Live from the rusted out garage tour
sofullyours
Born To Rock 'n Roll (1986)
Live from the rusted out garage tour
Live from the rusted out garage tour
updated 15 years ago
Live from the rusted out garage tour
live from his Rusted Out Garage Tour
Lyrics:
Down at the bus station
Shark grins and sandpaper conversation
Men's faces women's bodies on the magazine stand
And a headline about Sarajevo and Tehran
They are radiant angels, they are earthly slaves
They are predators moving in their endless days
Days of striving, nights of novocaine
Never going to bring them freedom from their pain
I'm a loner
With a loner's point of view
I'm a loner
And now I'm in love with you
Wild shadows, acid verbs
Eyelids opening dans mon coeur
Tu me touche comme la pression
Des etoiles sur les tenebres*
In the elevator and the empty hall
How am I ever going to hear you when you call
I'm always living and I always die
on the event horizon of your eyes
I'm a loner
With a loner's point of view
I'm a loner
And now I'm in love with you
* TRANSLATION:
Wild shadows acid verbs
Eyelids opening in my heart
You touch me like the pressure
Of the stars on the darkness
Audio CD (September 11, 2007)
Original Release Date: September 11, 2007
Number of Discs: 1
Label: Righteous Babe
ASIN: B000TXZVH0
Audio CD (June 18, 1996)
Original Release Date: June 18, 1996
Number of Discs: 1
Label: Sony
ASIN: B000002BAQ
Audio CD (February 22, 1990)
Original Release Date: March 13, 1990
Number of Discs: 1
Label: RCA
ASIN: B000002W2K
Lyrics:
There are witches in the hills calling my name
saying come join us sister, come kiss the flame
Come dance in the moonbeams, ride the night wind
make love to the darkness and laugh at man's sins
I shiver with delight, I shiver with fear
my heart wants to go but my soul's filled with fear
So I turn to my lover and ask what do I do
do I answer their call or stay here with you
But under spell of deep sleep he moans and turns away
taking his protection and my desire to stay
So I rise to the hill tops, I ride the night winds
I make love to the darkness and laugh at man's sins
Audio CD (February 22, 1990)
Original Release Date: March 13, 1990
Number of Discs: 1
Label: RCA
ASIN: B000002W2K
Lyrics:
How could he take you in his arms
And help you to be free
Then leave you forgotten
And is it enough to cry?
When you're so taken
Her cold eyes tell you you're not welcome
She tells lies but you'll take her back again
And is it enough to die?
When you're so broken...
You will be loved again
You will be loved again
But will she sing and will she dance
And will she forever
But will he sing and will he dance
And will he forever
Someday you will feel a love so deep
And you'll find someone not lost in sleep
And you will be loved again
You will be loved again
You will be loved again
Molly Johnson has earned her reputation as one of Canada's greatest voices... She has rocked standing-room only audiences in nightclubs and bars from coast-to-coast as a pop artist, and seduced the patrons of salons and lounges with her luscious interpretations of jazz and blues standards.
http://www.mollyjohnson.com
"Concorde"
John Lewis (BMI)
Branford Marsalis - Saxophones
Joey Calderazzo - Piano
Eric Revis - Bass
Jeff "Tain" Watts - Drums
Freedom Suite
Sonny Rollins (BMI)
Branford Marsalis - Saxophones
Joey Calderazzo - Piano
Eric Revis - Bass
Jeff "Tain" Watts - Drums
Patricia Barber - piano, vocal, table knives on strings
Michael Arnopol - bass
John McLean - guitar
Mark Walker - drums, percussion, prepared drum kit
Dave Douglas - trumpet
Jeff Stitely - udu
Choral Thunder Vocal Choir
Recorded and mixed at
Chicago Recording Company
Studio 5, Chicago, IL on
January 6th-9th and February 26th, 1998
Produced By Patricia Barber
Executive Producer: Michael Friedman
Graphic: Eagle and Snake, 6th century mosaic flooring Constantinople, Grand Imperial Palace
Album: Modern Cool
Patricia Barber - piano, vocal, table knives on strings
Michael Arnopol - bass
John McLean - guitar
Mark Walker - drums, percussion, prepared drum kit
Dave Douglas - trumpet
Jeff Stitely - udu
Choral Thunder Vocal Choir
Recorded and mixed at
Chicago Recording Company
Studio 5, Chicago, IL on
January 6th-9th and February 26th, 1998
