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Browse through any music fan's collection, and chances are good he or she owns a copy of Carole King's Tapestry. That album kicked off the singer-songwriter movement of the 1970s, and established her as a performer in her own right. Before that achievement, however, she amassed an impressive number of hits as a songwriter, often collaborating with partner Gerry Goffin in the 1960s.
As a singer, Carole King won over millions of fans with her honest portrayals of love and life. As a songwriter, she penned dozens of hits for others, many of which became American pop standards. Now for the first time, these two aspects of a long and celebrated career are combined, presenting the best of Carole King as both singer and songwriter
In fact, a new collection, "The Essential Carole King", provides a thorough overview of both sides of her career, and is a must-own for any music enthusiast.
The compilation consists of two discs: disc one concentrates on her singing career, while disc two focuses on her as a songwriter.
Disc One - The Singer --------------------------------------------------------------- 01. Carole King - It Might As Well Rain Until September 02:25 02. Carole King - Child Of Mine 04:04 03. Carole King - I Feel The Earth Move 03:00 04. Carole King - So Far Away 03:57 05. Carole King - It's Too Late 03:55 06. Carole King - You've Got A Friend 05:11 07. Carole King - Sweet Seasons 03:17 08. Carole King - Been To Canaan 03:41 09. Carole King - Coraz n 03:59 10. Carole King - Jazzman 03:48 11. Carole King - Nightingale 03:39 12. Carole King - Only Love Is Real 03:35 13. Carole King - Will You Love Me Tomorrow / Some Kind Of Wonderful / Up On The Roof (With James Taylor)07:37 14. Carole King - Really Rosie 01:53 15. Carole King - Pierre 05:40 16. Carole King - You Can Do Anything (With Babyface) 03:59 17. Carole King - The Reason (With Celine Dion) 04:40 18. Carole King - Now And Forever 03:14
Disc Two - The Songwriter ----------------------------------------------------- 01. The Shirelles - Will You Love Me Tomorrow 02:44 02. Bobby Vee - Take Good Care Of My Baby 02:40 03. Gene Pitney - Every Breath I Take 02:46 04. The Everly Brothers - Crying In The Rain 02:00 05. Little Eva - The Loco-Motion 02:28 06. The Drifters - Up On The Roof 02:38 07. The Cookies - Chains 02:33 08. The Chiffons - One Fine Day 02:10 09. Maxine Brown - Oh No Not My Baby 02:38 10. The Righteous Brothers - Just Once In My Life 03:58 11. The Monkees - Pleasant Valley Sunday 03:08 12. Aretha Franklin - (You Make Me Feel Like) A Natural Woman 02:44 13. Dusty Springfield - No Easy Way Down 03:12 14. The Byrds - Wasn't Born To Follow 02:05 15. Billy Joel - Hey Girl 03:55
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Disc Review Two major elements are evident while listening to so many instantly familiar songs: first, an astonishing variety of artists performed some of her most well-known songs. King was equally versed in rock (The Monkees's "Pleasant Valley Sunday"), soul ("Oh No Not My Baby" by Maxine Brown), pop ("The Loco-Motion" by Little Eva) and folk -rock (The Byrds's "Wasn't Born to Follow"), just to name a few genres. Few other songwriters span such a broad amount of styles.Carole King
Second, listening to The Essential Carole King is like witnessing the birth of a mature, introspective artist. Her early solo work, such as 1962's "It Might as Well Rain Until September," reflected typical themes such as being away from a lover. But as the years wore on, she began writing about more serious issues, such as the unabashed sexual fulfillment of Aretha Franklin's "(You Make Me Feel Like) A Natural Woman," or the moral dilemma of The Shirelles's "Will You Still Love Me Tomorrow." Essentially asking "will he still respect me in the morning" is a serious topic for top-40 radio. "Pleasant Valley Sunday's" lyrics still resound with images of dull suburbia and fear of convention: "Charcoal burning everywhere /Rows of houses that are all the same /And no one seems to care."
