Some songs were personal, others journalistic. It was the most enjoyable record I've ever worked on. Some of the songs on Lyle Lovett were written as early as Inhe spent his life savings as well as a loan from his parents to record eighteen demos; ten of these were finally remixed and released in The wait paid off. Lyle Lovett — an assured, refined collection of tunes about rocky romances, dubious weddings and sturdy old porches — heralded the arrival of a major songwriter who brought absurdity and wit to a field that was normally earnest and predictable.
InLovett, a Texas singer-songwriter with a degree in journalism, hooked up with the J. David Sloan band at a music festival in Luxembourg. He returned with the members of the band to their native Arizona, and one day in June he cut four songs at Chaton Recordings, in Scottsdale. Lovett then drove to Nashville, looking for a publishing deal, and wound up recording fourteen more demos that August.
He sent the tape around to record companies. They liked the material but wanted him to re-record it, which he refused to do. Aside from some remixing and minor overdubbing, the tapes were virtually released as is. Brown helped Lovett select ten songs the rest have appeared on subsequent albums with an ear to country radio. There was, he complained, "no new fuel in rock music. Anything will do. Sting's sources ranged from German composer Hans Eisler and Jimi Hendrix a jazz reading of "Little Wing" to a traditional Chilean courting dance in "They Dance Alone," a haunting tribute to the families of Album) "disappeared," opponents of the government who are believed to have been murdered.
In his lyrics, Sting juxtaposed meditations on death and rebirth — his mother died during the making of the record — with observations on religion, history and, in "Englishman in New York," spiritual and cultural exile. Literally worlds away from the artful simplicity of his hits with the Police and even his jazz-fusion tangents on The Dream of the Blue Turtles, his first solo excursion, … Nothing Like the Sun is as much a vivid reflection of the mushrooming exploratory fervor among many of Sting's middle-aged Album) peers, such as Peter Gabriel, Talking Heads and Paul Simon, as it is an expression of Sting's disgust with the state of pop.
Ironically, the eleven original songs on the album were the product not of extensive musical field trips but of five months' concentrated writing in New York City in the winter and early spring of And I had this kind of monkish life. I lived on my own. I cooked my own food. I went to the gym every day.
I took piano lessons. The phone was off the hook. And I worked usually from twelve midday to very late at night. I was too bound up in it to make judgments. Sting's record company initially questioned the wisdom of his musical expeditions on … Nothing Like the Sun. Then he may wink, and it's like 'Who's zoomin' who? The phrase — which Franklin said was an old New York street expression — immediately caught Walden's imagination. The reclusive Franklin had spent many of the preceding years in her hometown of Detroit, looking after her seriously ill father, the Reverend C.
According to Walden, Aretha hadn't sung seriously in two or three years. After her father died inthe singer began thinking about returning to the music scene. Walden started assembling backing tracks in Los Angeles.
Since Franklin doesn't like to travel — she refuses to take airplanes when on tour — Walden brought the session tapes to Detroit, where Franklin added her vocals. Who's Zoomin' Who? Looking for a male singer to work with Franklin on another duet, "Push," Walden "put out signals, but a lot of people were frightened to death to sing with her. Geils Band vocalist Peter Wolf, however, jumped at the chance. Despite Franklin's awesome reputation as a singer, Walden found her easy to work with.
She's so vast and brings so much to her takes that it's more a question of keeping up with her. And when it stops, it stops. So you've got to be on your toes. Before any session with her, I'd jog four or five miles just to be mentally alert. You have to be — she's the queen. The album was inspired, in part, by visits Browne made to Central America in andthough he had already begun writing "For America" and the title track prior to his trips.
Discussing the song at the time of the video's release, Browne said, "I imply that the truth is kept from us on a regular basis. I flat out say the government lies. Well, these things are no longer heresy. Other songs examine related aspects of the album's political theme.
And, intriguingly, amid all the hard-hitting sociopolitical commentary stands "In the Shape of a Heart," one of Browne's finest love songs. Lives in the Balance never achieved the commercial success of some of Browne's earlier records.
That hardly mattered to him. And whether or not an album succeeds wildly or not, that's intact. That get-together was the make-or-break point for the Rolling Stones ' reunion — a reunion that had been imperiled by Jagger's and Richards's solo records and by a year of public backbiting between the two. Their attitudes in approaching the Barbados session say a great deal about the differences between them.
Jagger, however, admits to having no such doubts about his ability to work with Richards. Keith is very supersensitive about all that sort of thing and worries that maybe it can't happen. I said, 'Well, we'll just try. If we don't do it, we don't do it. Each man brought material to the session.
