Anybody who watches Nickelodeon knows Jennette McCurdy as Sam from "iCarly." Well, soon her acting may not be the only thing she is known for.
McCurdy is on her way to releasing an album. She had been "laying down some tracks" since last July. McCurdy's album is due this summer, and will be released independently of Nickelodeon on Your Tyme Records.
I first found (or rather rediscovered) McCurdy's blog in October or November (when I first came across it many months before, it was not nearly as cool looking, nor did it have as many blog posts). I was very curious to hear Jennette's singing voice. I checked her youtube page every so often for some hint of it, but although she did show off her skillful ice skating, she had nothing of her singing. One video even had her and co-star Nathan Kress playfully arguing about the game Rock Band. Kress kept saying that Jennette's voice is good and that she should sing, but she said she wouldn't.
However, the wait is over to hear Jennette's voice. Her first single, "So Close," was released ahead of her album, on March 10th. The song is a country/pop tune with a fiddle, but otherwise a more traditional pop - rock arrangement. It is pretty catchy, and McCurdy's singing is quite good. I look forward to hearing more.
In one of her blog posts, McCurdy mentioned she will most likely be following the, as I call it "Taylor Swift Model." That is, she will have three or four singles out prior to the albums release.
On one hand, I could care less on any deep level, and be happy just to hear the songs before buying the album (which I will buy on CD, mind you.)
On the other hand, I feel it promotes an anti-album culture. Still, before I go off on that, I will say that many artists have their work leaked months in advance, and putting out pre-album singles probably helps combat that a bit.
Still, back in the sixties, singles were an art form, like albums. Bands were craft songs specifically for the single. They would channel their most commercial music for this medium. Longer songs, songs more geared towards fans and selective listeners would be on the album. With this model, I feel like "the album" is simply a collection of tracks. A mere playlist. Maybe sequenced cleverly, but not a piece of art. If someone truly only wants to make songs, and has no bigger theme or layout for an album, than fine, roll with it. But I just fear we may find the death of the album. How wierd would it be if in the future, an artist just put out 12 singles every once in a while. CD's for sure would be obsolete. Sitting down and experiencing an album would be gone. It would be a big smorgasboard. I'm all for choosing, and don't mind that you can go onto iTunes and buy any one song without getting the album. But I just prefer if the choice remained in choosing what album you want, not what song you want.
And I named this the "Taylor Swift Model" because Taylor Swift had 4 singles out prior to her "Fearless" album.
And another thing that has irked me since Green Day and "American Idiot." After a single or two, stop promoting an album! Green Day had singles off the album well over a year after it came out. Instead of worrying about sales, try putting some new songs on the radio. The commercialism is too much.
And one last thing. When I say single, I mean a single you buy. I don't mind if artists try to push a song on DJ's to play, but that doesn't mean you need to give it a seperate download, or a CD Single. Just tell the fans to buy the album.
And buy Jennette's album, too ;)
Saturday, March 28, 2009
Derek Claptoe
When disscussing Eric Clapton's first solo album in my last post, I resisted temptation to go off on a long tangent (since it would have little/nothing to do with Delaney Bramlett.) But today, I think the time is right.
While on tour with Delaney & Bonnie, Clapton became good friends with the musicians. They would go on to work with him on his solo disc, and some would play with him as he worked on Harrison's "All Things Must Pass" album. Three musicians in particular became close to Clapton: drummer Jim Gordon, keyboardist Bobby Whitlock, & bassist Carl Radle. During the "All Things Must Pass" sessions, in addition to working on proper songs, their were many jams. 3 of the 4 jams released on the third disc of the record featured all of them playing together. It was through these jams that they became pretty tight, and as Harrison worked on his album, they decided to do a single.
Harrison played on both sides, and Phil Spector took production credit (though one can not be sure he ever heard the record), and the musicians recorded "Tell The Truth," and "Roll It Over." The single was a complete flop. But that made no matter. These musicians had a name now, Derek and The Dominos, Clapton's attempt to shield himself from his fame a bit, to start off fresh. They had first used the name for their first concert (which featured Dave Mason, who was slated to be a member, but never again played with the group.) The audience was briefly fooled into thinking it was an unknown group (Eric Clapton & Friends had been on the bill, so these Dominos sounded like a possible opening act.) It was not long before the crowd realized what was going on, a burst into applause and cheers. More shows would follow, all small scale, perfect oppurtunities to tighten up as a group.
"Tell The Truth" is now a popular Clapton song, but it is not the single arrangment that the Slowhand does in concert. This one had a very fast pace, and a pop vibe. When later working on their album, the band did a slow jam version of "Tell The Truth." This instrumental was sped up (though still not at all fast), while the vocals were taken from the single, and slowed down, making a mix of two takes for the release. The jam version was released as early as 1972 on a Clapton compilation, and later re-released with other session outtakes.
So, with a single completed, much practice garnered from their shows, and obligations to Harrison's album completed, Derek & The Dominos moved on to work on their album.
The album would be called "Layla & Other Assorted Love Songs." The driving theme of the record was Clapton's forbidden love of Harrison's wife, Pattie Boyd. The song "Layla" was the most striking realization of this theme, and Clapton had actually played a rough mix of it for Patti, who knew exactly what it was about. Clapton would wind up marrying Boyd.
Trouble with romance was not Clapton's only problem. He was still trying to shake his image of guitar God, still nervous about singing, and was getting into heavier drugs like heroin. His problems would soon lead him into a period of isolation, but before this happened, Clapton worked with the Dominos.
Aside from Clapton, the band was American, and took to Miami to cut a record. While working on the album, Clapton heard The Allman Brothers were going to play in Miami. Clapton was excited to attend the show, as he was very much enthralled by what he had heard of the young guitarist Duane Allman. He sat front row, and when Duane saw him, he could not help but stop playing, in awe that he was able to attract Eric Clapton in the audience. Afterwards, Clapton jammed with the Allman Brothers Band, and Duane was given the oppurtunity to work on the sessions a bit. However, once he began working on the album, his work proved so fantastic that he was promoted from a session worker to a full member, and laid down tracks for nearly every song.
Clapton & Whitlock were the main writers for the album. The had put together a catalogue of songs before they began working on "All Things Must Pass." Their were also a good number of cover songs. All the songs, however, carried the same sort of vibe, mixing an urgency with a laid-back, struggling sense of carrying the weight of the world. (Clapton would give into the second one, briefly retreating from the world not long after this album.)
