Don Mac
Hurricane - Bob Dylan (Lyrics)
updated
Frank Turner "Undefeated" the title track on Frank Turner's tenth studio album; Released on 3 May 2024
Turner wrote, recorded and produced Undefeated all by himself in his home studio on Mersea Island, only backed by his long-time band The Sleeping Souls: Ben Lloyd (guitar), Tarrant Anderson (bass), Callum Green (drums) and Matt Nasir (piano). It is also the first album of his without a big label involved in over a decade. The artist refers to the album as his "first back home with a global independent label setup" and celebrates the freedom of working as an "independent artist".
In a statement, Turner explained that there are "no clichés" about the album, which might be "liberating" to him but at the same time feels like having a "duty to justify writing and releasing" a tenth album.
All tracks are written by Frank Turner; "Letters", "No Thank You for the Music", and "On My Way" written with Matt Nasir.
"Without You" track four on 'What I've Become' the third studio album by Ashes Remain. It was released on August 23, 2011, by the label Fair Trade Services. The album charted on Billboard's Christian and Heatseeker Albums charts at Nos. 25 and 18 respectively. This album was produced by Rob Hawkins.
The album was met with generally positive reviews from critics.
Alpha Omega New's Elise F. said that "What I've Become, the debut album of rock band Ashes Remain, is part Kutless, part Red, a bit Decyfer Down, and overall one of the best rock albums to come out yet this year." In addition, Elise F. wrote that "while Ashes Remain is a band that could come across at times as generic both lyrically and musically, they have surprising talent and a solid sound. I, for one, will definitely be putting this album on repeat while I wait to see what they come up with next."
"Behind Blue Eyes" is a song by English rock band The Who. It is the second single from the band's fifth album, Who's Next (1971), and was originally written by Pete Townshend for his Lifehouse project. The song is one of the Who's best-known recordings and has been covered by many artists, including Limp Bizkit. The single entered the US Billboard Charts on 6 November 1971, reaching No. 34.
"Behind Blue Eyes" originated after a Tommy Tour concert in Denver, on 9 June, 1970. Following the performance, Townshend became tempted by a female groupie, but he instead went back to his room alone, possibly as a result of the teachings of his spiritual leader, Meher Baba. Upon reaching his room, he began writing a prayer, the first words being "When my fist clenches, crack it open ..." These words later appeared as lyrics in the "climactic rocking section" of "Behind Blue Eyes."
When "Behind Blue Eyes" was to be released as part of the aborted Lifehouse project, the song was sung from the point of view of the main villain, Jumbo. The lyrics are a first-person lament from Jumbo, who is always angry and full of angst because of all the pressure and temptation that surrounds him, and the song was intended to be his "theme song" had the project been successful. Pete Townshend said of the song's lyrics:
01 "Where My Christmas Lives"
02 "It's Not My Time" (Acoustic version)
03 "It's the Only One You've Got" (Acoustic version)
04 "Your Arms Feel Like Home" (Acoustic version)
05 "Let Me Be Myself" (Acoustic version)
06 "Pages" (Acoustic Version)
07 "Runaway" (Acoustic Version)
08 "Where My Christmas Lives" (Acoustic version)
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The folk-rock album reached number one on the Billboard 200, containing the chart-topping singles "American Pie" and "Vincent". Recorded in May and June 1971 at The Record Plant in New York City, the LP is dedicated to Buddy Holly, and was reissued in 1980 minus the track "Sister Fatima". The album was released to much acclaim, later being included in the book 1001 Albums You Must Hear Before You Die
Don McLean went through some rough times, which are reflected on his American Pie album. His father died when he was just 15, and his marriage was on the rocks when he recorded the album. Faced with a bout of depression, he sympathized with Vincent Van Gogh, the Dutch painter who went insane and cut off his ear. Speaking with the UK newspaper The Telegraph, he revealed that in this song about a man who loses a love, the empty chairs are Van Gogh's paintings of a chair.
The title appears only once in the song, showing up in the last verse in the line "And empty clothes that drape and fall on empty chairs."
According to McLean, his record company wanted him to change the title to "I Never Thought You Would," since that's a prominent line in the chorus. McLean refused. "To me that wasn't what the song was about," he said.
Can be found on Reissues and compilations; Blues Run the Game; Fixin to Die and Mystery.
Jackson Carey Frank (March 2, 1943 – March 3, 1999) was an American folk musician. He released his first and only album in 1965, produced by Paul Simon. After the release of the record, Frank was plagued by a series of personal issues and was diagnosed with schizophrenia and protracted depression that prevented him from maintaining his career.
Frank spent his later life homeless and destitute and died in 1999 from a combination of pneumonia and cardiac arrest. Though he only released one record, he has been cited as an influence by many singer-songwriters, including Paul Simon, Sandy Denny, Bert Jansch, and Nick Drake. Rolling Stone journalist David Fricke called Frank "one of the best-forgotten songwriters of the 1960s."
