daveb
A Number and a Name
Posts: 26
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Post by daveb on Sept 23, 2015 21:21:11 GMT -5
This is probably my favorite pop song Some nice old ones Goldie......one of my favorites "Yes it Is" What I'm frequently listening to is my favorite Kate Rusby. Have you heard her singing this old one? "You Belong to Me"
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daveb
A Number and a Name
Posts: 26
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Post by daveb on Sept 23, 2015 21:24:25 GMT -5
And here's another :
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Post by Goldie on Sept 24, 2015 0:42:09 GMT -5
You Belong To Me was an old song I had always hoped Linda might do one day. Kate does a great job. She seems to have made it her own.
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Post by fabtastique on Sept 25, 2015 0:43:17 GMT -5
Annie Lennox covers You Belong To Me on her Nostalgia album ... It's lovely
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Post by Goldie on Oct 22, 2015 21:31:51 GMT -5
Corey Wells death got me reminiscing. I think my most favorite genre of Pop Music is Psychedelic which is ironic as I never touched a drug in my life, no alcohol, hated smoke of all kinds so maybe it is my way to get that high, along with meditation and new age stuff like that. Here are a few of my favorite Psychedelic songs:
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Post by erik on Oct 31, 2015 20:56:44 GMT -5
For Halloween Night 2015: The late Jerry Goldsmith's classic music score to POLTERGEIST, the 1982 horror film that, along with Stanley Kubrick's 1980 film THE SHINING, is one of the few horror films released during the 1980s that can legitimately be considered a masterpiece of its genre.
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Post by Goldie on Nov 1, 2015 16:50:18 GMT -5
I like songs that transport me out of here, at least for a few minutes at a time. I like to make my own playlists on youtube as few artists are album artists like Linda where most of the songs are all that good. A great and creative video goes a long way with an equally great song. These songs do that for me:
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Post by erik on Nov 6, 2015 23:00:46 GMT -5
The very early Richard Strauss tone poem (derived from Shakespeare), "Macbeth", in a 1983 recording by the Detroit Symphony Orchestra under the direction of Antal Dorati:
And for pop songs that transport one to another place and time even if only for a few minutes--how about this interstellar journey in the form of "Dream Weaver" by Gary Wright, with its eerie synthesizer chord at both the beginning and end?:
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Post by erik on Nov 15, 2015 13:59:05 GMT -5
Soundtracks: BRIDGE OF SPIES (music by Thomas Newman): THE 33 (music by James Horner):
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Post by Goldie on Nov 15, 2015 22:42:49 GMT -5
Going back to some "comfort music" from my teens. I need some escapism after Friday the 13th 2015.
Bobbie Gentry’s “Ode To Billie Joe”
In August 1967, Lyndon Johnson announced that he was sending 45,000 more troops to Vietnam. Black power advocate Stokely Carmichael called for violent revolution in the streets. Beatles manager Brian Epstein died from an overdose of sleeping pills. But around water coolers, the hot topic was what Billie Joe McAllister and his girlfriend threw off the Tallahatchie Bridge.
The mystery created by Bobbie Gentry in her debut single “Ode To Billie Joe” cast a spell over the entire country. Set to a backing of spare acoustic guitar chords and atmospheric strings, Gentry’s sensual, Southern-fried voice relates the story of two Mississippi teenage lovers who share a dark secret that eventually leads to the boy’s suicide. And over 40 years later, despite cinematic details in the song’s lyric, we still don’t know exactly what happened up there on Choctaw Ridge.
Bobbie Gentry was born Roberta Lee Streeter on July 27, 1944 in Chickasaw County, Mississippi. In the few interviews that she gave, Gentry touched briefly on her rural upbringing, saying, “We didn’t have electricity, and I didn’t have many playthings.”
She did have music though. From the gospel sounds of the local Baptist church to old folk songs, Bobbie was fascinated. “My grandmother noticed how much I liked music, so she traded one of her milk cows for a neighbor’s piano,” Gentry said. Taking to the instrument immediately, she wrote her first song at age 7, a ditty called “My Dog Sergeant is a Good Dog.” After her parents divorced, 13-year-old Bobbie moved to Palm Springs, Calif. with her mother, who quickly remarried. With the family’s improved fortunes, Bobbie taught herself guitar, banjo, bass and vibes. As a teenager, she started playing gigs at a local country club, taking her stage name from Ruby Gentry, a movie about a poor, rurual seductress.
After graduating high school, Bobbie, by then a raven-haired beauty, went to Vegas, where she worked in a Folies Bergere–style review, dancing and singing. In the mid-’60s, she moved to Los Angeles to attend UCLA, finally landing at the Conservatory of Music, where she studied composition and arranging. A demo tape she made ended up on the desk of Capitol Records A&R man Kelly Gordon.