When King recorded Tapestry in 1971, her writing further developed into a more introspective, highly personal narrative. Songs such as "I Feel the Earth Move," and "It's Too Late" may be written in a first-person perspective, but everyone has experienced the roller-coaster of emotions expressed in those tracks. "I just can't fake it," King sings in the latter song, and other Tapestry tunes included in this collection sound just as emotionally raw as they did over 35 years later. "So Far Away" expresses fear of losing contact with others, while "You've Got A Friend" celebrates such close connections. Again, King chooses to tell these stories from her own perspective, but expresses universal feelings
King also lent her sophistication to a children's album, scoring Maurice Sendak's animated TV show production Really Rosie in 1975. Here she told stories from a child's perspective, communicating their broad range of emotions in clever yet easy to understand lyrics. The Essential Carole King selects two tracks from this album: the title track ("I'm terrific at everything!" exclaims the proud little Rosie), and "Pierre," the humorous moral tale of a child who replies "I don't care" when asked anything. She makes full use of her voice on these tracks, growling and flattening her voice to express certain emotions.
Each track shows that while King may not possess a huge voice range, her clear and straightforward style conveys feelings and emotion in a bare-bones manner. One of her more recent hits, 1992's "Now and Forever," is notable for her excellent vocal performance. The subject could be friendships or romantic relationships, but King's simple singing effectively reflects nostalgia and wistfulness. Incidentally, fans may recognize this song from the film A League of Their Own.
The Essential Carole King serves as a tribute to a songwriting legend and unique performer. It demonstrates that truly special songs are timeless, packing just as much of an emotional punch many years later. In addition, it chronicles King's artistic development through music alone. In "Jazzman," also included in this compilation, she sings of a musician that "can sing you into paradise/Or bring you to your knees." Through her intensely personal writing and singing, King continues to have that same effect on audiences. Listen to this collection and be transported into her rich tapestry of music.
SPANISH Biografìa
Autora de grandes éxitos en los años 60, como "The Locomotion" para Little Eva, "Up On The Roof" para los Drifters o "Will You Love Me Tomorrow" para las Shirelles, Carole King es una de las grandes personalidades femeninas en la historia de la música moderna.
Junto a su importante contribución a la composición de grandes clásicos del pop y el soul, Carole desarrolló en la década de los 70 una exitosa carrera como cantautora, al estilo de gente como James Taylor o Carly Simon.
Carole King (de nombre real Carole Klein) nació en Brooklyn, Nueva York, el 9 de febrero de 1942. Desde muy niña dominó el piano y decidió que su destino profesional iba a girar en torno a la industria musical.
En el instituto formó su primer grupo, denominado The Co-Sines. Más tarde, en su etapa universitaria de Queens, conoció a Gerry Goffin, con quien formó una asociación compositiva y sentimental, pues ambos se casaron en el año 1960. Gerry fue principalmente letrista, mientras que Carole se ocupaba de la creación de melodías. A finales de los años 50 comenzaron a trabajar en el afamado Brill Building de Don Kirshner.
En esa época también se hizo muy amiga de Neil Sedaka, quien le dedicó el famoso tema "Oh Carol", replicado por la propia autora con "Oh Neil", su cuarto single, tras haber grabado con poca resonancia canciones como "The Right Girl" o "Queen Of The Beach". Durante su etapa en el Brill Building, la pareja Goffin/King escribió multitud de temas de mayor o menor éxito, para gente como Bobby Vee, The Shirelles, Herman's Hermits, Little Eva, The Drifters, Aretha Franklin, The Crystals, The Chiffons o The Monkees.
Su carrera en solitario como cantante, por el momento bastante inadvertida para el gran público, le proporcionó en el año 1962 un primer éxito con "It Might As Well Rain Until September". Posteriormente fundó un sello discográfico llamado Tomorrow, en compañía de Gerry Goffin y Al Aronowitz, pero no funcionó como esperaban, al igual que el matrimonio entre la pareja de compositores, quienes se divorciaron en 1968.
Ese mismo año Carole se casó con su segundo marido, el bajista Charles Larkey, con quien formó el grupo The City, en el que también se encontraba el guitarrista Danny Kortchmar.
