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Blue Black Burgundy Grey. Black Background Clear Background. Chapman listened politely but didn't say much and went on her way. Undaunted, Koppelman continued attending her shows, sitting in the front row.
Although Chapman finally agreed to talk, she declined to cut any demos for him. In exchange, the station got to broadcast her songs. Koppelman went to the station, and while a friend distracted the DJ, he lifted one of the tapes. It had one song, "Talkin' Bout a Revolution," on it. He made a copy and took it to his father. Chapman's demo tape with SBK led to a signing with Elektra. I didn't see a place for me there.
David Kershenbaum was suggested by an SBK executive, according to Koppelman, after several other producers turned down the project. Chapman's greatest concern during her meetings with Kershenbaum was that the integrity of her songs remain intact. Chapman played "Fast Car" for Kershenbaum during their first meeting. Tracy Chapman was recorded over an eight-week period at Powertrax, Kershenbaum's Hollywood studio. As many as thirty different bass players and drummers were invited to come in to play with her.
In a similar way, "Behind the Wall" was recorded a cappella — and left as is. The album opens with "Talkin' Bout a Revolution," which is "a good introduction to who she is and what she's saying," says Kershenbaum.
The running order of the other ten songs on Tracy Chapman was determined by writing song titles out on three-by-five cards and shuffling them around in different sequences. How did the album's success affect the artist? In fact, if anything, she's gotten much smarter and wiser. For a change of pace, the Thompsons had decided to record an album with producer Gerry Rafferty, who as an artist had scored a hit with "Baker Street. Enter Richard's friend, producer Joe Boyd, who brought the Thompsons into the studio to cut a quick, low-budget album for his small independent label, Hannibal Records.
Richard found himself in more familiar surroundings — he and Boyd had worked together twelve years before, when Richard was the lead guitarist with the pioneering folk-rock group Fairport Convention.
Recording was done at Olympic Studios, an old Fairport haunt, with a band that included the Fairport rhythm section of drummer Dave Mattacks, bassist Dave Pegg and guitarist Simon Nicol. Three days into the sessions they had the basic tracks for Shoot Out the Lights. The record turned out to be the soundtrack to what Boyd calls "an elaborate soap opera. There's no concealing the genuine desperation of "Man in Need," in which a man walks out on his family at dawn.
Shortly after the record was completed, Richard left Linda, who was pregnant at the time, for another woman. Richard dismisses the idea that the lyrics presaged what was to happen to their ten-year-old marriage. There was a kind of common denominator in those songs — they fit together, and we weeded them out that way.
According to Linda, that common denominator was "utter misery. It was kind of a subliminal thing, but that was definitely it," she says. We couldn't talk to each other, so we just did it on the record. The tension took its toll on Linda's voice. A victim of "studio fever," she developed a nervous tic that made her lose breath, making it difficult for her to keep her voice at full strength for more than a couple of lines at a time.
As a result, Boyd was forced to painstakingly stitch together complete vocals from several takes. But for all the studio trickery, the performances have a real cohesion and showcase Linda's achingly beautiful voice. The album's masterpiece, though, is its title track. A slow, dissonant rocker about a psychotic killer, it was, according to Richard, originally about the Russians in Afghanistan.
On Shoot Out the Lights, Richard reclaimed what he calls his "license to rip" and came up with his most inspired and unrestrained guitar playing since the glory days of Fairport Convention.
Nowhere is Richard's renaissance more apparent than on the masterful second solo of "Shoot Out the Lights": alternately soaring and twitching, Thompson's guitar echoes a psychopath's flitting emotions, ending on a tantalizingly unresolved note. The song nearly didn't make it onto the record. If Richard had had his way, the light pop tune "Living in Luxury" would have been there instead. At the end of each side is respite — a calm in the eye of the storm.
The gentle ballad "Just the Motion" "was an attempt, deliberate or unconscious, to write something that was a bit restful," says Richard. To close the record, the Thompsons duet on the perversely joyous "Wall of Death," ostensibly about an amusement-park ride.
