Sun Goes Down (Living It Up) - Various - True Eighties (CD)


Max Casella. The Madness of King Scar feat. Can You Feel the Love Tonight? Rowan Atkinson The Lion King. Hakuna matata Re leone. Lonely Boy. Ciclo sem fim. Candle in the Wind original version. My Baby Loves Lovin'. Pinball Wizzard. Tiny Dancer original studio version. Hello Hello album version.

Love Builds a Garden. Can I Get a Sun Goes Down (Living It Up) - Various - True Eighties (CD). When Day Is Done. The Lion King: Be Prepared. Carla Etude live. Rocket Man Candle in the Wind single edit live. Sorry Seems to Be the Hardest Word album version. The Crimson Kiss. I Want More.

Sail Me Away. After All This Time. Satuday Night's Alright for Fighting. Step Into Christmas radio mix. Don't Go Breakin' My Heart. Rudolph the Red Nosed Reindeer. Home Again Live. Home Again Radio Edit. The Madness of King Scar. Tiny Dancer From ''Almost Famous''. Corocodile Rock. Grey Seal 5.

Electricity Live in Reading Electricity Live in Southampton. Electricity Live in Norwich. Electricity Live in Huddersfield. Electricity Live in Stoke. Electricity Live in Bolton. Electricity Live in Nottingham. Electricity Live in Coverntry. Electricity Live in Glasgow. Electricity Live in Cardiff 14th of June Electricity Live in Watford. Electricity Live in Swindon. Jamaica Jerk-Off. The Ballad of Danny Bailey The Ballad of Danny Bailey — Tiny Dancer 5. Elton's Song. Country Comfort 5. Madman Across the Water original version 5.

All the Young Girls Love Alice. Screw You Young Man's Blues. I've Seen That Movie Too. Tiny Dancer Live. Goodbye Yellow Brick. Home Again live from Capitol Studios.

Saturday Night's Alright for Fighting. Lady What's Tomorrow. Lonely This Christmas. Made In England Radio Edit. Travelin' Band. Shine Through. The One Bad Side of the Moon Live. Sixty Years On Live. Honky Tonk Women Live. How's Tomorrow. Peter's Song. Saturday Night's Alright for Fighting live. Old ' Grey Seal Version Tower of Babel Live. Bitter Fingers Live. Better Off Dead Live. Writing Live. Curtains Live. Pinball Wizard Live. Grey Seal Version. Tower of Babel Live At Wembley Bitter Fingers Live At Wembley Writing Live At Wembley Curtains Live At Wembley Pinball Wizard Live At Wembley Amoreena Live Radio Broadcast.

Burn Down the Mission Incl. Take Me to the Pilot Live. Burn Down the Mission Live. Honky Cat Live. All the Girls Love Alice Live.

Country Comfort Piano Demo. Tiny Dancer E Mix Bundle. Lady Samantha Mono Version. Keep It a Mystery. Your So Static. Whitewash Country. Slave Alternate "Fast" Version. Duet for One. Jamaica Jerk Off. Tiny Dancer From "Almost Famous". Sixty Years On - Album Edit. Amoreena - Live Radio Broadcast. Burn Down The Mission Incl. Lady Samantha - Mono Version. Jingle Bells. Old Blessed Radio Edit Vocal Ending. Blessed - Radio Edit Vocal Ending. Be Prepared.

Saturday Night's Alright for Fighting Live. Slave - Alternate "Fast" Version. Made In England - Radio Edit. Skyline Pigeon Harpsichord Version. Crocodile Rock Royal Festival hall Live. Believe Radio Edit. Restless Live At Wembley Stadium Believe - Radio Edit. Restless - Live At Wembley Stadium Skyline Pigeon - Harpsichord Version. Nikita UK Edit. Nikita - UK Edit.

Goodbye Yellow Brick Road Live. Daniel Live. Sacrifice Live. The Bitch Is Back Live. Bennie And The Jets - Live. Rocket Man ' Rocket Man - Don't Go Breaking My Heart feat. Kiki Dee. Step Into Christmas - Radio Mix.