Después de grabar el LP "Now That Everything's Beed Said" (1969), disco en el que se encontraban temas como "Wasn't Born to Follow" (interpretado por los Byrds en el "Notorious Byrd Brothers") o "Snow Queen", el trío se separó para iniciar Carole de nuevo la aventura en solitario, ahora desde una perspectiva de cantautora con un sonido parecido al ofertado por su amigo James Taylor, quien con posterioridad conseguiría un número 1 con una canción escrita por Carole, la famosa "You've Got a Friend".
El primer trabajo en LP de Carole King en solitario fue "Writer" (1970), un álbum bastante aceptable que incluía temas como "Goin' Back" o "Up On The Roof".
Su gran triunfo llegó con su segundo trabajo, "Tapestry" (1971), disco de enorme éxito comercial nombrado mejor LP del año en los premios Grammy.
Entre sus cortes, destacan piezas como "It's Too Late" (número 1 en single),"So Far Away", "I Feel The Earth Move", "Beautiful" o revisitaciones de temas conocidos que había compuesto para otros intérpretes, como "You've Got a Friend", "(You Make Me Feel Like) A Natural Woman" o "Will You Love Me tomorrow". Producido por Lou Adler, en el disco colaboraba gente como James Taylor o Joni Mitchell.
El mismo año de la publicación de "Tapestry", Carole sacó a la venta "Music" (1971), otro álbum de gran éxito que llegó rápidamente al número 1 gracias a temas como "Sweet Seasons", "Brother, Brother", "It's Going To Take Some Time", "Some Kind Of Wonderful" (canción que habían interpretado con anterioridad los Drifters) o "Song Of Long Ago". En "Music" Carole inició una colaboración en la escritura con Toni Stern.
El protagonismo de Carole King en las listas americanas y de gran parte del mundo prosiguió con interesantes LPs como "Rhymes & Reasons" (1972), "Fantasy" (1973), "Wrap Around Joy" (1974), álbum en el que incluía su segundo número 1 en single, "Jazzman", co-escrito con Dave Palmer, "Really Rosie" (1975), la banda sonora que escribió junto a Mauricee Sendak para un programa infantil de televisión, o "Thoroughbred" (1975), un disco en el que volvía a ser acompañada en tareas de composición por su ex marido Gerry Goffin.
A partir de mediados de la década de los 70, los LPs de Carole perdieron calidad y no atrajeron demasiado a su audiencia previa. En "Simply Things" (1977) colaboró por primera vez con el que se iba a convertir en su tercer marido, Rick Evers. El matrimonio no duró demasiado ya que Evers falleció en 1978 a causa de una sobredosis de heroína".
Ni "Welcome Home" (1978), ni "Touch In The Sky" (1979), ni la rememoración de su época con Goffin, "Pearls" (1980), lograron acercarse a los resultados obtenidos con "Tapestry" o "Music". Tras "One To One" (1982) y "Speeding Time" (1983), Carole se alejó de las grabaciones y se retiró a su residencia rural de Idaho, dedicando su tiempo a fundaciones y a trabajar en pos del medio ambiente.
En el año 1989 retornó a los estudios, intentó modernizar sus trazas de cantautora y publicó "City Streets" (1989), álbum que no consiguió mejorar sus últimas y anodinas ofertas. Posteriormente ha grabado varios discos en estudio bastante prescindibles, como "Colour Of Your Dreams" (1993), "Time Gone By" (1994) o "Love Makes The World" (2001), y ha publicado otros en directo, siendo el más recomendable el que recuperaba una actuación suya en 1971 en el Carnegie Hall.
Rosemary's Sons is a Dutch band which makes music described as mainstream pop/rock and rootsrock. Influences like Bruce Springsteen, Bryan Adams, Gin Blossoms, Aerosmith, CSNY, Matchbox 20, and John Hiatt are sometimes apparent but they aren't in the way of the band's own sound. The band formed in 1998. They recorded a demo album under the title Misery Loves Company which gained them attention of several music labels. With their official debut album on Warner Music, All In Hand (2002) they scored a minor hit with the single Shine which featured Dutch country/pop singer Ilse deLange. In 2005, they released their follow-up St. Eleanor's Park on V2 Music. Currently they are recording their 3rd official album, with the working title The Others.
