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O g ona vokal muse buldu ruff, suskun Lanegan, hayatında o söylemek Umursarsan daha görmüş bir sonraki gün Johnny Cash. Onlarınki simbiyotik bir ilişki vardır - bir güzel, ama nispeten sınırlı şarkıcı kendini, o seviyor / blues peyzaj ülke uyandırmak için onun yıpranmış ses ihtiyaçları Onu müzikle yaşamak ve onun onun şarkılarını yorumlayarak en iyi yer almaktadır.

Onların les s-daha-romantik kayıt işlemi - Campbell, mükemmeliyetçi auteur çalışır Lanegan damla süre için onu müzikal vizyonu gerçekleştirmek için aylarca bir iblis gibi ra birkaç gün onun vokal bastırmak için - bir yalanladılar saf kimya tarafından sonuçlar. Ne yeni bir güzellik-ve-hayvan-eşleştirme ac haline gelmiştir olarak başladı lassic ortaklık ve şimdi bu güzel garip albüm çift üçüncü spi için geri döndü ama belki onların en pas de deux başarılı olan, dans pisti çevresinde n.

Broken Seas Ballad Of İlk işbirliği, Nancy Sinatra ve thei Lee Hazelwood olarak kurulan sakin yüzey, ihlal karanlık maddenin dalgalanmalar ile beklenmeyen bir şirin ülke zevk oldu r nesil. Şeytan Dirt At Onların sonraki toplantı, Pazar, bir sultrier güney oldu mesele. Şimdi birbirlerine sussed var, Hawk tekrar ileri şeyler iter. O styl sonic's in grittier pl aslar, ve hatta çeşitli bir konuşlanmasından konusunda daha emin es ve Of Green zarif transatlantik reel Eyes gibi ruh halleri, onun mas ile Bir dağ ahır dans resimde sihirbazlık sed kemanlar ve dövüş davul iki dakika altında.

Ancak, albüm henüz ikilisi en hüzünlü anlarından biri ile başlar. W e Die Ve bir zorlukla Güzellik Reign Lanegan Campbell incecik halk ezgisi şarkı var See- , Terkedilmiş karanlık ve samimi pişmanlık yeniden pastoral performans.

O saat geri düşüyor alçak, Rootsy Snake Song her zamanki viski bulanmış yollar ve Me WHI, Let Down Won't açkılı arka plan) olarak çevresinde ise Campbell prowls solo James (tarafından eski Smashing Pompa kin Iha gitar ch hoşgörü izinleri kendisi.

Geri gel bir olumlu titrek dizeleri ile süslenmiş boğucu güney soul / blues payanda, türü Dusty Springfield duri için onun adını koymak mutlu olurdu onu Memphis süre kalmak ng. Sezon Of Time ölümsüz Zombie bir kapak değil s parça, daha fazla ama yazık, ülke şarkı ile mutfak-lavabo ly Noel büyüleyici, Ambling bir Webb Jimmy prime dize bulanmış romantizm RICS soundtracked tarafından.
Paritenin vokal sınırlama s sadece gerçekten Me Get Behind ve delişmen blues jam üzerinde maruz hangi verebilecek büyük bir ses ayarlıyoruz ile yaptım. Campbell ve Lanegan b uzak olan frengi shouters ve burada onları teslim hiçbir taviz yoktur - o iki t, o breathy's, çakıllı's enaciously low-key.

Campbell trac enstrümantal başlığı yuvarlak konu alır bir vokal yerine bir ucube-out caz saksafon dağıtmalarını k rockab dengesiz için Illy etkisi, daha sonra t kaldırmak için bazı gerçek gospel şarkıcıları kiralamak için sorun sürüyor o destansı albüm daha yakın zamanlarda ruhsal alemlerine. Ancak, onun d kendi elicate, içini çekerek tonlar ideal solo uygundur tremolo meşale açar şarkı Sunrise ve Cehennem & Back Again için baygın.

Ama bu nedir? evlilik bir üçüncü kişi? Konuk vokalist Willy Mason sade ve basit, Güz Zandt's No Place To vücut Van'a bir kapak Townes ağırlık miktarı r ight ödünç sadece olmasıdır kişi ülkenin eski bir ruhum genç bir "Güzel gözler" ve zaman "hızlı bir eski tren" olma tive konuşun. Bazı yalnız keman ekleyin ve bir başlangıç ​​var potansiyel güzel ilişki - Lanegan dikkat, size rakip bir ettik var, o da muhtemelen çok ty pur konuşmak bilir nasıl.

Mason Cool Water, bir loping akustik ülke uyuşmuş tekrar yol alır Arka planda araba boynuzları Honking ve Campbell dikkatle üçlü birleşik kristal at ile er Ayaklarının. Bu araç tüm Alon direksiyon olmuştur o olduğunu varlık ironi g. Campbell yine Mason ile çalışmak istediğini ima var - it's sadece Ma rk Lanegan kırmak için zor bir alışkanlık çıkıyor. Ama her yerde onu içgüdüleri onu almak Gelecek, dinleyicinin galibi olacak.

