This action might not be possible to undo. Are you sure you want to continue?
olida" $emorie& & Mor,
Dec. ’09, #120
Happy December! I hope whatever you celebrate in this magical time of year, that you celebrate it with all of your heart, soul and mind! When Songwriter’s Monthly first started [way back in the early 90’s] we used to profess: “written by songwriters for songwriters.” Through the years, our scope has broadened to include the fans as well as the people behind the scenes and up on the stage. However, as editor, I always try to remember that original sentiment when I go to work on each and every issue. I continually strive to make Songwriter’s Monthly a personal experience (e.g. a fan learning something new about their favorite artist, a songwriter being exposed to another songwriter’s approach, etc.). I’m hoping by the end of each issue that the reader takes away at least one little tidbit that makes him or her feel more connected to other artists, writers, fans or even music, in general. Inspired by the wonderful work of publicist Martha Moore [www.somuchmoore.com] who offers “Christmas Remembrances” as an annual holiday treat to those who know and work with her, this month, besides the regular features, I have asked a number of artists to graciously take a moment of their time to write about some of their most cherished seasonal memories. I’m hoping this provides a chance to better understand the people behind the music. I truly hope you enjoy this special issue. Thanks for reading! Allen firstname.lastname@example.org DON’T MISS A SINGLE ISSUE! SUBSCRIBE! It’s easy and free! Just click http://www.scribd.com/SongwritersMonthly and then click the little blue bar that says “Subscribe to SongwritersMo...” While you’re at it, tell your friends and fans to subscribe as well.
my parents found out about a sleigh ride that went up the side of a mountain. So my parents, brother, and I piled into a large sleigh and the German driver, dressed in traditional Bavarian attire, covered our legs in heavy blankets. We started off with a bolt and the horse worked hard to pull us on a beautiful path up the mountainside lined with snow-covered evergreen trees. And of course, there were bells on the sleigh that jingled. It was straight out of an old Christmas carol. But that was not all that our journey held in store. At the top of the trail, “When I was ten my dad got a there was a large waterfall that j o b w o r k i n g i n F r a n k f u r t , had been turned to ice, forming G e r m a n y . C h r i s t m a s e s i n a cavern. We got out of the Germany were sleigh and just some of w a l k e d the most through a long special of my tunnel of ice. I life. My most felt I was in a memorable fairy-tale experience was when we took a world as fantasies rushed trip around Christmas time to through my head, walking Garmisch, a city in the Bavarian b e t w e e n t h o s e c r y s t a l l i n e Alps. There was snow in the walls. As the sleigh gained mountains, and having come speed carrying us down the f r o m A t l a n t a , i t w a s v e r y mountain, I knew that I had a exciting to see so much snow. Christmas memory to treasure But the real treat came when for a lifetime.”
The chart-topping R&B/freestyle artist responsible for tracks like “Lost In Emotion” and “Head To Toe” is back with a fresh new album that proves she’s still at the top of her game. LIFE ‘N LOVE is a sophisticated collection of slow grinds, Latin jams and danceable pop. Though everything on this album could fall under the general category of R&B, it has so much more to offer. Lisa dips into Soul, Hip-Hop, Salsa and more on this outing. Some of the highlights include the m o v i n g , p a s s i o n a t e “ Re t e n g o M i Emocian,” the delightfully feisty “Que Locura,” and the fun, catchy “Booyah!” Lisa’s voice is at once vibrant, young and seasoned. The groundbreaking
“Infatuation” — think shades of Oakenfold‘s “Starry Eyed Surprise” meeting J. Lo and Prince in a twinkling Manhattan dance club — shows the artist is as innovative and relevant as the day she broke. At a time when more and more performers seem to be losing their identity — becoming interchangeable with each other — and are simply trying to shock their fans with increasingly risqué videos, lyrics, and behavior so they can remain in the public eye for one more album, Lisa Lisa is a refreshing breath of class. LIFE ‘N LOVE is sincere, heartfelt, fun and has honest personality. For more information on Lisa Lisa, visit: http://www.myspace.com/lisalisall77
the decoration I liked the most was the large star that was located on the top of ‘South Mountain.’ Every Thanksgiving weekend, the lighting of that star symbolized the beginning of the holiday season. The star could be seen from miles and miles away. Just like the star over the ‘original’ Bethlehem, it would lead people from all over the area to see it and remind them that something good was coming. For me, Christmas and the star are all about anticipation, reflection, forgiveness, renewal, hope and dreams of what is yet to come. I wish everyone peace, comfort and joy throughout the remainder of this year and into the future."