“Ode” was recorded on July 10, 1967 at Studio C in the Capitol tower. Accompanying herself on guitar, Bobbie nailed a keeper take in 40 minutes. Arranger Jimmie Haskell told MOJO, “I asked Kelly, ‘What do you want me to do?’ He said, ‘Just put some strings on it so we won’t be embarrassed. No one will ever hear it anyway.’ The song sounded to me like a movie—those wonderful lyrics. I had a small group of strings—two cellos and four violins to fit her guitar-playing. I was branching out in my own head for the first time, creating something that I liked because we thought no one was ever gonna hear it.”
The finished version of “Ode” was over seven minutes long. Capitol edited it down to a more manageable four minutes and stuck it on the flip side of “Mississippi Delta.” But those were the days when DJs still had minds of their own, and as in the stories of so many classic hits, the B-side became the A-side.
It sounded like nothing else on the radio, Gentry’s husky voice inviting listeners into a world that was as dark and exotic as a Flannery O’Connor story. Not long after the song’s debut, the water cooler talk started.
As Gentry told Fred Bronson, “The song is sort of a study in unconscious cruelty. But everybody seems more concerned with what was thrown off the bridge than they are with the thoughtlessness of the people expressed in the song. What was thrown off the bridge really isn’t that important.
“Everybody has a different guess about what was thrown off the bridge—flowers, a ring, even a baby. Anyone who hears the song can think what they want, but the real message of the song, if there must be a message, revolves around the nonchalant way the family talks about the suicide. They sit there eating their peas and apple pie and talking, without even realizing that Billie Joe’s girlfriend is sitting at the table, a member of the family.”
In its first week of release, “Ode” sold 750,000 copies, knocking “All You Need Is Love” out of the top spot on the Billboard chart. It stayed there for four weeks. The song won Gentry three Grammy Awards, including Best New Artist (she was the first Country artist to ever win in this category).
The enigma of her best-known song is nothing compared to that of Bobbie Gentry herself. In the early ’70s, she was riding high—headlining in Vegas, duetting with Glen Campbell on several hits, hosting her own TV series. Then around 1975, after contributing music to a movie based on “Ode,” she simply checked out. She has not been heard from in over 35 years. All requests for interviews, recordings and performances have been denied. She is said to be living in the Los Angeles area.
— By Bill DeMain
also loved this song from Bobbie:
and this knockoff from Vicki Lawrence years later:
funny how one thing leads to another but I couldn't resist
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Post by erik on Nov 16, 2015 19:57:05 GMT -5
Yes, Bobbie Gentry was quite the enigmatic figure--and it's probably a good thing that we are kept guessing just what in Samhill went on up there on the Tallahachie Bridge anyway, instead of just having it displayed like a neon sign (as in the 1976 film based on it).
As for "Fancy", well, I have to say there's a hell of a lot more grit in Bobbie's original than in Reba McEntire's remake of twenty years later (in fact, Reba's vocal performance is, how shall I put this, hammy). And just for arcane matters, Bobbie got herself another Grammy nomination for that song in the category of Best Contemporary Female Vocal Performance for 1970, where she was nominated alongside eventual winner Dionne Warwick ("I'll Never Fall In Love Again", which Bobbie ironically also recorded); Diana Ross ("Ain't No Mountain High Enough"); Anne Murray ("Snowbird"); and...wait for it...Linda Ronstadt ("Long Long Time").
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Post by Goldie on Nov 26, 2015 20:58:00 GMT -5
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Post by Goldie on Dec 6, 2015 22:53:57 GMT -5
Of course nothing compares to the original:
One of my old and very favorites. I've always associated it with my best pets and usually after they have passed, sadly. This song always gets to me as does Linda's Goodbye My Friend.
and the original:
and to better times with the furballs (no pon intended lol)!!!