The album was a flop. Like the single, nobody knew this was Clapton (his name only appeared on the back of the record.) The album would be a hit only after the album "The History Of Eric Clapton" came out in '72. This album covered Clapton's career from the Yardbirds up to the Dominos. The last side of this double record carried the single and jam takes of "Tell The Truth", and closed with "Layla." Now that Clapton was associated with the song, a demand for a single arose, and with it the success that the song had missed a year and a half earlier.
Anyway, after the album, Derek & The Dominos did a US tour (minus Allman, who went back to the ABB, although did manage to rejoin for two shows.) It was full of drugs and the like, but all the same was well recieved. The tour was first recounted in '73 on "In Concert," a live album taking from two Fillmore shows. Later, in '94, a CD "Live At The Fillmore" was released, copying most of "In Concert" ("Let It Rain," "Tell The Truth," and "Why Does Love Got To Be So Sad" from "In Concert" were replaced with different versions), and adding more songs from the Fillmore shows. The tracklisting is great, pulling together songs from Clapton's eponymous album, the "Layla" album, "Presence of The Lord," the solo Blind Faith number that Clapton wrote, plus Clapton's signature, "Crossroads." Many songs turned into extended instrumentals, great displays of Clapton's virtousity. The singing still showed a nervous Clapton, who rarely sang without Whitlock sharing the vocals, less as a back up singer than simply shielding Clapton.
Critics of the album often site the fact that it was their first big show, and that their was markable improvement over the course of the tour. However, the sound quality of later shows is suspect, and for that reason, have not been released.
The band went downhill after the tour. Clapton was already hurt by the fact that Jimi Hendrix had died (the Dominos had covered his "Little Wing" days before hearing the devestating news.) Coupled with Allman's death from a motorcycle accident, Clapton began fearing his own demise. He was also hurt by reviews of the Dominos' work, since he was hoping to build in this a new image, and seemed to be failing. Finally, he was wrapped up with Pattie Boyd, and felt he was simply using Derek and The Dominos as a rouse, as disguise to wear as he stole Pattie, her disguise being "Layla." It was all very trying on his weakening psyche (no doubt also damaged by the drug use) and finally, the band was dissolved, whilst attempting a second LP.
That second LP remains unfinished, but Clapton has opened the vaults to those sessions, releasing 5 songs from them on his "Crossroads" Box.
Also, in 1990, the sessions for the "Layla" album saw the light of day on the "Layla Sessions" box. In addition to a remixed album, there was a disc of jams, and a disc of unfinished songs and alternate takes. Sadly, this box proved a bit dissapointing, as little material really proved necessary to release, most of it below the standard of quality set by the proper album. Still, it proved a fun look at the band.
To own everything official by the Dominos, one needs their first album, "Layla", which can be bought along with the disc of jams and the disc of outtakes by getting the "Layla Sessions" set, the box set "Crossroads," which has "Evil," "Got To Get Better In A Little While," "Snake Lake Blues," "Mean Old Frisco," & "One More Chance," 5 songs from the unreleased second album, plus the "Tell The Truth/Roll It Over" single, "Live At The Fillmore," and for the three other live songs mentioned earlier, "In Concert." ("In Concert" might be rare now, but is worth tracking down as its' versions of "Let It Rain," and even more so "Why Does Love Got To Be So Sad" are better than the ones on "Live At The Fillmore.")
Clapton returned from his depressed and isolated state after Pete Townshend got him out, and did the famous "Rainbow Concert." By this point, "Layla" was famous. Things began to turn around for him. The drugs were still there, and his marriage to Pattie proved ultimately unsuccessful (they were married from '79 to '88.) But he would even overcome those issues in time.
While on tour with Delaney & Bonnie, Clapton became good friends with the musicians. They would go on to work with him on his solo disc, and some would play with him as he worked on Harrison's "All Things Must Pass" album. Three musicians in particular became close to Clapton: drummer Jim Gordon, keyboardist Bobby Whitlock, & bassist Carl Radle. During the "All Things Must Pass" sessions, in addition to working on proper songs, their were many jams. 3 of the 4 jams released on the third disc of the record featured all of them playing together. It was through these jams that they became pretty tight, and as Harrison worked on his album, they decided to do a single.
Harrison played on both sides, and Phil Spector took production credit (though one can not be sure he ever heard the record), and the musicians recorded "Tell The Truth," and "Roll It Over." The single was a complete flop. But that made no matter. These musicians had a name now, Derek and The Dominos, Clapton's attempt to shield himself from his fame a bit, to start off fresh. They had first used the name for their first concert (which featured Dave Mason, who was slated to be a member, but never again played with the group.) The audience was briefly fooled into thinking it was an unknown group (Eric Clapton & Friends had been on the bill, so these Dominos sounded like a possible opening act.) It was not long before the crowd realized what was going on, a burst into applause and cheers. More shows would follow, all small scale, perfect oppurtunities to tighten up as a group.
"Tell The Truth" is now a popular Clapton song, but it is not the single arrangment that the Slowhand does in concert. This one had a very fast pace, and a pop vibe. When later working on their album, the band did a slow jam version of "Tell The Truth." This instrumental was sped up (though still not at all fast), while the vocals were taken from the single, and slowed down, making a mix of two takes for the release. The jam version was released as early as 1972 on a Clapton compilation, and later re-released with other session outtakes.
So, with a single completed, much practice garnered from their shows, and obligations to Harrison's album completed, Derek & The Dominos moved on to work on their album.
The album would be called "Layla & Other Assorted Love Songs." The driving theme of the record was Clapton's forbidden love of Harrison's wife, Pattie Boyd. The song "Layla" was the most striking realization of this theme, and Clapton had actually played a rough mix of it for Patti, who knew exactly what it was about. Clapton would wind up marrying Boyd.
Trouble with romance was not Clapton's only problem. He was still trying to shake his image of guitar God, still nervous about singing, and was getting into heavier drugs like heroin. His problems would soon lead him into a period of isolation, but before this happened, Clapton worked with the Dominos.