Corinne Bailey Rae , singer

T here have been so many amazing moments in my career so far: coming off stage to find Prince had been in the audience, playing for Nelson Mandela, being introduc ed at the Grammys by Stevie Wonder and knowing it was my opportunity to get hear d by millions of people.

However, my favourite moment is right now, right this i nstant. I am coming to the end of a six-week tour of north America with my new a lbum The Sea. It has been amazing and the response is such that I couldn't have dreamed it bet ter. I love looking out at an audience full of people from all backgrounds black and whit e, hipsters and 60-year-olds, gay and straight, collegiate and rowdy. I'm playing a record I r eally believe in, standing on stage with friends I've known since I was a kid and seeing so mu ch of north America.

One day you're braving the snow in Montreal, eating sushi, the next day y ou're in Coachella in a romper suit, drinking out of a coconut. I met Björk at this great par ty she threw with the Dirty Projectors at a warehouse in Williamsburg, New York, and played on Late Night with Jimmy Fallon with the Roots. We dance on the tou r bus to Erykah Badu's new album and I pass the time playing my 1920s Washburn guitar that I p icked up in a shop in Haight-Ashbury. I am experiencing happiness in my life tha t I didn't imagine possible two years ago, when my husband died, and that makes this moment, n ow, so wonderful to me.

Sir Mark Elder, conductor

During Gorbachev's years in power, the En glish National Opera did a Russian tour. I was music director at the time and we were the first British opera company to go there. We took our production of Ver di's Macbeth. They had no idea what to expect, but somehow word got round that it was going to be an exciting evening. I came into the pit and a man in the front row of the s talls lent forward, handed me a bunch of flowers and said quietly: “You are welcome.”

I couldn't start for several minutes because members of the public were trying to force themselves into boxes which were ruthlessly patrolled by large Russian ladies. The performance was one of th e most exciting of my life. Everybody was on top form, and at the moment in the first act finale when the king's murder is discovered, the entire company has to sing a loud d ramatic passage. When the music cut off, instead of the customary stunned silenc e, the audience broke into wild applause. I can remember only thinking, I hope t he singers don't lose their pitch because the next passage is unaccompanied. When I came back into the pit for the third act, the audience gave the orchestra an enormous ovat ion and a young girl skipped down the central aisle and handed me another enormo us bouquet of flowers.

Michael Rother, Neu!

It would have to be when I heard th e first Neu! album at home, after recording it with Klaus Dinger and [producer] Conny Plank. We were playing it to family and friends, so it was a very happy, s pecial moment to have them all hear this recording of my ideas. Listening to Hal logallo and all the other tracks outside the studio was always a very important deneyim. It was so wonderful to hear the tunes in the living room with my mot her and brother – everybody seemed to have a positive feeling. You could feel the intensity of what music does to you, the beauty of it, the magic. It surpri ses me because we had to record that album in four nights without having any pos sibility of preparing stuff at home. In those days no one had recording gear at home. So we had to create the music on the spot in the studio. The magic, especi ally of Hallogallo, has survived all this time.

Gary Kemp, Spandau Ballet

Canlı Aid was such a pivotal moment for my generation of groups. It was the apex of th at decade, the highest point of that golden age of British pop music. None of us would ever be that powerful again. Let's face it, we were all trying to raise money for Ethio pia, but it was also an incredible moment for us all to enjoy. There was also a huge amount of jostling for position throughout the day, and some were more succ essful at dealing with that than others.

The weather helped to highlight everyth ing. I remember flying in by helicopter, coming in over Wembley and seeing the t win towers – Wembley meant more to me in iconic terms than just a place to do a show. I was sitting next to [ex-Faces and Who drummer] Kenney Jones in the 'copter. I'ma massive Who fan, so all I was interested in was that this was their first gig for eight years.

W e were on at 2pm. I would have preferred to have been on at eight in the evening . But having those 20 minutes was incredible, even though I don't actually remember our perfor mance, just the bits around it, like seeing Pete Townshend, David Bowie, all the se extraordinary people. I thought I'd speak to Bowie, but he didn't know who the fuck I was. I got in his way at the bar. I introduced myself and he gave me one of those looks that sug gested I was stepping too close to his radar.

Meanwhile, I was drooling over P ete Townshend. He told me to follow him up on stage to stand on the side and wat ch the Who – the greatest rock band in the world – doing Won't Get Fooled Again. Then I go ta tap on the shoulder. It was Paul McCartney. He said he thought we'd done a great gig and g ave me the thumbs up. But Spandau didn't get it right. Others were better at pushing themselve s forward. Bono was no fan of anyone; he just went straight to centre stage – George Mic hael, too.

Still, I was thrilled to be part of that rock dream. I – a working class lad from Islington – had the feeling that, at any moment, someone was go ing to come up behind me and say, “Sorry, there's been a dreadful mistake, can you leave?”