Tracks: -----------
01. Best Is Yet To Come 02. Perfect 03. How About It 04. The Others 05. This Line 06. Mary-Ann 07. Home Sweet Home 08. Bad News 09. Little Secrets 10. Devil In His Pocket
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Members ---------------------------------------------------------------- * Martijn Hagens - Lead Vocals, Guitar, Piano (original member) * Ad van Halteren - Bass (original member) * Bart Herber - Drums, Percussion (original member) * Thomas Lina - Keys, Tambourine, Backing Vocals (joined in 1999) * Maarten van Damme - Guitar, Lap Steel Guitar, Mandolin, Banjo, Harmonica, Backing Vocals (joined in 2001 - formerly in Abel)
Biography ----------------- Rosemary's Sons was founded in the fall of 1998 by a group of teenage friends. The band released an independent cd, Misery Loves Company, and it got immediate attention from record label Warner Music. In 2001 Warner Music offered the band, that had become quite popular in the Breda-area, a record deal. Lead by producer Oscar Holleman (Krezip, Heideroosjes), they released their debut album All In Hand. The album features guest appearances by Ilse deLange & Ren van Barneveld (former Urban Dance Squad). All In Hand was well-received and quickly entered the Album Top 100. The first single, Fall From Grace, is released in August 2001 and became a modest hit. The next single Shine (featuring Ilse deLange) was played often on national radio and TV, made it to the top position in the Cyber Top 50 charts for 2 consecutive weeks and got to no.34 in the Mega Top 100. Halfway in June the third single was released, Up All Night.
Rosemary's Sons found fresh energy in guitarist Maarten van Damme (former Abel) in 2002, while they were establishing an impressive live reputation. The band played big summer festivals like Paaspop, Bospop, Dauwpop and Lowlands. And also they were support for The Cranberries (Heineken Music Hall), Bush, De Dijk and Krezip and toured in most Dutch music clubs. All the hard work earned them an Essent Award and a Edison nomination for best new band of 2002.
In 2003 Rosemary's Sons played 16 venues as support for Ilse deLange. This is where the band showed its strength as a semi-acoustic act. Martijn Hagens (lead vocalist) left an astonishing impression in venues like De Nieuwe Luxor and Carré. In the meantime, the band started writing songs for the 2nd album, when in March 2004, Warner Music announced that they had to terminate the record deals with local artists/bands (also Ilse deLange, Krezip and Novastar). That caused a delay in the recording process. In the summer of 2004 the Sons and producer Oscar Holleman started the recording process, and got the attention of V2 Music. This indie label released Rosemary's Sons' 2nd album in April 2005.
The result, St. Eleanor's Park is a tight and solid album on which Rosemary's Sons express a very professional sound. Rootsy roadsongs appear on the album, along with solid rock songs and sometimes the band is flirts with jazz & glamrock. As support for Bryan Adams in Ahoy' (September 2004) they had already played some of the new songs.
With a bunch of new songs in the can and a new musical partner, the band couldn't wait to get on the road again. The band kicked off with the cd release party on April 13 in Melkweg in Amsterdam. In the meantime, Rosemary's Sons also opened for Ezio, Bon Jovi, & Poco, as well as playing on live television in the Barend & Van Dorp talkshow, and numerous radio shows on 3FM, Radio 2, Radio 538, and BNN.
After releasing the singles Wrong Way Around, Queen of Hearts, & St. Eleanor's Park from the album and extensive touring all through the Netherlands, Rosemary's Sons is currently working on their next studio album, which will most likely be released through V2 Music again. The album has the working title of The Others and two Try-Out shows are planned in June 2007, in the Para in Breda.