Breaking Hearts. Empty Garden Hey Hey Johnny. Ballad of a Well Known Gun. The Honey Roll. Part Time Love. Funeral for a Friend. Calling It Christmas. I'm Going Home piano demo. The Legal Boys. I'm Going Home - Piano Demo. Tiny Dancer. Candle in the Wind live.

Candle in the Wind acoustic mix. Amoreena demo. Burn Down the Mission demo. The Stars Look Down. Grandma's Song. Born to Boogie. Amoreena BBC session. Nikita extended version. Your Song demo version. The Cage demo. Candle in the Wind acoustic. Stone's Throw From Hurtin'. Mona Lisas and Mad Hatters, Part 2. Candle In The Wind - Live. Your Song - Demo Version. The Cage - Demo.

The Circle of Life. Bennie and the Jets Remastered The Last Song live. Candle in the Wind ' Country Comfort demo. I Need You to Turn To piano demo. The Greatest Discovery piano demo. Sun Goes Down (Living It Up) - Various - True Eighties (CD) King Must Die piano demo. Grey Seal piano demo. Grey Seal - Piano Demo. The Greatest Discovery - Piano Demo.

Whenever You're Ready. Your Sister Can't Twist. I'm Still Standing live. I'm Still Standing - Live. Candle in the Wind 5. Bennie and the Jets 5. Goodbye Yellow Brick Road 5. This Song Has No Title 5. Jamaica Jerk-Off 5. Sweet Painted Lady 5. The Ballad of Danny Bailey 5. Dirty Little Girl 5. All the Girls Love Alice 5. Roy Rogers 5.

Social Disease 5. Harmony 5. Jack Rabbit 5. Screw You Young Man's Blues 5. Levon 5. Razor Face 5. Madman Across the Water 5.

Indian Sunset 5. Holiday Inn 5. Rotten Peaches 5. All the Nasties 5. Goodbye 5. Captain Fantastic and the Brown Dirt Cowboy 5. Tower of Babel 5. Even I wouldn't try my luck against that mother.

You know, Polnareff, your sense of humour stinks! Polnareff : That piece of shit's corpse is two or three thousand meters that way if you want to take a look. Hol Horse: We'll beat them every time with our teamwork and friendship!

Right, Voing? Hol Horse : Ya see, my Stand is the gun; and your sword can't beat my gun. Polnareff : Oh, what's that? Ooooohyou're into that stuff! Polnareff bursts out laughing for a long time at his own joke, as does Hol a few seconds later. Hol Horse : mood darkens You You never had my loyalty!

You can't buy my soul with money. Now, there is no one who can oppose me. That's just my way of life! Any objections? Polnareff : Hey, isn't that Hol Horse lying in the dirt? Joseph : Leave him alone. He needs to be hospitalized, he's no longer a threat. I just don't get it! Hol Horse : Hey, I'm just a drifter, I got no home. I live this ol' life day-to-day, and in the end, I'm destined to die on the street. Listen to me Even though we love each other so very, very much, ya see?

Geil dub: Centerfold. Hanged Man. Her true form. ZZ dub: Zii Zii. This is Wheel of Fortune, click here to see ZZ. ZZ Your valiant hero finally bit the dust! Jotaro: Is that so? And who exactly would replace me, Jotaro Kujo?

Let me guess, you thought it'd be you, you roadhog. Enya the Hag dub: Enyaba. Her disguised form OVA exclusive. Can you punch the fog with your fist?

Or cut the fog with a sword, or shoot it with a gun?! I don't think so! Absolutely futile. There's nothing you can do but accept your fate! Steely Dan dub: Dan of Steel. Steely Dan : to himself I usually sell five for yen. Jotaro in full Tranquil Fury mode What's the matter?

Didn't you say something about stabbing me? Jotaro : completely unimpressed Good grief. This should be blatantly obvious, but you really are a piece of work. Arabia Fats. This is The Sun, click here to see Arabia Fats. Mannish Boy. Death Thirteen. It's romantic, wouldn't you agree?