Aside from Clapton, the band was American, and took to Miami to cut a record. While working on the album, Clapton heard The Allman Brothers were going to play in Miami. Clapton was excited to attend the show, as he was very much enthralled by what he had heard of the young guitarist Duane Allman. He sat front row, and when Duane saw him, he could not help but stop playing, in awe that he was able to attract Eric Clapton in the audience. Afterwards, Clapton jammed with the Allman Brothers Band, and Duane was given the oppurtunity to work on the sessions a bit. However, once he began working on the album, his work proved so fantastic that he was promoted from a session worker to a full member, and laid down tracks for nearly every song.
Clapton & Whitlock were the main writers for the album. The had put together a catalogue of songs before they began working on "All Things Must Pass." Their were also a good number of cover songs. All the songs, however, carried the same sort of vibe, mixing an urgency with a laid-back, struggling sense of carrying the weight of the world. (Clapton would give into the second one, briefly retreating from the world not long after this album.)
The album was a flop. Like the single, nobody knew this was Clapton (his name only appeared on the back of the record.) The album would be a hit only after the album "The History Of Eric Clapton" came out in '72. This album covered Clapton's career from the Yardbirds up to the Dominos. The last side of this double record carried the single and jam takes of "Tell The Truth", and closed with "Layla." Now that Clapton was associated with the song, a demand for a single arose, and with it the success that the song had missed a year and a half earlier.
Anyway, after the album, Derek & The Dominos did a US tour (minus Allman, who went back to the ABB, although did manage to rejoin for two shows.) It was full of drugs and the like, but all the same was well recieved. The tour was first recounted in '73 on "In Concert," a live album taking from two Fillmore shows. Later, in '94, a CD "Live At The Fillmore" was released, copying most of "In Concert" ("Let It Rain," "Tell The Truth," and "Why Does Love Got To Be So Sad" from "In Concert" were replaced with different versions), and adding more songs from the Fillmore shows. The tracklisting is great, pulling together songs from Clapton's eponymous album, the "Layla" album, "Presence of The Lord," the solo Blind Faith number that Clapton wrote, plus Clapton's signature, "Crossroads." Many songs turned into extended instrumentals, great displays of Clapton's virtousity. The singing still showed a nervous Clapton, who rarely sang without Whitlock sharing the vocals, less as a back up singer than simply shielding Clapton.
Critics of the album often site the fact that it was their first big show, and that their was markable improvement over the course of the tour. However, the sound quality of later shows is suspect, and for that reason, have not been released.
The band went downhill after the tour. Clapton was already hurt by the fact that Jimi Hendrix had died (the Dominos had covered his "Little Wing" days before hearing the devestating news.) Coupled with Allman's death from a motorcycle accident, Clapton began fearing his own demise. He was also hurt by reviews of the Dominos' work, since he was hoping to build in this a new image, and seemed to be failing. Finally, he was wrapped up with Pattie Boyd, and felt he was simply using Derek and The Dominos as a rouse, as disguise to wear as he stole Pattie, her disguise being "Layla." It was all very trying on his weakening psyche (no doubt also damaged by the drug use) and finally, the band was dissolved, whilst attempting a second LP.
That second LP remains unfinished, but Clapton has opened the vaults to those sessions, releasing 5 songs from them on his "Crossroads" Box.
Also, in 1990, the sessions for the "Layla" album saw the light of day on the "Layla Sessions" box. In addition to a remixed album, there was a disc of jams, and a disc of unfinished songs and alternate takes. Sadly, this box proved a bit dissapointing, as little material really proved necessary to release, most of it below the standard of quality set by the proper album. Still, it proved a fun look at the band.
To own everything official by the Dominos, one needs their first album, "Layla", which can be bought along with the disc of jams and the disc of outtakes by getting the "Layla Sessions" set, the box set "Crossroads," which has "Evil," "Got To Get Better In A Little While," "Snake Lake Blues," "Mean Old Frisco," & "One More Chance," 5 songs from the unreleased second album, plus the "Tell The Truth/Roll It Over" single, "Live At The Fillmore," and for the three other live songs mentioned earlier, "In Concert." ("In Concert" might be rare now, but is worth tracking down as its' versions of "Let It Rain," and even more so "Why Does Love Got To Be So Sad" are better than the ones on "Live At The Fillmore.")
Clapton returned from his depressed and isolated state after Pete Townshend got him out, and did the famous "Rainbow Concert." By this point, "Layla" was famous. Things began to turn around for him. The drugs were still there, and his marriage to Pattie proved ultimately unsuccessful (they were married from '79 to '88.) But he would even overcome those issues in time.
Wednesday, March 25, 2009
So, for today, I thought I'd just say a thing or two about Delaney Bramlett, who died not too long ago, mainly about how he related to Eric Clapton & George Harrison.
The duo of married performers Delaney & Bonnie were up and coming as the sixties were closing. They had a great live band, featuring Rita Coolidge, Carl Radle, Jim Gordon, Bobby Whitlock, Leon Russell, and others. Delaney's voice mixed a sort of down-home bluesy tone with a gospel-esque vigor. Bonnie had a presence channeling the female blues artists of the generation prior. Together, the two, with such an amazing backing band, would have much influence on popular music.
Clapton first met Delaney & Bonnie when they were the opening act for the American leg of the less than stellar Blind Faith tour. Clapton was enthralled with their earthiness and honest delivery (Clapton had already abandoned Cream because he felt it lacked that sort of presence, and for him, Blind Faith was only extending Cream's faults.) Clapton became fast friends with the Bramletts, and would travel with them while on the tour. On at least one occasion, Delaney even joined Blind Faith on stage for an encore of "Sunshine Of Your Love."
Late in '69, Delaney & Bonnie went on tour. Clapton joined their band, along with Dave Mason, who had again split from Traffic, and eventually George Harrison, who had finished "Abbey Road" and had no commitments with the Beatles (they would only once more reunite a month or so later to do some overdubbing as well as record "I Me Mine." ) George was presented with a slide guitar, which became his signature instrument. It was also while jamming with Delaney and the group that "My Sweet Lord" first came into being. Harrison would go on to use many of the musicians he played with on the Delaney & Bonnie tour to record his triple album "All Things Must Pass." He would also later record a song called "Woman Don't You Cry For Me," the first song he wrote on his bottleneck.