Discography (Albums) ---------------------------- * "Fall From Grace" (2001) * "Shine" (2002) * "Up All Night" (2002) * "Wrong Way Around" (2005) * "Queen Of Hearts" (2005) * "St. Eleanor's Park" (2005)
Disc review: ------------- Rosemary's Sons have been off the radar for a long time. Their successful debut "All In Hand" put them on the map and gave them a lot of opportunities, but the attention sadly died down a little after the release of their sophomore album "St. Eleanor's Park" after which the band needed time to reload. And while they definitely took their time the end product, "Home Sweet Home" is well worth the wait.
Best Is Yet To Come The album opener immediately sets the mood for what's coming. The instant hit that is Best Is Yet To Come has a good melody and a catchy and recognizable tune. It's something that will no doubt be picked up by AC radio and if it can cross the ocean towards North America it'll be embraced by college stations and smaller city stations in a heartbeat.
Perfect On their debut, Rosemary's Sons had the hit single Shine featuring Ilse deLange, and while Perfect is a completely different song, the band produces another highly successful collaboration, this time with Stevie Ann. Martijn Hagens' vocals are well-complemented by Stevie Ann's enthusiastic and lively vocals, which makes for a very adorable love song, which will no doubt become another hit single for this underrated Dutch band.
How About It The catchy How About It on which you automatically start moving is the lead single off "Home Sweet Home". Even in the demo stages it was obvious this song was going to be a strong one. A good choice for lead single as airplay on regional and college stations gives the song good exposure. And while Rosemary's Sons is only a small, mostly independent band, they never fail to sound absolutely professional and energetic. Another reason why this song flourishes, both on the album and during live performance.
The Others The Others is one of the best tracks Rosemary's Sons ever made musically. Surprising choice of instruments (the brass for example!) gives this song a bit of a jazzy undertone, while the uptempo rhythm and soulful vocals give the song the extra body it needs to rise from being a good song to being a great song. Lyrically the song also is one of the band's strongest. It's a theme that you can all relate to as personal relationships change throughout your life.
Thin Line The rootsrocker Thin Line is exactly the direction Rosemary's Sons is heading in. Fairly well-energized country-rock with an edge. The great lyrics are brought to life by the enthusiasm and energy that the band puts in this song. A mix of frustration, pain, love, and hard work is portrayed in this excellent song.
Mary-Ann The only real rocker on this album is Mary-Ann even though it is mixed a little timidly on the album. It is catchy as hell though and Martijn's vocals flourish, but for it to succeed as a radio single it should be mixed a little more energetically, just like the band plays it live. It gives the song just that little bit more edge and extra kick so that you can appreciate its real brilliance.
Home Sweet Home Originally by Mötley Crüe, Rosemary's Sons decided to change Home Sweet Home into an americana-influenced rootsrocker. Assisted by Stevie Ann, among others, Rosemary's Sons did a great job paying tribute to an old classic. They make the song their own without losing its original meaning or losing the recognizable core of the song. Covers aren't necessarily a no go, as Rosemary's Sons proves with Home Sweet Home
Bad News Like on all their albums, this album also features an acoustic song that sounds like it never escaped the demo stages. Bad News is a stripped down song that definitely has a lot of potential, but falls a little out of order on this album, though you could say it's a nice change of scenery. In my opinion it would've been more in place as a bonus track though, because it breaks the flow of the album somewhat.
Little Secrets While the song might come across a little more spunky if the band had played it just a tad faster, it's a song that grows on you. It might be a little too flat to shine on the radio, but it's a catchy song nonetheless. And I find myself singing along to it without even noticing it, so who knows, maybe there is some hit potential after all.
Devil In His Pocket The album closer, Devil In His Pocket, is a fun little song that is a good choice to end the album with. It has the tempo and energy that fits the band and the slightly ironic and playful lyrics give this country-ish song a very cool and natural sound.
Rosemary's Sons proves that they have grown into a sound and solid collective that is sadly not appreciated in their homestead. With music that is highly influenced by the American southwest, the band delivers a consistent album with 10 high quality tracks that gives hope for the future, especially if the band manages to branch out to different locations. "Home Sweet Home" is absolutely Rosemary's Sons best and most consistent album to date.