And Richards says there was something of a rapprochement. Charlie Watts's arrival on the scene also bolstered Richards's sense of possibility for Steel Wheels. This year's made. Musically, Jagger was concerned that the songs on Steel Wheels not repeat the sort of problems that had made him feel constrained in the Stones.
Steel Wheels also seems to have provided Jagger with an opportunity to respond to Richards's public criticism of him. On the album's first single, "Mixed Emotions," Jagger sings, "Button your lip, baby," and declares, "You're not the only one with mixed emotions.
Jagger moans when told of Richards's remark. His records were FM-radio staples. He sold out coliseums. His live shows were legendary. But byBruce Springsteen had not yet placed a single in the Top Twenty, and he hadn't really made an album that fully captured the bracing live sound of the E Street Band. The River changed all that.
The album is the work of a top-notch rock band playing live in the studio. Over the course of two discs, Springsteen displays a little bit of everything that drew people to him. And if the sheer giddiness of "Crush on You" and "I'm a Rocker" make The River sound like Springsteen's party record, sobering character sketches like the title track and "Stolen Car" argue otherwise.
The album didn't come easily to Springsteen. With The River, man, forget it. It took many months. Years, you know? In the spring ofSpringsteen and the band began cutting songs like "The Ties That Bind" and "Roulette" a savage rocker that would remain unreleased for eight years. Instead, he was looking for something richer and more expansive — something that would take close to another year to finish.
I guess I didn't know where I was going, you know? On The River, Springsteen accepts the fact that contradictions and paradoxes can be part of his music because they're part of everyday experience, and the decision to make a two-record set gave him the space to let his characters go just about everywhere.
The trip encompasses a hard-rocking visit to "Cadillac Ranch" and the disquieting vision at the heart of the stark finale, "Wreck on the Highway. Something that was just me, where there was no persona, no image, no distinctive character like the Bluenotes guy or the guy in Everybody's Rockin'.
It's the first time I've felt like doing an album like this in years. The album is bookended by contrasting versions of the bitter, ironic "Rockin' in the Free World. Young used a similar device on Rust Never Sleeps. When I listen to it, it's almost like listening to the radio — it keeps changing and going from one thing to another. He'd originally planned to release a purely electric rock album — "Nothing but abrasiveness from beginning to end," he says — that he'd recorded in New York.
Five songs from those sessions were released on an import EP called Eldorado. For the album that was eventually released, he mixed in material from some subsequent acoustic sessions, looking to strike a balance.
The result is Young's most personal and unguarded set of songs in many years. But I was at a point in my life where I really closed off my emotions about a lot of things I didn't understand. I just shut down the whole program and did things that were more on the surface level, because it was safer.
Now I feel time has healed whatever was bothering me so much. I feel more open, and I can write songs that are more directly involved with what I'm thinking. Besides the sensual implications, the lyrics could also describe the British performer's make-over from teen idol to mature pop talent with his solo debut.
After their split inMichael became intent on finding a fresh start as a solo artist. Shying away from his persona as a preening dandy who sang drivel like "Wake Me Up Before You Go-Go," Michael cultivated a new approach that was seriously sexy.
With torn jeans, perfectly coifed hair and stubble that would make Don Johnson envious, he became the leading progenitor of a style that all but redefined late-Eighties fashion. But the real change was in the lyrics, not the look. Beyond the beat-crazy dance rhythms, most of the songs on Faith revolve around important issues.
Michael spent almost two years writing and recording Faith, influenced, he says, by "a lot of American radio, which kind of seeped into my consciousness. Nevertheless, spurred by an outrageously erotic video clip and all the surrounding controversy, Michael's sassy come-on sold more than 1 million copies in the United States.
After "I Want Your Sex" scored, the catchy single "Faith" was released in October; the entire album was released a month later. Supercharged by four more hit singles — "Father Figure," "One More Try," "Monkey" and "Kissing a Fool" — the album went on to sell 14 million copies worldwide, and Faith became one of the few albums to top the pop and black charts simultaneously.
As further evidence of its broad-based appeal, Faith subsequently captured a Grammy for album of the year and topped Rolling Stone 's annual readers' poll. The progression had to be natural, but I also knew there had to be a progression, Album).
A warmer, more open Bowie was evident at every turn on Let's Dance, whose bright, upbeat exterior and approachable lyrics celebrate "modern love" and sensual romance beneath "serious moonlight. Coming off of four hermitic, experimental and disillusioned albums — from Low to Scary Monsters — Bowie pulled an about-face. His newly found extroversion, complete with a haystack-yellow British-schoolboy haircut, netted him three Top Twenty singles — "Modern Love," "China Girl" and the chart-topping title track.