“I have been blessed to have nothing but fond memories of Christmas throughout my entire life. Having been born and raised in Bethlehem, Pennsylvania, ‘The Christmas City’ has always made those memories that much more special. I believe my fondest memories are of the times that my family spent together crammed into the old Plymouth station wagon heading out to see all of the beautiful decorations throughout the city. One of the many traditions there is the placement of solitary white candles in each and every window of almost every home. But
Mark Wayne Glasmire
A New Standard
Brigitte Zarie is something special. She has a stunning presence, a sharp and quick wit, and she is blessed with a voice that could melt the polar ice caps with its heat. Her new CD sounds like it could have been a lost recording straight out of the most glorious days of the Big Band Era. M AKE R OOM F OR M E has sexy finger-snapping swing, sultry ballads, and even a scorching Latin-flavored strut across the dance floor that you’d swear were covers of tunes you’d somehow missed having in your collection. But they are not covers. And that is what makes this artist so exceptional. Brigitte Zarie is a writer. She creates new jazz standards, crafting classic melodies and lyrics that are relevant to today’s audience.
“Everybody’s calling me a singer,” Brigitte noted. “I love that you’re appreciating the songwriting element because, hello, it takes forever to get a song.”
else says, ‘Wow, I just went through the same thing!’ that’s wonderful, but it’s not premeditated, it’s just I’m feeling something and I have to write it.” One of the more upbeat, catchy tracks on the album, “Money, Money, Money, Money” was written during a rough financial period. “I’m a huge Benny Goodman fan. Huge. Massive! I love his arrangements. With
“I was supposed to be singing jazz my whole life.”
Zarie wrote all the songs, “every line,” on MAKE ROOM FOR ME. Each and every one of them came from a real moment in her life, an actual experience, something she was going through. “These feelings are all very moment-to-moment feelings with me. Because I’m a songwriter, whatever I feel, tends to come out in a song,” she observed. Fo r i n s t a n c e , t h e e m o t i o n a l l y charged opening track, “See You Again,” was written after Brigitte had spent a couple of months with her mother. “She had just left and I was waiting to hear from her from the airport — just to make sure she was okay — and that song came to me,” Brigitte explained. “They come to me spontaneously depending on what I’m going through in my life, the song will present itself to me.” “I express a feeling. It’s personal to me, it’s therapeutic for me to write and sing,” Zarie continued. “If I’m feeling something and somebody
that song, financially, I was going through a really crappy time and I just realized that money really would just make me happy,” Brigitte admitted, laughing sweetly. Then Zarie fell quiet. “It just occurred to me, my biggest fear of being a songwriter who writes out of experience . . . I really fear what my next experience is going to be! It’s crazy every time I go through something I’m like, ‘Great, I needed to have more material, but did I really have to go through this?’”
