Muppets…..One and All

 

A Night at the Opera is the fourth album by English rock group Queen, released in November 1975. Co-produced by Roy Thomas Baker and Queen, A Night at the Opera was, at the time of its release, the most expensive album ever recorded.

A critical and commercial success, A Night at the Opera has been consistently voted by the public and cited by music publications as one of Queen’s finest works, and is widely considered as one of the greatest albums ever recorded.

The album takes its name from the Marx Brothers film A Night at the Opera, which the band watched one night at the studio complex when recording. It was originally released by EMI in the UK where it topped the charts for nine weeks, and Elektra Records in the United States where it peaked at number four.

Bohemian Rhapsody” is in the style of a stream-of-consciousness nightmare that has unusual song structure, more akin to a classical rhapsody than popular music. The song has no chorus, instead consisting of three main parts: including an operatic segment, an a cappella passage, and a heavy rock solo.

When it was released as a single, “Bohemian Rhapsody” became an unlikely commercial success, staying at the top of the UK Singles Chart for nine weeks. It reached number one again in 1991, after Freddie Mercury’s death, achieving total sales of 2,176,000 and becoming the UK’s third best selling single of all time—beaten only by Band Aid’s “Do They Know It’s Christmas?” and Elton John’s “Candle In The Wind 1997″.

The single was accompanied by a promotional video; considered groundbreaking, it helped establish the visual language of the modern music video. Although critical reaction was initially mixed, especially in America, “Bohemian Rhapsody” is often considered to be Queen’s magnum opus and one of the greatest songs of all time.

 

New Music – Norah Jones

The music of Norah Jones has always been a bit “safe” for my taste, however, credit is due for her new album “The Fall” for which she has stepped out from behind the safety of her piano to deliver a set of songs which have an edge in part missing from her earlier albums.

The “edge” may in part be due to her split from her long term music and personal partner and her decision to work with a whole new group of musicians and collaborators.

Here is a live version of one of my favourite tracks from the album.

“Waiting” (Live) – Norah Jones

Here is a brief review from www.independant.co.uk

Parts of Norah Jones’s 2007 album Not Too Late sounded rather like a scrubbed-up, housetrained Tom Waits, so it’s no surprise that for this follow-up, she enlisted the services of producer Jacquire King in an attempt to obtain the “balance between beautiful and rough” that he secured for Waits’s Mule Variations.

  To help achieve that effect, they’ve drafted in a session crew that includes drummers James Gadson (Bill Withers, Al Green) and Joey Waronker (REM) and guitarists Marc Ribot (Tom Waits) and Smokey Hormel (Johnny Cash); but the dominant instrument here is Jones’s own guitar, a quivering vibrato throb at the heart of most of these tracks. Otherwise, the significant impression is of heavier drums behind her warm, lazy croon, setting up the chugging grooves of “Young Blood” and “Chasing Pirates” and the boogie swing of “It’s Gonna Be”.

The best tracks come towards the album’s end, with the shimmering guitar haze hanging around the Johnny Cash rhythm of “Tell Your Mama”, the combination of acoustic picking an gentle piano chords on the lullaby ballad “December” and the downhome “Man of the Hour”, a song to her dog in which she admits, “I can’t choose between a vegan and a pothead, so I chose you”.

 

To buy the music of Norah Jones click HERE

Graham Parker

A posting on Graham Parker has been long overdue on this site so here we go but don’t ask me questions.

“Don’t Ask Me Questions” – Graham Parker

Crimson autograph is what we leave behind, everywhere man set foot.
War mongers laughing loud behind a painted face
Throwing titbits to the crowd then blowing up the place.

Chorus

Hey lord dont ask me questions, hey lord dont ask me questions
Hey lord dont ask me questions please!
Hey lord dont ask me questions, hey lord dont ask me questions
Hey lord aint no answer in me. (solo)

Well I stand up for liberty but cant liberate
Pent up agony I see you take first place.
Well who does this treachery I shout with bleeding hand
Is it you or is it me well I never will understand.