It was Clapton, however, who Delaney had a huge impact on. Clapton had only sung a few numbers in his career until this point, and was more or less known exclusivly for his guitar work. Delaney encouraged Clapton to sing, and this led to Clapton's self titled first album, which Delaney was a major part of. Delaney's band was the backing for the album, and Delaney provided all the original material (including a song or two he recorded his own versions of). Clapton took on the singing parts with some reluctance, which is still audible on some of the songs. But it was a point of no return. Clapton no longer had to be a silent guitar hero. Instead, he was a virtouso playing on these lighter pop-oriented numbers. The record nary featured any sort of extended soloing (save for the closing number, "Let It Rain.") Instead, Bramlett had Clapton take his place singing songs with a bluesy, country leaning. It was a big shift for Clapton, one he welcomed greatly, but one some fans were shocked to hear.
Songwriting was a big part of Delaney & Bonnie's talent. While they did not achieve massive success with their version, "Superstar" was a big hit for the Carpenters. (On the original, it was called "Groupie (Superstar)" and was a tad more suggestive, with the line "can't wait to sleep with you again," which was subsequently change to "be with you again" on cover versions.) Clapton played on "Superstar," as well as the A-side, "Comin' Home," which he co-wrote with Delaney. It is interesting to note that the chorus for "Superstar" bears resemblance to Harrison's "Awaiting On You All." Both probably featured the same musicians, so the similarity may stem from there.
Delaney & Bonnie never saw better reception than when their "On Tour With Eric Clapton" disc was released in 1970 (capturing their December 7, 1969 show in Croyden.) Despite a somewhat muddy sound (and curious mix, which shifts at random points), the album is a great document of their music. (One could only wish for an updated CD version, with cleaner mixes and perhaps a bonus cut or too from other shows.) Delaney & Bonnie share the mic on numbers like "Poor Elijah - Tribute To Robert Johnson," while Delaney commands on "Comin' Home," and Bonnie takes the spotlight on the slow and saucy "That's What My Man Is For." The band is incredible. The horns are a-blazing. The backing vocals are top notch, especially when Bonnie is a part of them. The guitars are great, and there are four! Clapton, Mason, Bramlett, and Harrison (credited as "L'Angelo Misterioso", the same psuedonym he used on Cream's "Badge.") Leon Russell even adds a fifth occasionally, switching from piano. Radle and Gordon keep the rhythm strong on bass & drums, respectively. All the numbers have rousing send-offs, and take as much time as they need to allow the band to strectch (each songs goes for 4-5 minutes), sometimes speeding up for the end, or giving a big blast for a finale.
Delaney's passing had come after his recent return to music, which had given us "A New Kind Of Blues," his last album.
RIP Delaney Bramlett (July 1, 1939 – December 27, 2008)
The duo of married performers Delaney & Bonnie were up and coming as the sixties were closing. They had a great live band, featuring Rita Coolidge, Carl Radle, Jim Gordon, Bobby Whitlock, Leon Russell, and others. Delaney's voice mixed a sort of down-home bluesy tone with a gospel-esque vigor. Bonnie had a presence channeling the female blues artists of the generation prior. Together, the two, with such an amazing backing band, would have much influence on popular music.
Clapton first met Delaney & Bonnie when they were the opening act for the American leg of the less than stellar Blind Faith tour. Clapton was enthralled with their earthiness and honest delivery (Clapton had already abandoned Cream because he felt it lacked that sort of presence, and for him, Blind Faith was only extending Cream's faults.) Clapton became fast friends with the Bramletts, and would travel with them while on the tour. On at least one occasion, Delaney even joined Blind Faith on stage for an encore of "Sunshine Of Your Love."
Late in '69, Delaney & Bonnie went on tour. Clapton joined their band, along with Dave Mason, who had again split from Traffic, and eventually George Harrison, who had finished "Abbey Road" and had no commitments with the Beatles (they would only once more reunite a month or so later to do some overdubbing as well as record "I Me Mine." ) George was presented with a slide guitar, which became his signature instrument. It was also while jamming with Delaney and the group that "My Sweet Lord" first came into being. Harrison would go on to use many of the musicians he played with on the Delaney & Bonnie tour to record his triple album "All Things Must Pass." He would also later record a song called "Woman Don't You Cry For Me," the first song he wrote on his bottleneck.
It was Clapton, however, who Delaney had a huge impact on. Clapton had only sung a few numbers in his career until this point, and was more or less known exclusivly for his guitar work. Delaney encouraged Clapton to sing, and this led to Clapton's self titled first album, which Delaney was a major part of. Delaney's band was the backing for the album, and Delaney provided all the original material (including a song or two he recorded his own versions of). Clapton took on the singing parts with some reluctance, which is still audible on some of the songs. But it was a point of no return. Clapton no longer had to be a silent guitar hero. Instead, he was a virtouso playing on these lighter pop-oriented numbers. The record nary featured any sort of extended soloing (save for the closing number, "Let It Rain.") Instead, Bramlett had Clapton take his place singing songs with a bluesy, country leaning. It was a big shift for Clapton, one he welcomed greatly, but one some fans were shocked to hear.
Songwriting was a big part of Delaney & Bonnie's talent. While they did not achieve massive success with their version, "Superstar" was a big hit for the Carpenters. (On the original, it was called "Groupie (Superstar)" and was a tad more suggestive, with the line "can't wait to sleep with you again," which was subsequently change to "be with you again" on cover versions.) Clapton played on "Superstar," as well as the A-side, "Comin' Home," which he co-wrote with Delaney. It is interesting to note that the chorus for "Superstar" bears resemblance to Harrison's "Awaiting On You All." Both probably featured the same musicians, so the similarity may stem from there.
Delaney & Bonnie never saw better reception than when their "On Tour With Eric Clapton" disc was released in 1970 (capturing their December 7, 1969 show in Croyden.) Despite a somewhat muddy sound (and curious mix, which shifts at random points), the album is a great document of their music. (One could only wish for an updated CD version, with cleaner mixes and perhaps a bonus cut or too from other shows.) Delaney & Bonnie share the mic on numbers like "Poor Elijah - Tribute To Robert Johnson," while Delaney commands on "Comin' Home," and Bonnie takes the spotlight on the slow and saucy "That's What My Man Is For." The band is incredible. The horns are a-blazing. The backing vocals are top notch, especially when Bonnie is a part of them. The guitars are great, and there are four! Clapton, Mason, Bramlett, and Harrison (credited as "L'Angelo Misterioso", the same psuedonym he used on Cream's "Badge.") Leon Russell even adds a fifth occasionally, switching from piano. Radle and Gordon keep the rhythm strong on bass & drums, respectively. All the numbers have rousing send-offs, and take as much time as they need to allow the band to strectch (each songs goes for 4-5 minutes), sometimes speeding up for the end, or giving a big blast for a finale.