“Did I know I wanted to sing jazz?” Brigitte pondered the question briefly. “I was supposed to be singing jazz my whole life.” Unfortunately, Zarie ran into a common problem of people with exceptional talent: someone else is always trying to tell them what they should be doing. “I got turned around, I got sidetracked by management,” she recalled. “Of course I didn’t have a brain of my own, I was very malleable, so I was singing other songs in other genres. I had a record deal doing a dance album, but I always wanted to do jazz and nobody that I was surrounding myself with really dug jazz.” “I came here [New York] from Canada and I wanted to sing and I just got tossed around a lot . . .” Brigitte trailed off as if remembering some particularly unpleasant experiences. “It was really, really bad. I didn’t have a mind of my own, I was just happy to
“I came here from Canada and I wanted to sing and I just got tossed around a lot . . .”
know that there were people who were interested in my voice and my songwriting. You know, you get really vulnerable and desperate when you’re an artist, you think that the person who shows an interest is THE person, you get really insecure and you think that your talent is really not that great and you start questioning your ability and you just give it up to that one person who is going to believe in you . . . You hang onto that, that little wish, that little belief that you think someone has in you. Artists are very insecure people.” Luckily, Brigitte eventually came into her own and made a decision to regain control of her own career.
“I said &*#@ it, I’m going to do what I want to do! I don’t care where it takes me or how successful I am, this is what
“You start questioning your ability and you just give it up to that one person who is going to believe in you.”
I want. So I came back to jazz — which was always my first love. Always. And I’m really happy I did, my soul is happy, my heart is happy and I feel like I’m really where I should have been a long time ago.” “I eventually found my way, but what I had to go through to get there . . . If I could ever use myself as an example to help someone so they never have to go through what I went through, to help them stand their ground and believe in themselves, then I want to be the voice for that person.”
a room full of brass, Brigitte related, “It’s funny, I was watching a movie last night about James Mercer. It was an homage to his songwriting and there was a girl singer, but the band leader didn’t want a girl singer, so they got the orchestra to completely overshadow her vocals and she walked off the stage. It’s hard to sing with a big band.” But not every track on MAKE ROOM FOR ME is a full-blown Big Band production. “The arrangements evolved according to each song,” Brigitte explained. “Some of them were just a trio because that’s how I felt that they should be. Because ‘Happiest Day Of My Life” was such a happy, fun song, I felt that it required a big band sound, it really called for that. ‘See You Again’ was a very personal song for me and Randy Brecker being who he is, I felt that just me and him
“These are some serious, serious, serious cats I worked with.” Indeed, the list of musicians on Brigitte’s album reads like a Who’s Who of top session players: Randy Brecker, Jeff Golub, Tom Malone and Al Chez and Bruce Kapler from the David Letterman Show to name a few. It takes a powerful vocalist to go toe-to-toe with such a list and Zarie was more than up to the task. When asked if it was hard to hold her own with
“If I could ever use myself as an example to help someone so they never have to go through what I went through . . .”
was enough with maybe a trio behind us. So it depends on each song, as I write them I really don’t know if they are going to be Big Band or not, it really depends.” Oddly enough, one of the concerns that Brigitte has (because Jazz tends to be a g e n r e t h a t e m b ra c e s c ove r s a n d interpretations of standards) is that her
music might not receive the attention it deserves simply because it is original music. At one point she was even told she was receiving poor career advice because she wasn’t doing covers. “They are either completely blown away that my songs are not standards and excited to play them . . . or they resent me.” Brigitte expressed. “I thought that being an artist was just that: you are an artist so you write. A couple of guys wrote some great, great, great jazz songs, but who says that has to be the only music for the next 100 years?”
Luckily, Brigitte Zarie is no longer afraid to write and perform the original music inside her, the music she always knew she should be doing. IN CONCLUSION: “I’m in a very wonderful place right now. I’m really blessed to be finally singing and writing the music that I love.”