Chorus then solo

Well I see the thousands screaming rushing for the cliffs
Just like lemmings into the sea, well well well
Who waves his mighty hand and breaks the precious rules?
Well the same one must understand who wasted all these fools.

Chorus

Aint no answer in me no, aint no answer in me
uh uh uh uh uh uh uh uh uh uh uh uh uh uh..

The above track was taken from his 1976 debut album “Howlin’ Wind” which as you can see was credited purely to Graham Parker

In the late 1960s and early 1970s, Graham Parker sang in small-time English bands such as the Black Rockers and Deep Cut Three while working in dead-end jobs like a glove factory and a petrol station. In 1975, he recorded a few demo tracks in London with Dave Robinson, who would shortly found Stiff Records and who connected Parker with his first backing band of note, The Rumour.

Graham Parker had one track, “Back to Schooldays”, released on the compilation album, A Bunch of Stiff Records for Stiff Records.

In the summer of 1975 Parker joined forces with ex-members of three British pub-rock bands to form Graham Parker and the Rumour. The new group consisted of Parker (lead vocals, guitar) with Brinsley Schwarz (lead guitar) and Bob Andrews (keyboards) (both ex Brinsley Schwarz), Martin Belmont (rhythm guitar, ex Ducks Deluxe) and Andrew Bodnar (bass) and Steve Goulding (drums) (both ex-Bontemps Roulee). They began doing the rounds of the British pub rock scene, often augmented at times by a four-man horn section known as The Rumour Brass: John “Irish” Earle (saxophone), Chris Gower (trombone), Dick Hanson (trumpet), and Ray Bevis (saxophone).

As noted above the band’s first album, Howlin’ Wind, was released to acclaim in 1976 and was rapidly followed by the stylistically similar Heat Treatment. A mixture of rock, ballads, and reggae-influenced numbers, these albums reflected Parker’s early influences (Motown, The Rolling Stones, Bob Dylan, Van Morrison) and contained the songs which formed the core of Parker’s live shows — “White Honey”, “Soul Shoes”, “Lady Doctor”, “Fool’s Gold”, and his early signature tune “Don’t Ask Me Questions”, which hit the Top 40 in the UK.

Parker and the Rumour built a reputation as incendiary live performers: the promotional album Live at Marble Arch was recorded at this time and shows off their raw onstage style. Like the pub rock scene he was loosely tied to, the singer’s class-conscious lyrics and passionate vocals signaled a renewal of rock music as punk rock began to flower in Britain.

It was 1977’s “Pink Parker” EP which first caught my attention which was supported by this 1977 TOTP performance of The Trammps classic.

It was undoubtedly as a live performer that Parker came into his own though his 1978 live album “Parkerilla” didn’t quite match up to expectations.

Three sides were live, with no new songs and with versions of previously released songs that added nothing to the prior studio cuts. Side four was devoted to a “disco” remake of “Don’t Ask Me Questions”. The 2-disc record was regarded by some as a ploy to fulfil Parker’s contractual commitment to Mercury records, and as a ripoff for fans. Others think it one of the better live albums of the 70s on a par with Thin Lizzy’s Live and Dangerous. (not me!).

Energized by his new label, Arista Records, and the presence of legendary producer Jack Nitzsche, Parker followed with Squeezing Out Sparks, widely held to be the best album of his career.

For this album, The Rumour’s brass section, prominent on all previous albums, was jettisoned, resulting in a spare, intense rock backing for some of Parker’s most brilliant songs. Of particular note was “You Can’t Be Too Strong”, one of rock music’s rare songs to confront the topic of abortion, however ambivalently.

Squeezing out Sparks is still ranked by fans and critics alike as one of the finest rock albums ever made. Rolling Stone named it #335 on their 2003 list of the 500 greatest albums of all time. In an early 1987 Rolling Stone list of their top 100 albums from 1967-1987, Squeezing Out Sparks was ranked at #45, while Howlin’ Wind came in at #54.