The ensuing tour was understandably tense and marked by screaming matches both on and off the stage. Despite the string of excellent records that preceded it, Shoot Out the Lights remains the Thompsons' most commercially successful effort, even though it never made the pop charts. With more than a trace of bitterness, Richard acknowledges that part of its appeal is the couple's split.
And he still doesn't think it's the best thing he and Linda ever did. Well, I think the songs are good. But I don't think the performances are outstanding. And we still get complaints about the drum sound, especially from the drummer.
On the other hand, Linda considers Shoot Out the Lights to be the couple's best work. We were expecting the record company to say, 'Sorry, this isn't even a record, it's a demo tape. Go back and do it again. For the most part, I. Records liked Murmur a great deal, and so did an audience that embraced R. From the mysterious photograph of a kudzu-covered train station on the jacket to the intriguingly off-kilter music within, Murmur quietly broke with the status quo and mapped out an enigmatic but rewarding new agenda.
There is nothing obvious or superficial about R. Meanings are hidden in a thicket of nonlinear imagery, with mumbled or distant vocals from Michael Stipe. Elliptical language occasionally jumps out in terse phrases such as "conversation fear" from "" as Murmur bypasses logic and goes straight for the subconscious — a state of altered awareness not unlike the rapid-eye-movement stage of dreaming from which the band took its name.
The members of R. Theirs was a quasi-traditional yet boundary-breaking sound that served as a blueprint for alternative bands throughout America for the rest of the decade. Initially outcasts on the arty-party band scene spawned by the B's in their hometown of Athens, Georgia, the members of the group profess to draw more inspiration from Velvet Underground and the Byrds than from any of their contemporaries. They also claim to have learned a lot from Gang of Four and the English Beat, with whom they toured early on.
Though the individual members weren't extraordinary technical musicians, the balance of personalities within R. Drawing from his fertile imagination, vocalist Stipe launched R. The group balked at recording elsewhere. Producers Easter and Dixon provided technical expertise and offered opinions. Very little was done by the book. Stipe, for instance, generally recorded his vocals in a darkened stairwell off to the side. Although his vocal approach was unusual for rock, Easter and Dixon had no intention of altering his style.
If anyone at I. The band added a lot of quirky, experimental touches to the basic tracks in the overdub stage. I'd play acoustic guitar and then take the guitar off and leave the reverb on with the delay, so that it was ghostly and strange. Through the Years. When twenty-three-year-old Michael Jackson and his producer, Quincy Jones, began recording Thriller , they hoped to create a great record that would at least equal the 8 million unit sales of Jackson's prior solo outing, Off the Wall.
What they ended up with eight months later became the biggest-selling album in history. It earned Jackson over gold and platinum awards worldwide and a record seven Grammys. At the height of Michaelmania in , Epic Records was selling in excess of 1 million Jackson records a week. Thriller was the musical equivalent of the Hula-Hoop, an item that everybody had to own.
Pretty Young Thing. I thought, 'Maybe this is going too far. With Thriller, Jackson and Jones were aiming for a dynamic, balanced collection of potential hits. Jones went through over songs in search of additional material. If 'Billie Jean' sounds good, it sounds even better followed by 'Human Nature. It began during the spring of at Michael Jackson's Tudor-style mansion, in Encino, California, where he had been working on material in his sixteen-track studio.
Jones and his engineer, Bruce Swedien, spent several days there with Jackson, listening to "Polaroids," their term for the crude demos Jackson had made. In April they moved to Westlake Audio, in Hollywood, where the majority of the album was recorded.
The first song cut was "The Girl Is Mine. Particularly innovative was the repeated vocal motif — "ma ma se, ma ma sa, ma ma coo sa" — that ends "Wanna Be Startin' Somethin'. Price's "Thriller" rap was written by Rod Temperton during a cab ride to the studio, and Jackson recorded the wolf howls in the alley outside the studio. Jones had to coax Jackson into writing "Beat It.
I had to squeeze it out of him. Jones and Jackson thought they had the album wrapped in November. They were wrong. Biggest piece of shit in life. We were horrified. So we took two days off, then spent the next eight days remixing. One song a day. We put those babies in the pocket. Thriller has been an extremely influential album. Everybody began to understand the power of melody again after Thriller.