La Roux , singer

Glastonbury 2 009 – it was the first time I had been to Glastonbury, which is pretty lame, r eally. But it was also the first time I had played a big English festival. It wa s also the same weekend that Bulletproof went to No 1. Even though we had a No 1 and had had another hit with In for the Kill I thought no one would give a tos s that we were playing. But it was an incredible experience. That's when YouTube comes in hand y. There were more people there than I could have hoped for. I remember peering out from behind the curtain and seeing the crowd spilling out of the sides of th e tent and Tony, my manager, saying: “See, I told you. Stop pranging out!” I didn't stop being nervous for the entire gig, but I remember secretly crying a tiny bit during the drop-down in In for the Ki ll. Every single person for as far as I could see had their hands up and sang ev ery word back louder than me. I had never seen that before. It was the moment we realised how many people knew La Roux.

Luke Steele, Sleepy Jackson and Empire of the Sun

It was pretty rock'n'roll – it was one of the best moments of my life. It was whe n I played a little show in New York with my father, who's been a musician for 40 years but ha d never been to the US. I produced his last solo record early last year and said I'd fly him over to support a set I was doing as Luke Blonde. There were these black bouncers from the future, and me on laptop and electronics. My dad was a bit shocked to see my sci-fi alter ego going straight into this Martin Luther King speech; it was pretty full on. Then my father came on and played all this Dylan, JJ Cale, Johnny Cash and Kris Kristofferson stuff and just blew away this New York crowd at the Bower y Ballroom. Jack Black was there. So was Heather Graham, who came in on roller s kates. I tried out her skates – her underpants as well. She tried out my guita r. We did a duet, with Jack Black on the drums. It was very surreal for me, a yo ung musician from Perth, the most isolated city in the world, where usually a gi g attracts a couple of fat drunk guys. The night dissipated into a long-distance dream. At one point, I refused to go on stage unless I got a box of Krispy Krem es. Then we left the venue and went to find Michelle Pfeiffer.

Baaba Maal , sing er

I met Nelson Mandela, then president of South Africa, for the first time in September 1996. I was performing at the Arts Alive festival in Johannesburg and was invited to meet him at his office in Pretoria. I wanted to bring him a gift, so I decided to give him a boubou, one of the west African robes that I wear on stage. He put it on at once, and I have a picture of him wearing it. I also had a letter to give him from the Senegalese president, Abdou Diouf, and he asked a bout all the important people in Senegal. And then he gave me advice. He said th at I should be a voice for the people, and that I could make a difference as am usician. He said that people believed what I said even more than they believed p oliticians, and I had a role as a messenger.

Something really strange happened d uring the meeting. There was a girl in the delegation from the festival who had not met President Mandela before. Immediately he saw her he started asking about her grandmother. “How did you know that she's my grandmother?” asked the girl. “I just looked at you, and I knew you must come from the same family,” Mandela replied. It was amazing. What a memory!

Amy Macdonald, singer

It was a gig last summer, a beautiful evening in Locarno in Switzerland. They cordoned o ff the town centre, and there were 12,000 people all crammed into the market squ are. The Kooks were my support band, who I love. I remember being on stage and s eeing endless amounts of people singing back to me all the words. I was overwhel med that you can travel so far from home and have so many people know your music . The best thing was seeing all the people at the front, smiling. It was an incr edible feeling, making all those people happy just by singing my songs. I had to stop myself from getting a little teary-eyed.

Ellie Goulding , singer

I thought I was insanely lucky when I was asked last year to go on Later … with Jools H olland. It's an institution. I never expected to be where I am now, let alone go on shows like that. I felt pretty odd album, a bit out of place. I was on with Diana Krall, S tereophonics, the Unthanks, Maxwell – I felt so honoured to have been there. I thought, “What on earth am I going to do when Jools starts playing piano and everyone joins i n,” so I started shuffling. It was one of the most nerve-wracking moments of my life. I'm lucky in that I do n't go crazy and lose it; I'm quite grounded and laidback. But Later … was a worry. It was the start of my career, a nd suddenly I was on this incredible show with some of the most talented artists , and I had to perform with them.

Professor Green, rapper

My greatest moment w as when my single went in the charts at No 3 this year. Not because I'm self-absorbed, but bec ause of the run-up to it. I was originally signed to Mike Skinner's label, and that went under , and it took a year to get my music back. Then I lost my father, who killed him self. That was two years ago. Then last May I got stabbed in the neck. It was so me asshole in a club, and it was completely unprovoked. It was serious – I had three-and-a-half hours' surgery to put it right. It was close to my carotid artery. I would h ave died if that had been nipped, or at least lost the use of my face, neck and shoulders. All in all it's been a pretty rough few years.

I threw myself into my work. After t he stabbing, I felt angry for quite a while. But I used the negative energy. It's nice to be o n an up. Lily [Allen] had an awful lot to do with it. We did a song together, an d she took me on a tour of Europe and Australia. I can't tell you how much love I've got for her. I found ou t I was No 3 on the Sunday morning. I was over the moon. I celebrated with my fi rst drink in seven weeks – a Jameson.

Andy Sheppard, saxophonist, composer

I t was in the late 1980s, I was playing at Ronnie Scott's and I got a call to play on a film se ssion the next morning. My manager had said it was just to do a sax solo over an orchestra, no problem. But when I got to the studio, it was the London Philharm onic Orchestra, and the composer and conductor was Elmer Bernstein.

