, Cherisse Osei: drums<br />
Colin Good: piano<br />
Richard White: alto saxophone<br />
Frank Ricotti: percussions<br />
Enrico Tomasso: trumpet<br />
String arrangement by Colin Good & Bryan Ferry<br />
<br />
10 Johnny & Mary (With Todd Terje) 06:43 (Roger Palmer)<br />
Marcus Miller, Guy Pratt: bass<br />
Tara Ferry: drums<br />
Fonzi Thornton: backing vocals<br />
Todd Terje: production, programming, synth<br />
**********<br />
Tracks By Bryan Ferry Except 03, 06, 09, 10<br />
**********<br />
ABOUT THE ALBUM/OFFICIAL WEBSITE<br />
Bryan Ferry's 14th solo album, 'Avonmore', features eight new Ferry compositions plus Ferry's cinematic interpretation of Sondheim's 'Send In The Clowns'. Produced by Ferry and Rhett Davies in Ferry's London studio, the album was mixed by Craig Silvey (Arcade Fire/Paolo Nutini) and features performances throughout the album by many of Ferry's long-term musical partners including Nile Rodgers, Johnny Marr and Marcus Miller. Highlights include the forthcoming single 'Loop De Li', 'Soldier of Fortune' (co-written by Johnny Marr) plus closing track 'Johnny & Mary', Ferry's recent collaboration with Norwegian producer and DJ Todd Terje.<br />
**********<br />
REVIEW/AMG<br />
Stephen Thomas Erlewine <br />
On the album art of Avonmore, the record he released when he was a year shy of 70, Bryan Ferry showcases himself as a dashing young man -- a portrait of an artist not as a glam trailblazer or distinguished elder statesman, but rather caught in an indeterminate time between the gorgeous heartbreak of Roxy Music's Avalon and the meticulous solo work that came immediately in its wake. This is Ferry's prime, a moment when his legacy was intact but yet to be preserved in amber. Avonmore consciously evokes this distinct period, sometimes sighing into the exquisite ennui of Avalon but usually favoring the fine tailoring of Boys & Girls, a record where every sequenced rhythm, keyboard, and guitar line blended into an alluring urbane pulse. Ferry isn't so much racing to revive a younger edition of himself as much as laying claim to this particular strand of sophisticated pop, one that happens to feel a shade richer now when it's delivered by an artist whose world-weariness has settled into his marrow but is yet to sadden him. This much is apparent on Avonmore's closing covers, an oddly appropriate pairing of Stephen Sondheim's "Send in the Clowns" and Robert Palmer's "Johnny & Mary" that are both given gently meditative electronic makeovers, but much of the record explores the other end of the Ferry spectrum, where he's making music to dance away the heartache. He's no longer on the floor himself, preferring to watch with a bit of a bemusement, but this reserved romanticism suits him perfectly, particularly because Ferry and his co-producer Rhett Davies -- a steady collaborator since 1999's standards record As Time Goes By - place an emphasis on mood but not at the expense of the songs. Naturally, what is first alluring about Avonmore is its feel -- it's meant to be seductive - but the songs are what makes this record something more than a fling.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12094">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/pttnpp9naa1xb2h/12094Va.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-58169311967208712892016-05-23T20:30:00.002-03:002016-05-23T20:30:43.685-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12093"></a>12093 - THE BRYAN FERRY ORCHESTRA - THE JAZZ AGE (2012) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF5DmWwRMn2t7rxUXV7W0xlNRNsEnebiL9jeas0f0_9XAA1THzvcXBu1g-tqsPU3A_6O3GZomzyzZLDjgtShqsbfmQSYYMNvksBqY_Y3tfYKpwth42W13xye2IypWbETxm6j7KZpN5KUTF/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF5DmWwRMn2t7rxUXV7W0xlNRNsEnebiL9jeas0f0_9XAA1THzvcXBu1g-tqsPU3A_6O3GZomzyzZLDjgtShqsbfmQSYYMNvksBqY_Y3tfYKpwth42W13xye2IypWbETxm6j7KZpN5KUTF/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">THE BRYAN FERRY ORCHESTRA<br />
''THE JAZZ AGE''<br />
NOVEMBER 27 2012<br />
37:25<br />
**********<br />
1 /Do the Strand<br />
Bryan Ferry/2:10<br />
2 /Love is the Drug<br />
Bryan Ferry/3:14<br />
3 /Don't Stop the Dance<br />
Bryan Ferry/2:51<br />
4 /Just Like You<br />
Bryan Ferry/3:24<br />
5 /Avalon<br />
Bryan Ferry/2:23<br />
6 /The Bogus Man<br />
Bryan Ferry/2:07<br />
7 /Slave to Love<br />
Bryan Ferry/2:38<br />
8 /This is Tomorrow<br />
Bryan Ferry/2:27<br />
9 /The Only Face<br />
Bryan Ferry/2:57<br />
10 /I Thought<br />
Bryan Ferry/2:35<br />
11 /Reason or Rhyme<br />
Bryan Ferry/4:15<br />
12 /Virginia Plain<br />
Bryan Ferry/2:14<br />
13 /This Island Earth<br />
Bryan Ferry/4:26<br />
**********<br />
Alan Barnes /Clarinet, Sax (Baritone)<br />
Sarah Chapman /Viola<br />
Katy Cox /Cello<br />
Bryan Ferry /Director, Producer<br />
Robert Fowler /Clarinet, Sax (Tenor)<br />
Colin Good /Arranger, Piano<br />
Chris Laurence /Double Bass<br />
Emma Owens /Viola<br />
Emma Parker /Violin<br />
Frank Ricotti /Percussion<br />
Malcolm Earle Smith /Trombone<br />
Victoria Sutherland /Violin<br />
John Sutton /Drums<br />
Enrico Tomasso /Cornet, Trumpet<br />
Martin Wheatley /Banjo, Guitar<br />
Richard White /Clarinet, Clarinet (Bass), Sax (Alto), Sax (Bass)<br />
**********<br />
REVIEW/AMG<br />
Thom Jurek<br />
Over the last 40 years, singer Bryan Ferry has established himself not only as the frontman of one of rock's most iconic bands, but also as a unique interpreter covering the songs of others. The songwriters he's covered have been transformed into something wholly other by him. Ferry's ability to find and reveal what is hidden in a lyric, a musical phrase, or even a key signature is uncanny. The Jazz Age finds Ferry covering himself in radical fashion: he doesn't sing. He is credited as co-producer (with Rhett Davies) and "director." The Jazz Age celebrates Ferry's 40th anniversary in music by re-recording some of his classic tunes -- from the 1972 Roxy Music album to 2010's Olympia -- inspired by the sounds of '20s jazz. Ferry's looked deeply into the past before -- 1999's As Time Goes By paid tribute to the music of the '30s, an album of sung standards from the era -- but not his own. This set was performed by many of the same British jazz musicians who performed on that record under the musical direction of Colin Good. Musically, Ferry and these musicians drew on the influences of Louis Armstrong's Hot Sevens, Duke Ellington's Orchestra, Bix Beiderbecke's Wolverines, and the Original Dixieland Jazz Band. But they also found inspiration in the heady historical era before 1929 detailed so intensely in the novels of F. Scott Fitzgerald, Michael Arlen, and Ernest Hemingway. All 13 of these tunes have