Let's Dance was a determined move to recapture the spotlight by a musician who five years earlier had told Melody Maker, "I feel incredibly divorced from rock, and it's a genuine striving to be that way. Excluding Texas blues guitarist Stevie Ray Vaughan, who was Bowie's suggestion, the musicians were drawn from Rodgers's circle.
Yet the collaboration was nothing like what he had had in mind. Its swift popularity caught the normally unflappable Bowie off guard. I'd be lying in bed, and the phone would ring: 'Hello, Nile? This is David. Look what's happening, did you see Billboard this week? Wow, unbelievable! Joined by keyboardist and singer Paul Carrack in his one-album cameo as a Squeeze member, the group filled the album with smart, uptempo pop tunes whose lyrics scanned, in Difford's words, like "suburban short stories.
Difford and Tilbrook credit Elvis Costello, who coproduced most of the album with Roger Bechirian, for providing inspiration and encouraging the band to move into different areas.
He hadn't intended to play it for Costello, who nonetheless liked it right away. When Tilbrook protested that it didn't sound like Squeeze, Costello said, "Let's do it anyway. East Side Story 's best-known song is "Tempted," sung in a husky, soulful voice by Paul Carrack, with Costello and Tilbrook chiming in here and there. Difford wrote the lyrics on the way to the airport, and "all the things in there are pretty much all the things that were in my mind on that trip," he says.
Though "Tempted" became an FM-radio favorite, it didn't crack the U. Top Forty. Musical touches both playful and artful, ranging from the surreal, wavering keyboards on "Heaven" to the full orchestra on "Vanity Fair," adorn East Side Story. Yet Squeeze maintains that the record was an uncomplicated one to make. The production really involved arrangements, and then just a straightforward recording of the songs.
As a side note, the name Lennon cropped up in an unexpected way midway through the sessions. The foursome had been selling out arenas for more than a decade on the basis of Eddie's virtuosic, fleet-fingered guitar playing, singer David Lee Roth's blunt, raunchy lyrics and the brute force of Michael Anthony's bass and Alex Van Halen's drums.
Butabetted by tunes that swirled elements of synth pop into metal — most evidently on the hit single "Jump" — and by a string of campy, low-budget videos that found favor on MTV, carried Van Halen to a new plateau of popularity.
No longer viewed as threatening to those with a chronic fear of metal, the band somehow became amusing and even endearing to middle America. And all the while Van Halen continued to rock like crazy. According to Templeman, who produced all six Van Halen albums prior to and includinghaving time to experiment in the studio made a difference. They got into all kinds of different things, because they were bored doing the same old stuff. At the time, Eddie was in the process of building his own studio with Don Landee, the band's longtime engineer and now its producer.
While boards and tape machines were being installed, the guitarist began fiddling around on synthesizers to pass the time. One night Eddie and Alex laid down an instrumental demo of what would become "Jump," excitedly ringing up their slumbering producer when they finished.
It's like three in the morning, but we really came up with something great. Roth added the lyrics, which he wrote while being chauffeured in his red Mercury convertible, and "Jump" went on to top the charts — heralding the arrival of hard rock and heavy metal in the theretofore impervious Top Forty. The album turned out to be the last recorded by Van Halen in its original configuration, as Roth left — not entirely amicably — to go solo and was soon replaced by Sammy Hagar.
Producer Templeman swears he didn't see it coming: "There were no indicators to signal a breakup at all. Matter of fact, they were really united on that sucker. Balls to the wall, they were going after the world, man! It wasn't until the release of her second album that Suzanne Vega achieved fame, scoring an unlikely Top Forty hit with "Luka," a song about child abuse. But the singer's debut album, Suzanne Vega, had already awakened listeners to a fresh new voice, reviving the folk-music genre after nearly two decades of dormancy.
For Vega, who was then twenty-five years old, the album was cause for uncertainty and isolation as much as triumph. Vega was certainly an anomaly during the mid-Eighties, softly strumming an acoustic guitar and singing introspective ballads while the rest of the music world was caught up in bigger-is-better events like Live Aid and Bruce Springsteen's Born in the U.
In retrospect, however, Vega's intimate first album proved to be a significant milestone in this decade, ushering in a flock of female folk singers, including Tracy Chapman, Melissa Etheridge, Michelle Shocked, Tanita Tikaram and the Indigo Girls. Having taught herself guitar at the age of eleven, Vega began writing her own songs when she entered her teens.
After graduating from Barnard College inshe began playing small coffeehouses in Greenwich Village — the same area of New York City where nearly every Sixties folkie first tuned up his Gibson.
But Vega, a child of the Eighties, hardly fit the protest-singer mold. Even though she carried an acoustic guitar, her hero wasn't folk icon Bob Dylan but punk godfather Lou Reed. There were other differences as well.