Perhaps Thriller 's biggest accomplishment has been its influence on other black musicians. Michael did it. He did it for the first time. Born in the U. The influential Jersey musician became the world's biggest rock star — and a bona fide American icon, to boot. As a result, Springsteen found himself dominating the album charts in and He hit the Top Ten seven times and wound up in heavy rotation in the theretofore unfamiliar terrain of MTV. The album inspired those who knew what his bitter, tough-minded songs were really saying from numerous songwriters to novelist Bobbie Ann Mason, whose In Country owes a debt to the LP , as well as many others who misinterpreted and exploited the cover's American-flag imagery among them, both presidential candidates and countless advertising agencies and jingle writers.
For Springsteen, who'd been catapulted into the media spotlight almost ten years earlier, when his album Born to Run landed him simultaneously on the covers of Time and Newsweek, Born in the U. With Born in the U. It was like 'Great. We're selling all those records? But it took Bruce Springsteen a long time and a lot of soul-searching to get to the point where he was willing to welcome that kind of stardom.
Born to Run was followed by two years of legal difficulties and, finally, the grim, relentlessly downbeat Darkness on the Edge of Town. The commercial breakthrough of The River was answered by the bleak acoustic album Nebraska. But when it came time to assemble a new album, Springsteen's choice was clear: If he was ever going to make a blockbuster rock record, this would have to be the one. Besides, he already had most of the songs.
Springsteen originally recorded the last of these on the acoustic demo tape that became Nebraska, but he quickly abandoned that version, feeling it didn't really work in that format. At the start of the May sessions with the full band, Springsteen revived the song in a new, electric arrangement.
We played it again and got an even better groove on it. At the end, as we were stopping, Bruce gave me the high sign to do all these wild fills, and we went back into the song and jammed for about ten minutes, which was edited out. I remember that night as the greatest single experience I've ever had recording, and it set the tone for the whole record. That track was so special; it was really something to live up to.
For a while, though, Springsteen was ambivalent about following through with the rock record whose tone had been so dramatically set by "Born in the U. Springsteen drove to Los Angeles, where he began recording demos on his own, most of them closer in sound and spirit to Nebraska than to Born in the U.
When he returned to recording with the E Street Band, the sessions were marked by prolific songwriting and a freewheeling approach on the part of Springsteen. We'd been recording all night and were dead tired, but they had to open up the cases and set up the equipment so that we could start recording again at five in the morning. In the end, though, most of the sessions were inconclusive. Of the dozens of songs he recorded from mid to mid, only "My Hometown" would make Born in the U.
Eventually, Landau and coproducer Chuck Plotkin convinced Springsteen that the best songs were from the May sessions. Late in the recording process, however, Springsteen wrote a few more standouts, including "Bobby Jean," his benediction to guitarist Steve Van Zandt, who'd left the band to pursue a solo career, and "No Surrender," an optimistic raveup. The album slowly and painstakingly assumed a shape with the help of band members, colleagues and friends who were asked to vote for their favorites from about twenty contenders.
He had a list of requirements: It should unify the record, it should be written in the first person, and it should capture where Bruce was at that point in time. Springsteen objected — "The obvious response is, 'Hey, if that's what you want, then write it yourself,' and I got a little bit of that in this case," says Landau — but three days later Springsteen played Landau a new song born of his frustration and confusion.
Its title was "Dancing in the Dark. And the bookends ["Born in the U. But I never really felt like I quite got it. Still, if Springsteen looks back at Born in the U. Few albums have had humbler beginnings, been as musically adventurous, generated as much political controversy or been as warmly received by the public as Paul Simon 's Graceland. Released in , Graceland matched Simon with a host of African artists — including guitarist Ray Phiri and his band, Stimela, and the vocal group Ladysmith Black Mambazo.