Delaney's passing had come after his recent return to music, which had given us "A New Kind Of Blues," his last album.
RIP Delaney Bramlett (July 1, 1939 – December 27, 2008)
Monday, March 23, 2009
And She's Only Sixteen
Miley Cyrus has a hit TV show, high charting songs, sold out tours, and a movie that is sure to be a box-office smash. She can sing, dance, and act. And she can write, too!
Miley's first ever book, "Miles To Go," has reached #1 on the New York Times Bestseller list.
http://www.businesswire.com/portal/site/google/?ndmViewId=news_view&newsId=20090323005477&newsLang=en
When I first heard about the book, I was unsure about it. I mean, a teenager younger than myself writing an autobiography? It sounded utterly ridiculous. But I soon realized that it was not meant to be her full life story, but merely a chance for her to look back and reflect, as well as share her insights about her life as she continues her newfound success.
I imagined I'd be checking a copy out of the local library, but at the end of February, whilst checking her website, I read that Miley would be signing copies of her book at a meet & greet in a Manhattan Barnes & Noble. I looked at the details, and read that in order to meet her, one would need to get a ticket (only 500 all together), which would be available at 6am the morning before she was due to appear. That would mean that I would have to be there much earlier, as I would have to beat out many other hopeful fans to insure I would get a ticket. I don't wake up until 6, and generally don't get to the city until 7:30. So I regrettingly shrugged off the idea of meeting her.
The next day, I told my friend Chris (of becauseimchriskhan.blogspot.com) and he was really excited. He wanted to go, and I became reinvigorated. Maybe I could convince my dad to get me up early if I told him I'd be with a friend. We spent the rest of the week making plans and finally it was the day before. I mustered up the courage to ask my dad (what dad wants to hear his teenage son wants to wait early in the morning for Miley Cyrus?) He said no at first (various reasons including the fact that I was supposed to watch my sister after school, and although I wanted to take her with me to see Miley, that was no good.) Finally, he said okay, and asked what time to wake me up. When I told him 2:30, he was taken aback, but allowed it.
It was impossible to fall asleep that night. I had a couple hours early in a nap, but I still didn't fall asleep until after twelve. So when my dad came in to get me up, I had barely slept. Still, I got dressed and out the door in record time. Outside was eerie. It was dark, cold, and quiet. I was very jumpy walking to the elevated train. I finally sat down in the waiting area, put on my iPod, and realized I was shaking. The train was just as strange. Some people were going to work, some going home. I had to take 3 trains. The first two were quick, but the last usually would take twenty minutes. But there were workers on the track, so the train crawled along for them to be safe.
When I finally came outside, I started to run, for about 3 blocks and an avenue, afraid that if I walked I'd someone how be too late. When I got on the line, it was 4:15. There was only about 100 or 150 people ahead of me. I was glad, and now just had to wait. And wait. And wait. And watch the sunrise. My friend Chris came at the last minute. He would have gone to the back of the line, but I took him with me. We bought our books, got our wristbracelets (to be used as tickets) and went to school (we were pretty early!)
I spent the whole day telling friends and teachers my story, as well as protecting my wrist bracelet, fearing it would rip and I wouldn't be let in. The day seemed to drag, and I was mighty tired. Thankfully, Chris treated me to a cab after school to get back to the Barnes & Noble. Sure, I got a little carsick, but it beat a commute that would take twice as long.
Their was already a long line at the Barnes & Noble, full of people from the morning. We got on it, and again waited. It was only 3, and Miley wouldn't start signing 'til 4. At 3:30, a big black SUV thing drove past us, with Miley waving from the window. Miley Cyrus! It was so exciting! She was driven into a parking facility, and disappeared into the garage. The line started moving by 4, and I got more nervous as we got closer. Once inside Barnes & Noble, the line zig zagged through a maze of bookshelves. It felt like we were far away, but the line moved fast, and soon we were a few people away. I took out my camera, and gave it to an employee who was taking picture (in order to keep the line moving as fast as possible. And finally, I was up. Miley was sitting there, looking even cuter in person, with her little sister sitting next to her. I handed Miley the book, and in an excited tone, said something along the lines of "I'm a BIG fan." She signed the book (with a little heart too), posed for the picture, and said bye. I felt so happy and satisfied.
I read the book in two sittings. I was a great read. It was not a linear "first i was born, then i turned five, then i turned famous..." Instead, it jumped around various life experiences, from being bullied, to auditioning, to working with her castmates. There was a lot about her family, which was very nice to read. Especially the stories about her and her father when she was younger. Those life lessons he would tell her shaped who she is today. As I read through it, I imagined Miley's voice reading it, like a narrator. And that was another cool part about it. It had a very conversational tone, like it was her talking. Lots of little side notes were present, adding clever little quips. It added a lot of personality.
Congrats to Miley for being a bestseller in books. What can this girl not do?
Miley's first ever book, "Miles To Go," has reached #1 on the New York Times Bestseller list.
http://www.businesswire.com/portal/site/google/?ndmViewId=news_view&newsId=20090323005477&newsLang=en
When I first heard about the book, I was unsure about it. I mean, a teenager younger than myself writing an autobiography? It sounded utterly ridiculous. But I soon realized that it was not meant to be her full life story, but merely a chance for her to look back and reflect, as well as share her insights about her life as she continues her newfound success.
I imagined I'd be checking a copy out of the local library, but at the end of February, whilst checking her website, I read that Miley would be signing copies of her book at a meet & greet in a Manhattan Barnes & Noble. I looked at the details, and read that in order to meet her, one would need to get a ticket (only 500 all together), which would be available at 6am the morning before she was due to appear. That would mean that I would have to be there much earlier, as I would have to beat out many other hopeful fans to insure I would get a ticket. I don't wake up until 6, and generally don't get to the city until 7:30. So I regrettingly shrugged off the idea of meeting her.
The next day, I told my friend Chris (of becauseimchriskhan.blogspot.com) and he was really excited. He wanted to go, and I became reinvigorated. Maybe I could convince my dad to get me up early if I told him I'd be with a friend. We spent the rest of the week making plans and finally it was the day before. I mustered up the courage to ask my dad (what dad wants to hear his teenage son wants to wait early in the morning for Miley Cyrus?) He said no at first (various reasons including the fact that I was supposed to watch my sister after school, and although I wanted to take her with me to see Miley, that was no good.) Finally, he said okay, and asked what time to wake me up. When I told him 2:30, he was taken aback, but allowed it.