The companion live album Live Sparks, sent to US radio stations as part of a concerted promotional campaign for Parker, showed how well the songs worked on stage, and included another snapping r&b cover, the Jackson 5’s “I Want You Back“.

The jettisoned brass section, incidentally, would continue to play on other people’s records credited as The Irish Horns (on the album London Calling by The Clash) or The Rumour Brass, most notably on Katrina and the Waves‘ 1985 hit “Walking On Sunshine“.

Here is a track from the album.

“Local Girls” – Graham Parker

Sit by my window and look outside, wonder why the sun don’t shine on me

What’s wrong with you, you stupid child, don’t you think that I’m the one

you’re waiting to see?

Don’t talk too much ’cause she falls for the suckers, makes her feel

everything is secure

Don’t ever leave a footprint on the floor

Chorus: Don’t bother with the local girls, don’t bother with the local girls

They don’t bother me

She’s probably half-wit, she must be straight,

or bound to have a mother who knows nothing but hate

Don’t want to love her, I’d rather knock her down

Standing at the busstop where she waits each morning

So isolated that she thinks that the army is the place where a man ought to be

Don’t bother with them, they don’t bother me

Chorus

They got the walk, they got the talk, right down without a flaw

At 6:00 I got to stop my dreaming at the counter of the store

Chorus

Without a doubt I got to intercept, must be time someone ran and shouted in

their head

You look all right in the cheap print dress,

but everytime you swish it ’round you make me disappear

I’m aware of exactly what I’m doing, making everything a mystery

Don’t bother with it, it don’t bother me

 

To buy the music of Graham Parker click HERE

Cover Story – Amy Winehouse

Amy Winehouse’s exclusive cover of Sam Cooke’s ‘Cupid’, recorded to support Artists Project Earth (APE), is set to become one of last non-X-Factor related hits of the year.

The track, recorded earlier this year for the ‘Rhythms Del Mundo Classics’ compilation, hopes to raise funds and drive awareness for the charity ahead of the Global Climate Change Conference in Copenhagen, December 7-18, where APE will be voicing the concerns of the world’s leading musician’s on the issue.

Despite ‘Rhythms Del Mundo Classics’ being released in July, ‘Cupid’ has received huge radio support recently. The compilation also features covers by Rodrigo Y Gabriela and Cat Power.

Latest music and film news on Uncut.co.uk

Clive Gregson

Clive Gregson is another British singer/songwriter who deserved greater commercial success.

His start in the music business was as a founding member and leader of Any Trouble, a band that released five albums and performed hundreds of gigs but which broke-up at the end of 1984.

“Touch and Go” – Any Trouble

In 1985 Gregson released his first solo record, Strange Persuasions, described by Hot Press as “a truly exceptional piece of work”.

“American Car” – Clive Gregson

Following the release of the above album he partnered up with vocalist, Christine Collister. This partnership was to prove to be highly successful and helped re-invigorate British folk-rock in the late 80s and early 90s. So much so they were described in Rolling Stone Magazine as “the state of the art in British folk-rock”, the same magazine have also described him “one of their 1,000 Greatest Guitarists”.

 Their first four albums all achieved chart success and numerous tours of the UK, USA, Canada, Europe, Australia, New Zealand and Japan further established Gregson’s name in the world of British folk-rock.

Throughout this period Clive was also a member of the Richard Thompson Band and in demand as a record producer and session musician. He compiled his second solo project, Welcome To The Workhouse and by October 1992 was performing as a solo artist again.

During this time he developed a song-writing partnership with Boo Hewerdine, founder member of The Bible. They toured the UK in the spring of 1993 as a trio completed by Eddi Reader, the ex-Fairground Attraction vocalist.

In November 1994 Clive released Carousel of Noise, a mix of live and studio recordings, hailed as “brilliant” by the Manchester Evening News. The following April, Clive released People and Places, a new studio record, which Pulse gave five stars. August 1996 saw the release of I Love This Town, a CD that Clive describes as a “return to the Any Trouble sound: short, upbeat pop songs with lots of guitar…”.