been wildly revamped and offer interesting textures: a bass clarinet and baritone saxophone are used instead of a double bass to carry the bottom end, but the music here is played so well, it doesn't feel gimmicky. All of the original melodies have been left intact, though tempos are often completely reset. The sprightly "Do the Strand" features piano, brass, reeds, banjo, and drums all competing for dominance (they were recorded live in the studio), and swings hard. "Love Is the Drug" is played as a moaning, bluesy dirge, while "Avalon" retains its sense of melancholy even as clarinets, trumpets, and piano commingle in a midtempo dialogue on different aspects of the melody. "Virginia Plain" is a fingerpopping dancefloor jaunt that recalls flappers doing the Lindy Hop. Given that Ferry doesn't sing on The Jazz Age, the appeal for casual fans is debatable. But for the faithful, trad-jazz heads, and open-minded listeners, the musical quality -- from expert arrangements, virtuosic playing, and the brilliant concept -- offer something wholly different and rewarding.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12093">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/tku28pra4ndpqao/12093BFja.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9075572567442227671.post-90226118697041332492016-05-23T20:28:00.004-03:002016-05-23T20:28:55.677-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12092"></a>12092 - BRYAN FERRY - OLYMPIA (2010) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzM0wULyEpsWrplCmZvoKmdsGX1pXX2wOEWuXFgWLu-wq2KtBOF53pMarQ-zVNxShG-EFPANkrSXvx16zFqVesZzUaSS4ckVRom_4JjWc76V2WcwYQ3Cst5yYzXSvTmQD2KxExy00UJaMb/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzM0wULyEpsWrplCmZvoKmdsGX1pXX2wOEWuXFgWLu-wq2KtBOF53pMarQ-zVNxShG-EFPANkrSXvx16zFqVesZzUaSS4ckVRom_4JjWc76V2WcwYQ3Cst5yYzXSvTmQD2KxExy00UJaMb/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''OLYMPIA''<br />
OCTOBER 26 2010<br />
56:44<br />
**********<br />
1 /You Can Dance/4:28 (Bryan Ferry, David A. Stewart)<br />
2 /Alphaville/4:25 (Bryan Ferry, David A. Stewart)<br />
3 /Heartache By Numbers/4:55 (Bryan Ferry, Scissor Sisters)<br />
4 /Me Oh My/4:40 (Bryan Ferry)<br />
5 /Shameless/4:35 (Bryan Ferry, Andy Cato, Tom Findlay)<br />
6 /Song to the Siren/5:56 (Tim Buckley, Larry Beckett)<br />
7 /No Face, No Name, No Number/4:39 (Jim Capaldi, Steve Winwood)<br />
8 /BF Bass (Ode to Olympia)/4:09 (Bryan Ferry, Phil Manzanera)<br />
9 /Reason or Rhyme/6:51 (Bryan Ferry)<br />
10 /Tender Is The Night/4:34 (Bryan Ferry, David A. Stewart)<br />
11 /Whatever Gets You Thru The Night (Bonus)/3:17 (John Lennon)<br />
12 /One Night (Bonus)/3:57 (Dave Bartholomew, Pearl King, Anita Steiman)<br />
**********<br />
Seweuse Abwa /Choir/Chorus<br />
Babydaddy /Bass Guitar, Keyboards<br />
Andy Cato /Bass, Guest Artist<br />
Chris Mullings /Electronics, Guest Artist<br />
Emilyn Dolan Davies /Drums, Guest Artist<br />
Brian Eno /Guest Artist, Synthesizer<br />
Bryan Ferry /Keyboards, Piano, Vocals<br />
Merlin Ferry /Guest Artist, Guitar<br />
Tara Ferry /Drums<br />
Thomas Fetherstonhaugh /Guest Artist, Treble<br />
Flea /Bass, Guest Artist<br />
David Gilmour /Guest Artist, Guitar<br />
Colin Good /Guest Artist, Keyboards, Synthesizer<br />
Aleysha Gordon /Choir/Chorus<br />
Jonny Greenwood /Guest Artist, Guitar<br />
Tallulah Harlech /Guest Artist, Vocals<br />
Neil Hubbard /Guest Artist, Guitar<br />
Hannah Khemoh /Choir/Chorus<br />
Andy Mackay /Guest Artist, Oboe<br />
Phil Manzanera /Guest Artist, Guitar<br />
Me'sha Bryan /Choir/Chorus<br />
Marcus Miller /Bass<br />
Perry Montague-Mason /Guest Artist, Violin<br />
Gary Mounfield /Bass, Guest Artist<br />
Andy Newmark /Drums<br />
Steve Nieve /Guest Artist, Piano<br />
Anthony Pleeth /Cello, Guest Artist<br />
Alice Retif /Choir/Chorus, Guest Artist<br />
Frank Ricotti /Percussion<br />
Nile Rodgers /Guitar<br />
Emlyn Singleton /Guest Artist, Violin<br />
Chris Spedding /Guest Artist, Guitar<br />
Dave Stewart /Guest Artist, Guitar<br />
Oliver Thompson /Guitar<br />
Katie Turner /Choir/Chorus, Guest Artist<br />
Ruby Turner /Choir/Chorus<br />
Vicci Wardman /Guest Artist, Viola<br />
Shar White /Choir/Chorus, Guest Artist<br />
David Williams /Guitar <br />
**********<br />
REVIEW/AMG<br />
Stephen Thomas Erlewine<br />
There are two headlines for Olympia, Bryan Ferry’s 13th solo album. The first is that it’s Ferry’s first collection of primarily original material since 1994’s Mamouna -- of the ten songs only Tim Buckley's “Song to the Siren” and Traffic's "No Face, No Name, No Number" are from another author -- the second is that among the many collaborators here are Brian Eno, Phil Manzanera, and Andy MacKay, all original members of Roxy Music, their presence suggesting a return to the chilly art of Roxy’s earliest records. Neither headline tells the real story: Olympia is Ferry’s most seductive album since Avalon, a luxurious collection of softly stylized sophistication. Instead of pushing into new territory, Ferry focuses on refinement, polishing his signatures -- primarily songs so slow they seem to float, and also the occasional high-end piece of pristine pop-funk -- until they’re seamless, the textures shifting so subtly that when the chorus of “Heartache by Numbers” turns eerie, the change in atmosphere is almost subliminal. Such command of mood is a tell-tale sign of a quiet perfectionist, but Olympia doesn’t feel fussy; it’s unruffled and casually elegant, its pleasing familiarity reflecting the persistence of an old master honing his craft.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12092">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/dra94mru9zd4csd/12092BFo.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-46488073290085930152016-05-23T20:27:00.000-03:002016-05-23T20:27:13.668-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12091"></a>12091 - BRYAN FERRY - DYLANESQUE (2007) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_04dvOzatKidCeM7tyEaOuzt8081ySBFk17fPzbjTD7BAhb4x4FDSHuyt0vtHPJe6M305WnGZyuGmnIkwUPdWYGJcDZzo4NOl2hrQT8V4Drc068NN_uLS0TK0stYDsjxGjawav7Bs8B4e/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_04dvOzatKidCeM7tyEaOuzt8081ySBFk17fPzbjTD7BAhb4x4FDSHuyt0vtHPJe6M305WnGZyuGmnIkwUPdWYGJcDZzo4NOl2hrQT8V4Drc068NN_uLS0TK0stYDsjxGjawav7Bs8B4e/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''DYLANESQUE''<br />
JUNE 26 2007<br />
42:28<br />
**********<br />
1 /Just Like Tom Thumb's Blues/3:50<br />
2 /Simple Twist of Fate/5:18<br />
3 /Make You Feel My Love/3:22<br />
4 /The Times They Are A-Changin'/3:40<br />
5 /All I Really Wanna Do/2:29<br />
6 /Knockin' on Heaven's Door/6:13<br />
7 /Positively 4th Street/3:45<br />