It was impossible to fall asleep that night. I had a couple hours early in a nap, but I still didn't fall asleep until after twelve. So when my dad came in to get me up, I had barely slept. Still, I got dressed and out the door in record time. Outside was eerie. It was dark, cold, and quiet. I was very jumpy walking to the elevated train. I finally sat down in the waiting area, put on my iPod, and realized I was shaking. The train was just as strange. Some people were going to work, some going home. I had to take 3 trains. The first two were quick, but the last usually would take twenty minutes. But there were workers on the track, so the train crawled along for them to be safe.
When I finally came outside, I started to run, for about 3 blocks and an avenue, afraid that if I walked I'd someone how be too late. When I got on the line, it was 4:15. There was only about 100 or 150 people ahead of me. I was glad, and now just had to wait. And wait. And wait. And watch the sunrise. My friend Chris came at the last minute. He would have gone to the back of the line, but I took him with me. We bought our books, got our wristbracelets (to be used as tickets) and went to school (we were pretty early!)
I spent the whole day telling friends and teachers my story, as well as protecting my wrist bracelet, fearing it would rip and I wouldn't be let in. The day seemed to drag, and I was mighty tired. Thankfully, Chris treated me to a cab after school to get back to the Barnes & Noble. Sure, I got a little carsick, but it beat a commute that would take twice as long.
Their was already a long line at the Barnes & Noble, full of people from the morning. We got on it, and again waited. It was only 3, and Miley wouldn't start signing 'til 4. At 3:30, a big black SUV thing drove past us, with Miley waving from the window. Miley Cyrus! It was so exciting! She was driven into a parking facility, and disappeared into the garage. The line started moving by 4, and I got more nervous as we got closer. Once inside Barnes & Noble, the line zig zagged through a maze of bookshelves. It felt like we were far away, but the line moved fast, and soon we were a few people away. I took out my camera, and gave it to an employee who was taking picture (in order to keep the line moving as fast as possible. And finally, I was up. Miley was sitting there, looking even cuter in person, with her little sister sitting next to her. I handed Miley the book, and in an excited tone, said something along the lines of "I'm a BIG fan." She signed the book (with a little heart too), posed for the picture, and said bye. I felt so happy and satisfied.
I read the book in two sittings. I was a great read. It was not a linear "first i was born, then i turned five, then i turned famous..." Instead, it jumped around various life experiences, from being bullied, to auditioning, to working with her castmates. There was a lot about her family, which was very nice to read. Especially the stories about her and her father when she was younger. Those life lessons he would tell her shaped who she is today. As I read through it, I imagined Miley's voice reading it, like a narrator. And that was another cool part about it. It had a very conversational tone, like it was her talking. Lots of little side notes were present, adding clever little quips. It added a lot of personality.
Congrats to Miley for being a bestseller in books. What can this girl not do?
Sunday, March 22, 2009
Thank You
I just want to take this oppurtunity to thank Chris Khan (of becauseimchriskhan.blogspot.com) for photoshopping Miley into the picture with Paul, but also for being a good friend, and listening to my many rants and stories that I now hope to share here, not to mention for just being a generally supportive person.
So, thanks Chris!
So, thanks Chris!
Friday, March 20, 2009
Just Loving Lovato
Demi Lovato has only been super famous for less than a year, since last summer's "Camp Rock," but already she has made such a career for herself. She is starring in "Sonny With A Chance," a her first full-length sitcom, has recorded an album ("Don't Forget," which will see a deluxe editon on the 31st), is doing many concert dates globally, and is planning if not already begun to work on album number 2.
I hope to do a more in depth post on Demi after I purchase "Don't Forget" deluxe in a couple of weeks, but for the time being, I thought I'd just do a more general survey of her short career. Her first gig was "Barney," where she, along with best friend and fellow Disney star Selena Gomez, was one of the children who Barney the Dinosaur would play with a teach life lessons. I only saw her on the show in repeats when my sister was a bit younger (and didn't have a clue who Demi was yet.) My formal introduction came from the same place it did for many, "Camp Rock."
It was already September or October when I first saw the movie, and I was wholly impressed with Demi's voice (her acting wasn't half bad either). "This Is Me" is a great song in general, with her and Joe Jonas singing over each other and such, but just on her own, it really shows her impressive range.
Her new show, "Sonny With A Chance," is a comedy about a girl named Sonny (Lovato) who joins the cast of a popular sketch show called So Random!. Lovato herself compares the premise to that of "Thirty Rock." The plots focus on relations between castmates, as well as between the cast of So Random! and the cast of their rival show, a moody teen drama called Mackenzie Falls. The show has been generally well-recieved. I find it a bit campier than other shows like "Wizards" or "Hannah Montana," but in of itself it is an entertaining show.
Aside from her album, Demi has done other musical releases. She has five "Camp Rock" songs:
I hope to do a more in depth post on Demi after I purchase "Don't Forget" deluxe in a couple of weeks, but for the time being, I thought I'd just do a more general survey of her short career. Her first gig was "Barney," where she, along with best friend and fellow Disney star Selena Gomez, was one of the children who Barney the Dinosaur would play with a teach life lessons. I only saw her on the show in repeats when my sister was a bit younger (and didn't have a clue who Demi was yet.) My formal introduction came from the same place it did for many, "Camp Rock."
It was already September or October when I first saw the movie, and I was wholly impressed with Demi's voice (her acting wasn't half bad either). "This Is Me" is a great song in general, with her and Joe Jonas singing over each other and such, but just on her own, it really shows her impressive range.
Her new show, "Sonny With A Chance," is a comedy about a girl named Sonny (Lovato) who joins the cast of a popular sketch show called So Random!. Lovato herself compares the premise to that of "Thirty Rock." The plots focus on relations between castmates, as well as between the cast of So Random! and the cast of their rival show, a moody teen drama called Mackenzie Falls. The show has been generally well-recieved. I find it a bit campier than other shows like "Wizards" or "Hannah Montana," but in of itself it is an entertaining show.