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Post by Goldie on Dec 9, 2015 23:15:46 GMT -5
This is one of the most memorable songs from my youth kind of in the tradition of Alice's Restaurant by Arlo Guthrie except this is more hip. I was listening to NPR and Terry on Fresh Air and it sent me back to youtube for a listen. The song has a very interesting back story and this interview's focus is on Holly Woodlawn who recently passed. www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=459057674&m=459083757Holly Woodlawn, Transgender Star of 1970s Underground Films, Dies at 69 By WILLIAM GRIMESDEC. 7, 2015 Holly Woodlawn, a transgender actress who achieved underground stardom with her affecting performance as a starry-eyed down-and-outer in the 1970 film “Trash,” died on Sunday in Los Angeles. She was 69. The cause was complications of cancer, her manager, Robert Coddington, said. Ms. Woodlawn had been in the outer orbit of the Factory, Andy Warhol’s studio headquarters, when she caught the attention of Paul Morrissey, Warhol’s partner in making experimental films like “Chelsea Girls” and “Flesh.” Mr. Morrissey cast her in “Trash” as the long-suffering paramour of a heroin addict who lives in squalor on the Lower East Side, played by Joe Dallesandro. Her sassy, improvised dialogue and her vulnerability touched audiences and critics, many of whom were desperate to find a glint of redeeming light in a relentlessly sordid film. “Holly Woodlawn, especially, is something to behold,” Vincent Canby wrote in his review for The New York Times, “a comic book Mother Courage who fancies herself as Marlene Dietrich but sounds more often like Phil Silvers.” With great aplomb, Ms. Woodlawn took her place in the Warhol pantheon alongside two other freshly minted stars, the transgender actresses Jackie Curtis and Candy Darling. Together they brought a daffy, deadpan style to Mr. Morrissey’s next film, “Women in Revolt,” also produced by Warhol, a satire on the women’s liberation movement, with Ms. Woodlawn playing a nymphomaniac fashion model who detests men and joins the militant organization P.I.G. (Politically Involved Girls). “I didn’t know what the movement was when I made it,” Ms. Woodlawn told The Village Voice in 1970, before the film was released. “They told me you play a leader in women’s lib, and in my first scene I said, ‘O.K. girls, let’s get out and vote.’ ” Ms. Woodlawn was born Haroldo Santiago Franceschi Rodriguez Danhakl on Oct. 26, 1946, in Juana Díaz, P.R., the child of a Puerto Rican mother and an American soldier of German descent who fled the marriage almost immediately after the wedding. In New York, where she had moved to find a better-paying job, Ms. Woodlawn’s mother married a Polish immigrant, Joseph Ajzenberg, a waiter at the Catskills resort where she was working as a waitress. The three moved to Miami Beach, where Mr. Ajzenberg found work at the newly opened Fontainebleau hotel. Haroldo took his stepfather’s surname and Americanized his first name to Harold. Postscript: Remembering Holly Woodlawn, a Transgender Star of the Warhol Era DEC. 7, 2015 At 16, Harold left home and hitchhiked to New York, a moment memorialized in the 1972 Lou Reed song “Walk on the Wild Side.” It begins: www.nytimes.com/2015/12/07/movies/holly-woodlawn-transgender-star-of-1970s-underground-films-dies-at-69.html?smtyp=curSo now I am listening to some Lou Reed who has a number of interesting videos on youtube.
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Post by Goldie on Dec 11, 2015 3:23:49 GMT -5
DECEMBER 12, 2015 HAPPY 100 FRANK.
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Post by fabtastique on Dec 15, 2015 0:33:26 GMT -5
That's a great Frank Sinatra album, I also like Sinatra / Jobim The Complete Reprise Sessions, wonderful
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Post by erik on Dec 19, 2015 19:54:27 GMT -5
Why this song isn't a Christmas standard, I'll never understand. It's "Christmas In California" by America (with some help from the late, great Andrew Gold):
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Post by erik on Jan 25, 2016 19:43:15 GMT -5
In honor of Glenn Frey, I have been listening to his 2012 album After Hours, a covering of the Great American Songbook that includes, among other things, two songs ("For Sentimental Reasons"; "It's Too Soon To Know") that Linda has done as well: And to honor Pierre Boulez, the legendary French conductor who passed away on January 5th at the age of 90, I am also listening to his 1994 recording of the complete ballet score for Maurice Ravel's "Daphnis And Chloe", along with "La Valse", that he made with the Berlin Philharmonic Orchestra:
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Post by erik on Feb 19, 2016 22:21:09 GMT -5
New classical release: An all-Copland collection, with "Rodeo" and "Billy The Kid" in their complete versions, plus "El Salon Mexico", and "An Outdoor Overture", with the Colorado Symphony Orchestra (how apropos) led here by their current music director (and Conductor Laureate of the Dallas Symphony as well) Andrew Litton.
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Post by erik on Mar 15, 2016 9:37:42 GMT -5
Opera was one of the very few places where Franz Schubert had practically no luck in making his mark on. But this 1988 recording of his woefully neglected, Beethoven-influenced 1823 opera "Fierrabras" went a fairly long way in starting, if not a revival then certainly a reappraisal, of that neglected side of Schubert. This recording features a tremendous cast that includes Thomas Hampson, Karita Mattila, and Cheryl Studer, with the late Claudio Abbado leading the Arnold Schoenberg Choir and the Chamber Orchestra of Europe.