He was really fun to hang with and fun to play with. Eddie was great and I say this with love and respect; he was just out of his mind in a good way. His sense of humor and spark and energy; oh, he was great. It was really fun playing with him, because he was just crazy and you never knew what he was going to do.

He played with all these gadgets and did things no one had done before; blew his saxophone through those things. I had a lot of respect for Eddie Harris.

In one way he had a lot of fame and success. I think he was a really a cool blend between the funky, contemporary stuff and the real straight-ahead stuff. He could do both. This writer thinks Brian Bromberg, himself, is a genius in his own right. Like Eddie Harris, Brian can play many styles of music and he plays them all with excellence. This is exemplified in the long list of recordings he has made as a bandleader performing both smooth jazz and traditional, straight-ahead jazz.

Music just kept pouring out of him. Inhe reached back to his acoustic roots, embracing a traditional jazz path. He walked up that road successfully with Doug Webb and Ernie Watts on saxophones, Freddie Hubbard on trumpet, Mike Garson, dramatic and emotional on piano and Mitch Forman bringing his own spice and brilliance to the eighty-eight keys on some tracks.

Minneapolis was another smash hit album. The other creative discovery Brian made in his career is the mastery of the piccolo bass. When I started playing bass, I realized I had this melodic side to me. I Sun Goes Down (Living It Up) - Various - True Eighties (CD) messing around with changing the tuning of my bass and one day, I tuned the strings an octave higher than my regular bass.

I started playing all this stuff and I said, Holy Mackerel. You know, when you play bass chords down low, they sound kind of muddy. And it rewired me. For whatever reason, I started playing it more and more. I realized I have all this melodic stuff inside of me and it came out and excited me.

What the piccolo bass did for me was allow me to sing. I was playing melodies and telling stories. I had no idea all this stuff inside of me even existed. It helped me communicate with music in that register. It was perhaps because it was higher and tuned like a guitar. So, all of a sudden it totally changed my playing, my phrasing and my melodic thought. I put my fingers in the same place as a regular bass, but it just sounds different.

It became a voice of mine. It made me grow into the music. It made me better. It forced me to be better. I love it. I get to play music, not just the bass. It shows me that so many of the limitations we have are our own.

I try not to be limited by my instrument. The instrument challenges me. It was produced virtually, using technology to synchronize the musicians together during the quarantined, pandemic year of This album is back to his smooth jazz, funky style. They supply a rhythm track that bounces like a trampoline for Everette Harp to showcase his dancing saxophone.

Tom Zink is on every track of this new CD, adding keyboards that fatten the arrangements. Always pushing the boundaries of his creativity, Brian Bromberg began to design basses. He wanted something comfortable to hold, ergonomically shaped, with high quality and a resonating tone.

His next project was starting a radio show that exclusively introduced bass players to his listening audience. It exceeded my expectations in many ways. We had listeners in countries and it was incredible. I had a lot of luck as a bass player.

I wanted to give other bass players a platform to be heard. Most of the record labels are gone and there are so many bass players out there worthy to be heard. A few companies believed in us and gave us a shot. But the Industry let us down with no willingness to support the global bass community. None of the magazines supported us. There are hundreds of companies that make bass equipment who had no interest in taking out ads on our show.

If you think about it, the people listening to our show were mostly bass players. Bass players buy strings, straps, instruments, cases, all that stuff. They buy cars to get to Sun Goes Down (Living It Up) - Various - True Eighties (CD). They get financed by Wells Fargo, just like I did. I had overhead. I would have liked to see more industry support.

Consequently, I had to shut it down. This is music you can pop into your car CD player, or pull up on your phone and head to the open highway. It was so good to speak to my longtime friend and gifted bassist, Tomas Gargano last week. As we chatted, I discovered some little-known facts about his life and musical career. Always in celebration of the history and legacy of jazz, Tomas was inspired early-on by his father, a man who initially had aspirations to become a saxophone player.