Aside from her album, Demi has done other musical releases. She has five "Camp Rock" songs:
- "We Rock" - with the full cast
- "Our Time Is Here" - with Meaghan Jette Martin & Aaryn Doyle
- "This Is Me" - with Joe Jonas
- "Who Will I Be?"
- "This Is Me (Acoustic)" - a solo version released only as a single
Demi is also on The Jonas Brother live album, on a concert performance of "This Is Me." (Maybe next year Demi will be the one with a "3D" concert film!)
There are also two songs she has done for compilation albums:
- "That's How You Know" - a cover of the song from "Enchanted" on "Disneymania 6"
- "Wonderful Christmastime" - a cover of Paul McCartney's Christmas song on Hollywood Records "All Wrapped Up" (a Target exclusive)
There is the song "Moves Me," that Demi did for a DVD called "Be Like A Pop Star With Demi Lovato." She was much younger when she recorded this number, which accompanies dance moves. It is sold on iTunes with the regular version, as well as extranous 'Karoke' and 'Instrumental' versions. Demi came a long way from this bland number. Her song "La La Land" was remixed (the "Caramel Pod D Remix") for the Japanese version of "Don't Forget."
All the above items are officially available (many on iTunes), but she also has a Demo album, only available as a bootleg (although with songs this good, maybe she'll get around to releasing them.) The demo has 10 songs, some only in fragments. Some cuts may be older than others, as some embrace a darker rock vibe, probably what she was refering to when she said her songs were too dark, and she needed the Jonas Brothers to lighten her material a bit. Others a cheesy bubblegum tracks, not dissimilar to "Moves Me"
- Stronger - The lyrics are "heavy," but the arrangement itself it quiet. Demi gives it both her breathy whisper like vocals as well as a few loud and forceful bits
- Shadow - again the lyrics are cool, but this one has more of a rock vibe.
- Open - The last two are from happier perspectives, but this one is about being in a bad / somewhat abusive relationship.
- Trash - in this song, Demi sings as a girl whose learns her boyfriend left her for another. She never uses the title, but that is what the character of the song must feel like.
- Ride - a forty second fragment about "strawberry bubble bath" or something, with really cheesy music. Not the stuff that Demi does now.
- Mirror - a fragment with okay vocals (she's trying a bit to hard, or the pitch is off) and basic and trite music.
- Not Yet - she sound like she's very young on this fragment, with piano (is it her playing?) accompaniment.
- I Can Only Imagine - a snippet of Demi singing this song
- Have Yourself a Merry Little Christmas
- The Christmas Song - two Christmas numbers with little arrangment (again, is Demi playing?) and two oppurtunities for Demi to stretch her voice over well known numbers.
(Demi may well have other remixes, by the way, but I don't keep up with them.)
Demi has many upcoming projects, like the "coming soon" Disney TV Movie "Princess Protection Program," which will also star Selena Gomez, many more concert dates, a new album, and a sequel to "Camp Rock" (which Lovato has been saying she hopes to get a funnier role from, I guess since she has been enjoying working on a sitcom so much.) She is on a success-laden path, and seems ready to take it on.Thursday, March 19, 2009
You Say You Want A Revolution...
Well, you want a Revolution? There are quite a few to pick from!
The Beatles have been in headlines recently after the discovery of the complete Take 20 (RM 1) of "Revolution 1." This track, nearly eleven minutes long, is the missing link between "Revolution 1" and "Revolution 9." It had been unbootlegged until late last year. Rumor has it that it leaked whilst tapes being used to remaster the "White Album" were being moved about. Only two tapes of this recording were in the vaults, so it had long been sought after, but impossible to find.
But it is not the earliest version we have available. There is John's Esher demo, which has been bootlegged, part of a collection of homemade recordings the Beatles made in anticipation of the "White Album" (with titles appearing in final form on said album, plus "Abbey Road," and two George songs only first relased in his solo years in the seventies and eighties!) This version of "Revolution" is John's original, slow arrangement, but it is not as slow as the album version. Instead, it has a very upbeat, singalong feel, more akin to, say, "Give Peace A Chance." John's guitar is the only instrument, the song otherwise carried by his lead vocals, some backing vocals, and handclaps. It has a very bare, live feel (like many Esher demos) and has a sound that almost seems like a sixties cliche, the type of hipy peace numbers. Except that John has more bite.
John was happy with keeping a slower arrangement for "Revolution," and kept it slow when the Beatles brought it to the studio, their first session for the "White Album." The Beatles recorded what would be retitled "Revolution 1," but John's original idea was to give it a very experimental coda, with tape loops and the like (John had recorded the infamous "Two Virgins" only a week or so prior.) After twenty takes, the Beatles ended up with the now popular "Revolution 1" Take 20 RM 1 (which means Mono Remix number 1). The cut runs for about 10:46. At first, it sounds just like the album version (minus many overdubs). But as it runs past the album version, things get a little crazy. John's "Alright" 's start to have effects on them, and a tape loop of noise keeps going through the sound image. Behind John, backing vocals saying "Mama, Dada" can be heard, something not in the final version. Finally, the song wraps up with a recording we all know from "Revolution 9," of Yoko talking with John and wierd radio noises and some tinkering on a piano. The song ends there, with John and Yoko heard commenting on it before the tape cuts. The song would be edited later on, and the last half taken out. John's experimental coda would become its' own entity, "Revolution 9."
We also have bootleg recordings of the Beatles overdubbing Take 20, adding electric guitar, organ, more drums, and such. The tapes we have are from Yoko, who was recording a sort of audio diary. She delves into many topics, from her sex life with John, to her relationsip with the band, and she seems to be in a very stream of conscious sort of recitation of emotions and events. Behind her, the Beatles can be heard working on overdubs and jamming, making for a great background atmosphere (although I imagine everyone, including myself, is not listening just for Yoko's part). The jams are pretty light, with a nice organ giving an almost ethereal feel. With Yoko talking over it, it feels less like a recording session, and more like the soundtrack to some strange psychedelic movie.
"Revolution 1" was finished first, and made part of the "White Album"s tracklisting, but the other Beatles wanted John to make it into a faster number, and so the electric single version was recorded, and wound up being the first released. With the heavy guitars, and John's primal scream, this version took on a more forceful stance, a complete turn around from the lazy Sunday performance of "Revolution 1." Session man Nicky Hopkins played keyboard, one of the few times the band would be augmented by an outside musician. It was the B-side of "Hey Jude," and both the A & B recieved much airplay (though Paul would be the one to have a #1, fueling a little jealousy in John, already none to happy to have had his two songs, "Across The Universe" and "Hey Bulldog" left out of the Beatles ealry 1968 single, Paul's "Lady Madonna," and also not thrilled to have "I Am The Walrus" relegated to the B-side to give Paul's "Hello Goodbye" top billing.)