He introduce d me to the orchestra as if I were some world-famous classical soloist. Then it turned out not to be an improvisation, but 580 bars of written music, to go with a seduction scene featuring River Phoenix (from A Night in the Life of Jimmy Re ardon) they were screening as we played. After five bars, I came off the rails. Bernstein stopped the orchestra, looked at me over his glasses, and said: “Everything OK?”. I said, give me five minutes to think about it, and it would be great to have a beer and a ciga rette. A guy went out and came back with a cold beer, a packet of cigarettes and an ashtray. I sat in the middle of the orchestra while they stared at the ceili ng, got out crosswords and newspapers – you could see them thinking: “We've got a right one here.”

I thought, I've fallen out of my s afe zone – though I know the jazz world seems pretty unsafe to a lot of people – and now I'm right out of my depth. But I drank the beer, smoked the cigarette, and somehow did it in one almak. At about bar 500, I remember hearing that little voice at my shoulder sayi ng: “You're going to mess this up now.” But it worked. In the end, I thought I'd played all the notes exactly as Bernstein had written t hem, but he said to me afterwards “I love the way you interpret my music.”

Kit Downes, pianist, composer, M ercury prize nominee 2010

It was a couple of years ago when I was with Empirical and we played the Newport Jazz festival. It was a blazing hot day, with that be autiful view out over the bay, and when we came off stage they announced there w as going to be a special guest appearance. It was Bill Frisell with his trio, th e one that made the East/West album. I'd never heard him live before, but I was sitting there among all those boats, water at my feet, and he started playing Moon River and H eard It Through The Grapevine, stuff that was so bluesy and laidback compared to our rather earnest modern jazz thing. It felt like the music was playing itself . It made a huge impact. He never makes what he does a product, his diversity an d constant creativity is amazing, and however different his projects are, they a lways sound like him. I've got a picture of him on my wall from the Cheltenham Jazz festival, with this big smile on his face at something somebody's just played. He looks like someone who's just happy to be doing what he's doing, it's a real inspiration.

Joe Perry, Aerosmith

I'd have to say when Aerosmith played with Ji mmy Page in August 썆. I'm not sure how it came about, but it was an amazing experience beca use he had been one of our major influences. Jimmy played just about every song we knew and loved, including a lot of blues stuff and Yardbirds stuff. The sound check at the Marquee was one of the most eventful couple of hours that I can thi nk of. People call Aerosmith the American Stones, but we were always more the Am erican Zeppelin. We didn't get a chance to rehearse, but it was a lot of fun. He travelled wit h us on the bus and we hung out with him for the whole weekend. It blows my mind to think that Jimmy would think that much of the band that he'd want to spend that much time hanging with us, and then play with us.

I would never have thought it would have been possible, growing up in Boston in the late 60s, when the idea of being in London was like for a Catholic going to the Vatican; the holy grail. The fact that 20 year s down the line I'd not only know Jimmy Page but be able to play with him, that was beyond any thing I thought could ever happen. That weekend, we mostly talked about places where we'd recorded in common and how hard it is to keep a family together on the road. And be ing a survivor. Me, Jimmy, Eric Clapton, Jeff Beck – we're still doing it, and Jimi Hendrix isn't. Neden? Luck. I think Jimi felt impervious to everything. But you can only take so much. A nd mucking around with street drugs is like playing Russian roulette, and in Jim i’s case, he lost.

Stan Tracey, pianist, composer

It has to be Sonny Rollins. When I was the house pianist at Ronnie Scott's in the 1960s, the star American soloists came over without the ir own bands, and we all had to do the best we could. The first time I met him w as probably 1965, he arrived at the rehearsal – I think this was in his beret phase – and asked me to name something to play. I said Prelude to a Kiss. We k icked it around for 45 minutes, then never played it again for the entire month he was here, until he came back again the next year. I wasn't nervous – I might have been if I was another sax player – I was just concerned about whether he'd be easy to get on with o r not. Some of the Americans could be difficult with local players back then. O was an amazingly nice, gentle guy and a massive talent back then, and he still olduğunu.

Meat Loaf , singer

If I'm telling you what the greatest moment of my career is, my career must be over! So as far as I'm concerned, I haven't had the greatest moment of my career yet. But if you wan t to talk about a moment that highlighted something, that moved something forwar d more than anything else, I would say January 1978, the CBS convention, which w e closed. I was kind of upset about being the last band on, because normally eve rybody starts going home in the afternoon on the last day. But they didn't in this case, and t he room was absolutely packed with all the other bands – Elvis Costello, Billy Joel, Cheap Trick. So we did the show and I sang For Crying Out Loud. When it w as over my eyes were closed I thought everybody had left the room, because there was a mo ment of dead, stunned silence, and it seemed to last forever. I went, “Oh my God, what happene d?” And I opened my eyes and when I did the room exploded. They went completely insane. Insanlar started rushing the stage – there are pictures of Billy Joel standing on a ta ble and all these people going completely crazy. They did $40,000 worth of damag e to the room – there were broken chairs, smashed dishes, everything! That's really what mad e Bat Out Of Hell take off. That was the turning point. It was an amazing, extra ordinary moment.