Then, my father bought me a cheap, eighteen-dollar guitar. I started playing that. My father also played Count Basie in the house, relentlessly, at a very high volume. I was seven years old. My father was a frustrated saxophone player. So, I played saxophone until I was sixteen years old. From that seven-year-old moment, staring up in awe at Marshall Royal and the Count Basie Big Band, Tomas Gargano fell in love with the bass instrument.

Even though he dabbled at piano and studied saxophone for several years, he was infatuated by the sound and application of the bass in a musical setting. He was playing upright at the time. I would walk up the alley to the back of this place, The Peppermint Twist Club, and listen to him play through the window.

I was a little fourteen or fifteen-year-old kid. They called him the Funk Machine even then and he was playing upright.

James Jamerson had deep roots in jazz, like many of the seasoned musical veterans around Detroit at that time. Tomas followed his dream of becoming a working musician.

He sought out those elders who could inspire, teach and enhance his goal. By that time, he had put down the saxophone and picked up the bass. He was playing bass with Stevie Wonder. So, I started driving up there. It was about a mile drive to Rochester, Michigan.

The instructors were pianist and arranger, Harold McKinney, trumpeter and arranger, Marcus Belgrave and tenor saxophonist, Sam Sanders. When he was just nineteen years old, word spread about his talents on bass. He was called to play a church gig with none other than the queen of soul, Aretha Franklin and her sisters, Carolyn and Erma. ByTomas was gigging steadily around the Motor City. Out of the blue, he got a call to go to Japan and work at the Tokyo Playboy Club as part of their house band.

He had planned a move to New York City and live with a cousin, but when this unexpected opportunity cropped up, he snatched it.

I was on a flight back from Japan and supposed to arrive in San Francisco and then return from there to an apartment in New York on East 24th street. But there was a bad storm that made the airline divert their flight.

We landed in Los Angeles. I had a few friends in L. I love a big-city- feel like Detroit, Chicago and New York. That became a thirteen-year relationship. Once I made peace that I was staying in Los Angeles, it made me think, maybe there was a deeper reason. I should look this man up. Studying with Red Callender was the greatest thing in my life! He was so much more than a bass teacher. He was a friend and a mentor. Tomas was the baby of their group and George Reed and pianist, Duke Burrell took him under their wise wings to nurture and support his talent.

So, the polished drummer had a wealth of knowledge to share. Duke Burrell was also historic. Born in July ofhis roots were in New Orleans, Louisiana. So once again, Tomas was surrounded by jazz elders and cultivated by their wisdom. He loved it! Tomas continued his jazz legacy by working consistently with a long line of legendary Los Angeles Jazz cats. He spent several years being the bassist of choice for reedman, Teddy Edwards, vocalist, Ernie Andrews, the amazing Betty Bryant, Linda Hopkins and even myself.

Like those iconic musicians, I love the way Tomas Gargano plays his bass! So, we were sitting there at the bar, talking. Oh, he was a task master. Those are the most memorable things I treasure about Los Angeles; those personable moments. Those friendships.

He was the saxophone player I had heard when I was seven years old at that Count Basie concert with my father. Even then, I wanted to play that bass. My father wanted me to choose the saxophone. So, I called my dad and Marshall Royal spoke to him. He was so gracious and such a gentleman to my father. I remember, he said to my dad; your son made the right choice, referring to my choice of instrument. That was a great moment. He participated, as bassist, on almost every one of her album releases.

In summer ofhe flew into Los Angeles to be a part of her 88th birthday studio session. It was a small, small compact studio. I was so proud and humbled to be with those incredible musicians. It was Ernie Andrews, Poncho Sanchez and you. You were the three stand-outs to me that I wanted to work with and I accomplished that! Before he knew it, he was playing gigs and meeting more jazz royalty.

He lived on the 31st floor. We live on the 27th floor. He saw me years ago rolling the bass to the gig. He said; Hey Mr. I got to know him. Just being in his presence was inspiring. He was the most dapper gentleman. Even in the last part of his life, when he was in a wheelchair, he was just so generous with his spirit.