His eponymous 1965 album, Jackson C. Frank, was produced by Paul Simon while the two of them were living in England immersed in the burgeoning local folk scene. The album was recorded in six hours at Levy's Recording Studio, located at 103 New Bond Street in London. Frank was so shy during the recording that he asked to be shielded by screens so that Paul Simon, Art Garfunkel, and Al Stewart could not see him, claiming: 'I can't play. You're looking at me.' The best-known track from the sessions, "Blues Run the Game", was covered by Simon and Garfunkel, and later by Wizz Jones, Counting Crows, John Mayer, Mark Lanegan, Colin Meloy, Bert Jansch, Eddi Reader, Laura Marling, and Robin Pecknold (as White Antelope), while Nick Drake also recorded it privately. The song was also heard in the 2018 film The Old Man & the Gun, while his song "Milk and Honey" was heard in the 2003 film The Brown Bunny. "Milk and Honey" was also covered by Fairport Convention, Nick Drake, and Sandy Denny, whom he dated for a while. During their relationship, Jackson played a part in convincing Sandy to give up her nursing profession to concentrate on music full-time.
Although Frank was well-received in England for a while, in 1966 things took a turn for the worse as his mental health began to unravel. Frank's mental health declined so noticeably and completely that in early 1966 he entered St. John's Hospital in Lincoln for an evaluation. At the same time, he began to experience writer's block. As his insurance payment was on the verge of running out he decided to go back to the United States for two years. When he returned to England in 1968 he seemed a different person to his friends. His depression, stemming from the childhood trauma of the classroom fire, had grown worse, and he had completely lost whatever little self-confidence he once possessed. Al Stewart recalled:
He [Frank] proceeded to fall apart before our very eyes. His style that everyone loved was melancholy, very tuneful things. He started doing things that were completely impenetrable. They were basically about psychological angst, played at full volume with lots of thrashing. I don't remember a single word of them – it just did not work. There was one review that said he belonged on a psychologist's couch. Then shortly after that, he hightailed it back to Woodstock again, because he wasn't getting any work
"Waterloo Sunset" reached number 2 on the British charts in mid-1967. It was a top 10 hit in Australia, New Zealand and most of Europe. It was also released as a single in North America but failed to chart there.
Interviewed in May 1967, Ray Davies stated that he wrote "Waterloo Sunset" having had "the actual melody line in my head for two or three years". He initially titled the song "Liverpool Sunset", but scrapped the Liverpool theme after the release of the Beatles' song "Penny Lane".
Speaking in 2010, Davies commented "I didn't think to make it about Waterloo, initially, but I realised the place was so very significant in my life. I was in St Thomas' Hospital when I was really ill [when he had a tracheotomy aged 13] and the nurses would wheel me out on the balcony to look at the river. It was also about being taken down to the 1951 Festival of Britain. It's about the two characters – and the aspirations of my sisters' generation who grew up during the Second World War. It's about the world I wanted them to have. That, and then walking by the Thames with my first wife and all the dreams that we had."
"More than a Feeling" took Scholz five years to complete. Scholz wrote the lyrics based on the idea of losing someone close, and on the way in which music can connect a person to memories of the past. Though not based on any specific event in Scholz's life, he did take the name Marianne from his cousin. It is one of six songs (five of which eventually appeared on the Boston album that he worked on in his basement from 1968 to 1975 before Boston got its record contract. The drum parts were originally developed by Jim Masdea, although Sib Hashian played the drums on the official release.
The Book of Rock Lists suggests that the chorus riff may itself be a subtle homage to the Kingsmen's classic, "Louie Louie." Scholz has stated in multiple interviews his fondness for the James Gang, and in particular that band's 1970s album, James Gang Rides Again. Accordingly, the signature riff for "More than a Feeling" bears a resemblance to that composed by Joe Walsh for the "Rides Again" track "Tend My Garden." Scholz credits "Walk Away Renee" by The Left Banke as the song's main inspiration.
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Excitable Boy is the third studio album by American musician Warren Zevon. The album was released on January 18, 1978, by Asylum Records. It includes the single "Werewolves of London", which reached No. 21 and remained in the American Top 40 for six weeks. The album brought Zevon to commercial attention and remains the best-selling album of his career, having been certified platinum by the RIAA and reaching the top ten on the US Billboard 200. A remastered and expanded edition was released in 2007.
"Excitable Boy" and "Werewolves of London" were considered macabrely humorous by some critics. The historical "Veracruz" dramatizes the United States' occupation of Veracruz. It was the first song Zevon wrote with Jorge Calderón. Likewise, "Roland the Headless Thompson Gunner" is a fictionalized account of former mercenary David Lindell's experiences in Africa. "Lawyers, Guns and Money" is a tongue-in-cheek tale of a young American man's adventures in Cold War-era Latin America. In addition, there are two ballads about life and relationships ("Accidentally Like a Martyr" and "Tenderness on the Block"), as well as the funk/disco-inspired "Nighttime in the Switching Yard".
Jubilee is the fifth studio album by Canadian alternative country band The Deep Dark Woods. The record was released on September 30, 2013, through Sugar Hill Records. "18th of December" was released as the first single from the album.
All songs written by Ryan Boldt except "Miles and Miles", "East St. Louis," and "The Beater" written by Chris Mason. "The Same Thing," "Red, Red Rose," and "Picture on My Wall" written by Ryan Boldt and Clayton Linthicum. "Bourbon Street" written by Chris Mason and Burke Barlow.