Del “In Between Dreams”, 2005, al “Sleep Through The Static”, 2008, del hawaiano “Jack Johnson”, un surfero guapetón, simpaticote, con una voz dulzona y enamoradiza, había un abismo. El primero, frescura, calidad, buena crtica y ventas considerables. El segundo... no era mal disco, no, y tenía alguna que otra buena canción pero la verdad es que le faltaba punch y esa atmósfera mágica que engancha.
Ahora con “To The Sea”, tas dos años de inactividad, Jack se desquita un poquito del desencanto de su anterior álbum, lo hace recurriendo claramente al sonido de “In Between Dreams”, bueno, más que a su sonido que es el de siempre recurre a la fórmula que le dio el éxito, fórmula basada en un ambiente cálido y agradable, y lo hace desde el principio con un inicio arrollador donde seguramente encontramos las tres mejores canciones del disco, que encajarían perfectamente en aquel añorado disco del 2005. “To The Sea” es un muy buen disco, es bonito, agradable, es fácil de escuchar. Entre surf y universitarios que se enamoran, es un disco de energía total con sabor a los sonidos de los Beach Boys de antaño.
TEMAS 01. You and Your Heart 02. No Good With Faces 03. At or With Me 04. When I Look Up 05. From The Clouds 06. Turn Your Love 07. The Upsetter 08. To The Sea 09. My Little Girl 10. Red Wine, Mistakes, Mythology 11. Pictures of People Taking Pictures 12. Anything But The Truth 13. Only The Ocean 14. What You Thought You Need (Live From Yokohama)
More than the solid instrumental skills displayed throughout, and more than the fine songwriting that fills 11 of the 15 tracks, Pathway succeeds best on their singing. They can play—no doubt about it. Just listen to their cover of the instrumental standard “Soldier’s Joy” or the gentle setting they create for Tommy Hill’s slow, traditional country weeper, “You’re Looking For An Angel.” Or listen to the melodic sense they bring to the classic “One Tear” or to Tom T. and Dixie Hall’s “They Don’t Make Girls Like Ruby Anymore.”
They can also write—no doubt about that either. Each of their songs, among them “What Must I Do,” “Somewhere Tonight,” and “Pathway,” show a thorough understanding of song construction and good ears for a turn of phrase.
It is, however, their singing that most catches one’s attention. Four of the bandmembers—Casey Byrd (resonator guitar), Justin Freeman (guitar), Mark Freeman (banjo), and Scott Freeman (fiddle)—have good lead voices. Which one leads which song, the liner notes don’t say. I was most impressed by whoever sings “What Must I Do.” His voice is the most resonant and the richest in timbre, though the other three are not far off. In harmony, which all share, including the remaining two members—Mitchell Freeman (bass) and Jake Long (mandolin)—their blend is seemless and very smooth.
Such good leads and tight blends are especially important for a band that emphasizes gospel music as much as Pathway does. Eight of their fifteen tracks are of that genre and all are original and all are good. Of those eight, “Pathway” with its velvet lilt, and “Somewhere Tonight,” with its energy and sense of mission rise above the rest.
Great bluegrass and bluegrass gospel music from the heart of bluegrass country.
Tracks list ------------------------------- 1 What Must I Do 2 They Don't Make Girl 3 He Is the Answer 4 Somewhere Tonight 5 You're Looking for An Angel 6 Broadslide 7 Call On Jesus 8 Don't You Want to Go 9 Here's the Bottom, Feel the Blues 10 What Will You Do 11 One Tear 12 If It Weren't for Love 13 Cast All Your Care 14 Pathway 15 Soldiers Joy
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The Band: --------- Pathway, a bluegrass and gospel band originating from Mount Airy North Carolina, also known as Mayberry, birthplace of Andy Griffith and Snappy Lunch.
Pathway consists of three brothers, Mitchell Freeman, Mark Freeman & Scott Freeman; Mark’s son, Justin Freeman; and two good friends of the family, Jake Long and Cayce Byrd.