http://www.myspace.com/ brigittezarie http:// www.myspace.com/ brigittezarie
http://click.linksynergy.com/fs-bin/stat? id=hyTjEIK1pMo&offerid=146261&type=3&subid=0 &tmpid=1826&RD_PARM1=http%253A%252F %252Fitunes.apple.com%252Fus%252Falbum %252Fdance-with-you%252Fid315115185%253Fi % 2 5 3 D 3 1 5 1 1 5 2 2 1 % 2 5 2 6 u o %253D6%2526partnerId%253D30
Hank Cochran and Martha Moore
perfectly under the nine-foot tall and exquisitely decorated tree. The silver tinsel glistened and the ornaments dazzled, but set out to the side of the tree were three very large boxes; one for each of us. Of course we rushed to the presents set away from the tree and it didn't take us but just a few seconds to open those three gifts, and Lisa, Carla and I squealed in unison with absolute delight. We each had our own life-sized doll with moving arms and legs. I got the brunette, Lisa got the black haired one and Carla, of course, got the blonde (whose hair she later dyed purple and then green about a month later). I put ‘Jingle Bell Rock’ on the stereo and we danced and danced with our dolls. Of course, all the commotion woke up our parents and two brothers Greg (11) and Eddy (2). As they all descended the staircase, Mom fondly remembers declaring, ‘It looks like I've got 6 girls now.’ Dad laughed and went for the camera; Greg and Eddy just rolled their eyes.” www.somuchmoore.com
Photo: Peyton Hoge
“Some days, growing up with two younger sisters could be a real treat and other days it was a burden. We were all fairly close in age, so when it came to presents, we often got the same thing. But one year it was suddenly very cool for us all to receive the same gift. Bigger is always better - at least when you are a kid. On my ninth Christmas, both my younger sisters - Lisa (6) and Carla (5) - and I received the same gift . . . and it was awesome! Early that Christmas morning, the three of us hurried downstairs to ravage all the beautifully-wrapped presents placed
If you were in the Philadelphia region at any point during the mideighties, there’s a good chance you are already familiar with the phenomenon known as Beru Revue. The band repeatedly played five nights a week to capacity crowds . . . and they played original music. Quite an astounding feat. Now, over twenty years later, Beru Revue is back and they have recently released, not one, but two CDs! The band’s live performance was so inventive and entertaining that the onstage theatrics often overshadowed the incredibly original and well-crafted songs. With MIRACLE OF SPRING and TUX DO 5, it is now possible to listen and appreciate the music on it’s own terms.
Beru Revue is playing on December 26th at The Note in West Chester, PA [www.thenotewc.com]. The concert is a benefit for the homeless with proceeds going to Safe Harbor of Greater West Chester.
MIRACLE OF SPRING and TUX DO 5 both run the gamut covering roots, rock, pop, pirate music and more, sometimes shaking it up by changing gears/songs right in the middle of a track. On MIRACLE OF SPRING, the title track is a brilliantly fun romp welcoming the flower season with a positively upbeat attitude. “Summer Sun,” on the other hand, is a smooth, easy listening gem that heralds the coming of summer. There is a definite magic to the tasty groove that effortlessly carries the listener away to a beautiful summer day. MIRACLE OF SPRING’S closer is a kickin’ track called “Going Up” and it features possibly one of the best dual guitar licks you’ll ever hear. It’s also — like most of Beru’s songs — a great track to singalong to.
TUX DO 5’S rockabilly opener, “Oliver Twist,” backed by the scorching title track will have you up on your feet and swinging with one finger twirling high in the air before the vocals even come in. “Monopoly” is a classic Beru song complete with driving guitar, propulsive bass, a soaring lead line, precision breaks and exquisitely quirky lyrics. The track is smart, tight and a pure delight. The “hit” on this companion album is the poignant “Home.” It offers touching lyrics, a beautiful melody and a moving lead guitar set over a tender rhythm. You’ve never heard a band quite like Beru Revue and these two releases provide an excellent opportunity to introduce yourself to the phenomenon. Take advantage of the opportunity. For more information on Beru Revue, visit: www.berurevue.us
“I grew up in New Orleans, Louisiana and often the weather was not really ushering in the Christmas spirit. My favorite Christmases were when we were able to travel to Ontario, Canada to our family's farm. It was always the perfect place for Christmas. Snow was glistening on the ground and I could see my breath. There were lots of wonderful cookie and pie smells coming from my Aunt Mary's kitchen. I was always surrounded by lots of cousins and we would ride sleds and snowmobiles. There were plenty of Christmas lights, and my cousin would play Christmas carols on their piano and everyone would sing. Those were truly the most wonderful Christmases imaginable.”