"San Francisco (Be Sure to Wear Flowers in Your Hair)" is an American pop music song, written by John Phillips, and sung by Scott McKenzie. It was produced and released in May 1967 by Phillips and Lou Adler, who used it to promote their Monterey International Pop Music Festival held in June of that year.
John Phillips played guitar on the recording and session musician Gary L. Coleman played orchestra bells and chimes. Bass guitar was supplied by session musician Joe Osborn. Hal Blaine played drums. The song reached the fourth position on the US charts and the number one spot on the UK charts. In Ireland, it was number one for one week, in New Zealand the song spent five weeks at number one, and in Germany, it was six weeks at number one.
McKenzie's version has been called "the unofficial anthem of the counterculture movement of the 1960s, including the Hippie, Anti-Vietnam War and Flower power movements." The song has also been widely regarded as a defining song of the Summer of Love along with the Beatles' "All You Need Is Love".
Special thanks to https://creator.nightcafe.studio/u/MagdaleneChan for contributing some of the images which along with some of my own were used to create this video
Jagger commented on the song's beginnings:
"You Can't Always Get What You Want" was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I'd also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, "That will be a laugh."
You Can't Always Get What You Want" was composed in the key of C major and was the first song recorded for the album. It exists in two versions, a 4:51 single mix and a 7:28 album mix. "You Can't Always Get What You Want" was recorded on 16 and 17 November 1968 at Olympic Sound Studios in London. It features the London Bach Choir opening the song (the choir opening is only on the album version), highlighting throughout, and bringing it to its conclusion. Al Kooper plays piano and organ, as well as the French horn intro, while Rocky Dijon plays congas, maracas and tambourine.
Critic Barney Hoskyns described "It Makes No Difference" as "an artlessly simple country-soul ballad." The Band biographer Craig Harris considers it "one of pop music's saddest songs." Music critic Nick DeRiso similarly states that "The Band, as a whole, has never constructed a sadder moment, nor one with more direct specificity." The song's theme is the singer's inability to get over a failed relationship. Among the metaphors used to portray the singer's sadness are images of weather, such as the sun never shining, constant rain and clouds hanging low.
Critics have attributed much of the success of "It Makes No Difference" to Rick Danko's lead vocal. Hoskyns considers that "there is something so elemental" in how Danko expresses his loss that it "transcends self-pity". According to DeRiso, Danko's vocal manages to express the "lonesome bottom of this song while retaining its sense of reckless emotional abandon," without ever sounding resigned to his fate. Levon Helm and Richard Manuel add harmony vocals on the refrain, adding to the sense of pain. Hoskyns and DeRiso also credit Robertson's and Garth Hudson's "anguished" guitar and saxophone solos for complementing the effect of the vocals. According to DeRiso, Danko, Hudson and Robertson are all "walking the same fine line — Danko, between torment and utter heartsick disaster; Hudson and Robertson between stabbing attempts at redemption and a reluctant acceptance."
According to Robertson, "I wrote this song specifically for Rick to sing and when we first started discovering the possibilities, it kept expanding to more levels of emotion. What Garth and I could add to finalize the statement of this song was purely instinctual."
William Currie Watson (born September 23, 1979) is an American singer-songwriter, guitarist, banjo player, actor and founding member of Old Crow Medicine Show. His debut solo album Folk Singer, Vol. I was released in May 2014; its follow-up Folksinger, Vol. 2 was released September 15, 2017, on Acony Records. He has appeared at the Newport Folk Festival and other major music festivals. He currently resides in the Woodland Hills district of Los Angeles.
Watson appears as The Kid in Joel and Ethan Coen's 2018 film The Ballad of Buster Scruggs, also performing on the soundtrack.
Watson's transition to solo appearances began slowly with an invitation from siblings Sean and Sara Watkins to join them on a Cayamo cruise—a "singer-songwriter, folk, rootsy festival on a ship around the Bahamas." Sean "took the liberty" of putting Watson on the performance schedule. He subsequently would "go pretty often and ... sing a few songs" at "this little revue called the Watkins Family Hour at Largo" where the Watkins would encourage him to try appearing solo.
In 2012–2013 Watson began appearing in venues in and around Venice Beach, California, making appearances with the John C. Reilly band and John Prine, and opening for acts such as Punch Brothers, Sarah Jarosz, and Dawes. Initially, he was performing original music, then realized he got more out of performing the old songs—and his audience seemed to enjoy them more. As he explains:
Once I was on my own, I wasn't sure what my next move was–if I was going to have another band, or try to write a bunch of songs. At first, I did start writing songs, but I don't think I was satisfied with what I was writing. I was starting to do some solo shows, and I had a few songs I'd written, and I would do a mix of those with old traditional songs, at those early shows. I was a lot happier doing those old folk songs, and I think the crowd was a lot happier, too. I thought those were great songs that people should be hearing, and that I wanted to be singing.
The Long Black Veil is an album by the traditional Irish folk band The Chieftains. Released in 1995, it is one of the most popular and best-selling albums by the band. It reached number 17 in the album charts. The band teamed up with well-known musicians such as Mick Jagger of the Rolling Stones and Van Morrison. The album went gold in the U.S. and Australia, and Double-Platinum in Ireland. One of the tracks, "Have I Told You Lately That I Love You?", sung and written by Van Morrison, won the Grammy Award for Best Pop Collaboration with Vocals in 1996.