Mitchell and Mark started playing in 1977 with Barry and Kenneth Berrier in a band called Interstate Exchange. After a couple of years, Kenneth moved on and Eric Silver who was 16 at the time joined the band. Eric played about a year and then moved to Nashville and became a studio musician and eventually wrote some great songs for Diamond Rio, Brooks & Dunn, Martina McBride and Shania Twain. Other notables who played with the brothers include, Alan Bibey (IIIrd Time Out, Blueridge & Grasstown) and Sammy Shelor (Virginia Squires & Lonesome River Band). The brothers played a while longer and then took time off to raise families.
In 2007, with families grown, Mitchell and Mark started playing again and were joined by Justin, then Jake and Casey. The group writes many of the songs that they perform and their shows include both traditional bluegrass, old time songs and bluegrass gospel; they are both exciting and inspirational.
Line-up --------- Mitchell Freeman - Bass & Vocals. Mitch has been playing bass and singing for over twenty years. He also writes or co-writes most of the group’s songs.
Mark Freeman - Guitar, Banjo & Vocals. Mark is one of the finest 5-string banjo players around and also writes many of the groups songs. Mark has won many awards for his banjo playing.
Scott Freeman - Mandolin, Fiddle & Vocals. He plays, arranges and writes songs, which have been recorded by some of the top touring bands in bluegrass music. He has recorded three solo projects, “Southern Souvenirs”, “Friends For The Journey”, and “Carolina Welcomes You”, each showcasing his varied musical tastes. Scott spends his time now teaching fiddle and mandolin.
Justin Freeman - Lead & Rhythm Guitar and also contributes vocals to the group.
Jake Long - Mandolin & Guitar. He is currently studying to at the University of North Carolina at Charlotte.
Casey Byrd - Dobro, Guitar & Vocals. Casey joined the band in December 2007 and also writes songs for the group.
Disco de Mike Oldfield lanzado en enero de 2008, que fue grabado en los legendarios estudios Abbey Road. El disco tiene partes muy emotivas, efectistas, pero vuelve a recurrir a melodías conocidas, evidentes en el corte de introducción y su “reprise”, donde juega con la melodía inicial del “Tubular Bells” aunque haciendo una variación que, al menos, da una sensación de que Mike quiere jugar con las armonías providenciando un pasaje con fuerza, una base argumental con la que convencernos de su particular visión sobre el concepto de su obra. Tiene un punto de efectismo y una evidente falta de riesgo, pero en conjunto se trata de un disco muy agradable de escuchar, curiosamente adictivo, y con capacidad para gustar a gente ajena a su discografía.
Coherencia del conjunto: es una obra instrumental con diversos motivos melódicos entrelazados, adaptados y versionados a lo largo de las dos partes. Es decir, el clásico esquema de instrumental Oldfield con la salvedad de que la instrumentación es orquestal y no hay guitarras eléctricas. Es un obra, la del disco 1, que gana enteros escuchándola del tirón, en orden, considerándola como dos partes largas, de la misma manera que sus dos primeros discos “Tubular Bells” y “Hergest Ridge”. De hecho hay muchos cortes que carecen de sentido de manera independiente y son más bien pasajes para entrelazar y dar consistencia a la obra como un todo. En resumidas cuentas, es para escuchar el album como un concepto de obra instrumental, no como un álbum de canciones instrumentales.
LISTA DE TEMAS
DISCO 1Parte Uno 01- "Harbinger" - 4:08 02- "Animus" - 3:09 03- "Silhouette" - 3:19 04- "Shabda" - 4:00 05- "The Tempest" - 5:48 06- "Harbinger (reprise)" - 1:30 07- "On My Heart" - 2:27 (Featuring Hayley Westenra) Parte Dos 08- "Aurora" - 3:42 09- "Prophecy" - 2:54 10- "On My Heart (reprise)" - 1:16 (Featuring Hayley Westenra) 11- "Harmonia Mundi" - 3:46 12- "The Other Side" - 1:28 13- "Empyrean" - 1:37 14- "Musica Universalis" - 6:24
DISCO 2 Live at "the Guggenheim" (Bilbao) 90 minutes of Mike Oldfiel 2008, junto con la Orquesta Sinfónica de Euskadi.