You come out and you rub the stump, you know. To do that was really something. One of my most memorable gigs was with former L. Ron Carter walks into the club one night. I remember distinctly we were playing Jitterbug Waltz in B flat.

Ron Carter wants to sit-in and play my bass! Naturally, he proceeded to play the shit out of that song. After the set, he complimented my instrument and we talked bass talk. I worked there for years with several different groups. I toured Europe with them. I think he owned the whole block. He never looked it, but he was in his eighties. This elegant black man, always in a three-piece suit and a Fedora hat, was the coolest cat in the neighborhood.

He encouraged me to bring my own band into his club, but I never did it. He was the house bassist at the New Amsterdam Musical Assoc. They had a Monday Night Jam session. Recently, Don Sr. Just like Duke Burrell said it to me. Hakim, Gene Perle and quite a few people. Here, I spend about minutes on the subway. Mass transit makes it more personal here. His relationships are personal, his music is personal and his love of the bass is personal. The Los Angeles area is stuffed like a giant pinata with talent galore.

After all, Southern California is a hub for the film and television industry, has a thriving theatrical community and also boasts a bodacious jazz scene. Leslie Baker is one such musician, whose diamond talent and positive energy brightens any bandstand where she plants her big, bad bass. As a female in the music business, she is proficient in playing both upright and electric basses.

Another plus, Leslie can easily cross genres of music. In other words, Leslie Baker plays a bass for all seasons. He was a professional pianist and vocal coach, who encouraged his talented little girl to begin playing piano at age six.

Once she mastered the rudiments of music, Mr. Baker suggested Leslie learn to play the bass. She started off playing the upright bass.

At twenty-years-old, Leslie Baker was a self-supporting, very busy musician. Always striving to be better, she studied with some legendary bass icons.

Sun Goes Down (Living It Up) - Various - True Eighties (CD) of her main influences and greatest mentor was the amazing Red Callender. She told me a little bit about that time in her life. The legendary bassist, Red Callender, must have been surprised by this excited young woman standing before him and complimenting him on his tuba playing. I played only electric bass from age sixteen to age twenty-six. When I discovered the electric bass I said, well why bother with this big cumbersome instrument?

I had to go to the gym to keep my strength up and I had to carry the thing home on weekends and to practice. It was a big, awkward deal. For ten years I played nothing but electric, and then, I started yearning for the sound of a string bass where I could bow it.

It was the sound I could not get from my electric bass. So, I purchase this double bass. Then I start reading music on it. I go, Uh Uh! I need some help. Amazingly, Charles Owens had just corralled Red into teaching. Red had never been a teacher before.

He was a career musician. His emphasis was on how to play the upright bass in tune. They were studying with him Sun Goes Down (Living It Up) - Various - True Eighties (CD). Baker has been on the bandstand with numerous music masters and learned from each one of them.

One such legend, often referred to as the inventor of Rock and Roll, was drummer Earl Palmer. He was not only a great jazz drummer, but also a sought-after studio musician who played on a number of big hit pop songs and rock and roll records. What a blessing for Leslie Baker to be the bassist who locked into a groove with this master musician!

She has learned from the best in the business. For example, she was part of the Al Aarons L. Jazz Caravan that was packed with legendary players. What a band! Another jazz legend Leslie Baker worked with, was the unforgettable hard-bop drummer, Billy Higgins. As Leslie grew musically, she recognized that one of the best educations you can get is actually performing and playing music with others. Jody singing "Cowboy Style" on YouTube.

Sipp in its Ahab-like quest to appeal to the white blues market. Nothing against Mr. Meanwhile, just up the road, the best young blues singer in the area is rocking in anonymity with great songs, evocative vocals and scorching lead guitar. Neicy Redd Another young artist steeped in old-school style is rising in the southern soul firmament. She sounds as real as if she were sitting six feet away from you, telling you the "difference between a boy and a man". But the first two are the rarity in the female singer ranks, and each monthly or bi-monthly single Portia releases leaves notches on our collective brains, not to mention makes her better.