Credited collaborators include Marianne Faithfull, Mark Knopfler, Mick Jagger, Ry Cooder, Sinéad O'Connor, Sting, The Rolling Stones, Tom Jones, Van Morrison and Arty McGlynn.
The Tennessee Waltz/Mazurka was recorded at Frank Zappa's studio not long before he died. There is video evidence (available as a bootleg called 'Salad Party') that additional material was recorded during this session, though The Chieftains have not released this material.
"Play with Fire" is credited to Nanker Phelge, a pseudonym used when tracks were composed by the entire band, even though lead singer Mick Jagger and guitarist Keith Richards are the only Rolling Stones to appear on the track. The song was recorded late one night in January 1965 while the Stones were in Los Angeles recording with Phil Spector at the RCA Studios. Richards performed the song's acoustic guitar opening while Jagger handled vocals and tambourine (enhanced using an echo chamber). Spector played bass, and Jack Nitzsche provided the song's distinctive harpsichord arrangement and tam-tams. The Stones left for a tour of Australia the following day.
"Play with Fire" went to No. 96 on the U.S. chart. It was also featured on the U.S. version of Big Hits (High Tide and Green Grass) (1966), Hot Rocks (1971) and Singles Collection: The London Years (1989). The song was performed in concert during the Rolling Stones' tours of 1965 and 1966 and was revived on their 1989–90 Steel Wheels/Urban Jungle Tour.
"Good Light" title track from Drew Holcomb and the Neighbors album released February 26, 2013
Tracklist
1.
Another Man's Shoes
2.
Good Light
3.
Can't Take It With You
4.
The Wine We Drink
5.
Tennessee
6.
I Love You, I Do
7.
Nothing But Trouble
8.
A Place To Lay My Head
9.
What Would I Do Without You
10.
Nothing Like A Woman
11.
Rooftops
12.
Tomorrow
Jerry said About the song: “And The Time Flew By”– We tried this for 2019’s Time Out For Tomorrow but it didn’t seem to live in that world of songs. It always felt special to me though, so I kept it in the back of my mind. The title came from a repeated phrase in a Kurt Vonnegut book I was reading. It sort of became a cross between Tom Waits’ “Martha” and an old country-gospel end-of-life kind of song.
The songs on In the Beginning were recorded in his first Nashville recording sessions in 1966, pre-dating the release of For the Sake of the Song by two years. Eight of these ten songs was recorded with Van Zandt playing solo on his guitar. All of them are quite revealing, not just for the obvious lyric and melody reasons, but for his guitar playing abilities; he was a considerable flatpicking talent and picked up his idol's, fellow Houstonian Lightin’ Hopkins', trademark stutter shuffle as well. The blues are as present Van Zandt's tunes as folk and country were. Check the set’s opening track “Black Widow’s Blues,” one of two songs recorded with a full backing band; the other is the stellar “Hunger Child Blues.” He’s got the blues moan, the chilling lyrics (best not revealed here so as not to spoil the listener's surprise), and a dynamic delivery that was a trademark then and there. Some songs here hint at others to come later. “Gypsy Friday” is one of the most pure and gentle of Van Zandt's folk songs, and recalls his traveling tunes. One can hear the gigantic influence of Hank Williams on the beautiful love song “Waitin’ for the Day.” The album’s final two tracks -- "Big Country Blues” and “Black Crow Blues” -- feature shapes and hints of “Waitin’ Round to Die” and “Marie.” - AllMusic
Needtobreathe first announced the album in May 2023. Five singles were subsequently released to precede the album, including "Everknown", "The Cave", "Hideaway", "Temporary Tears", and "Wasting Time". The band retreated to Utah and Minnesota while creating the album. Lead singer Bear Rinehart described the album to American Songwriter as, "It feels like it's a band record" and "Not many people are making band records anymore. We all to have an influence on the record musically and lyrically and it feels like it's all our voices at the same time.
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The recording of the album was preceded by the departure of the original drummer Mike Heidorn and the addition of three new band members: bassist John Stirratt, drummer Ken Coomer, and multi-instrumentalist Max Johnston. The band signed with Sire Records shortly before recording the album; Anodyne was Uncle Tupelo's only major label release until 89/93: An Anthology in 2002.
Recorded in Austin, Texas, Anodyne featured a split in songwriting credits between singers Jay Farrar and Jeff Tweedy, plus a cover version of the Doug Sahm song "Give Back the Key to My Heart", with Sahm on vocals. The lyrical themes were influenced by country music and—more than their preceding releases—touched on interpersonal relationships. After two promotional tours for the album, tensions between Farrar and Tweedy culminated in the breakup of Uncle Tupelo. Well-received upon its initial release, Anodyne was re-mastered and re-released in 2003 by Rhino Entertainment including five bonus tracks.