After years on the Northeastern club circuit, she had developed a direct, emotionally tempered style that she has said was inspired as much by novelist Carson McCullers and painter Edward Hopper as by romantic balladeers Leonard Cohen and Laura Nyro.
Weaving these diverse influences into a deeply moving album were producers Lenny Kaye formerly Patti Smith's guitarist and Steve Addabbo Vega's managerwho brought modern touches to Vega's straight-ahead style, enhancing the singer's sparse sound with subtle electric guitars, graceful violins and even New Age synthesizers, all of which added gentle textures to her haunting material.
Vega's prowess with simile and metaphor dominates the entire album, perhaps most effectively on songs like "Undertow," "Freeze Tag" and "Straight Lines. At the time, I felt like a small blue thing. I never expected that people would think that it stood for something.
Some people even asked if it's a fetus. It's not that at all — it's a mood. The result was Guitar Town, an album that straddled country and rock to create something startlingly new. In the words of a fellow artist, John Hiatt, it was "pretty much a darn near flawless record. Great writing, fantastic album. It is a form of literature, but one you can consume while you're driving your car.
Guitar Town boasts everything from a rich, orchestral twelve-string to some deep, twangy solos on the Danelectro six-string bass. It was recorded at an all-digital studio in Nashville. By embracing the latest technology, Earle hoped his hometown would receive its due as an up-to-date music metropolis. Does Earle see himself as more of a country or a rock artist? Such was the trepidation with which the former Band guitarist and songwriter approached making his long-put-off solo album.
But he needn't have fretted so much: Robbie Robertson — released ina full decade after the Band broke up — is ample proof that Robertson's abilities are still very much intact. From the album's ethereal opener, "Fallen Angel," dedicated to Robertson's former band mate, the late Richard Manuel, to "Testimony," its hard-rocking conclusion, Robertson establishes himself as his own man.
I thought that what I was feeling and thinking might be half-baked. Much of the work was done in a studio in Santa Monica that Robertson turned into a kind of workshop-cum-lounge. With guitars and synthesizers at the ready, he spent months and months working on ideas.
Although he began the recording sessions with an album's worth of material, many of the songs that showed up on the finished record — "Sonny Got Caught in the Moonlight," "Testimony," "Sweet Fire of Love" and "Somewhere Down the Crazy River" — were written in the studio.
Robertson wrote passionately about saving the planet "Showdown at Big Sky"the price of fame "American Roulette" and romance "Broken Arrow". Now I felt like I couldn't help it. Robertson sees the album as just the start of a new kind of songwriting and record making.
Do you know what a skin walker is? It's a thing in Indian mythology. There are certain people born with this gift, and they're able to actually get inside you and mess with your feelings and with your mind.
And if a skin walker chooses to get a hold of you, there's not much you can do. I want a song to get inside me, to feel it did the old skin walker on me. I was kind of discovering that on this album, and now I'm pursuing it. The British band, after all, sported no guitars, and there was no drummer or bassist in the group, either.
Critically acclaimed, both LPs nonetheless possessed largely unfocused attempts at making synth pop an accessible rock style. The band wanted a unique album cover and toyed with ideas such as a sardine can that would require a key not supplied and even what Levene describes as a "sandpaper-type record, which would fuck up all your other records when you put it in your collection.
The tracks weren't listed on the album or the labels, which were at least color coded. Much to the band's displeasure, the album was released in the United States with a cardboard jacket, a different title Second Edition and relatively inferior sound. With Jah Wobble's reggae-drenched bass way up front and Levene's dissonant guitar forays, the band pumps out droning, fragmented dance music — disco, Samuel Beckett style.
Lydon's disembodied monotone vocals sound like they were phoned in long-distance. Virtually all the songs on the album were improvised in the studio. Bassist Wobble would play until the other two heard something they liked, then structure a track around it, using a clutch of session drummers; Levene says the best work on the record began as mistakes that were then refined and repeated. Many saw in Lydon's lyrics an attempt to bury the Sex Pistols myth significantly, he had changed his name back from Johnny Rotten.
On the opening track, "Albatross," he sings about "getting rid of the albatross," perhaps a reference to former Pistols manager Malcolm McLaren. Second Edition also features three instrumentals, including the beautiful "Radio 4. She's So Unusual was an appropriate title for Cyndi Lauper 's debut record: From her electric-orange hair and colorful flea-market wardrobe to her squeaky, giddy voice, Lauper hardly appeared an odds-on bet to become one of pop's premier vocalists. Nor are many of the songs selected for She's So Unusual conventional.
But that's precisely what She's So Unusual became. The multiplatinum disc and its four Top Five singles made Lauper an instant star. Before embarking on a solo career, Lauper sang with Blue Angel, a group she cofounded in The band's debut album, released inbombed, and Blue Angel broke up. Lauper signed a record deal with Portrait, and with producer Rick Chertoff at the controls she began work on She's So Unusual.