One of the best cuts to come out of Baton Rouge in courtesy of producer Highway Heavy, of course. Sexi Jackson The chords from B. King's "The Thrill Is Gone" never grow old. Haven't heard them in a southern soul tune for a couple of years, but Sheila Jackson does them well in this smoky and evocative tale of crisis. Send product to: SouthernSoulRnB. Nothing fancy. Just an elemental groove and country-inflected vocal crying out for future remixes. This song invites everyone to flap their wings, and let me tell you If you see a beautiful woman in the middle of the dance floor flapping her elbows up and down, real careless-like, it'll break your heart.

First new artist since Fat Daddy to score a 1 single first time out. Can't wait to see the dance video! Structurally the simplestand emotionally the deepestof the many superb tunes on Jeter Jones new, five-star-rated Trailride Certified Part 2. West Love I've been suggesting Stan adopt his "Cowboy Ride" persona both performance-wise and vocally and in "Kuntry," assisted by the powerful and gritty West Love, he kills it.

This is his path to stardom, and this is a candidate for Best Duet of the Year. Sir Charles is aiming for the audience beyond southern soul with this chest-pounding, selfie testimonial. And who wouldn't want him leading the charge of southern soul into the mainstream, cape furling in the wind, shield glinting in the sun?

Jeter Jones There's good funk and there's bad funk. This is the good stuff. He's rapping over a soulful chorus. Mister Cotton Gravelly-voiced, soul-loving Terry Cotton finally hits the jugular with none other than the sidepiece man himself, Big Pokey Bear. Roi "Chip" Anthony Ice Doll raps it well, but its Roi "Chip" Anthony who brings this soulful melody and chorus home to the southern soul audience. Nice great pleasure to celebrate one of southern soul's most under-exposed and deserving artists "Neighborhood Rat," "Play Your Position," "Tore Your Drawers" and his most accomplished bid for a southern soul hit single in a career spanning two decades.

Urban Mystic Slow-motion sensuality slathered over a bed of heavenly instrumental sweetness. Jeter Jones is singing like he's never sung before on his new Trailride Certified 2. Listen to "Eternity" from the new album The Chosen 1. And remember? Theodis lets out a whoop of excitement.

But Blu, with one fine album to his credit, is one-of-a-kind. Listen to J. Even Nebraskans Buchana In this unlikeliest of pairings, both Nellie and O. Nellie really brings out the best in O. The songwriting and arranging by Omar Cunningham, who can also be heard on background vocals, is crucial.

On a "forever and ever" after the bridge, Nellie's voice wavers, flat for a split-second, then immediately recovers, like a ballerina making a bejeweled ballet audience gasp and clap after a difficult pirouette in Lincoln Center. Listen to Nellie "Tiger" Travis and O. Buchana singing "My Baby" on YouTube. His style is without precedent. The arrangement is appropriately glamorous.

This is the Stan Butler we want to hear. Oh, and it doesn't hurt that he's singing about "grandmas" again. He should adopt the Deacon garb cowboy hat, drawers and a big bushy beard as his stage persona.

Soul What begins as an ultra-simple, synth-hook exercise takes on texture and depth the minute T. Calvin Richardson "Stay Together" walks a very fine line for a secular song. The remix, on the other hand, captures the magic of Karen's authentic southern soul voice, grounding "Stay Together" in a reality the audience can relate to. Partner Calvin Richardson lends a searing vocal. What turned me around was the videoseeing all those sophisticated St. Louis friends of Wendell's grooving on the dance floorand I've been grooving to it ever since.

Daddy B Nice is nodding yes. The instrumental track is inspired and generous, and the slow-motion vocal unexpectedly refined. Good Time" Portia P The best of many female debut artist tracks this month.