Rokia Traoré, singer

My greatest moment was back in June 1997 , my first-ever European show. I flew from Bamako to Paris, and then travelled down to the Angoulême festival, where I was performing on a big outdoor stage a s the opening act for Salif Keita and Ali Farka Touré. I had only performed liv e four times before, back in Mali. I had nothing to lose, and I was totally conf ident that nothing bad could happen and everything would be good – even though I knew that my band didn't respect me because I was young and female. They said that it wasn't possible to mix balafon and n'goni in the backing for the songs. All of this was made possible because of the French Cultural Centre in Bamako, who helped me, and sent tapes of my songs to Christian Mousset at Angoulême. Without that help from the Cultural Centre, I would never have enjoyed this career as a musician.

Martin Carthy, singer

Sel ecting one great professional moment from 50 years on the road presents problems . Four and a half years of music-making with Dave Swarbrick – especially when we rehearsed for our first gig in a train compartment on the way there, surround ed by Indian lads who giggled and clapped all the way? The moment on stage with Steeleye at Manchester University in 1970 when it was clear that the band worked so wonderfully? The first ever Brass Monkey gig at the Black Horse in Telham wh en sensational is the only word for the sound we made? Persuading Norma to make her first solo CD, working on it with some of the very best musicians and a grea t producer called John Chelew, then seeing it miss the Mercury prize by a whiske r? Why not any one of those? The truth is that when, in Elkins, West Virginia in August 1991, I first made music on stage with my daughter Eliza (and with Norma , of course) really does put everything else in the shade. There I experienced t he extraordinary magic of playing – and especially singing – with a blood re lative for the very first time. It was almost as though one didn't have to think. There was ne ver a moment when she was anything other than an equal in the matter and that in itself was astonishing and quite liberating. Ain't nothing quite like that feeling – that f reedom.

Stephen Hough, pianist

What comes to mind is the encore I played after a concert at Berlin's Waldbühne with Simon Rattle and the Berlin Philharmonic. It was three s ummers ago. I'd played the Rachmaninov Rhapsody, it was a big event – in front of 23,000 peo ple, and filmed for TV, and after I'd played this very loud tempestous work, I came back out a nd played a little piece by Mompou called Young Girls in the Garden. I play this in encores a great deal – more so than any other. Many encores can spoil the mood, but this fits after almost everything.

I came from a house without any cla ssical music . Mompou's piece was the very first record my parents bought me, aged 5 or 6: it g oes right back to my very first musical experience. The music has such innocence and purity; playing it at this venue, that had been built by the Nazis, in a city that wa s being bombed not so long ago – the whole thing just came together in a very magical way, and it was an amazing moment, a meeting of childhood memories and a full adult's career.

Tinchy Stryder , rapper, producer

I got to chill with Jay-Z and Beyoncé in his dressing-room! I was on my way to South Africa for the World Cup so I di dn't have time to worry about what to wear. I watched the gig first, which was crazy, man – I grew up listening to him, so seeing how he put a show together was really ins piring. It was mad. Then I went backstage. It was the first time I'd met him – I'd seen all his team alrea dy but I was on tour the last time I was invited to meet him backstage at Madiso n Square Garden. I wasn't nervous – I don't really get nervous with things like that.

He's a cool guy. He's chilled, laidback and humb le and makes you feel welcome. Beyoncé was there as well. She was real friendly â “ you see people on TV and don't know what to expect, but she's even better in person. Real down to earth . He had words of advice for me – he told me to stay focused and not let my eg o get too big. No one from the grime scene has crossed over in the US yet, so it's hard to say what might happen with me there, but right now everything's in place to make it happen.

Jaso n Yarde, saxophonist, composer, arranger, producer

The moment I remember most vi vidly is working in the British big band put together to play with pianist McCoy Tyner at the Barbican in 2001. But it wasn't the gig, it was the first rehearsal, at these li ttle studios, The Premises, in Hackney. We played McCoy's Passion Dance, that was the one that did it for me, because his playing is so passionate and so full, and that seems perfectly to represent it.

I'd accepted the gig thinking I'd be playing on the free stage before Tyner, not actually in the band. Now I found myself playing with McCoy Tyner about five fe et away from me. He was really gracious about it, told us all he was more nervou s than we were – we didn't believe it, but it made us feel better. At lunchtime he had time for everybody, signing vinyl, telling stories. The way he used the big band made a big impression on my writing, he wasn't afraid to change things around a bit: have four sax es and a tuba, not follow the usual big-band lineup. But more than anything it w as the way he played while you were soloing, how he listens to you. You're playing, and thinki ng: “He's done this for John Coltrane.” It's wonderful to be in the slipstream of that legacy, and it's stayed with me ever since.