After their last concert at Candlestick Park in 1966, the Beatles had not appeared together on stage. In 1967, they gave only one live performance, "All You Need Is Love," for the TV broadcast. In 1968, they would again go on TV live, sort of. For a special segment on the David Frost Show, the Beatles would do "Revolution." It would not be a new recording, but rather new vocals on top of the backing track from the single. Paul would do the opening scream, and while John sings the lead, Paul and George would throw in some "sho-be-do-wa's" from "Revolution 1," reconciling the two versions.
I had first heard "Revolution" in the car with my Mother, not long after the Beatles "1" CD came out. It was one of the first songs I heard by them not on the CD, and I was intrigued by it (and wholly confused when "Revolution 1" would come on, and I would wonder where the riff went!)
"Revolution" was the birth of John making his lyrics politically aware. It says very little specifically (save for Chairman Mao) but it has the sort of urgency that pervaded the late sixties, and the agression foreshadowing the political activism John would be a part of in the seventies. John still wasn't sure where he stood, not sure whether to say "in" or "out" after "You say you want destuction/ well don't you know that you can count me...", (saying both in "Revolution 1".) But he knew he had to say something. And so he did.
The Beatles have been in headlines recently after the discovery of the complete Take 20 (RM 1) of "Revolution 1." This track, nearly eleven minutes long, is the missing link between "Revolution 1" and "Revolution 9." It had been unbootlegged until late last year. Rumor has it that it leaked whilst tapes being used to remaster the "White Album" were being moved about. Only two tapes of this recording were in the vaults, so it had long been sought after, but impossible to find.
But it is not the earliest version we have available. There is John's Esher demo, which has been bootlegged, part of a collection of homemade recordings the Beatles made in anticipation of the "White Album" (with titles appearing in final form on said album, plus "Abbey Road," and two George songs only first relased in his solo years in the seventies and eighties!) This version of "Revolution" is John's original, slow arrangement, but it is not as slow as the album version. Instead, it has a very upbeat, singalong feel, more akin to, say, "Give Peace A Chance." John's guitar is the only instrument, the song otherwise carried by his lead vocals, some backing vocals, and handclaps. It has a very bare, live feel (like many Esher demos) and has a sound that almost seems like a sixties cliche, the type of hipy peace numbers. Except that John has more bite.
John was happy with keeping a slower arrangement for "Revolution," and kept it slow when the Beatles brought it to the studio, their first session for the "White Album." The Beatles recorded what would be retitled "Revolution 1," but John's original idea was to give it a very experimental coda, with tape loops and the like (John had recorded the infamous "Two Virgins" only a week or so prior.) After twenty takes, the Beatles ended up with the now popular "Revolution 1" Take 20 RM 1 (which means Mono Remix number 1). The cut runs for about 10:46. At first, it sounds just like the album version (minus many overdubs). But as it runs past the album version, things get a little crazy. John's "Alright" 's start to have effects on them, and a tape loop of noise keeps going through the sound image. Behind John, backing vocals saying "Mama, Dada" can be heard, something not in the final version. Finally, the song wraps up with a recording we all know from "Revolution 9," of Yoko talking with John and wierd radio noises and some tinkering on a piano. The song ends there, with John and Yoko heard commenting on it before the tape cuts. The song would be edited later on, and the last half taken out. John's experimental coda would become its' own entity, "Revolution 9."
We also have bootleg recordings of the Beatles overdubbing Take 20, adding electric guitar, organ, more drums, and such. The tapes we have are from Yoko, who was recording a sort of audio diary. She delves into many topics, from her sex life with John, to her relationsip with the band, and she seems to be in a very stream of conscious sort of recitation of emotions and events. Behind her, the Beatles can be heard working on overdubs and jamming, making for a great background atmosphere (although I imagine everyone, including myself, is not listening just for Yoko's part). The jams are pretty light, with a nice organ giving an almost ethereal feel. With Yoko talking over it, it feels less like a recording session, and more like the soundtrack to some strange psychedelic movie.
"Revolution 1" was finished first, and made part of the "White Album"s tracklisting, but the other Beatles wanted John to make it into a faster number, and so the electric single version was recorded, and wound up being the first released. With the heavy guitars, and John's primal scream, this version took on a more forceful stance, a complete turn around from the lazy Sunday performance of "Revolution 1." Session man Nicky Hopkins played keyboard, one of the few times the band would be augmented by an outside musician. It was the B-side of "Hey Jude," and both the A & B recieved much airplay (though Paul would be the one to have a #1, fueling a little jealousy in John, already none to happy to have had his two songs, "Across The Universe" and "Hey Bulldog" left out of the Beatles ealry 1968 single, Paul's "Lady Madonna," and also not thrilled to have "I Am The Walrus" relegated to the B-side to give Paul's "Hello Goodbye" top billing.)
After their last concert at Candlestick Park in 1966, the Beatles had not appeared together on stage. In 1967, they gave only one live performance, "All You Need Is Love," for the TV broadcast. In 1968, they would again go on TV live, sort of. For a special segment on the David Frost Show, the Beatles would do "Revolution." It would not be a new recording, but rather new vocals on top of the backing track from the single. Paul would do the opening scream, and while John sings the lead, Paul and George would throw in some "sho-be-do-wa's" from "Revolution 1," reconciling the two versions.
I had first heard "Revolution" in the car with my Mother, not long after the Beatles "1" CD came out. It was one of the first songs I heard by them not on the CD, and I was intrigued by it (and wholly confused when "Revolution 1" would come on, and I would wonder where the riff went!)
"Revolution" was the birth of John making his lyrics politically aware. It says very little specifically (save for Chairman Mao) but it has the sort of urgency that pervaded the late sixties, and the agression foreshadowing the political activism John would be a part of in the seventies. John still wasn't sure where he stood, not sure whether to say "in" or "out" after "You say you want destuction/ well don't you know that you can count me...", (saying both in "Revolution 1".) But he knew he had to say something. And so he did.
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