8 /If Not for You/2:40<br />
9 /Baby Let Me Follow You Down<br />
Traditional/2:13<br />
10 /Gates of Eden/5:12<br />
11 /All Along the Watchtower/3:46 <br />
**********<br />
Leo Abrahams /Guitar<br />
Sarah Brown /Vocals (Background)<br />
Paul Carrack /Organ<br />
Brian Eno /Electronics<br />
Bryan Ferry /Arranger, Farfisa Organ, Harmonica<br />
Colin Good /Piano, String Arrangements<br />
Mick Green /Guitar<br />
Bobby Irwin /Drums<br />
Zev Katz /Bass<br />
Joy Malcolm /Vocals (Background)<br />
Adrianne McDonald /Vocals (Background)<br />
Anna McDonald /Vocals (Background)<br />
Tara McDonald /Vocals (Background)<br />
Andy Newmark /Drums<br />
Anthony Pleeth /Cello, String Quartet<br />
Guy Pratt /Bass<br />
Frank Ricotti /Percussion<br />
Jackie Shave /String Quartet, Violin<br />
Chris Spedding /Guitar<br />
Oliver Thompson /Guitar<br />
Jon Thorne /String Quartet, Viola<br />
Robin Trower /Guitar (Acoustic)<br />
Sharon White /Vocals (Background)<br />
Lucy Wilkins /Violin<br />
David E. Williams /Guitar<br />
Gavyn Wright /String Quartet, Violin <br />
**********<br />
REVIEW/AMG<br />
Stephen Thomas Erlewine<br />
The greatest -- indeed, only -- irony of Bryan Ferry's 2007 album-long tribute to the Bard is that Dylanesque never sounds "Dylanesque." There are no solo acoustic guitars, no swirling organs, no thin, wild mercury music, nothing that suggests any of the sounds typically associated with Bob Dylan. No, Dylanesque sounds Ferry-esque: careful, precise, elegant, so casually sophisticated it sometimes borders on the drowsy. There are no new wrinkles, then, apart from a small but crucial one -- unlike his other records, this was recorded quickly, over the course of a week with his touring band in tow. This does give Dylanesque a comparatively loose, off-the-cuff feel, which is a bit of a welcome relief after several decades of cautious, deliberate conceptual albums, and gives the album its understated charm. Since Ferry never radically reinvents the songs -- apart from the sleek, sly propulsion of "Just Like Tom Thumb's Blues" and a spare, haunting piano-and-strings version of "Positively Fourth Street" -- this is an album where all the pleasures lay in the subtleties, whether it's how Ferry phrases his delivery, how his road band feels supple yet muscular, how Eno electronically enhances a few tracks or how Robin Trower tears into "All Along the Watchtower." These are the details to savor upon repeated listens, but upon that first spin it's immediately apparent that the Ferry who made Dylanesque is an assured, relaxed vocalist who isn't sweating the specifics, he's simply singing songs with a band that offers sympathetic support. They may not push him, the way that Roxy did in its prime, nor does this have the meticulous ambition of his original work, but again, that's the charm of this album: Ferry has never felt quite so comfortable as he does here, and if that may not be exactly what all listeners are looking for when they listen to his work, this is the quality that will make Dylanesque a small understated gem for certain segments of his die-hard fans<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12091">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/46hwb22a093q2no/12091BFd.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-64661193028575383962016-05-23T20:25:00.003-03:002016-05-23T20:25:33.551-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12090"></a>12090 - BRYAN FERRY - FRANTIC (2002) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgtulUoKk38YPthCXkczWSE0gJwFTO7PjEmVuWt9r4XNnB4LtOo1pbjfTRSUJFLC95JKyS3t_WMByGSi7BQIIK2g-ogLkoxB_WdQ34fQvDEbVsyMsFnt9JnAKk-KKFFEK2Dl82soOYGeTl/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgtulUoKk38YPthCXkczWSE0gJwFTO7PjEmVuWt9r4XNnB4LtOo1pbjfTRSUJFLC95JKyS3t_WMByGSi7BQIIK2g-ogLkoxB_WdQ34fQvDEbVsyMsFnt9JnAKk-KKFFEK2Dl82soOYGeTl/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''FRANTIC''<br />
FEBRUARY 5 2002<br />
47:22<br />
**********<br />
1 /It's All Over Now, Baby Blue<br />
Bob Dylan/4:05<br />
2 /Cruel<br />
Bryan Ferry / Dave Stewart/3:55<br />
3 /Goin' Down<br />
Harry Nilsson / Don Nix/3:08<br />
4 /Goddess of Love<br />
Bryan Ferry / Dave Stewart/3:33<br />
5 /Don't Think Twice, It's All Right<br />
Bob Dylan/4:05<br />
6 /Nobody Loves Me<br />
Bryan Ferry / Dave Stewart/3:23<br />
7 /Ja Nun Hons Pris/0:35<br />
8 /A Fool for Love<br />
Bryan Ferry/4:44<br />
9 /Goodnight Irene<br />
Lead Belly / John A. Lomax/3:20<br />
10 /Hiroshima...<br />
Bryan Ferry/3:13<br />
11 /San Simeon<br />
Bryan Ferry / Dave Stewart/4:36<br />
12 /One Way Love<br />
Bert Russell/3:05<br />
13 /I Thought<br />
Brian Eno / Bryan Ferry/5:40 <br />
**********<br />
Jhelisa Anderson /Vocals (Background)<br />
Lisa Anderson /Vocals (Background)<br />
Nicole Blumberg /Vocals (Background)<br />
Natalia Bonner /Strings, Vocals<br />
Sarah Brown /Vocals (Background)<br />
Kelli Dayton /Vocals (Background)<br />
Stevie DeGranville /Vocals (Background)<br />
Terry Disley /Keyboards<br />
Brian Eno /Guest Artist, Guitar, Keyboards, Vocals (Background)<br />
Bryan Ferry /Arranger, Harmonia, Keyboards, Vocals<br />
Robert Fowler /Oboe, Sax (Alto)<br />
Pete Glenister /Guitar<br />
Allison Goldfrapp /Vocals (Background)<br />
Colin Good /Arranger, Mellotron, Piano, String Arrangements, Virginal<br />
Mick Green /Guitar<br />
Jonny Greenwood /Guitar<br />
Bobby Irwin /Drums<br />
Lucy Kaplansky /Vocals (Background)<br />
Zev Katz /Bass<br />
Adam Lamprell /Guitar<br />
Eddie LeJeune /Accordion<br />
D.L. Menard /Guitar<br />
Marcus Miller /Bass<br />
Rev. Sister Mary M. Nelson /Soprano<br />
Andy Newmark /Drums, Percussion<br />
Alice Retif /Vocals (Background)<br />
Frank Ricotti /Percussion<br />
Patti Russo /Vocals (Background)<br />
Ken Smith /Fiddle<br />
Chris Spedding /Guest Artist, Guitar, Sitar (Electric)<br />
Dave Stewart /Guitar<br />
Paul Anthony Taylor /Keyboards, Programming<br />
Lucy Theo /Strings, Vocals<br />
Keith G. Thompson /Crumhorn, Curtal, Oboe, Recorder, Woodwind<br />
Paul Thompson /Drums, Percussion<br />
Julia Thornton /Harp<br />
Trio Cadien /Vocals (Background)<br />
Robin Trower /Guitar<br />
Rosie Wetters /Strings, Vocals<br />
Martin Wheatley /Guitar<br />
Audrey Wheeler /Vocals (Background)<br />
Lucy Wilkins /Strings, Vocals<br />
David E. Williams /Bass Guitar <br />
**********<br />
REVIEW/AMG<br />
Tim DiGravina<br />