Townes Van Zandt's "Tower Song" is on his fourth album Delta Momma Blues
Delta Momma Blues was recorded at Century Sound of Fifty-Second Street in New York, where Van Zandt lived for three years in the early seventies. It was produced by Van Zandt's manager Kevin Eggers and Ron Frangipane, a pianist and string arranger who had studied under Igor Stravinsky and had previously worked with the Monkees, Dusty Springfield, John Lennon and The Rolling Stones. "Townes was not involved in the recording process in the traditional sense," Frangipane explained to John Kruth in 2007. "Whereas someone like Janis Ian would micromanage every eighth note, Townes was more like sitting back in an old easy chair with holes in it, playing his guitar on the day before the session, saying, 'Well, what are we gonna do?' He trusted that our reasoning was probably better than his, but he wanted to know where we were going. He was not just an 'I'll show up, play it, and go home' guy...He was very much a solo performer." Frangipane and engineer Brooks Arthur largely abandon the superfluous adornment that accompanied Van Zandt's first three albums, with the producer telling Kruth, "If I saw anything I could have done to get at least one crossover hit with Townes, I would have done it. But I never read him that way. Townes was essentially an American storyteller, like a guy sitting on a porch, talking to you."
The Magnolia Electric Co. is the seventh and final album by Songs: Ohia. It was recorded by Steve Albini at Electrical Audio in Chicago and released by Secretly Canadian on March 4, 2003. The naming of the album and comments by Jason Molina have led to discussions whether it is not simultaneously, in fact, the debut album by Molina's new band, also named Magnolia Electric Co.
The artwork for the album does not contain the name Songs: Ohia anywhere, though the centre label of the vinyl record does say "Songs: Ohia." On the other hand, the album was recorded with different musicians than the later members of Magnolia Electric Co., and the decision to take on the new name was not announced until the tour following the release in the spring of 2003. Molina later declared Didn't It Rain to be the final Songs: Ohia album.
"Ladykiller" track seven on The Horrible Crowe's debut studio album Elsie Released September 6, 2011.
Elsie received mostly positive reviews from music critics. At Metacritic, the album has an average score of 76 out of 100, which indicates "generally favourable reviews" based on 15 reviews.
Andrew Leahey of AllMusic rated the album four out of five stars with this comment: "Elsie functions best as a display of Fallon’s underused bottom register and acoustic songwriting skills, proving that slowing things down once in a while can still be a punk rock move." Writing for Alternative Press, Scott Heisel writes Elsie is "better than just about everything the Gaslight Anthem have done to date. Perfect for night drives on long, winding roads
"The Next One" track eight on Teddy Thompson's fifth studio album Bella. Recorded New York City Released February 7, 2011, through the record labels Decca and Verve Forecast in February 2011. Produced by David Kahne, the album features members of Thompson's touring band with Ethan Eubanks on drums, Jeff Hill on bass and Daniel Mintseris on keyboards.
The album's opening track, "Looking for a Girl", has a twelve-bar blues structure and has been complimented for its "strong beat and catchy melodies".
Hannah Spencer's review for Contactmusic.com was positive, complimenting Thompson's "great vocal flexibility" and ability to put together a "solid and inoffensive collection of honest-lyriced tunes". On the review site Metacritic, as of February 21, 2011, the album had a score of 71 which indicates Generally Favorable reviews. Allmusic rated the album four out of five stars.
Jesse Malin’s remastered, expanded version of his third album ‘Glitter in the Gutter’ will be released on 30th September on Stevie Van Zandt’s Wicked Cool Records. Originally released in 2007, the new version contains an unreleased bonus song from that era ‘The Angel to the Slave’ alongside a new version of the Bruce Springsteen duet ‘Broken Radio’, entitled ‘Broken Radio ‘22’
Rolling Stone ranked "Gypsy Rider" as one of his 21 best songs
"Always Waiting Here" track ten on Dougie Maclean's New Tomorrow album
Music and Lyrics by Dougie MacLean
Published by Limetree Arts and Music (MCPS and PRS UK)
Morning Dew," also known as "(Walk Me Out in the) Morning Dew," is a contemporary folk song by Canadian singer-songwriter Bonnie Dobson. The lyrics relate a fictional conversation in a post-nuclear holocaust world. Originally recorded live as a solo performance, Dobson's vocal is accompanied by her finger-picked acoustic guitar playing.
In 1962, "Morning Dew" was included on the live Bonnie Dobson at Folk City album.
Morning Dew" became part of the Grateful Dead's repertoire after frontman Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966. The group first played the song as their opening number at the Human Be-In in January 1967; the same month the group recorded it for their self-titled debut album, which was released that March.
She Came to Me (Original Motion Picture Soundtrack) is the soundtrack to the 2023 film of the same name directed by Rebecca Miller. The original score is composed by Bryce Dessner, released through the Warner Classics label on October 6, 2023, alongside the film. The album featured 20 tracks from Dessner's original score and Bruce Springsteen's original song "Addicted to Romance".
During the final edit, Rebecca Miller felt that the film missed a compelling song for which Dessner replied "Bruce Springsteen would be perfect". As Miller used Springsteen's "Dancing in the Dark" in Maggie's Plan (2015), she felt the idea of him writing an end credits song would work well for the film, although several insiders convinced her not to approach him, Dessner who was optimistic about Springsteen's inclusion, said that "Bruce loved the idea. He loved the film. There’s a line in the first opera and in the script: I’m addicted to romance' which is also a throughline in the movie, and he wrote the song, 'Addicted to Romance' with his wife, Patti Scialfa". The song was a duet ballad with harmonies and pianos, which was produced by Dessner himself, was written during early February 2023.