“I Love This Town” – Clive Gregson”

It was greeted by rave reviews, while Nanci Griffith recorded the title song as a duet with Jimmy Buffett, scoring the UK Radio 2 ‘A’ List and 5,000 US plays in 2006.

In September 1996 Clive took part in Dublin sessions for a new Nanci Griffith CD Other Voices, Too, and in February ‘97 he was nominated for a Nashville Music Award in the Artist/Songwriter category.

Further touring in 1997 took Clive to the UK, Europe, Canada and Japan. He also managed to record a CD with Plainsong, a 4-piece group including Ian Matthews and Andy Roberts described as a “Crosby, Stills, Nash & Young for the ’90’s…”.

Throughout 1998 Clive interspersed recording with yet more touring, re-uniting with legendary producer John Wood (Nick Drake, Fairport Convention, Sandy Denny) for the mixing of Clive’s next solo project Happy Hour. The year ended with Clive’s appearance as a special guest on Nanci Griffith’s “Other Voices Too…” tour.

Happy Hour was released in April 1999 to glowing reviews: “Gregson has come up with one of his best ever records…” Dirty Linen. The album is a truly solo project, with a sparse and intimate sound. Fred Astaire has established itself as a fan favourite and was recorded by Norma Waterson.

April 1999 also saw a reunion of the Gregson/Hewerdine/Reader Trio with USA dates followed by a Boo & Clive Japanese tour, and the year concluded with a solo UK tour.

Clive was also busy in the studio, playing on album projects for Boo Hewerdine, Ian Gomm and Andy West among others. 2000 saw Clive join Boo for their first UK duo tour, more Trio dates, a guest appearance with Nanci Griffith & The Atlanta Symphony, solo summer festivals, sessions and finally another successful solo UK tour.

Comfort & Joy was released in 2001, with much solo touring to promote the album, including a trip to Japan and Clive’s first solo dates in the USA in almost five years. 2002 saw the first official label release of Carousel of Noise and a compilation of Any Trouble tracks from their Stiff Records era, ‘Girls Are Always Right’. The latter met with a great response from critics and fans alike and even showed up on the Amazon.com best sellers list.

In October 2003, Clive managed to fall off a ladder, breaking his left arm and shoulder, which required a lengthy healing process and the cancellation of touring and recording commitments.

The end of January 2004 saw Clive back in the studio playing on sessions for a new Nanci Griffith CD (including his song ‘I Love This Town’) and a couple of weeks later he played his first solo gig since the accident. His next solo CD Long Story Short had been completed the week before his accident and the album was released in the UK in May 2004.

In April 2004, Clive teamed up with John Wood to remix Nick Drake’s catalogue into 5.1 sound (John was the original engineer on every Nick Drake recording). In October, Clive rejoined Nanci Griffith’s band for a UK & Ireland tour, followed by more solo UK dates.

In 2006, the first two CDs from Clive Gregson & Christine Collister and a ‘Best Of’ collection were re-released though Gott Discs, while 2007 saw the reunion of Any Trouble for a brand-new album ‘Life In Reverse’, released on their first label, the legendary Stiff Records, now owned by ZTT’s Trevor Horn.

March 2009 also sees the reissue of remastered versions of the final 3 Gregson & Collister albums via BGO Records: ‘A Change In The Weather’, ‘Love Is A Strange Hotel’ and ‘The Last Word’.

Clive tours the UK every year and in April 2009 sees the first compilation of Clive’s solo material: ‘The Best Of Clive Gregson’, culled from his 8 solo albums, and featuring many of the songs covered by others and acclaimed in concert.

It includes Clive’s original version of the Nanci Griffith radio hit ‘I love This Town’, and a solo version of the Any Trouble classic ‘Trouble With Love’, plus his renditions of songs covered by others: ‘Home Is Where The Heart Is’ (Fairport Convention), ‘Fred Astaire’ (Norma Waterson), ‘Touch And Go’ (Kim Carnes) and ‘Jewel In Your Crown’ (Fairport Convention). A further 10 tracks from Ciive’s 8 solo albums are included, focussing on those that have pleased live audiences on his many tours.