Photo: Marty Stuart
“As a child, I lived with my grandparents and we were very poor. Every year I would hear the other kids talking about Christmas trees and presents - and I really didn't understand why we didn’t have those things. We talked about Jesus, but His birthday wasn't a giftgiving occasion at our small home in Hank would like to take this Mississippi. One year, when I was six opportunity to thank his family, or seven, I finally got up the nerve to his many friends and the fans ask my grandmother why we didn't who have continued to pray for celebrate Christmas like everyone him as he battles pancreatic else. Her answer was, ‘You just have cancer. “I'm doing great right to believe.’ Well, that was pretty now,” says the legendary heady thinking for a kid, but I songwriter. “The medicines are wanted presents like all of the other w o r k i n g a n d m y f a m i l y kids - so I began to concentrate - continues to encourage me. and believe. That Christmas Eve, Those gifts are more than Grandmother reminded me of my enough to fill my Christmas promise to believe, and I went to stocking this year!”
bed that night praying for ‘Christmas’ with all my might. That year, my Uncle and my grandparents scrimped and saved to buy me a present. When I awoke on that magical Christmas morning, there was a stocking hung from the mantel, and inside, a toy gun and holster set. I was amazed! From that day forward, I have understood the power of believing - and that is a present I will forever cherish.”
Paris Keeling is the culmination of five music industry veterans seasoned in the rock genre: Marty Paris, Kelly Keeling, Rick Van Benschoten, Matt Goeke, and Gintas Janusonis. The band’s current release is entitled E ND O F R IDE REVISITED and it is available on Surgeland Records. Songwriter’s Monthly caught up with Paris Keeling co-founder Marty Paris while he was taking a short break from a recording session at Studio 55 [Marty’s own studio located in North Carolina]. Paris was gracious enough to provide a detailed look into the concept and execution of the entire END OF RIDE REVISITED project. Songwriter’s Monthly: How did END OF RIDE REVISITED come about? Marty Paris: If you want to really get organic on how it really happened, I wrote a song called “Tears of Heaven” on 9/11. I
Kelly was the vocalist on that project and I was quite taken back by the power of his vocals, so I contacted his manager around the holidays in 2005 and he got back with me promptly. I sent him the track and he connected with the track. Kelly was in New York about three weeks later doing the actual vocals. SM: Dokken has a writing credit on that song, as well. MP: We were kinda struggling on the chorus and Don Dokken helped us out. He actually wrote the chorus that you hear on the album today — you can channel the band Dokken in that chorus because it’s very Don-like. I wrote another song called “She Was” which was for a movie soundtrack and I had Kelly back about a month later and I said why don’t you sing this one,
was living in New York and I knew a lot of people at the World trade Center and . . . and it was a really tough day for me to understand why people would kill people in the name of religion. I was very puzzled by that, so I wrote a song about it. I’ve been a songwriter for a long time and a lot of times it’s a good way for me to kinda get my feelings out of the way. The song sat there until the London bombings several years later on 7/7. I revisited the song, recorded it, and had a myspace page. I had some other things done online and there was a UK label that got a hold of the song and they wanted to release it as a single. I’m a musician and I also run a recording studio, so I played most of the original track myself. I decided that before releasing it as a single, I wanted to go out and re-record some things. [In his search for other musicians, Marty discovered Kelly Keeling through an album he had picked up called GEORGE LYNCH FURIOUS GEORGE.]
“We decided that we sang well together, that we got along, and there’s a friendship between us.”
too. From that came a relationship and we started to write material together and we decided to do the album and Paris Keeling was born. [Kelly brought in some songs that he had from his past and the pair finished several of Keeling’s songs together and began recording.]