Listen to Portia P singing "Mr. Good Time" on YouTube. Wright is a tremendous new talent, and his collaboration with T. Soul on "Southern Soul Girl" will go down as one of southern soul's finest harmonizings. You can imagine stepping to it or slow-dancing: the song's romantic tide pulls you both ways. Read Daddy B. Nice's 4-star CD Review. Listen to Volton Wright and T. This tune starts out with the same gorgeous keyboard chords that lifted Michael Jackson's "Human Nature," so right away you're in seventh heaven.

A special treat is the video, a perfect representation of a trailride, and a modest not even hay balesrain-soaked one at that, with the horses and ATV's mingling, with the band, the bonfire and the dancing. He's singing about a simple man "doing what he's supposed to do," including "going to church on Sunday" and "work on Monday'.

It's a great ballad with a unique point of view. Luster Baker Yes, Unkle Phunk's back with a new collection, and if this fizzy title track featuring Luster Baker is any indicator, the anticipation will be justified. Methrone Like Ann Peebles singing about the rain, this song will work its way so far into your head you'll need one of those Matrix machines to get it out.

Virgin earmarked the song as potentially the album's lead single and commissioned a number of remixes for the song. Moulding said he had no input on these alternate versions and remembered that they "really stretched the budget to the limit".

The song initially began as a " Madonna feel -- kind of a rock beat, very tight-sounding" until they later did "a few more takes of [the song], completely live -- the opposite of what we'd done earlier".

And something that sounds like a vacuum cleaner starting up is an electronic cymbal set to 'ascend,' and there's also a sample of a tabla playing along. Its bass riff evoked to him the feeling of a rocking boat [48] and it is one of the few songs on the album that was cut live without a click track.

It was written as an outlet for his longtime fascination with the word "straw". The lyrics are about mankind's value of "trash above worthwhile things. We're still shaped like human beings, but there's no thought process going on.

It could be Johnny Cash at Folsom Prison or something. Moulding's bass was outfitted with a faulty mute, resulting in a " sitar bass" effect. He said that the guitar line has some similarities with the Beatles' " Hello Goodbye "however, the decision to place a baroque trumpet solo was not a reference to the group. Gregory and Fox envisioned the song as a single. The lyrics are about "if there was a Jesus, if there was a Buddha, if there was a whatever great holy leader you'd like to name, there's nothing supernatural about them.

They are merely men. I think it had more to do with the melancholy nature of the chords. Sometimes you play something and these sentiments descend on you. No more than these ants can communicate. I thought, 'He's had some good decisions as we've gone along so far—maybe he's right! The end of the song includes the voices of the band members, Fox, and guests who visited the session that day, who may have included River Phoenix, Chris Squire, or journalist Neville Farmer.

We got to that point on the album and I had to leave the room: 'Hm! Is that the baby crying? I'll just go and have a look'. The first of the two you see, prevents seeing the other one. He summarized: "Show business is all fake. Being a father is not fake, and the hills around [my home] are not fake.

The lyric imagery came afterward, since he associated the sounds of organs with dreams. He acknowledged that the song bears a resemblance to the Beach Boys and decided to pay homage to their song " Wind Chimes " by including the use of wind chimes.

When the song was over, Bingenheimer mentioned that Partridge was a big fan of Wilson's, to which Wilson tersely replied "Yeah. He said: "Maybe it was fate that they wouldn't rise up. They are probably too weak and best left to die. It was a half-hearted attempt to tell my kids to watch what they do but I'm not very good at demos.

A working title for the album was Songs of Sixpence. All of that constant sunshine drives me up the wall. I like mysterious weather. I think it rained one day and it was so wonderful. The idea for a pop art-style sleeve came from Dave Gregory, who expressed fondness for the sleeve to the Who 's A Quick Onewhile the lettering was inspired by Andy Williams ' Love, Andy To support the album, Partridge agreed to an acoustic-guitar American radio tour that lasted for two weeks in May.

He recalled the first gig was "a total shambles" but that the rest of the tour went "absolutely fine The album's release coincided with the band resolving their legal disputes against Reid with an out-of-court settlement. They agreed to let Virgin pay off their remaining debts in exchange for a less favourable royalty adjustment and a promise to record four more albums for the label. Now he was just making excuses.

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