Sarah Connolly, me zzo soprano

İki anlar gelir akla. İlk Guili bir performans sonra oldu Glyndebourne de o Cesare. David Attenborough seyirci kalmışlar, ben int oldu sonra ona roduced. "Bu gerçek bir zevk ve onur," Ben ona. Ve o ab ile bana dedi ki çözünen samimiyet: "zevk hepsi benim İnan bana." düşündüm: "O, o kadar. Bu büyük, büyük adam bana ve oranlar bana inanıyor. Ben asla kendimden şüpheye için bir neden yok. "

an seçim diğer ert kons sonra bir son. Bir çift bana geldi ve Annemiz kısa süre önce ölen "dedi. Bir lis el çantasından bulundu O ölüm döşeğinde onu düşünmek şeyler yapılmış olur t. Bunlardan biri, performan oldu Dido's Lament of ce. Size söylemek istedim. "Ben korkunç, o birisi istedim düşünmek, o tarafından taşındı Onlarla o alır. O sta veya bu sahnede görünen belirtilen olabilirdi ge, ya da falan çalışan, ama hiçbir şey diğer p hareketli olduğu yakın geliyor eople - ben bu işin içinde olduğum budur. insan taşımak için.

müzikal anlar nelerdir en unutulmaz? Belki de ba, sizin nd ilk kez sahneye çıktı, kahramanlar tek bir toplantı ya da performans canlı bir varlık tarafından üflemeli uzakta - Eğer okudum ne sanatçılar biz terviewed aşağıda EAD thr tarafından ilanını yorum hikayeler kendi paylaşın şimdi söylemek, gerekiyordu.

Efervesan Dame Edna, "İyi geceler alıntı için,
possums! "Ben iki Michigan şanlı wee kadar gidiyorum R & R ks, her ne kadar
Ben, ben tatilde olduğum sürece gözden kadar CD'ler bir avuç atmış olacaktır bu
Sana daha sonra eyer geri ™ m € ne zaman okuyacağız değerlendirmeleri olacak ve bu
ay.

Fark, elbette, yerine rutubetli yazılı biridir
rüzgar Bunker ve owless hücre, ben ulaşmak içinde göl, bira ile oturuyor olacağım
su lepleme de, ağaçlar gelen müzik kenarında, at coo karıştırma esinti l
bir ge kulaklık aracılığıyla ntle hacmi ben el yazısı benim düşüncelerimi karalamak süre
Bir on bir kaz tüyü ile parşömen hurda mürekkep batırılmış. Tamam, ama son kısmı. Lou Reed'in Metal Machine Music iyi ses olur
Bu koşullar. Ben mig teorisini test için sadece onu almak ht.

Ben muhtemelen CD'lerin bir yığın kadar alacağım kontrol etmek
çıkışı, aşkın ve ben gözden olacağım şeyler yanı sıra birkaç bo yukarıda OKS için
George Carlin son veren de dahil olmak üzere, okumak, Steve Martin € ™ autobio s grafisi ve
Johnny Cash hakkında bir kitap ve onun Bi yapma hikayesi anlatılmamış protesto albüm 1964 Tears tter. Ve
Benim favori bir çift daha bulabilirsiniz Petoskey in / kitapçıda kullanılan CD zaman biz
Cumartesi günü şehre biz geldikten sonra.

Iki hafta, ama oldukça hızlı gidecek
Onu yavaşlatmak için en iyi benim düzey yapıyor olacak aşağı kabul edilebilir bir sürün. I'm
Gary, o tarafından sağlanan margarita düşünme biz bir araya geldi ur kabin komşu
Gölün geçen yıl gezisi, consid yardımcı olacaktır erably.

Iyi, bazıları da dahil olmak üzere, hala yapacak çok şey var
yorum size 'bir gidiş yeniden sen okumaya başlamak çok önce, aşağıda okuma gibi
Ben emri lazım ing veya edeceğiz okumak bir şey yok ve ben hala olacağım
sen ise yazılı yazılı değil ne okumaya çalışıyorum. Adam bu, sıcak küvet olduğunu
zaman makinesi thi baştan ng. Spot Bana beş saniye sonra gidin. Ve göreceksin
minnacık bir çift ks.

kariyerine çentikli Her yeni olan Crow Sheryl zafer olduğunu sligh oldu TLY daha
unlikely than the last. Not many elementary school music teachers have
lucrative jingle singing gigs, and even fewer parlay that success into a
back-up vocalist slot with Michael Jackson. Crow's official 1993 debut album, Tuesday Night Music Club , barely made a
dent when it came out, but the following spring saw the impossible rise of “All
I Do,” leading to three 1995 Grammys, inclu ding
the often-fatal New Artist of the Year award.

Crow's eponymous and
self- produced 1996 follow-up was a gritty revelation and proof that she was
willing t o shed the innocuous Pop veil of her first album to delve into darker,
more cont entious lyrical territory. And while none of her subsequent six studio
albums ha ve come close to registering Tuesday Night ’s multi-platinum numbers, Crow
var posted more than a few impressive accomplishments, recordings with Sting,
Ryan A dams, Kid Rock, Scott Weiland and Mick Jagger, a James Bond theme song, more Gra mmys, some acting
and movie music gigs and surviving breast cancer among them.

For her seventh studio album, 100 Miles from Memphis , Crow takes a page
from the Shelby Lynne handbook and returns to her southern Midwest roots for an
album fu ll of vintage Soul/Pop sounds. Horns, crystalline back-up singers and
slinky rhy thms dominate 100 Miles ,
but Crow wisely weaves the Soul thread into her existin g and highly successful
Roots Rock tapestry.