We started writing tracks together and it turned into a really cool project. We decided that we sang well together, that we got along, and there’s a friendship between us. A lot of times musicians don’t like each other and I don’t understand that, but we didn’t have that so we wrote the album and at the end of the day we were very proud of what we had done. [Paris Keeling received major label interest for their recordings, but they had to make some changes before signing . . . and that didn’t sit well with either Marty or Kelly.]
there were a few guitar parts that bothered me which I changed, but for the most part the base tracks from the original album are the album in their true form. SM: And then there are the bonus tracks. Some of those tracks, in particular, “Alive,” are just incredible. MP: I was at a music festival in North Carolina and I saw these guys up there and they were older guys — I’m an old guy too, but they’re older than me — and they were jammin’ and playin’ and I just started thinking about my life as a musician and my musician friends. “Alive” was inspired right there in the moment. As a songwriter, I love when that happens because I actually kinda had the melody in my head and I started to pencil the lyrics on the back of a hotdog wrapper! SM: There’s also a cover of “Telephone Line” in the bonus tracks, how did that come about? MP: We were in the studio one night and we had a little bit of Grand Marnier in snifter just kind of relaxing. It was late and the studio was pretty dark, we had some candles lit because I like soft light and Kelly’s kind of a vampire. So we’re sitting there and I said, “You know what, we should do a cover.” He said, “Yeah, I’ve always thought about doing a cover, we should do a cover that we both grew up with that we
The label wanted us to focus more on one area, they liked the song “Life,” they liked some other things, but all of a sudden, there’s a heavy metal song, there’s a ballad . . . Kelly and I decided that we wanted that album to be that album and we released it ourselves. It was called END OF RIDE. [Paris Keeling cultivated a large following rather quickly and eventually attracted the attention of Surgeland Records.] Surgeland Records wanted to do a release. END OF RIDE REVISITED is basically our original solo independent release that we did, but now it’s on a label with PR and distribution. Sandy Serge — who runs the label — did a great job with us, she changed the song order a bit to make more sense. We didn’t remaster the album, but
“I just started thinking about my life as a musician . . .”
liked.” Almost simultaneously we said, “Telephone Line!” I remember I was dating a little gal — whatever that means in 5th grade — and we broke up and that was the first moment that a song really touched my feelings. I connected with it. They say that your strongest sense of memory is smell and we all relate to that— we go into mom’s house or grandmom’s house and smell something that she cooked . . . But the second strongest sense, believe it or not, is sound. When I hear songs I connect to where I was and what I was doing during that time. SM: There’s a song called “Life” that has a very nice contrast going on between the rhythmic bass and smooth vocals, could you talk a little bit about that track? MP: There is something about that bass track, it makes the song different. It’s not a complicated song at all, structurally speaking, it’s not. That chord progression has been used a thousand times . . . “Every Rose Has It’s Thorn” from Poison, “This Time of Year” by Better Than Ezra, Sister Hazel’s “All For Yo u ,” i t ’s t h e s a m e t y p e c h o r d
progression, it’s been used a million times. But there is something about the way Rick Van Benschoten’s fretless bass came together with Kelly’s vocal delivery on that song that made it special. SM: We’ve already talked about “Tears Of Heaven, but could you go into a little more detail about the recording of that track? MP: I don’t listen to my own music — and I don’t know many musicians who do. When you’re in the creating process, you might go through a song 100 times during the mixing phase and by the time you’re done with it, you just don’t want to hear it any more. But
“That was the first moment that a song really touched my feelings.”