The Canadian jazz label Justin Time Records released Ship of Dreams in October 2005 with an alternate rendition of "Tears Fall" featuring Megan Slankard (replacing Julia Neigel on the original European release).
Much to the band's disappointment, the album reached only No. 41 in the UK Albums Chart (the previous album Fire and Water had reached No. 2) and reached No. 190 in the US. The single release "The Stealer" failed in the UK also, but reached No. 49 in the US. Record World said of "The Stealer" that "The crucial follow-up to 'All Right Now' will most likely determine whether Free is for real or a flash in the pan. They sure sound for real—heavy number will most likely get up there." (Rodgers and Kirke re-recorded "The Stealer" with Bad Company in 1975 during the sessions for band's third album Run with the Pack (1976), but the track was not included on the album). Rod Stewart and The Faces also featured it regularly in their live set.
Now and Again was certified Platinum in Canada and is the band's most commercially successful album to date. The album contained one of the band's biggest hit singles, "All the Things I Wasn't". Now and Again was the 13th best-selling Cancon album in Canada in 1989.
In Chart magazine's 2000 reader poll of the Best Canadian Albums of All Time, Now and Again ranked in 27th place.
For the singles "What Was Going Through My Head" and "Do You Want To Tell Me", the b-sides were songs recorded on CBC Radio program Brave New Waves. One was an acoustic version of the song "Backward Town", and the other was a cover of Paul McCartney's "Let Me Roll It".
Rodgers said that he was thinking about the lonely people in the world who with a change of environment would flower.
Midnight Rose is a studio album by Paul Rodgers, of Free and Bad Company fame. It is his first album of original material since Electric (1999). It was recorded in 2022 and 2023 at Roper Recording in Coquitlam and Bryan Adams' studio, The Warehouse, in Vancouver.
The album has received mixed reviews with Blues Rock Review praising it as "a totally satisfying set of eight rocking songs that demonstrate why Paul Rodgers is considered one of the best singer/songwriter/frontmen of the rock & roll genre." PopMatters awarded it 6/10 with Michael Elliot saying the album, "signals the return of one of rock’s greatest voices, which remarkably has not diminished over the decades and remains as expressive and powerful as ever, even if the material doesn’t always match those golden vocal cords." In a 3/5 review, Loudersound.com suggests that "there are flashes of brilliance – class acts will always be class acts – but there are also moments when one wonders bemusedly what the hell is going on here."
Recording for the first time as The Edgar Winter Group, Winter assembled an all-star lineup which featured himself, songwriter and multi-instrumentalist Dan Hartman, San Francisco guitarist Ronnie Montrose, and producer/guitarist Rick Derringer, with Eagles' producer Bill Szymczyk serving as technical director.
Montrose had recently left Van Morrison's band and didn't view himself as a rock guitarist when he joined The Edgar Winter Group. "(Winter) so much wanted to do that whole rock thing that he encouraged me," said the guitarist. "I was in the Edgar Winter Group, and I had better start delivering this heavy guitar music. Now. Because I hadn't done that before."
Only twenty-one years old when the album was recorded, Hartman was a child prodigy who had played with Winter's brother Johnny in the past. Hartman wrote or co-wrote six of the album's ten tracks while also contributing vocals, electric and acoustic guitar, ukulele, bass, maracas, and percussion. "Dan was a true genius and a musical visionary", said Winter. "The group would never have been the same without Dan.
The album is divided into three sections, with each disc being a separate collection in its own. It borrows from Tom Waits’s rock sound, with the first disc (Brawlers) being blues and rock-based, the second (Bawlers) centred on slow-tempo, melancholic ballads, and the third (Bastards) on more experimental compositions. Additionally, the record contains influences of other genres, including folk, gospel, jazz and roots music. Orphans: Brawlers, Bawlers and Bastards received universal acclaim from critics, who lauded its experimentation and composition, as well as Waits's vocals. It was listed as one of the highest-scoring albums of the year in Metacritic, and was nominated for a Grammy Award for Best Contemporary Folk Album. Furthermore, it was a fair commercial success, charting in the United States Billboard 200, as well as in Australia, Switzerland and Austria, reaching the top twenty in the latter.
The Orphans Tour was conducted in support of the album prior to its release.
The song is on The Stones the 14th British studio album "Some Girls" released on 9 June 1978.
It was the first album to feature guitarist Ronnie Wood as a full-time member; Wood had contributed to some tracks on the band's prior two albums, It's Only Rock 'n Roll (1974) and Black and Blue (1976). With a stable lineup in place for the first time in several years, the album marked a return to basics for the Rolling Stones and did not feature many guest musicians, unlike many of their prior albums. Notable contributions to the album, however, come from blues harmonica player Sugar Blue on "Miss You" and the title track.
Despite controversy surrounding its cover artwork and lyrical content, Some Girls was a commercial success, peaking at number two on the UK Albums Chart
Stand Up was released in 1969. It was the first Jethro Tull album to feature guitarist Martin Barre, who would go on to become the band's longtime guitarist until its initial dissolution in 2012. Before recording sessions for the album began, the band's original guitarist Mick Abrahams departed the band as a result of musical differences with frontman and primary songwriter Ian Anderson; Abrahams wanted to stay with the blues rock sound of their 1968 debut, This Was, while Anderson wished to add other musical influences such as folk rock.