Frantic manages to touch upon virtually every musical style of Bryan Ferry's career. Ferry has proved to be as interested in covering other artists' material as penning original songs, and he straddles a smart mix of originals and covers here. Two brilliant Bob Dylan songs appear among the opening tracks: "It's All Over Now Baby Blue" sees a return to the eclectic, energetic experimentation of Ferry's early albums with Roxy Music as a lush modern swirl of instruments mingles with the singer's stylized vocals and throwback harmonica; "Don't Think Twice It's Alright" completes the Dylan pair, as Ferry intones with confidence and again takes up harmonica over Colin Good's rolling piano. The reverent Leadbelly cover "Goodnight Irene" reimagines Ferry as a kind of blues troubadour. "One Way Love" sees the Drifters' song reworked as a squall of distorted guitars and keyboards. Almost half of Frantic's songs originated from late-'90s sessions with Eurythmics' Dave Stewart, and Stewart is given a co-writer credit for these songs. Though the Stewart songs tend to favor edginess over songwriting, a few of them manage to break through the bombast. "Goddess of Love" is probably the best song about Marilyn Monroe since Kitchens of Distinction's "When in Heaven," and there's a passing musical resemblance to that great song. "Hiroshima" works like an ominous take on Roxy Music's synth-heavy Avalon period, with raging guitar dynamics contributed by Radiohead's Jonny Greenwood. Roxy Music fans will find more reasons to rejoice with the superb album closer, "I Thought," which was co-written with Brian Eno, who sings backing vocals and plays keyboards. Some listeners might suggest that an album this varied has an identity crisis, but with standout tracks as glorious as the Dylan covers and the Eno closer, Frantic is a fascinating addition to Bryan Ferry's accomplished discography.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12090">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/k9m8jnjnfnmc7pw/12090BFf.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-48249881294354977862016-05-23T20:23:00.004-03:002016-05-23T20:23:55.660-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12089"></a>12089 - BRYAN FERRY - AS TIME GOES BY (1999) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicseYJw9ZjTUbcXGYMVS6jmn4U7h78R_F-UixpG53Sc1Wgis3pCIXHsNXdS3jOY3Dh7Is2rWYI2mTjgYU3rPkzMvXP0Rsi3lysqn3dXCpXgTRJ2HY1_WzjOvAjNaRj8_q0LiNmR2OQvwv-/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicseYJw9ZjTUbcXGYMVS6jmn4U7h78R_F-UixpG53Sc1Wgis3pCIXHsNXdS3jOY3Dh7Is2rWYI2mTjgYU3rPkzMvXP0Rsi3lysqn3dXCpXgTRJ2HY1_WzjOvAjNaRj8_q0LiNmR2OQvwv-/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''AS TIME GOES BY''<br />
OCTOBER 19 1999<br />
44:30<br />
**********<br />
1 /As Time Goes By<br />
Herman Hupfeld/2:34<br />
2 /The Way You Look Tonight<br />
Dorothy Fields / Jerome Kern/3:36<br />
3 /Easy Living<br />
Ralph Rainger / Leo Robin/2:16<br />
4 /I'm in the Mood for Love<br />
Dorothy Fields / Jimmy McHugh/4:17<br />
5 /Where or When<br />
Lorenz Hart / Richard Rodgers/3:19<br />
6 /When Somebody Thinks You're Wonderful<br />
Harry Woods/2:57<br />
7 /Sweet and Lovely<br />
Gus Arnheim / Jules LeMare (Chas. N. Daniels) / Harry Tobias/3:10<br />
8 /Miss Otis Regrets<br />
Cole Porter/2:39<br />
9 /Time on My Hands<br />
Harold Adamson / Mack Gordon / Vincent Youmans/3:02<br />
10 /Lover, Come Back to Me<br />
Oscar Hammerstein II / Sigmund Romberg/2:54<br />
11 /Falling in Love Again<br />
Frederick Hollander / Sammy Lerner/2:26<br />
12 /Love Me or Leave Me<br />
Walter Donaldson / Gus Kahn/2:44<br />
13 /You Do Something to Me<br />
Cole Porter/2:47<br />
14 /Just One of Those Things<br />
Cole Porter/2:46<br />
15 /September Song<br />
Maxwell Anderson / Kurt Weill/3:03 <br />
**********<br />
Alan Barnes /Clarinet, Sax (Tenor)<br />
Nicholas Bucknail /Clarinet<br />
Paul Clarvis /Drums<br />
Philip Dukes /Viola<br />
Bryan Ferry /Arranger, Synthesizer, Vocals<br />
Robert Fowler /Clarinet<br />
Wilfred Gibson /Violin<br />
Colin Good /Arranger, Piano<br />
Bob Hunt /Trombone<br />
Richard Jeffries /Bass<br />
Boguslaw Kostecki /Violin<br />
Peter Lale /Viola<br />
Chris Laurence /Bass<br />
Abraham Leborovich /Violin<br />
Jose Libertella /Bandoneon<br />
Timothy Lines /Clarinet<br />
Phil Manzanera /Guitar<br />
Cynthia Millar /Ondes Martenot<br />
Andy Newmark /Drums<br />
Anthony Pike /Clarinet (Bass)<br />
Anthony Pleeth /Cello<br />
Frank Ricotti /Percussion<br />
Malcolm Earle Smith /Trombone<br />
Nils Solberg /Guitar<br />
Luis Stazo /Bandoneon<br />
John Sutton /Drums<br />
Enrico Tomasso /Trumpet<br />
Jim Tomlinson /Clarinet, Sax (Alto)<br />
Hugh Webb /Harp<br />
Martin Wheatley /Banjo<br />
David White /Clarinet<br />
David Woodcock /Violin<br />
Gavyn Wright /Guest Artist, Violin <br />
**********<br />
REVIEW/AMG<br />
STEPHEN THOMAS ERLEWINE<br />
Bryan Ferry invests considerable time and energy in cover albums (he should, considering that they compose a good portion of his solo catalog), treating them with as much care as a record of original material. He's always found ways to radically reinvent the songs he sings, so it's easy to expect that his collection of pop standards, As Time Goes By, would re-imagine the familiar. Instead, As Time Goes By is his first classicist album, containing non-ironic, neo-traditionalist arrangements of songs associated with the '30s. That doesn't mean it's a lavish affair, dripping with lush orchestras -- it's considerably more intimate than that. Even when strings surface, they're understated, part of a small live combo that supports Ferry throughout the record. He's made the music as faithful to its era as possible, yet instead of rigidly replicating the sounds of the '30s, he's blended Billie Holiday, cabaret pop, and movie musicals into an evocative pastiche. Ferry is at his best when he's exploring the possibilities within a specific theory or concept; with As Time Goes By, he eases into these standards and old-fashioned settings like an actor adopting a new persona. Since Ferry has always been a crooner, the transition is smooth and suave. He makes no attempt to alter his tremulous style, yet it rarely sounds incongruous -- he may sound a little vampirish on "You Do Something to Me," but that's the rare case where he doesn't seamlessly mesh with his romantic, sepia-toned surroundings. On the surface, it may seem like a departure for Ferry, but in the end, it's entirely of a piece with his body of work. True, it may not be a major album in the scheme of things, but it's easy to be seduced by its casual elegance.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12089">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/vyvncp2sxh9z8pb/12089BFab.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-69850754463777310302016-05-23T20:22:00.001-03:002016-05-23T20:22:07.695-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12088"></a>12088 - BRYAN FERRY - MAMOUNA (1994) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge629HWEuehHp_OlVkb_O6XndFAbAqnEfw-Kx3vc1vDXLePxq4-DWNBZg6JMHjcWpuvDYtu2PPc2NxFHCY1IUXoF7ftIbATMK3ICMiSk4QgGVN0937AMNo9Lk4hAr3qC91TR9GdUBwSZU0/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge629HWEuehHp_OlVkb_O6XndFAbAqnEfw-Kx3vc1vDXLePxq4-DWNBZg6JMHjcWpuvDYtu2PPc2NxFHCY1IUXoF7ftIbATMK3ICMiSk4QgGVN0937AMNo9Lk4hAr3qC91TR9GdUBwSZU0/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''MAMOUNA''<br />