Chertoff brought in Rob Hyman and Eric Bazilian of the then-unknown Philadelphia band the Hooters to play on the record. Together they opted for a synth-heavy sound that evoked the girl-group era of the early-Sixties and deftly played Lauper's vocals against thick arrangements. Not yet an accomplished songwriter although she co-wrote "She Bop" and the touching ballad "Time After Time"Lauper looked outside for material. That she was able to integrate her zaniness into She's So Unusual without sacrificing the underlying seriousness of the songs or her vocal delivery also meant Album) to Lauper's career.
Few solo artists have been able to balance such a delicate dichotomy the first time around. Fewer still have made it seem so easy — and so much fun. It began as Dream Factorya two-record set with major contributions from Revolution members Wendy and Lisa, then metamorphosed into Crystal Ball, a three-record extravaganza whose lengthy title track was to be Prince 's masterwork.
But by the time of its release it had once again become a two-disc set, not titled Sign o' the Times. Highlighted by the outstanding Curtis Mayfield-styled title track, one of Prince's strongest social statements, the album is his most diverse work, with material ranging from the steamy funk of "Hot Thing" and the jazzy balladry of "Slow Love" to more esoteric gems such as "The Ballad of Dorothy Parker" and the fanciful "Starfish and Coffee.
Produced, arranged, composed and performed by Prince, Sign o' the Times found him back in complete control of every aspect of his music. He abandoned the neo-psychedelic qualities that had come to the fore on his previous albums, pursuing a tougher soul music, evident on the title track, "Housequake" and "U Got the Look. At first, Dream Factory was to have been another band album like the preceding Purple Rain, Around the World in a Day and Parade, but along the way Prince disbanded the Revolution and put existing band tracks on the shelf.
Instead, he holed up in the basement of his new house and began cutting solo tracks. About half the album was recorded at home; the rest was recorded at Sunset Sound, in Los Angeles. Prince played or sang nearly everything, although there were some contributions from Sheila E. The three-record Crystal Ball concept was followed all the way through to the mastering stage and included a suitelike twelve-minute title track.
But Prince and Warner Bros. What became the new title track was written toward the end of the recording sessions. Feel like singing? Why can't we be friends too? In retrospect, Sign o' the Times looks more and more like Prince's Exile on Main Street, one of the few two-disc sets by any artist that holds up through all four sides.
The Seventies were the favored habitat of the Eagleswhose tales of "livin' it up at the Hotel California" vaulted the West Coast rockers to superstardom. In the wake of their unannounced breakup around the turn of the decade, the individual members faced the Eighties with a much less certain hold on their audience.
While his band mates — especially his erstwhile writing partner, Glenn Frey — have steered a safe, commercial course, Don Henley has written and recorded songs with a sociopolitical conscience, working at a painstaking pace. He has made only three solo albums in this decade. Building the Perfect Beast is a meticulously crafted and programmed set of songs about love and politics. The first side is given to personal reflections on love and loss, such as the wistful, gorgeous "Boys of Summer.
Kortchmar wrote or co-wrote nine of the ten compositions on Building the Perfect Beast. The arrangements are more varied and generally edgier than the Eagles' easy-rolling songs — a development consistent with Henley's growing politicization.
After all, only a few years before making his big splash, Crenshaw had been touring the United States as an ersatz John Lennon in various national companies of the successful pseudo-Fab Four musical Beatlemania. Tiring of that well-paying gig, Crenshaw decided to leave the show and work on his own music.
By the summer ofCrenshaw — who hails from the Detroit area — was playing his own tunes around New York City as part of a trio, with his brother Robert on drums and Chris Donato playing bass. One of those covers, "Someday, Someway," became a minor hit reaching Number Seventy-four on the pop charts and helped create a buzz about Crenshaw. Before long that buzz led to a record deal with Warner Bros.
Initially, Crenshaw wanted to produce his own first record, but he later agreed to bring in Gottehrer as co-producer. When Gottehrer suggested session drummer Anton Fig and bassist Will Lee for the sessions, Crenshaw insisted on sticking with his own group. There were also disagreements over what material to put on the album.
But I gave in. Crenshaw and Gottehrer finished the record in five weeks at the Record Plant, in New York City — despite breakdowns by a steady stream of Vox amplifiers, a few of which caught fire. The final album is an alternately rousing and heartbreaking cycle of infectious pop rockers "Cynical Girl," "Rockin' Around in N.