The album's scintillating blend of lively beats and thoughtful lyrics, as well as its seamless fusion of the familiar and the exotic, restored Simon's career and brought African music, and particularly South African music, to a broader international audience. The journey to Graceland began with an unlabeled cassette tape that guitarist Heidi Berg gave to Simon, who listened to it incessantly, without knowing what it was, throughout the summer of Simon's curiosity eventually got the better of him, and he discovered that the album on the tape was called Gumboots: Accordion Jive Hits, Volume II and had been recorded by the Boyoyo Boys, a group from South Africa.
The kind of music on Gumboots is mbaqanga, or "township jive," the street music of Soweto, South Africa, but for Simon the album called to mind music that was closer to home. But the way they play the accordion, it sounds like a big reed instrument. It could almost be a sax.
The music, which seemed to Simon both fresh and reminiscent of the earliest music he loved, suggested a potential new direction for his work. He got in touch with South African producer Hilton Rosenthal, who sent him about twenty additional albums by local musicians, and in February of , Simon traveled to Johannesburg to begin recording Graceland.
Simon's trip to Johannesburg also triggered a firestorm of protest from antiapartheid groups that charged that, however honorable his intentions may have been, he violated the United Nations cultural boycott of South Africa. In the wake of Graceland 's release, denunciations flew back and forth. Simon insisted that black South African musicians "voted to let me come," were paid triple the union scale for their work on the album and valued the international exposure Graceland would provide for their music.
The explanation did not wash. He spends money the way whites have made it possible to spend money there. The money he spends goes to look after white society, not to the townships. This is one reason why we do not want people to go there. Eventually, after months of recriminations, both sides simply seemed to tire of the battle.
Simon was never formally added to the list of censured artists. For his part, Simon reluctantly wrote a letter reiterating his refusal to play in South Africa — he had twice previously turned down offers to play Sun City — and donated proceeds from a number of concerts on the Graceland tour to black charities in the United States and South Africa.
From Simon's point of view, Graceland helped in the struggle to end apartheid. Scruff— Mr. This special edition will feature a 24" x 36" replica of Capitol Records' original promotional Band of Gypsys poster. The sisters individual credits: Petra - sought-after collaborator on violin and voice; recording and touring credits include Bill Frisell, Green Day, Foo Fighters, Nancy and Beth "punk-vaudeville" act created by Megan Mullally and Stephanie Hunt ; Rachel - toured with Todd Rundgren, lead singer on Weezer B-side, former member of that dog; Tanya - visual and animation artist.
Burnside store has special give-aways with purchase! Spoiler Alert! Recorded with Steve Albini — year old songs re-recorded. What began as a casual writing and recording session amongst friends has since become a project of legend.
Nico, Papa Wemba — and all feature here in their ground-breaking early groups such as O. Thank You Mr. LP includes vinyl magnet insert! On purple vinyl only at indie record stores. Sam Shepherd no, not that one is an electronic artist from Manchester. Special editions on colored vinyl while supplies last. Like ya do. Only at indie record stores. Team— Thunder, Lightening, Strike anniv.
With Brian Setzer! Records includes all their vintage studio recordings, singles and demos. It reached No. From Wikipedia, the free encyclopedia. Not to be confused with Scot album. Scott Walker. Retrieved Review: Scott.
Of "Running to Stand Still," LP Edge says it was "almost improvised to tape. Some of the Finald Hours - Distemper - Up Against The Wall (Cassette) that didn't end up on the album — such as "The Sweetest Thing," "Spanish Eyes" and "Deep in the Heart" — became B sides of singles. It is, of course, impossible to separate the album from what happened immediately after it was released. Springsteen's first series of demos included nine of the album's Try My Love - Various - Disco Mix / Lets Do It (Vinyl) Album). From the mysterious photograph of a kudzu-covered train station on the jacket to the intriguingly off-kilter On Your Side within, Murmur quietly broke with the status quo and mapped out an enigmatic inucpagisttatta.raimilzomawildtaraldiogardhindvete.info rewarding new agenda. In Botutu - Malédiction 2 similar way, "Behind the Wall" was recorded a cappella — and left as is. Elektra, meanwhile, let Baker make Friday Nites record her way. Circular 1.
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