SEPTEMBER 20 1994<br />
45:28<br />
**********<br />
1 /Don't Want to Know<br />
Bryan Ferry/4:07<br />
2 /N.Y.C.<br />
Bryan Ferry/4:09<br />
3 /Your Painted Smile<br />
Bryan Ferry/3:13<br />
4 /Mamouna<br />
Bryan Ferry/5:10<br />
5 /The Only Face<br />
Bryan Ferry/4:39<br />
6 /The 39 Steps<br />
Bryan Ferry/5:00<br />
7 /Which Way to Turn<br />
Bryan Ferry/5:43<br />
8 /Wildcat Days<br />
Brian Eno / Bryan Ferry/4:34<br />
9 /Gemini Moon<br />
Bryan Ferry/3:46<br />
10 /Chain Reaction<br />
Bryan Ferry/5:07 <br />
**********<br />
Carleen Anderson /Baritone (Vocal), Bass (Vocal)<br />
Luke Cresswell /Percussion<br />
Nathan East //Bass<br />
Brian Eno<br />
Yanick Etienne /Bass (Vocal)<br />
Steve Ferrone /Drums<br />
Brian Ferry /Oberheim Synthesizer, Piano, Prophet Synthesizer, Synthesizer, Vocals, Vocoder<br />
Guy Fletcher /Synthesizer<br />
Neil Hubbard /Guitar, Guitar (Rhythm)<br />
Luis Jardim /Percussion<br />
Neil Jason /Animal Sounds<br />
Jhelisa /Bass (Vocal)<br />
Paul Johnson /Baritone (Vocal), Bass (Vocal)<br />
Chester Kamen /Guitar<br />
Andy Mackay /Guest Artist, Sax (Alto)<br />
Phil Manzanera /Guest Artist, Guitar<br />
Mike Paice /Sax (Alto)<br />
Pino Palladino /Bass<br />
Maceo Parker /Guest Artist, Sax (Alto)<br />
Guy Pratt /Wah Wah Guitar<br />
Nile Rodgers /Guest Artist, Guitar (Rhythm)<br />
Steve Scales /Percussion<br />
Jeff Thall /Guitar<br />
Fonzi Thornton /Baritone (Vocal), Bass (Vocal)<br />
Robin Trower /Guest Artist, Guitar (Electric)<br />
David Williams /Bass (Vocal), Guitar, Guitar (Rhythm) <br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
Sufficiently recharged via Taxi, Ferry got down to business and the following year released Mamouna, notable among other things for being his first recordings with the help of Brian Eno since the latter split from Roxy Music back in 1973. Rather than playing the wild card as he so often did, though, Eno concentrates on (to use his own descriptions in the credits) "swoop treatment" and "sonic awareness." Slightly more to the fore are Ferry's usual range of excellent musicians and pros. Steve Ferrone once again handles drums as he did on Taxi, while Richard Norris also reappears on loops and programming; other familiar faces include Nile Rodgers, Robin Trower (the album's co-producer), and Carleen Anderson. One of the most intriguing guest appearances comes at the very start -- "Don't Want to Know" has no less than five guitarists, including none other than Roxy's own Phil Manzanera. Whereas his '80s work seemed to fit the times just so, with his own general spin on things providing true individuality as a result, on Mamouna Ferry seems slightly stuck in place. Compared to the variety of Bete Noire, Mamouna almost seems a revamp of Boys and Girls. Combine that with some of Ferry's least compelling songs in a while, and Mamouna is something of a middling affair, almost too tasteful for its own good (and considering who this is, that's saying something). There are some songs of note -- "The 39 Steps" has a slightly menacing vibe to it, appropriate given the cinematic reference of the title, while the Ferry/Eno collaboration "Wildcat Days" displays some of Eno's old synth-melting flash. Overall, though, Mamouna is pleasant without being involving.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12088">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/xhd8bjyezhvdq4h/12088BFm.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-3493943185980882342016-05-23T20:20:00.002-03:002016-05-23T20:20:28.851-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12087"></a>12087 - BRYAN FERRY - TAXI (1993) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbsFU-AJSANfmueOORirGgNv1I0duhsPbmg4Dq1lUir372ey4NwFl42UR3UJDhtLmPd4MTi1P6QbNg_yp16EKBdj5Xv9Gg1pZORpP91SG-mKws1ABYF2tpTUSzs_t1iM7gGWC89PXNtN2/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTbsFU-AJSANfmueOORirGgNv1I0duhsPbmg4Dq1lUir372ey4NwFl42UR3UJDhtLmPd4MTi1P6QbNg_yp16EKBdj5Xv9Gg1pZORpP91SG-mKws1ABYF2tpTUSzs_t1iM7gGWC89PXNtN2/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''TAXI''<br />
MARCH 1993<br />
39:51<br />
**********<br />
1 /I Put a Spell on You<br />
Screamin' Jay Hawkins/5:27<br />
2 /Will You Love Me Tomorrow<br />
Gerry Goffin / Carole King/4:17<br />
3 /Answer Me<br />
Fred Rauch / Carl Sigman / Gerhard Winkler/2:46<br />
4 /Just One Look<br />
Gregory Carrol / Doris Payne/3:32<br />
5 /Rescue Me<br />
Raynard Miner / Carl Smith/3:40<br />
6 /All Tomorrow's Parties<br />
Lou Reed/5:27<br />
7 /The Girl of My Best Friend<br />
Sam Bobrick / Ross Butler/3:25<br />
8 /Amazing Grace<br />
John Newton/4:02<br />
9 /Taxi<br />
Homer Banks / Charles Brooks/5:31<br />
10 /Because You're Mine<br />
Bryan Ferry/1:44 <br />
**********<br />
Carleen Anderson /Vocals<br />
Michael Brook /Guitar<br />
Mel Collins /Sax (Tenor)<br />
Nathan East /Bass<br />
Steve Ferrone /Drums<br />
Bryan Ferry /Arranger, Organ, Piano, Strings, Synthesizer, Vocals<br />
Mike Giles /Drums<br />
Neil Hubbard /Guitar, Guitar (Rhythm)<br />
Luis Jardim /Percussion<br />
Flaco Jiménez /Accordion, Guest Artist<br />
Andy Mackay /Drums, Sax (Alto)<br />
Andy Newmark /Drums<br />
Maceo Parker /Guest Artist, Sax (Alto)<br />
Steve Pearce /Bass<br />
Greg Phillinganes /Harp, Strings, Synthesizer, Vibraphone<br />
David Sancious /Organ, Organ (Hammond)<br />
Chris Stainton /Organ (Hammond), Synthesizer<br />
Robin Trower /Fender Rhodes, Guest Artist, Guitar, Wah Wah Bass, Wah Wah Guitar<br />
David Williams /Guitar (Rhythm)<br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