Stand Up represents the first album project on which Anderson was in full control of the music and lyrics. The result was an eclectic album with various styles and instrumentation appearing in its songs.
The album quickly went to No. 1 on the UK charts, further launching the band's career, while the non-album single "Living in the Past" peaked at No. 3. The album was also Jethro Tull's first success in the United States, reaching No. 20 on the Billboard 200.
Jethro Tull released their debut album This Was in October 1968. During the recording of This Was, frontman Ian Anderson began writing new material which differed from the straight blues/jazz fusion style which the band were known for at the time. Anderson estimated that he wrote "50 percent" of Stand Up during the summer of 1968. Anderson wrote the album's songs on an acoustic guitar in his bedsit in Kentish Town, London, and cited Roy Harper, Ornette Coleman, Charlie Parker, Bert Jansch, Pentangle, Blind Faith and Jimi Hendrix as inspirations. The new material's departure from the band's blues-based style caused conflict with guitarist Mick Abrahams, who was a blues purist: Anderson recalled "running some of [the new songs] by Mick Abrahams, and coming to the conclusion that they weren't going up to be up his street at all" while drummer Clive Bunker stated that "when Ian started to write new and different stuff, that's when we realised we were going to have serious problems, because Mick just didn't want to do it." The stylistic clash resulted in Abrahams' departure from the band in December 1968. The band initially began rehearsals for Stand Up with Black Sabbath guitarist Tony Iommi, however Iommi left the band after only a few weeks as he felt he did not fit in well with the group. The job eventually went to Martin Barre, who immediately joined rehearsals for Stand Up before making his live debut with the band on 30 December 1968.
track 12 side two of Buffalo Springfield's third and final studio album Last Time Around, released in July 1968. The line-up at the time officially consisted of Neil Young, Stephen Stills, Richie Furay, Dewey Martin, Bruce Palmer, and Jim Messina, though the band itself was essentially broken up and the album was put together from previous recordings, some made up to a year earlier. Jim Messina acted as the album producer and mixing engineer, with input from Furay, as the two compiled the record to fulfil the band's last contractual obligation to its label. A number of guest musicians (some uncredited) appeared on the album, notably pedal steel guitar player Rusty Young.
Buffalo Springfield was a rock band formed in Los Angeles by Canadian musicians Neil Young, Bruce Palmer and Dewey Martin and American musicians Stephen Stills and Richie Furay. The group, widely known for the song "For What It's Worth", released three albums and several singles from 1966 to 1968. Their music combined elements of folk music and country music with British Invasion and psychedelic rock influences. Like the contemporary band The Byrds, they were key to the early development of folk rock. The band took their name from a steamroller parked outside their house.
Buffalo Springfield formed in Los Angeles in 1966 with Stills (guitar, keyboards, vocals), Martin (drums, vocals), Palmer (bass guitar), Furay (guitar, vocals) and Young (guitar, harmonica, piano, vocals). The band signed to Atlantic Records in 1966 and released their debut single "Nowadays Clancy Can't Even Sing", which became a hit in Los Angeles. The following January, they released the protest song "For What It's Worth", which became their only US top 10 hit and a counterculture anthem. Their second album, Buffalo Springfield Again, marked their progression to psychedelia and hard rock and featured other songs such as "Bluebird" and "Mr. Soul".
Full House features a mix of Miller originals and covers, including a version of John Lennon's "Jealous Guy". The Andy Fraser composition "Be Good to Yourself" was issued as a single, and reached No. 27 on the UK singles chart, becoming Miller's first chart hit.
Side One
1."Be Good to Yourself" (Andy Fraser)
2."The Doodle Song"
3."Jealous Guy" (John Lennon)
4."Searching" (Peter Knight, Bob Johnson)
5."Love Letters" (Edward Heyman, Victor Young)
Side Two
1."Take Good Care of Yourself" (Jimmy Doris)
2."Down the Honky Tonk"
3."This Love of Mine" (Frankie Miller, Robin Trower)
4."Let the Candlelight Shine"
5."(I'll Never) Live in Vain"
"Broken Glass" track five on his fourth studio album Written in Scars It was released on 9 February 2015 by BMG Chrysalis UK.
After the success of the album, Savoretti released a lengthier 20-track edition on BMG Rights Management (UK) Ltd titled Written in Scars (New Edition). The first 11 tracks were identical and in the same order as appearing in the original album.
The remaining nine tracks included two brand new songs, "Back Where I Belong" and "Catapult", five live renditions of tracks appearing in the original album including the title track. The remaining two new tracks are collaborations with Alexander Brown, the first in a rendition of "Jack In a Box" as a duet with him, the second the track "The Other Side of Love" with a vocal remix of Alexander Brown.
He covered it in 1991 for the Two Rooms: Celebrating the Songs of Elton John & Bernie Taupin tribute album.
Cocker is quoted in the album liner notes:
Way back in '68, I met Elton in the office of the publisher Dick James. I was given a tape of 'Border Song' which for some obscure reason I turned down. I hope I've made up for it with this rendition of 'Sorry Seems to Be the Hardest Word' that shows the deeper side of Reg and Bernie's writing.