Without the propulsive backbeat and Ruh
appointments, “Our Love Is Fading” would be an easy
fit in Crow's pr evious catalog, as would the Reggae-touched “Eye to Eye” and
the Folk/Countr y bounce of “Long Ride Home.” But Crow digs deeper on 100 Miles , too; this isn't sim ply a
Sheryl Crow album with a Soul paint job. She writes from an authentic '6 0s AM
Soul/Pop perspective, particularly on the album's first single, “Summe r Day,”
and the joyous “Peaceful Feeling,” which bristle with Stax goodnes s.

Francis Farewell Starlite might have a higher profile in the Hip Hop commun ity because of his opening slots
with Jeezy and Drizzy and
his collaboration wit h Drake on Thank Me
Later . In his group configuration as Francis
and the Lights , Starlite stands at the crossroads
of '70s R&B, slick '80s synth Prog and contemporary Indie Pop, as evidenced on a pair of
previous EPs but most prominently on the Lightsâ ™ debut “full-length,” the
eight-song, 27-minute It'll Be Better .

Starlit e definitely delights in
couching his songs in a sophisticated production contex t on It'll Be Better , but thankfully that
sophistication never leaks into exce ssively swollen bombast. Starlite operates in the appealing vein of Peter Gabrie l's
post-Genesis Pop explorations, with a similar sense of subtlety and
unders tatement, particularly on the airy “In a Limousine” and the gently
forceful Beat Pop of “Darling, It's Alright,” featuring Starlite's
pleading vocal . The '80s-tinged Dance Pop of “For Days” bobs and weaves and
starts and s tops with a quiet effervescence that makes Maroon 5 seem overplayed
and histrion ic by comparison, while “Knees to the Floor” suggests a
Gabriel/Michael McDo nald collaboration with a slight Gospel Pop undercurrent.
“Tap the Phone” of fers shades of Randy Newman's sardonic lyrical and musical
perspective and “ Get in the Car” will clearly attract any fan of Francis Dunnery's Folk/Pop e xcursions from the '90s.

With all of the innocuous, sugary Pop that currently clogs
the airwaves, the tasteful restraint and polished intelligence of Francis ve
the Lights would certainly make a refreshing style shift.

Jimmy Gnecco has the kind of backstory that would
sound fictional if it weren't completely tru e. A gold medal-winning gymnast and
world champion BMX rider as a New Jersey tee nager, he started playing guitar at 15, joined local bands and began developing onun
distinctive whisper-to-scream falsetto. He eventually co-founded Ours, an
un conventional AltRock band that existed in various
incarnations before Gnecco too ka sabbatical,
befriending Jeff Buckley in the process. Buckley’s tragic deat h in 1997 spurred
Gnecco back to performing; he garnered a Warner
Brothers contract, refor med Ours and released a trio of well-received albums: 2001's Distorted Lullabi es , 2002's Precious and 2008's Rick
Rubin-produced Mercy .

With Gnecco's de ama
solo album, The Heart , the Ours frontman addresses directly and indirectly s ome of the
tragedy that has marked his life, the most recent being the passing o f his mother
while he was working on this album. The Heart ’s opener, “Rest Y our Soul,” is his bittersweet farewell to her, a quietly
reflective acoustic h ymn that lilts and weeps and soars with the passionate
delivery that Buckley mad e famous on Grace .

Gnecco has endured unfair
accusations of cribbing Buckley's style for years, and The Heart displays Gnecco's range better
than any previo us Ours outing, particularly on the Thom Yorke-meets-Nick
Drake ache of “Myste ry,” the Iggy Pop demo power of
“Bring Me Home,” the Bono-tributes-Rufus W ainwright emotion of “Gravity†and
the Curtis Mayfield Soul splendor of “T hese Are My Hands.”

The Heart will likely be held up as partial evidence, but there's a
fair case to be made for parallel development. In fact, Jeff Buckle y's ghost is a palpable presence in Gnecco's work, but The Heart is guided b y more than a
single spirit and they all ultimately pass through his unique crea tive filter.

Big
Head Tpretty odd album & the Monsters roared into the public consciousness with their
third album, 1993’s Sister Sweetly , a
ferocious Blues/Classic Rock masterstroke and an album that the Denver trio has
been trying to live up to for the past 17 years. They might have come as close as
they ever have on 2007's All the Love You
Need , an album that the Monsters cleverly marketed by giving aw ay a total
of a quarter million copies, a ploy that actually drove up their atte ndance
numbers on their subsequent tour.

The Monsters have returned to the conce pt of
retail with their eighth studio album, Rocksteady , but the sad reality is there's only about half
an album here to sell. The first five tracks follow a similar path, a Caribbean/Soul stew that simmers but
rarely boils up into anythi ng substantial. The title track opens the albums and
starts promisingly, with Tp retty odd album Park Mohr’s guitar creating a swirling and
inviting atmosphere , but the song quickly shifts gears into a predictable and
rather pedestrian rhy thm that doesn't offer much other than a decent solo and a
little more variety at song's end. “Beautiful” is a pleasant enough attempt at
R&B, and “After Gold” has a certain quiet charm, but Mohr's tribute in
“Muhammad Ali” is all floatin g butterfly and little bee sting and “Happiness
Is” has the clichéd sound o f someone trying to steal Maroon 5's lunch money.