Taxi shows a mature Bryan Ferry, suave and controlled, very much in line with his general career from 1979 on. The choice of songs to cover doesn't make for any surprises -- the same selections of classic rock, pop, and soul numbers dominate, with an interesting ringer here and there like "Amazing Grace." As with his other recent solo records, a cast of thousands supports him, ranging from the Grid's Richard Norris on synth programming to Brit guitar legends Robin Trower and Michael Brook, plus vocalist Carleen Anderson. All four feature on the opening "I Put a Spell on You," which manages the neat trick of sounding almost exactly like a Ferry original -- what Screamin' Jay Hawkins would have made of it is anyone's guess. The rest of the album takes a similar tone, either crackling with low-key energy or aiming for a more gentle approach. The former style turns up in some welcome guises -- thus the take on Fontella Bass' "Rescue Me," here benefiting from a quick beat, mysterious samples and noises buried in the mix and near-subliminal guitar. An overall highlight is the take on the Velvet Underground's "All Tomorrow's Parties," which balances a certain winsomeness with a subtle air of threat, the music just beautiful enough on the one hand and just creepy enough on the other. Ferry's treated vocals, made to sound weirdly flat and compressed, heightens the curious mood.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12087">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/1xhoop1wwwn45n4/12087BFt.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-18856001215518282042016-05-23T20:18:00.002-03:002016-05-23T20:18:38.099-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12086"></a>12086 - BRYAN FERRY - BÊTE NOIRE (1987) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ITM8-JcuPyN3NPVl9AiGRg7kKqQzf_zKmgTMsMV425Jy-3JxavQg2booedLUN5cgLoIvM-kQwNLtEBzkaJ8-2WxBGVqS3iThPCCsva8zPyKmFe8U-BT5JnaJYD34pXrYq3lz-y5p0eaJ/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4ITM8-JcuPyN3NPVl9AiGRg7kKqQzf_zKmgTMsMV425Jy-3JxavQg2booedLUN5cgLoIvM-kQwNLtEBzkaJ8-2WxBGVqS3iThPCCsva8zPyKmFe8U-BT5JnaJYD34pXrYq3lz-y5p0eaJ/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''BÊTE NOIRE''<br />
OCTOBER 1987<br />
43:18<br />
**********<br />
1 /Limbo<br />
Bryan Ferry / Patrick Leonard/4:59<br />
2 /Kiss and Tell<br />
Bryan Ferry/4:52<br />
3 /New Town<br />
Bryan Ferry/5:03<br />
4 /Day for Night<br />
Bryan Ferry / Patrick Leonard/5:41<br />
5 /Zamba<br />
Bryan Ferry / Patrick Leonard/3:01<br />
6 /The Right Stuff<br />
Bryan Ferry / Johnny Marr/4:23<br />
7 /Seven Deadly Sins<br />
Bryan Ferry / Chester Kamen / Guy Pratt/5:12<br />
8 /The Name of the Game<br />
Bryan Ferry / Patrick Leonard/5:30<br />
9 /Bête Noire<br />
Bryan Ferry / Patrick Leonard/4:59 <br />
**********<br />
Bryan Ferry – Lead vocals<br />
Neil Hubbard – Guitar<br />
Jeff Thall – Guitar<br />
Andy Newmark – Drums<br />
Lucio Hopper – Bass guitar<br />
Clifford Carter – Keyboards<br />
Steve Scales – Percussion<br />
Michelle Cobbs – Backing vocals<br />
Ednah Holt – Backing vocals<br />
Yanick Etienne – Backing vocals<br />
Chester Kamen – Guitar (1989 Dates Only)<br />
Andy Mackay – Saxophone (Guest at the London dates)<br />
**********<br />
<a href="https://en.wikipedia.org/wiki/Bête_Noire_(album)" target="_blank">ABOUT THE ALBUM/WIKIPEDIA</a><br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
Hooking up with regular Madonna collaborator Patrick Leonard as the co-producer of this album proved to be just the trick for Ferry. Bete Noire sparkles as the highlight of Ferry's post-Roxy solo career, adding enough energy to make it more than Boys and Girls part two. Here, his trademark well-polished heartache strikes a fine balance between mysterious moodiness and dancefloor energy, and Leonard adds more than a few tricks that keep the pep up. Five out of the nine songs are Ferry/Leonard collaborations; all succeed, from "Limbo"'s opening punch and flow to the cinematic (and unsurprisingly French-tinged) feeling of the title track. The atmospheric, almost chilling "Zamba"'s minimal, buried drums, soft synths and doomy piano, make it the best of that bunch. Ferry's best moment here is all his own, though -- the great single "Kiss and Tell," with a steady, bold bassline leading the way for his slightly dissolute portrayal of mating rituals and all they entail. Like Boys and Girls, the album's supporting cast mixes a lengthy list of session pros with a few guest stars. David Gilmour returns, but even more interesting is the appearance of another guitar hero -- none other than Johnny Marr, hot on the heels of the Smiths' dissolution. He took the music of a Smiths instrumental, "Money Changes Everything," and made it the basis of a full collaboration, "The Right Stuff." Marr shows a little more fluidity than usual, likely thanks to the rhythm section's smooth, effortless groove, while Ferry steps to the fore with gusto. In sum, a great listen from start to finish.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12086">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/l01hv9t0413kmyd/12086BFbn.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-20097290283794389342016-05-23T20:16:00.002-03:002016-05-23T20:16:54.074-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12085"></a>12085 - BRYAN FERRY - BOYS AND GIRLS (1985) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb1INjedgPcJzUW5S-FkT9uQkKJz8QBQmVjAsBFUCYxk_XAKNpoxh_ARdwIeQuZjXVL-vcJdBM_f421spnUZTQczGJWDWMwgKOD8xA7wLbt4edljInLKhHxu6b2xpOtqOZiYNPt438Jq5M/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb1INjedgPcJzUW5S-FkT9uQkKJz8QBQmVjAsBFUCYxk_XAKNpoxh_ARdwIeQuZjXVL-vcJdBM_f421spnUZTQczGJWDWMwgKOD8xA7wLbt4edljInLKhHxu6b2xpOtqOZiYNPt438Jq5M/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''BOYS AND GIRLS''<br />
MAY 1985<br />
38:24<br />
**********<br />
1 /Sensation/5:07<br />
2 /Slave to Love/4:26<br />
3 /Don't Stop the Dance<br />
Rhett Davies / Bryan Ferry/4:19<br />
4 /A Waste Land/1:02<br />
5 /Windswept/4:31<br />
6 /The Chosen One/4:51<br />
7 /Valentine/3:47<br />
8 /Stone Woman/4:56<br />
9 /Boys and Girls/5:25<br />
All Tracks By Ferry Except 03<br />
**********<br />
Bryan Ferry – lead vocals, keyboards<br />
Guy Fletcher – keyboards<br />
David Gilmour – lead guitar<br />
Omar Hakim – drums<br />
Additional personnel:<br />
Neil Hubbard – lead guitar<br />
Neil Jason – bass guitar<br />
Chester Kamen – lead guitar<br />
Mark Knopfler – lead guitar<br />
Tony Levin – bass guitar<br />
Jimmy Maelen – percussion<br />
Martin McCarrick – cello<br />
Marcus Miller – bass guitar<br />
Andy Newmark – drums<br />
Nile Rodgers – lead guitar<br />
David Sanborn – saxophone<br />
Keith Scott – lead guitar<br />
Alan Spenner – bass guitar<br />
Anne Stephenson – strings<br />
Jon Carin – keyboards<br />
Virginia Hewes – backing vocals<br />
Ednah Holt – backing vocals<br />
Fonzi Thornton – backing vocals<br />
Ruby Turner – backing vocals<br />
Alfa Anderson – backing vocals<br />
Michelle Cobbs – backing vocals<br />
Yanick Etienne – backing vocals<br />
Colleen Fitz-Charles – backing vocals<br />
Lisa Fitz-Charles – backing vocals<br />
Simone Fitz-Charles – backing vocals<br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