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Post by the Scribe on Apr 6, 2016 3:27:45 GMT -5
I love it when people get creative with videos using Linda's music:
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Post by the Scribe on May 30, 2016 6:46:08 GMT -5
www.youtube.com/playlist?list=PL95EC3E60EFAD91D8
www.noisettes.co.uk/
Beginning as a ragged but energetic garage-influenced indie rock group with the ferocity of punk but with a soulful, bluesy edge and later delving into disco and unadulterated pop, the Noisettes were founded by guitarist Dan Smith and singer/bassist Shingai Shoniwa, who previously worked together in the band Sonarfly. While the pair already had a working relationship, in the spring of 2003 they began getting together to write songs, and their new project fell into place when they met drummer Jamie Morrison, whose manic approach matched Smith and Shoniwa's brash, physical style but also left room for the latter's diva-gone-wild vocals. Adopting the name the Noisettes, the trio started playing out in late 2003, and in 2004 went into the studio to record a four-song EP, The Three Moods of the Noisettes. In early 2005, the disc was released by the U.K. independent label Side Salad Records and attracted the attention of a number of well-known British acts, including Babyshambles, Bloc Party, and Muse, all of whom invited the group to tour with them.
What's the Time Mr. Wolf? The disc also found appreciative ears at Universal Music, which signed the Noisettes to an international deal in 2006, releasing their material through Motown/Vertigo in Europe and Mercury in the United States. The group's debut album, What's the Time Mr. Wolf?, was released in February of 2007. The band returned in March 2009 with the single "Don't Upset the Rhythm," which introduced the Noisettes' newfound pop polish and disco influences; later that spring the group's second album, Wild Young Hearts, arrived. The album was released in the U.S. that fall. Morrison left the group in early 2010; later that year, the core duo of Smith and Shoniwa issued a cover of the Buzzcocks' "Ever Fallen in Love (With Someone You Shouldn'tve)" and a re-recorded version of "Sister Rosetta" for the soundtrack to The Twilight Saga: Breaking Dawn, Pt. 1. The Noisettes' third album, Contact, arrived in 2012, and its singles "Winner" and "That Girl" revealed the duo was moving in even more eclectic directions.
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Post by erik on May 30, 2016 8:46:51 GMT -5
Because it's Memorial Day:
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Post by the Scribe on May 30, 2016 9:07:22 GMT -5
MY IDEA OF A MEMORIAL DAY SONG
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Post by erik on May 31, 2016 22:56:22 GMT -5
Two movie songs from the 1980s that I doubt too many people have heard (or even heard of):
"Nights Are Forever"--Jennfer Warnes (from 1983's TWILIGHT ZONE: THE MOVIE):
"Learn To Love Again"--Amy Holland and Chris Farren (from 1984's NIGHT OF THE COMET):
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Post by erik on Jul 12, 2016 21:12:11 GMT -5
Here's my middle-finger to Rudy Giuliani and Donald Trump re. Black Lives Matter: The first-ever symphony by an African-American composer to get a concert performance (the First Symphony of William Grant Still), plus the great 1970 ballet score "The River" by Edward "Duke" Ellington, done by the Detroit Symphony Orchestra under Neeme Jarvi.
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Post by erik on Jul 15, 2016 12:38:15 GMT -5
For obvious reasons today:
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Post by erik on Jul 15, 2016 21:02:04 GMT -5
...plus these on YouTube:
The Moon Is A Harsh Mistress All That You Dream (Live From Houston, 1978) Adonde Voy Love Is A Rose Colorado Break My Mind Birds Can It Be True? She's A Very Lovely Woman Walk On Heartbreak Kind Mr. Radio I Will Always Love You Don't Talk (Put Your Head On My Shoulder) Roll Um Easy The First Cut Is The Deepest (In Concert, 11/17/73)
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Post by Indie on Jul 19, 2016 11:27:47 GMT -5
Has anyone seen Amos Lee in concert? I really like his new song "Vaporize."
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Post by erik on Aug 3, 2016 14:45:10 GMT -5
If you're a kid, you remember this man as the shadowy figure conducting J.S. Bach's Toccata and Fugue In D Minor (in his own orchestral transcription) at the beginning of the landmark Disney film FANTASIA. He is Leopold Stokowski; and here, he takes a unique slant on the overture for Mozart's darkest opera "Don Giovanni". Since any performance of the opera has the overture segue quietly into the first act without an actual coda, conductors usually must concoct a coda of their own from the overture's material. Stokowski does something radically different, in that the coda he uses is actually from the opera's final, nightmarish scene as the multi-timing Don Giovanni is dragged down into a hellish Purgatory, making for a fairly overwhelming and imposing way to finish off this war horse. What's even more incredible is that, when Stokowski made this recording with the National Philharmonic Orchestra of London in November 1975, he was still conducting at the age of 93. It sure doesn't sound like it, though, on this recording (IMHO):
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