‘The Best Of Clive Gregson’ (along with the Any Trouble compilation ‘Girls Are Always Right’ and ‘The Best Of Gregson & Collister’) gives the uninitiated the rare chance of discovering genuine British talent – a songwriter of great versatility, a singer of great sensitivity, and a guitarist of great ability, all contained in one person.

As of 2009 his career spans 29 years and 17 albums, plus numerous collaborations. His professional career started in 1980 when he helped form Any Trouble bringing out their first record release with Stiff Records. Both the band and their first release, “Where Are All The Nice Girls”, were greeted with positive critiques from British music press. Ultimately they released five albums, several singles and disbanded in 1984. The subsequently reformed in 2007 and released a new album entitled Life In Reverse.

He co-produced (with sound engineer John Wood) the Nick Drake remastered catalogue (remixed in 5.1 surround sound) for the album A Treasury.

The Independent has stated that “Gregson is as fine a singer-songwriter as anyone has a right to expect. He does the lot

To buy the music of Clive Gregson click HERE

The World Has Gone Mad

Rolling Stones have re-released their song ‘Wild Horses’ after Susan Boyle’s rendition on The X-Factor was viewed by approximately 15 million viewers last night.

The track, originally featured on the Stones’ 1971 album ‘Sticky Fingers’, has been released as a digital package featuring the aforementioned album version and a live cut taken from their ‘Voodoo Lounge’ Tour in 1995.

‘Wild Horses’ is released today on all major download sites, whilst Boyle’s version appears on her debut ‘I Dreamed A Dream’, which became the most pre-ordered album of all time.

Latest music and film news on Uncut.co.uk

Lonely Blue Boy

“Lonely Blue Boy” – Elvis Costello

My name should be trouble
My name should be woe
‘Cause trouble and heartaches are all that I know
Oh oh, lonely, lonely blue boy is my name

My heart has been empty
My life has been torn
It must have been raining the day I was born
Oh oh, lonely, lonely blue boy is my name

I’m so afraid of tomorrow
So sick and tired of today
They say that love is the answer
But love never came my way

I’m writing this letter to someone unknown
And if you should find it and if you’re alone
Oh oh, lonely, lonely blue boy is my name
Oh oh, lonely, lonely blue boy is my name

Blood and Chocolate is an 1986 album by Elvis Costello and the Attractions. The album reunited Costello, the Attractions and producer Nick Lowe, but it was the last recorded by the group before a breakup that would last for eight years. The album was, unusually for its time as a studio album, recorded in a single large room at high volume, with the band listening to each other on monitor speakers rather than headphones. Costello describes it as “a record of people beating and twanging things with a fair amount of yelling”.

Costello’s singing and playing is credited on the album under the pseudonym “Napoleon Dynamite,” while his songwriting is credited to him under his actual surname, “MacManus” (with the exception of “I Hope You’re Happy Now”, which is credited to “Costello”).

The above track, written by Fred Wise & Ben Weisman recorded by Elvis Presley and Conway Twitty only featured on the bonus disc issued in 2002 as part of the Rhino Records expanded re-release.

To buy the music of Elvis Costello click HERE

New Music – Ellie Goulding

It will probably be the summer of 2010 before Ellie Goulding releases her album yet her name is on most lists of “who to watch out for” in 2010.

This will almost certainly be the advance single, due early 2010, from the album.

“Starry Eyed” – Ellie Goulding

In the meantime you can buy her earlier single “Under The Sheets” HERE

New Music – Sia

Sia will release a new album “We Are Born” in April next year, here is an advance track for your enjoyment.

“You’ve Changed” – Sia

Sia Kate Isobelle Furler (born 18 December 1975), also simply known as Sia, is an Australian pop singer. She is noted for her work with Zero 7 and her three major label solo albums.

To buy the music of Sia click HERE

The Bloomington Brothers

These guys must have a lot of spare time on their hands.