Track seven on his fourth studio album Written in Scars It was released on 9 February 2015 by BMG Chrysalis UK.
After the success of the album, Savoretti released a lengthier 20-track edition on BMG Rights Management (UK) Ltd titled Written in Scars (New Edition). The first 11 tracks were identical and in the same order as appearing in the original album.
The remaining nine tracks included two brand new songs, "Back Where I Belong" and "Catapult", five live renditions of tracks appearing in the original album including the title track. The remaining two new tracks are collaborations with Alexander Brown, the first in a rendition of "Jack In a Box" as a duet with him, the second the track "The Other Side of Love" with a vocal remix of Alexander Brown.
Jack Savoretti covered the song for his Written In Scars record. He explained to The Sun: "I recorded one of my albums in LA at Jackson Browne's studio. He has a room with all his guitars and boxes of old records and tapes. There was a bootleg recording of this Dylan song from a concert he did in England that never got released officially. It saved my life and I take it everywhere."
Originally demoed by Bob Dylan in June 1973, he recorded this song with The Band five months later for possible inclusion on his Planet Waves album, It didn't make the final tracklisting but was eventually released in 1991 on The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991 set.)
The song features the folk rock band Lindisfarne's characteristic combination of mandolin playing (by Ray Jackson) and close harmony singing. Its lyrics are inspired by Edgar Allan Poe's 1839 short story "The Fall of the House of Usher".
The verse is in the key of B minor, while the chorus is in the relative key of D major. Simon Cowe's lead guitar work betrays the influence of Peter Green, while the song's instrumental coda - like Green's hit composition "Man of the World" - ends on a D major sixth chord.
"I Can’t Change It" was featured in episode 4 of the first series of the drama series Life on Mars. It was covered by Ray Charles (Frankie's mother's favourite singer), on his 1980 album Brother Ray Is At It Again. "Everybody from Etta James to Johnny Cash has done Frankie's songs," Miller's partner Annette told Mojo magazine, "but Ray Charles recording it was a really big deal for Frankie. His mum was still around when that happened she would never tell Frankie how proud of them she was."
released on April 24, 1989, by MCA Records. It features contributions from members of his band the Heartbreakers, notably Mike Campbell, as well as Jeff Lynne, Roy Orbison (who died prior to its release), and George Harrison, Petty's bandmates in the Traveling Wilburys. The record shows Petty exploring his musical roots with nods to his influences. The songwriting is mainly collaborations between Petty and Lynne, who was also a producer on the album. Full Moon Fever became a commercial and critical success, peaking at No. 3 on the U.S. Billboard 200 and being certified 5× platinum in the United States and 6× platinum in Canada.
MCA Records under Irving Azoff originally refused to issue the album, believing it did not contain any hits. Azoff resigned within a few months and with new label management reviewing the album positively they decided to release it. In 2019, the album was inducted into the Grammy Hall of Fame
Recorded at the Wool Hall Studios, south of Bath, England, except strings, which were recorded at Windmill Lane Studios, Dublin, Ireland. The musicians on the album are understated with Ian Jennings playing double bass, Geraint Watkins playing Hammond organ and Pee Wee Ellis on saxophones.
"Reminds Me of You" dates back to a 1996 break-up of his engagement to Michelle Rocca; they had reunited by the time of the song's release.
The album received mixed reviews from critics but performed well commercially and was his highest-charting album in the US since Wavelength. It went gold in both the US and UK. Allmusic welcomed Morrison's "return to the music that suits him so well... blues and R&B", and found that the album finds him "celebrating life and its pleasures to the limit." Rolling Stone summed it up as being "solid, brilliant, silly in sad ways. But it's still one Monet and nine Norman Rockwells." The Irish Independent was critical, suggesting that "[somewhere] in the mid-Eighties the poet/philosopher accolades seem to have seeped into his skull, and he began churning out same-sounding albums on an almost annual basis." Critic George Graham lauded it as "one of his best, most tasteful albums in recent years, and Van Morrison has had some very good albums in this period."
"All Along the Watchtower" is a song by American singer-songwriter Bob Dylan from his eighth studio album, John Wesley Harding (1967). The song was written by Dylan and produced by Bob Johnston. The song's lyrics, which in its original version contain twelve lines, feature a conversation between a joker and a thief. The song has been subject to various interpretations; some reviewers have noted that it echoes lines in the Book of Isaiah, Chapter 21, verses 5–9. Dylan has released several different live performances, and versions of the song are included on some of his subsequent greatest hits compilations.
Covered by numerous artists, "All Along the Watchtower" is strongly identified with the interpretation Jimi Hendrix recorded with the Jimi Hendrix Experience for their third studio album, Electric Ladyland (1968). The Hendrix version, released six months after Dylan's original recording, became a Top 20 single in 1968, received a Grammy Hall of Fame award in 2001, and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time in 2004 (40th in the 2021 version). Dylan first played the song live in concert on the Bob Dylan and the Band 1974 Tour, his first tour since 1966. His live performances have been influenced by Hendrix's cover, to the extent that they have been called covers of a cover. The singer has performed the song live more than any of his other ones, with over 2,250 recitals.