Audio CD (August 24, 2010) Original Release Date: 2010 Genre: Doom / Stoner Metal Country: USA Quality: mp3, CBR 320kbps Size: 111mb
1. Acheron/Unearthing the Orb 2. Tres Brujas 3. Arrows in the Dark 4. The Chronomancer I: Hubris 5. Lawless Lands 6. Astraea’s Dream 7. The Warp Riders 8. Night City 9. The Chronomancer II: Nemesis 10. (The Night the Sky Cried) Tears of Fire
Cab Calloway lideró una de las mejores bandas de swing de su época y se convirtió en una de las primeras superestrellas de la música, aun siendo negro. Calloway se lanzó a la fama en el mítico Cotton Club. Sobre él se hicieron dibujos animados, funciones de cine, e incluso fue el personaje sobre el que se inspiró Gershwin para crear "Porgy and Bess". Era un showman espectacular que allanó el camino a músicos de la talla de Dizzy Gillespie, Doc Cheatham y Milt Hinton, llegando incluso a decirse que abrió la puerta del blues para el gran publico.
Cuando llegó el fin de las grandes bandas (Big Band Era) la suya fue una más de las que no sobrevivió. Aun podemos verlo con su smoking blanco y su peinado salvaje cantando el tema "Minnie The Moocher" junto a estrellas de la talla de Aretha Franklin, James Brown, Ray Charles y John Lee Hooker en la fantástica banda sonora de la película "The Blues Brothers".
Temas 01. Nagasaki 02. Hoy Hoy 03. Jumpin' Jive 04. Abi Gezunt 05. Fifteen Minutes Intermission 06. A Chicken Ain't Nothing But A Bird 07. My Gal 08. St.James Infirmary 09. I Want To Rock 10. I'll Be Around 11. Minnie The Moocher 12. Honey Dripper 13. Hey Now, Hey Now 14. Hi De Ho Man 15. Oh Grandpa 16. Jungle King 17. Two Blocks Down,Turn To The Left 18. San Francisco Fan 19. The Calloway Boogie 20. Everybody East When They Come To My House
Lisa Gerrard es la mitad del dúo Dead Can Dance, que comenzó la liberación de rock gótico, lleno de arte, en la etiqueta 4AD a mediados de los años 80. Gerrard inició su carrera como solista con el lanzamiento de 1995 "El Pool Mirror", que contenía una gran cantidad de trabajo que no encajaría cómodamente en la obra DCD. Es la combinación de estos fragmentos con la música que compuso y arregló digitalmente, junto a las composiciones de Haendel y la música tradicional iraní. Y en esa línea sigue.
"Departum" es la colaboración de Lisa con Marcello De Francisci, después de trabajar juntos de una película "Tears of Gaza" y decidir que se sentían tan a gusto juntos que querían tener un proyecto independiente para dejarse ir... Pasajes de orquesta, instrumentos tradicionales de otros sitios, voz sin palabras, sombras, luz y sonidos de agua. Tranquilidad. “Departum” es un fluir de sensaciones para disfrutar sin prisa, sin tiempos, sin obligaciones. Es otra música.
TEMAS: 1. Ex Nihilo - "Out Of Nothingness" 1:56 2. In The Beginning Was The Word 3:44 3. Hymns Of A Promised Land 1:48 4. Hidden Garden 3:02 5. Diary For The Fallen 4:26 6. Renunciation 0:52 7. Himalaya 0:25 8. Departum 3:40 9. Maya's Dream 1:26 10. To Those Who Seek Forgiveness 4:20 11. All Things Impermanent 1:25 12. River Dance 3:57 13. Cor Nobilis - "The Gentle Ones" 3:03 14. Addagio For A Broken Promise 3:47 15. Sacred Journey 1:43 16. The Secret Language Of Angels 5:50 17. A Kingdom Now Forgotten 2:13 18. The Lost Star Of Menelik (Bonus Track) 4:45 19. Let The Children Play (Bonus Track) 4:15