Critics loved the album, and it sold well. But to me the real influences on that record were bands like Rockpile and Squeeze. The first album is very much a product of its time. I wasn't trying to make my pop masterpiece, I was just trying to do a good day's work. It sounds like it was fun to make. But it turns out that the album wasn't so easy to make after all.
Singer, songwriter and guitarist Finn, drummer Paul Hester and bassist Nick Seymour formed the band after the dissolution of the underappreciated New Zealand pop group Split Enz, of which Finn and Hester were members. They'd been together for about a year when they traveled to Los Angeles to make their debut album for Capitol Records in — but still, says Finn, "we weren't really a band at all.
Having come from a band that had spent ten years together, it just felt like a collection of three people at that stage. They shared a house in the Hollywood Hills — hence the band's name — and went to work with producer Mitchell Froom, at the time best known for his work with the Boston roots rockers the Del Fuegos. We just tried different things as we went along, and it seemed to take on a character of its own as it went along.
I was wary of what Mitchell was suggesting and second-guessing him, and he wasn't completely confident with us, either. A handful of session musicians, including guitarists. Tim Pierce and Joe Satriani the latter on backing vocals onlywere brought in, and on "Now We're Getting Somewhere" the experienced rhythm section of bassist Jerry Scheff and drummer Jim Keltner was used.
The next day we recorded 'Don't Dream It's Over,' and it had a particularly sad groove to it — I think because Paul and Nick had faced their own mortality.
The results hardly sounded forced, though the album seemed to be a flop until persistent word of mouth and some never-say-die promotion turned it into a hit eight months after its release.
Indeed, the group's follow-up album, Temple of Low Men, failed to garner significant sales despite strong reviews. The Traveling Wilburys' album was one of those happy accidents that was almost waiting to happen. After completing the track and deciding it was too good to waste on a flip side, the veteran rockers cooked up a full-length album that not only included some of each member's strongest material in years but also became one of the decade's genuinely unique musical achievements.
From the catchy folk-pop hooks of the first number, "Handle With Care," to the breezy country-rock finale, "End of the Line," the album's chiefly acoustic tunes all have the sound of instant classics.
But the real kicker was the presentation. Rather than releasing the album under their own names, the five musicians hid behind a thin cloak of anonymity, attributing their work to a mythical supergroup and adopting hick personae as part of an elaborate charade that included a bogus biography and a custom record label. The tongue-in-cheek concept was a humorous way of placing the emphasis on the music instead of the big names.
Besides offering a witty commentary that mocked the symbols of superstardom, the Wilbury sobriquet served as a sly, preemptive strike against those who might spoil the party and canonize the fun-fest as a Serious Rock Summit.
The five half-brothers of the Wilbury family were hokey but hip, and their individual strengths complemented one another perfectly. There was Orbison Lefty Wilburywhose haunting, dynamic vocals are enshrined on the operatic "Not Alone Any More," and who reclaimed his former glory only to pass away shortly after the album became a huge hit.
Harrison Nelson Wilbury spearheaded the project following his fine solo album, Cloud Nine, proving that his comeback was no mere fluke. Dylan Lucky Wilbury emerged from a rut of several mediocre albums with his sneering "Congratulations," the jaunty "Dirty World" and a seeming lampoon of Bruce Springsteen, "Tweeter and the Monkey Man.
Rounding out the quintet was Lynne Otis Wilburythe former Electric Light Orchestra leader who handled most of the production chores and also sang the throbbing rockabilly bopper "Rattled. Describing a typical day in the life of the Wilburys, Lynne remembers how the five musicians usually gathered at Dave Stewart's home studio in Los Angeles and banged out ideas until a complete song resulted from the jamming.
Then we'd all join in, and it'd turn into something. We'd finish around midnight and just sit for a bit while Roy would tell us fabulous stories about Sun Records or hanging out with Elvis. Then we'd come back the next day to work on another one. That's why the songs are so good and fresh — because they haven't been second-guessed and dissected and replaced. It's so tempting to add stuff to a song when you've got unlimited time.
While the Wilburys were intended as a lark, songs like "Heading for the Light," "Not Alone Any More" and "Handle With Care" offer idealistic, romantic messages from a fraternity of rock graybeards. The liner notes say, "Reduced by Rick Rubin," and simplicity was the key to Radio. But its minimalism wasn't what made Radio a rap landmark. Beforemost rappers had simply recited continuous rhymes over four minutes of groove. Rubin arranged raps like pop songs, with verses, choruses and bridges.
So that LL's rhymes could fit into this new format, Rubin says, "I would say, 'You've got twelve lines, and you've got to do it in eight. It was just making rap more like songs. One of Radio 's most powerful tracks is "Rock the Bells.
