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| lemonade kid |
Posted - 18/06/2016 : 13:49:42
Such fun to hear Rod & Colin as a lo-fi duo on Tiny Desk Concert...
The Zombies...an all-time favorite 60's spin on my tiny turntable, still are.
The Zombies: NPR Music Tiny Desk Concert
https://www.youtube.com/watch?v=NrpX8HgQxOw
Published on Oct 9, 2012
Predicting music that will survive the ages just isn't possible. And the very existence of The Zombies in 2012 is even more baffling. Don't get me wrong; I love this group. A few of their 45 RPM singles Ñ "She's Not There" and "Tell Her No" Ñ I can still recall spinning 'round on my record player as a kid. But understand that this band didn't do so well at home in England and that its best known song, "Time of the Season," came out after the band had already broken up. The fact that The Zombies were here at my desk, that the band put out a record of new songs Ñ Breathe Out, Breathe In Ñ that the full band just completed a U.S. tour and that they sounded fabulous (I saw them twice in the past six months) is beyond surreal, it's a marvel.
This stripped-down version of The Zombies features two founding members: Rod Argent, the very adept keyboard player and backing vocalist, and singer Colin Blunstone. It may be Blunstone's voice Ñ that sultry, gentle, kicked-back style Ñ that defined the band's sound. These days that voice packs more punch than it used to, which is odd and amazing for a 67-year-old singer, though it's still unmistakably him. We caught Blunstone early in the morning for this Tiny Desk Concert, a time of the day when his range was self-admittedly a bit strained. However, the essence is still all there and so is the chemistry between Colin and Rod, a chemistry that began 51 years ago.
Set List
"She's Not There"
"Any Other Way"
"Time of the Season"
"I Don't Believe In Miracles"
Credits
Producer and editor: Bob Boilen; videographers: Bob Boilen and Nick Michael; audio engineer: Kevin Wait; photo by Ebony Bailey/NPR
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The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. Ð GENE CLARK
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| 2 L A T E S T R E P L I E S (Newest First) |
| lemonade kid |
Posted - 18/06/2016 : 13:57:12
Pretty much grew up with Jackson in my consciousness and America's conscience and great troubadour. With a cracked but familiar voice and the road in the lines of his face, he still is able to get deep inside us...
Jackson Browne: NPR Music Tiny Desk Concert
https://www.youtube.com/watch?v=11HHue911Tg
Published on Oct 8, 2014
My admiration for Jackson Browne began with his first album in 1971. I was wowed by the fact that the singer-songwriter had worked with Nico of Velvet Underground fame Ñ his girlfriend at the time Ñ on her first album, Chelsea Girl. He wrote one of my favorite songs on that record, "These Days."
More than 40 years on, my appreciation continues to grow. Browne still writes songs with conviction and craftsmanship and careful attention to detail. At the same time, there's a perceptible loosening of attitude: His Tiny Desk Concert performance isn't perfect, his heart showing through every crack in his voice.
Browne can be seen out and about in other informal settings besides this one. At the Newport Folk Festival a few years ago, you could hear him play formally and informally with Tom Morello, Conor Oberst, Dawes and more. Back home on the West Coast, he might just sit in when Sara and Sean Watkins put on theirWatkins Family Hour variety show at Largo.
This week, Jackson Browne turns 66 and releases his 14th album, Standing In The Breach. It's a record that fully captures his rare ability to mix activism with poetry: His stature allows him freedom Ñ he's largely free of obligations Ñ with the ability to play comfortably with musicians of his own choosing. Yet he continues to stretch, working alongside much younger players with different talents and interests, sharing his talents and finding inspiration. It's that passion for playing and exploring that brings Browne to things like the Tiny Desk Concert, an awkwardly intimate setting for such a popular performer. -- BOB BOILEN
Set List:
"Call It A Loan"
"The Barricades Of Heaven"
"Long Way Around"
Credits:
Producers: Bob Boilen, Denise DeBelius; Editor: Maggie Starbard; Audio Engineer: Suraya Mohamed; Videographers: Colin Marshall, Maggie Starbard, Susan Hale Thomas; Assistant Producer: Denise DeBelius; Photo by James Clark/NPR
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The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. Ð GENE CLARK
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| lemonade kid |
Posted - 18/06/2016 : 13:52:07
Yusuf/Cat Stevens: NPR Music Tiny Desk Concert
https://www.youtube.com/watch?v=FoPoI1IwcTw
Published on Dec 15, 2014
In the summer of 1971, I was a camp counselor at a sleep-away camp for a bunch of 5- to 7-year-olds. For those eight weeks, I walked home with about $50. I bought a guitar and began to learn the songs I'd come to love from the recently released Tea for the Tillerman by Cat Stevens.
"Father and Son" touched me most Ñ it's a song about growing old, and about beliefs and conviction. More than 40 years later, that songwriter is performing at my desk with his son standing right behind me. You can never imagine the turns life will take.
Nor could he. In 1976, Cat Stevens almost drowned off the coast of Malibu. In his panic, he says, he shouted, "Oh, God! If you save me, I will work for you" Ñ at which point he recalls a wave that came and carried him ashore. He converted to Islam, changed his name and left the pop world after one last album in 1978.
He finally returned in 2006, and now we have a new record, Tell 'Em I'm Gone. From that album of great blues covers and originals, produced with Rick Rubin, Yusuf plays some powerful new music, as well as the 1967 classic "The First Cut Is the Deepest" Ñ and then brought me to tears by dedicating a version of "Father and Son" to me. As I walked around the office after this Tiny Desk Concert, I heard one story after another of an artist who has touched so many. It's a joy to have him back. --BOB BOILEN
Set List
"I Was Raised In Babylon" (1:08)
"The First Cut Is the Deepest" (4:32)
"Doors" (7:45)
"Father and Son" (10:38)
Credits
Producers: Bob Boilen, Maggie Starbard; Audio Engineer: Kevin Wait; Videographers: Colin Marshall, Maggie Starbard; Assistant Producer: Susan Hale Thomas; photo by Susan Hale Thomas/NPR
________________________________________________
The actual writing of a song usually comes in the form of a realisation.
I can't contrive a song. Ð GENE CLARK
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