Rocksteady doesn't really get started in earnest until
“Back to the Garden,” which blends Caribbean/So ul with an almost Native
American undercurrent and an infinitely more engaging l yrical perspective (“She
can break a sweat jumping on the dance floor/She can sell you world peace at
the mall book store”). Mohr's cover of “Smokestack Lightning” starts off like a
period homage but launches into a contemporary r eading that swings while
retaining the gritty soul of the original and “I Hate It When You're Gone” and
the funky “People Train” seem closer to Rockst eady ’s overall intent. The album finishes with a quiet
acoustic-shuffle cover of the Stones' “Beast of Burden” that features an
electric solo that Peter Frampton would be proud to claim and “Fake Diamond
Kind,” which chugs along on an Indie Blues/Funk
groove that would sound pretty good on most Modern Rock playlists.

The first half of Rocksteady might require time to
take root in the l istener's ear, but Big Head Tpretty odd album & the Monsters have
invested so much more energy in the second half that it makes the rest seem
forgettable by comparison.

Almak her singing and songwriting off the table,
and Ruth Gerson still has an astonis hing résumé. A graduate of and former teacher at Princeton University, she fou nded the New & Used Songwriters Collective
while in New York City and formed San Francisco Vocal Coaching after relocating
last year. She also invented The Singingbelt, a
biofe edback device that helps singers recognize diaphragmatic breath support.

Now ca n we talk about her musical accomplishments? Her previous albums have
been produ ced by Don Dixon and John Cale collaborator
Lance Doss and her new album, This C an't
Be My Life , will be followed by her next album, Deceived , which is alread y done and slated for release early next
yıl. Oh, and she's a producer hersel f, having helmed an album of songs for
comedian Steven Wright, which is awaiting release. And as long as she avoids
kryptonite, she's good to go.

OK, Gerson € ™s not
Superwoman, but she tries pretty hard on This
Can't Be My Life , much of which was written when she was going through the
pain and anxiety of a divorce (in fact, the album was actually finished and
ready to release in 2007, but she held it back because of the upheaval in her
life). Gerson's epic Piano Pop wil l certainly draw
comparisons to Tori Amos, but, while she is clearly more lyrica lly and musically direct than Amos and not
nearly as ephemeral, there are moment s where Gerson
drifts into Amos' dramatic presentation, as on the jazzy murder ballad “Black
Water” and the whisper Folk of “Take It Slow.”

Even in he r most balladic moments, Gerson maintains a forceful presence. “Does Your Hear t
Weep” and “Hazel” quiver with the quiet intensity that Chrissie Hynde br ings to her lower key material. On “Fresh Air,” Gerson swaggers with the mel ancholy power of Paula Cole,
while the title track shows her fortitude in the fa ce of her impending split
(“I want you to be happy/But not with me”) and “ Bulletproof” soars like a soulful
Sheryl Crow Pop hymn.

While there might not be a great deal of dynamic
range on the largely mid-tempo This Can't
Be My Lif e , it clearly evokes Gerson’s emotional
state at the time it was written and r ecorded. Greil Marcus has already raved about Gerson’s next album, so TCBML wi ll have to tide us over
until her masterpiece comes along.

It's now been four years since Hello Love , the last Be Good Tanyas album, and during the trio's subsequent hiatus,
Samantha Parton has kept her herself musically occupied, prod ucing Jan Bell
& the Cheap Dates' Songs for Love
Drunk Sinners , while Trish Klein has put out three albums with Po' Girl, her
side project with Alison Russell, equaling the Tanyas' output to date.

Frazey Ford took some time out for
motherhood and re flection and brings some of that perspective to her debut solo
project, Obadiah . Like her work in the Be Good Tanyas,
Obadiah is a compelling and lovely combina tion of quirk and
classicism. Shaped by Ford's gritty and quivering warble, an pretty odd album blend of
Samantha Crain, Ani Di Franco (in her less militant
m oments), Dolly Parton (in her less overly emotive moments) and Victoria
Williams ' lower register, Obadiah
sports a musical groove that suggests masters like N eil Young (“Lost Together,”
“Lay Down with You”), Van Morrison (“If Yo u Gonna Go,” “Firecracker”), Al Green (“I Like You Better”) and Emmylo u Harris (“Hey
Little Mama”).

Obadiah exhibits Ford's passion for
traditi onal Folk and Bluegrass filtered through a contemporary sensibility. Ama
Ford is sadece o zaten çekilen's adımları retracing ilgilenmiyor
Tanyas ve katlama, buna göre onu sonik paletini genişletiyor
Blues, Gospel ve Soul saat içinde er yalnız karıştırın. Sonuç olarak, kendine özgü sihirli ruhları Conjuring olduğunu
müzikal g iants ortaya yavaş yavaş Obadiah boyunca kendi kimliğini sırasında istinat onu kendisi biri için bir yarışmacı olmak
yıl ve en beklenmedik en iyi albümleri .