Having at last laid Roxy to bed with its final, intoxicatingly elegant albums, Ferry continued its end-days spirit with his own return to solo work. Dedicated to Ferry's father, Boys and Girls is deservedly most famous for its smash single "Slave to Love." With a gentle samba-derived rhythm leading into the steadier rock pace of the song, it's '80s Ferry at his finest, easy listening without being hopelessly soporific. As a whole, Boys and Girls fully established the clean, cool vision of Ferry on his own to the general public. Instead of ragged rock explosions, emotional extremes, and all that made his '70s work so compelling in and out of Roxy, Ferry here is the suave, debonair if secretly moody and melancholic lover, with music to match. Co-producer Rhett Davies, continuing his role from the latter Roxy albums, picks up where Avalon left off right from the slinky opening grooves of "Sensation." The range of people on the album is an intriguing mix, from latterday Roxy members like Andy Newmark and Alan Spenner to avid Roxy disciples like Chic's Nile Rodgers. Everyone is subordinated to Ferry's overall vision, and as a result there's not as much full variety on Boys and Girls as might be thought or hoped. The album's biggest flaw is indeed that it's almost too smooth, with not even the hint of threat or edge that Ferry once readily made his own. As something that's a high cut above the usual mid-'80s yuppie smarm music, though, Boys and Girls remains an enjoyable keeper that has aged well.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12085">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/3sj0v37j2bawfdd/12085BFbg.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9075572567442227671.post-18595378105760263332016-05-23T20:14:00.004-03:002016-05-23T20:14:56.572-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12084"></a>12084 - BRYAN FERRY - THE BRIDE STRIPPED BARE (1978) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrx-4JJtIjqYOnq_qbjCod7r3K4vxOWgqwpX1so9Db_PuM1yHd6r7jsA_UTPVYTl3eYqT4Vvee0BGEZ6gjoaHqH3BbBhd1iRXXHxoBrVs-Og1YywWhC003Krzo2vKHRlJ_mam_Tf_pc2cx/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrx-4JJtIjqYOnq_qbjCod7r3K4vxOWgqwpX1so9Db_PuM1yHd6r7jsA_UTPVYTl3eYqT4Vvee0BGEZ6gjoaHqH3BbBhd1iRXXHxoBrVs-Og1YywWhC003Krzo2vKHRlJ_mam_Tf_pc2cx/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRIAN FERRY<br />
''THE BRIDE STRIPPED BARE''<br />
SEPTEMBER 1978<br />
41:42<br />
**********<br />
1 /Sign of the Times<br />
Bryan Ferry/2:28<br />
2 /Can't Let Go<br />
Bryan Ferry/5:13<br />
3 /Hold On (I'm Coming)<br />
Isaac Hayes / David Porter/3:42<br />
4 /The Same Old Blues<br />
J.J. Cale/3:21<br />
5 /When She Walks in the Room<br />
Bryan Ferry/6:23<br />
6 /Take Me to the River<br />
Al Green / Mabon "Teenie" Hodges/4:27<br />
7 /What Goes On<br />
Lou Reed/4:10<br />
8 /Carrickfergus<br />
Traditional/3:46<br />
9 /That's How Strong My Love Is<br />
Roosevelt Jamison/3:17<br />
10 /This Island Earth<br />
Bryan Ferry/4:55 <br />
**********<br />
Mel Collins /Saxophone<br />
Martin Drover /Trumpet<br />
Bryan Ferry /Arranger, Harmonica, Keyboards, Piano, Vocals, Vocals (Background)<br />
Herbie Flowers /Bass, String Bass<br />
Preston Heyman /Drums<br />
Neil Hubbard /Guitar<br />
Rick Marotta /Drums<br />
Steve Nye /Piano (Electric)<br />
Ann Odell /Organ, Piano, Piano (Electric), String Arrangements<br />
Alan Spenner /Bass Guitar<br />
Richard Wachtel /Guitar, Keyboards<br />
Waddy Wachtel /Guest Artist, Guitar, Slide Guitar, Vocals, Vocals (Background), Keyboards<br />
John Wetton /Bass, Guest Artist <br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
When Jerry Hall, front-cover model on Roxy's Siren, left Ferry for Mick Jagger, his response was this interesting album, not a full success but by no means a washout. In part Ferry returned to the model of his solo work before In Your Mind, with half the tracks being covers of rock and soul classics. Thus, Sam and Dave's "Hold On (I'm Coming)," Al Green's "Take Me to the River" (which arguably sounds like a strong influence on Talking Heads' near contemporaneous version) and even the Velvet Underground's "What Goes On," among others, take a bow. Unfortunately Ferry's backing performers, mostly drawing on studio pros like Waddy Wachtel, don't seem to have the real affinity for the material like his earlier solo-effort cohorts did. If anything, though, there's also the sense of Ferry channeling his romantic gloom through a number of the songs, giving them a strong personal bite. The guitar and bass-only version of the traditional folk tune "Carrickfergus" works best of all, its lovelorn sentiments and slow pace connecting just right. As for Ferry's originals, his sentiments are all the more clear, right from the abbreviated charge of the opening "Sign of the Times," its fractured sentiments of disturbed, vicious romance matched by the clipped punch of the music and Ferry's own brisk delivery. The other originals don't cut quite so bloodily, but the sense of loss and confusion is all there, from the opening line "Well I rush out blazin'/My pulse is racin'" on "Can't Let Go" to the lonely sense of mystery on "This Island Earth," the album's conclusion.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12084">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/uu112aoq284lvsc/12084BFvv.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9075572567442227671.post-8706965409929595642016-05-23T20:13:00.001-03:002016-05-23T20:13:14.113-03:00<div style="width: 502px; padding: 3px; border: 5px solid #f4980e; color: white; background-color: #000000; text-align:center"><b><a name="12083"></a>12083 - BRYAN FERRY - IN YOUR MIND (1977) (REPOST)</b></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12EtbJvYg6shv13ZzI33PP649hajpOjyWpmg7g4cSrUR2jYFDdsfrLLqRwmQr5xQSkXCCppCzSvECjaFJHK2MC24xepJxOcmt022VVmO88lk5amJEjwN4QuP84ar1BJUvC72a8opnKOwK/s1600/fc.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg12EtbJvYg6shv13ZzI33PP649hajpOjyWpmg7g4cSrUR2jYFDdsfrLLqRwmQr5xQSkXCCppCzSvECjaFJHK2MC24xepJxOcmt022VVmO88lk5amJEjwN4QuP84ar1BJUvC72a8opnKOwK/s320/fc.jpg" /></a><br />
<div><div class="pre-spoiler"><input 0px="" 180px="" id="xs" margin-left:="" onclick="if (this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display != '') { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = '';this.innerText = ''; this.value = 'READ MORE'; } else { this.parentNode.parentNode.getElementsByTagName('div')[1].getElementsByTagName('div')[0].style.display = 'none'; this.value = 'READ MORE';}" padding:="" style="background-color: #000000; border: 5px solid #f4980e; color: white;" type="button" value="READ MORE" width:="" /></div><div><div class="spoiler" style="display: none; text-align: justify;">BRYAN FERRY<br />