Now that LL has reached the advanced age of twenty-two, he says he is still unable to live without his radio. The Specials found a happy medium between the aggression of punk and the more danceable, upbeat rhythms of ska. Sporting porkpie hats and two-tone suits, the racially mixed seven-member band from Coventry, in Britain, Its The Same Old Song - The Nashville Guitars - In Detroit (Vinyl a ska renaissance.
The Specials' debut album, produced by Elvis Costello, also launched the briefly successful 2-Tone Record label. In his first outing as a producer, Costello captured the spirit of the Specials' frenetic live shows by re-creating a club environment in the studio. It was all live in the studio. In fact, for the song "Nite Club," the band even brought in an audience.
Costello was more of an observer, if you like. Suggesting things that we were too involved in to see ourselves. So we just thought, 'Well, we went to school with black and white guys. Instead of fighting and calling people names, let's work together.
We just mixed the two cultures. A cynical tour de force, Trouble in Paradise sets several of Newman's nastiest portraits of prejudice, greed, ego and small-mindedness against some of the most striking music of his career.
Newman is clearly one of pop music's preeminent songwriters. But with Trouble in Paradise, he also mastered the art of great record making. Today it stands as one of the best albums of his career, a fully realized collection of story-songs in which Newman's dark take on the world is fully fleshed out.
Although the best-known song is Newman's love-hate letter to his hometown, "I Love L. In "Mikey's," two old-timers complain about what the world is coming to, distressed by the minorities now frequenting their favorite bar.
The centerpiece of the record is "My Life Is Good," which details the self-importance of a Hollywood wheeler-dealer. Asked about the similarities between the song's protagonist and himself, Newman laughs and says, "If I were that big a jerk, I wouldn't admit to it. The arrangements throughout the album have a cinematic quality Newman worked on movie scores to The Natural and Ragtime. It's like scoring eleven films. How does Newman feel now about Trouble in Paradise?
Like the first half of 'Miami. It might be funnier just with piano. Most music fans never had a chance to form an opinion. We just made the best record we could. With Fiyo on the Bayou, the Neville Brothers — singer Aaron, keyboardist and singer Art, saxophonist Charles and percussionist Cyril — set out to capture their undisciplined sound, descended from New Orleans Mardi Gras music, while commercializing it enough to reach a broad audience.
The label eventually gave Dorn the green light. A self-admitted "sucker" for Aaron's angelic voice, Dorn painstakingly surrounded it with lush orchestration. We turned out all the lights except for one spot that was focused on a Nat 'King' Cole album.
He sang the whole song to that album. Of course, everyone involved was convinced he had a hit on his hands. Both Cyril and keyboardist Art Neville had been members of the seminal New Orleans band the Meters, which had released a album entitled Fire on the Bayou! Inclusion of a new version of the Meters' signature tune "Hey Pocky Way" on Fiyo further muddied the bayou. Most radio stations were just as puzzled by the Nevilles' style, which didn't fit easily into any programming format.
In My Tribe — a feast of acoustic rockers centered around singer Natalie Merchant's alluring vocals and a jangly guitar sound — vaulted 10, Maniacs from underground status into the Top Forty. And not a moment too soon, either: The third album from the upstate-New York cult band was literally a make-or-break affair. In My Tribe is more than a successful record — it is a poetic, heartfelt message about social concerns such as alcoholism, child abuse and illiteracy.
The Maniacs didn't always have such a passionate sense of purpose. Merchant joined after wandering into the radio station armed with a pile of LPs she wanted heard on the air. Also recruited were guitarist Rob Buck and John Lombardo, a seasoned composer-guitarist who served as the group's major creative force. Drummer Jerome Augustyniak came on board inand the group — after changing its name — released an independent EP and album before moving to Elektra Records.
The Maniacs' major-label debut, The Wishing Chair, won fine reviews but met with indifference outside alternative-music circles. Lombardo quit under stormy circumstances, and the anxiety proved to be contagious. After rejecting demos for the band's next album, Elektra insisted the group work with producer Peter Asher, best known for his work with Linda Ronstadt and James Taylor.
The shotgun marriage worked out in the end, but it was a shaky trip to the altar. The band felt uncomfortable recording in Los Angeles, Asher's home turf. The Maniacs were also unhappy with many of Asher's additions to their sound, including computerized drums.
Asher insists he was merely "cajoling" the band into doing its best work. Elektra suggested doing a familiar song as the lead single, resulting in a cover of Cat Stevens's "Peace Train. The Maniacs ultimately scored with their sadly lilting second single, "Like the Weather. We fucking buckled up, tightened our belt and did it.
Screaming electric guitar punctuates the raucous melodies and street-smart lyrics on Vivid, an album that not only marked the auspicious debut of the hard-rocking band Living Colour but was also credited with breaking down racial barriers in pop music. The band proved to be the first black rock group to attract a large mainstream audience since Sly and the Family Stone in the early Seventies, and the album's ascent was accompanied by as much hubbub over the band's ethnic makeup as its compelling style.