Produced By Patricia Barber
Executive Producer: Michael Friedman
Patricia Barber - piano, vocal, table knives on strings
Michael Arnopol - bass
John McLean - guitar
Mark Walker - drums, percussion, prepared drum kit
Dave Douglas - trumpet
Jeff Stitely - udu
Choral Thunder Vocal Choir
-Touch Of Trash [stream|download]
-Winter
-You & The Night & The Music
-Constantinople
-Light My Fire
-Silent Partner
-Company [stream|download]
-Let It Rain
-She's A Lady
-Love, Put On Your Faces
-Postmodern Blues
-Let It Rain - Vamp
Recorded and mixed at
Chicago Recording Company
Studio 5, Chicago, IL on
January 6th-9th and February 26th, 1998
Produced By Patricia Barber
Executive Producer: Michael Friedman
The Nearness of You (H. Carmichael, N. Washington)
Album: "Trio Jeepy," Branford Marsalis
Street Date May 26, 1989
Studio/Live Studio
Mono/Stereo Stereo
Producer Delfeayo Marsalis
Engineer Ben Rizzi
Personnel Branford Marsalis - soprano & tenor saxophones
Milt Hinton
Jeff "Tain" Watts - drums
Patricia Barber - piano, vocal, table knives on strings
Michael Arnopol - bass
John McLean - guitar
Mark Walker - drums, percussion, prepared drum kit
Dave Douglas - trumpet
Jeff Stitely - udu
Choral Thunder Vocal Choir
-Touch Of Trash
-Winter
-You & The Night & The Music
-Constantinople
-Light My Fire
-Silent Partner
-Company [stream|download]
-Let It Rain
-She's A Lady
-Love, Put On Your Faces
-Postmodern Blues
-Let It Rain - Vamp
Recorded and mixed at
Chicago Recording Company
Studio 5, Chicago, IL on
January 6th-9th and February 26th, 1998
Produced By Patricia Barber
Executive Producer: Michael Friedman
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
(Ellington's spontaneous emotive piano; you can hear the chatter in the background as the band members packed up at the end of this recording session.)
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD And His Mother Called Him Bill. Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Personnel: Duke Ellington (piano); Russell Procope, Jimmy Hamilton (alto saxophone, clarinet); Johnny Hodges (alto saxophone); Paul Gonsalves (tenor saxophone); Harry Carney (baritone saxophone); Cat Anderson, Mercer Ellington, Herbie Jones, Cootie Williams (trumpet); Clark Terry (flugelhorn); John Sanders, Lawrence Brown, Buster Cooper, Chuck Connors (trombone); Aaron Bell, Jeff Castleman (bass); Steve Little, Sam Woodyard (drums).
I am completely captivated by the Strayhorn/Ellington narrative and by the 1967 CD *And His Mother Called Him Bill.* Every story has a beginning and a middle, and as many of us eventually figure out , there are no real endings. This CD is a living legacy of that reality. My appreciation for this body of work is inseparable from the the love story it expresses.
Can you imagine being fortunate enough to meet someone in your lifetime that you connect with on a creative and soul level so profound that it is not a threat to, nor rivalled by any other kind of intimacy? From all that I have read by historians and biographers, and all myths aside, this is the essence of the relationship Duke Ellington and Billy Strayhorn shared and nurtured for 30 years. A bond beyond gender or sexuality, and even deeper than friendship. Yet, most of their famous compositions were collaborated on while apart and from completely different approaches, one being self taught liking contrast and discord, the other classically trained loving harmony and melody.
Strayhorn recalled the first time he watched the Duke in action: Something inside me changed when I saw Ellington on stage, like I hadn't been living until then. And later Ellington described Strayhorn as my right arm, my left arm, all the eyes in the back of my head, my brainwaves in his head, and his in mine. When Billy Strayhorn died in 1967 after a two year struggle with esophagus cancer, Ellington was so devastated that he did not get out of bed for weeks, and three months later he called his band into the studio to record this tribute album.
Hence, my inspiration to share. These are my first You Tube uploads, audio only and not perfect, but just lay back, close your eyes and drift.
Blood Count is the last composition written by Billy Strayhorn in the months before he died