''IN YOUR MIND''<br />
FEBRUARY 1977<br />
36:05<br />
**********<br />
1 /This Is Tomorrow/3:40<br />
2 /All Night Operator/3:08<br />
3 /One Kiss/3:35<br />
4 /Love Me Madly Again/7:26<br />
5 /Tokyo Joe/3:55<br />
6 /Party Doll/4:32<br />
7 /Rock of Ages/4:31<br />
8 /In Your Mind/5:18<br />
All Tracks By Ferry<br />
**********<br />
Dyan Birch /Vocals<br />
Doreen Chanter /Vocals<br />
Helen Chappelle /Vocals<br />
Frank Collins /Vocals<br />
Mel Collins /Flute, Horn, Horn Arrangements, Saxophone<br />
Ray Cooper/Percussion<br />
Martin Drover /Horn<br />
Bryan Ferry /Harmonica, Keyboards, Piano, Vocals<br />
Preston Hayward<br />
Neil Hubbard /Guitar<br />
Phil Manzanera /Guitar<br />
Paddy McHugh /Vocals<br />
Chris Mercer /Horn, Horn Arrangements, Saxophone<br />
Ann Odell /String Arrangements<br />
Morris Pert<br />
John Porter /Bass Guitar<br />
Dave Skinner /Piano<br />
Chris Spedding /Guitar<br />
Jacquie Sullivan /Vocals<br />
Paul Thompson /Drums<br />
John Wetton /Bass, Violin, Vocals <br />
**********<br />
REVIEW/AMG<br />
Ned Raggett<br />
With Roxy Music set aside for the time being, Ferry took the solo plunge with an album of totally original material. As such, the underrated In Your Mind makes a logical follow-on from Roxy's Siren, especially since usual suspects -- Thompson, Manzanera, Wetton, and many more -- assist him in the brief eight-song effort. While lacking early Roxy's long-gone freakouts In Your Mind still burns more fiercely than both the later solo and group albums, at least on certain tracks - like Siren, it balances between rockier and smoother paths, most often favoring the former. Ferry's lyrics remain in his own realm of intelligent, romantic dissipation, and are some of his best efforts. The strong opener "This Is Tomorrow" starts with Ferry and keyboards before moving into a big, chugging full band arrangement and a wistful chorus: "This is tomorrow callin'/Wish you were here." When Ferry aims for a calmer mood, rather than stripped-down melancholia, he lets everyone play along. Sometimes the arrangements almost swamp the songs, but "One Kiss'" combination of female backing vocals, sax, and straight-up rock for instance, make it a great woozy, end-of-the-night singalong before the bars close. There are a few blatant misfires -- "Tokyo Joe" has the chugging, dark funk/rock beat down cold, but the lyrics play around too much with Asian stereotypes (and let's not mention the opening gong and all too obvious attempts at "atmosphere" via the strings). On balance, though, In Your Mind remains the secret highlight of Ferry's musical career, an energetic album that would have received far more attention as a full Roxy release.<br />
**********<br />
BIOGRAPHY/AMG<br />
Jason Ankeny<br />
While his tenure as the frontman for the legendary Roxy Music remained his towering achievement, singer Bryan Ferry also carved out a successful solo career that continued in the lush, sophisticated manner perfected on the group's final records. Born September 26, 1945, in Washington, England, Ferry, the son of a coal miner, began his musical career as a singer with the rock outfit the Banshees while studying art at the University of Newcastle Upon Tyne under pop conceptualist Richard Hamilton. He later joined the Gas Board, a soul group featuring bassist Graham Simpson; in 1970, Ferry and Simpson formed Roxy Music.<br />
<br />
Within a few years, Roxy Music had become phenomenally successful, affording Ferry the opportunity to cut his first solo LP in 1973. Far removed from the group's arty glam rock, These Foolish Things established the path that all of Ferry's solo work -- as well as the final Roxy Music records -- would take, focusing on elegant synth pop interpretations of '60s hits like Bob Dylan's "A Hard Rain's A-Gonna Fall," the Rolling Stones' "Sympathy for the Devil," and the Beatles' "You Won't See Me," all rendered in the singer's distinct, coolly dramatic manner.<br />
<br />
Roxy Music remained Ferry's primary focus, but in 1974 he returned with a second solo effort, Another Time, Another Place, another collection of covers ranging from "You Are My Sunshine" to "It Ain't Me, Babe" to "Smoke Gets in Your Eyes." His third venture, 1976's Let's Stick Together, featured remixed, remade, and remodeled versions of Roxy Music hits as well as the usual assortment of covers. Released in 1977, In Your Mind was Ferry's first collection of completely original material; the following year's The Bride Stripped Bare, a work inspired by his broken romance with model Jerry Hall, split evenly between new songs and covers.<br />
<br />
Ferry did not record another solo album until 1985's Boys and Girls, a sleek, seamless effort that was his first "official" solo release following the Roxy breakup. For 1987's Bete Noire, he was joined by former Smiths guitarist Johnny Marr on the shimmering "The Right Stuff," and notched his only U.S. Top 40 hit with "Kiss and Tell." Another covers collection, Taxi, followed in 1993; Mamouna, an LP of originals, appeared a year later, and in 1999 Ferry returned with a collection of standards, As Time Goes By. After a brief tour in support of As Time Goes By, there were rumors of a Roxy Music reunion. The next summer, the practically unimaginable came true when Ferry joined Andy Mackay and Phil Manzanera for a tour of Europe and the U.S. It was a celebration of hits, and the band's first jaunt out in more than a decade.<br />
<br />
In summer 2002, Ferry returned to his solo career for the electrifying Frantic. Dylanesque, a set of Bob Dylan covers, followed in 2007, featuring assistance from several longtime associates (including Brian Eno, Chris Spedding, Paul Carrack, and Robin Trower). Ferry signed with the Astralwerks imprint for the release of 2010's Olympia. In 2012, he assembled the Bryan Ferry Orchestra and recorded The Jazz Age. This completely instrumental album features his band re-recording some of his biggest hits in a 1920s jazz style.<br />
**********<br />
<a href="http://www.bryanferry.com/" target="_blank">WEBSITE</a><br />
**********<br />
<a href="#12083">TO THE TOP</a><br />
**********<br />
</div></div></div><br />
<a href="http://www.mediafire.com/download/ocgmc7x1lkgg8d4/12083BFim.zip""https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s1600/download.jpg" target="_blank" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="5" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLAR6pRW6D3RkMxhU88CTejq2hoju149WFnL_exug-0iyNE9Ooyt37uFBBfByVagttI4drtAC7z4ZAA3C54IC4gLAvxOA2JryhZKgoM1WbUD3y27lU0T25y2gxU1NMw1grQlOMN5RRphI/s200/download.jpg" /></a>Unknownnoreply@blogger.com0