It's a shame more people didn't focus on the music itself, because that's what we wanted. The music itself is an intoxicating brew of hard, grinding rock with splashes of funk, jazz, reggae, rap, punk and even country rhythms. Darting from the hip-hop twang of "Broken Hearts" to the philosophical metal assault of "Middle Man," the band refuses to stay stuck in any single groove. Vivid 's opening track, "Cult of Personality," is the real kicker, a bursting riff-rock anthem on the harmful effects of idolatry and blind faith that ironically helped catapult Living Colour to the status of pop icon.
The group's seeming overnight success was actually years in the making. The songs feel more informal, private, and less commercial. Black's cover of his own tune " Same Old River," originally popularized by Sam Bush, retains its anthem-like qualities while gaining an added degree of intimacy and poignancy.
He handles acoustic guitar, piano, harmonica, banjo and all vocals. On most of the songs Byron House adds bass while Craig Wright contributes drums and percussion. In keeping with the minimalist nature of the production, the packaging and graphics are all in black and white and the only photograph of Jeff Black is a moody, blurred close-up. Engineered and produced by the legendary producer Billy Sherrill, who is usually associated with larger-budget and more grandiose projects, B-Sides and Confessions Vol.
I manages to sound as fine as any of his major label efforts. I shows that all it takes to make a superb album are great songs performed in a straightforward manner by someone who believes in them. I'm looking forward to B-Sides and Confessions Vol. Sound Quality:.
Nashville Guitars is a conglomeration of several Nashville session musicians who record instrumental versions of contemporary country hits. Read Full Biography. Biography ↓ Discography ↓ Songs ↓ Credits ↓ Related ↓. Guitar Hero is a series of rhythm video games published by Activision in which players use guitar-shaped controllers to mimic the playing of numerous popular rock music songs in a score attack gameplay; later games in the series have included support for both drums and vocals and playing as a full band. With over $2 billion in total sales worldwide, the game series has made . Legendary St. Louis Record Store. We Buy & Sell. Delmar Loop Favorite for four decades. Aug 13, · Skylar Gregg – Roses Working out of Nashville country traditionalist Skylar Gregg created an LP out of her own stories about addiction, morality & abuse through an honest year journey through her life. Skylar’s not from the cookie-cutter pop-oriented country singer establishment. Her rich vocal twang (at times) has authenticity. The horns are Muscle Shoals [ ]. CDs & Vinyl Go Search nashville guitars LP Format: Vinyl. See all 2 formats and editions Hide other formats and editions. Price New from Used from Vinyl Amazon Music Stream millions of songs: Amazon Advertising Find, attract, and engage customers: Amazon Drive Cloud storage from Amazon. Jun 07, · "The Spirit of Elvis" presents a selection of love songs from Elvis' recording sessions in Nashville Please check out balnalatelesupprosivadisbere.coinfo We hope you`ll enjoy! Visit us on Facebook www. View credits, reviews, tracks and shop for the Vinyl release of The Nashville Guitars At Home on Discogs. Label: Monument - SLP • Format: Vinyl LP, Album, Stereo • Country: US • Genre: Folk, World, & Country •4/5(2). NASHVILLE GUITARS Vinyl Records and CDs. Members: Jack Eubanks: The Nashville Guitars Discography Price Guide Recently Listed Email Alerts Refine Search Results. Artist: Title: Label: Cat Num nashville guitars. View credits, reviews, tracks and shop for the Vinyl release of The Nashville Guitars In Tijuana on Discogs. Label: Monument - SLP • Format: Vinyl LP, Album, Stereo • Country: US • Genre: Folk, World, & Country • Style: Country4/5(1). Apr 21, · Nashville Guitars’ debut album mixes Joe Tanner’s originals with diverse cover material ranging from “Yakety Axe” to the Supremes’ “Where Did Our Love Go.” The concept is interesting, and the players are among the best in Nashville, but the results are more similar to easy listening fare such as Strings Plus Guitars Galore.
Various - Limited 004 (Vinyl), Klubfilter - Ive Seen The Future (Vinyl), Data - Stargaze (4) - Deerhoof Chamber Variations (CDr), The Yeoman Of The Guard - Sullivan* • Rossini*, A Really Cool Dance Song - Bowling For Soup - Acoustic In A Freakin English Church! (CD, Album), Wolfsheim - Its Not Too Late (Dont Sorrow) (Vinyl), Le Fou Tombe La Tour - By My Fists - Demo 2003 (CDr), A.D.W.O.Y. - Running With Karma - Running With Karma (CD)