I can tell you, I still go back to “Tears of Heaven” because 9/11 was a real emotional day for me. My girlfriend was actually at the World Trade Center and it’s a scary story . . . When I hear Kelly’s vocal on that song, to this day, the hair on my arms stands up because you can hear the passion. He was the same way that I was about it, he just didn’t understand, who is going to murder people in the name of their god?! It just doesn’t make sense. You can hear the anger in his voice when he sings those lyrics and it’s very powerful. SM: Actually, you can tell from a lot of performances on a lot of the tracks, just how personal these songs are. MP: That’s what being human is, it’s feeling an emotion. You can’t have good times
unless you’ve had bad times, you wouldn’ t know the difference. If everything was always good, you really wouldn’t know it because you’d have nothing to contrast it against. SM: Is there anything you’d like to touch upon before wrapping up? MP: I’ve done many projects, but this one will always have a very fond place in my heart. It was a really cool time and a good friendship and it was fun. A lot of times music isn’t fun, but when it’s fun and i t ’ s good . . . you can’t ask for more than that. For more on Paris Keeling, visit: http:// www.myspace.com/ pariskeeling
no one cared back in those days. Every year on the weekend b e f o r e Christmas, the entire family would gather around that old stove. With kids and musical instruments in tow, they would eat until they could hardly move, post up by the stove and proceed to jam. While my Uncle Charles Lee and cousin Charlie played guitars, my Uncle Curtis played the mandolin and my mom played the fiddle. In my youngest days, I remember playing on the dirt floor with my cousins while trying to keep 4 to 6 dogs from their wallered out holes by the wood stove. In my later years, my interest turned toward the music. Since then Uncles Curtis, Charles Lee and Buzzard have passed away, but their memory is still going strong. I guess the fact that they're all gone is the reason we have not gotten together in a while.”
“My fondest Christmas memory happens to be every Christmas from the time I could remember to the time I was around 15. We do things a little different down here in east Texas. We lived about 1000 feet from my Uncle Buzzard, my Mom's youngest brother. He had a huge metal barn where he worked on everything from lawnmowers to classic cars. Over in the corner was an old wood stove sitting right there in the dirt with a pipe running straight up and out of the roof. I will never forget the smell of the pine burning and filling up the barn with smoke, which was probably not very healthy, but
"I don't know what it is about toys, but I love to collect them. Lately, I've been thinking about my Fisher Price Cash Register. I got this toy from ‘Santa’ for Christmas when I was five years old. I still have it today (with all of the pen marks and colored-in, ripped decals), along with all the coins that came with it. That same year, my sister Jan, who was three at the time, got the Tuneyvillle Train. The train drove my mother crazy because it was soooo loud! I found one of these trains the other day and then found three of the little records that go with it on Ebay. It was so exciting! Most of our to y s w e r e h a n d - m edowns, or were from the Salvation Army or Goodwill store. These two toys were extra special because they came new, ‘in the box’ and were from ‘Santa.’ I get warm fuzzy memories just thinking about those days."
Idol's 'In Super Overdrive Live' Released
2009. Onstage, Idol is reunited with Onguitaristand Blu-ra... and backedht DVD Steve Stevens, by bassist Stephen McGrath, keyboardist Derek Sherinian, and drummer Brian Tichy.
His first live concert DVD finds the entertainer complete with his Subject: Billy Idol's 'In Super Overdrive Live' Released On DVD and Blu-ray November 17 trademark sneer, commanding Date: Mon, Nov 9, 2009 10:39 am vocals and boundless energy. Idol rips through such favorites as Please respond if you are interested in a review copy. “Dancing With Myself,” “White Wedding,” and “Rebel Yell” without FOR IMMEDIATE RELEASE letting a little thing like potential heat exhaustion slow him down in Carol Kaye the least — if anything the high temperatures only fuel Idol’s Productions, Inc. performance.
To: email@example.com <firstname.lastname@example.org> 366.9970
From: Carol Kaye <email@example.com>
Eagle Rock Entertainment has created a fabulous The heat radiates not from the soaring h y p e r - l i v e experience. The Chicago-July temperatures inside the Congress Theater, but from the stage. audio and video New York, performance on this live baritone, is production are stunning: Idol estab Idol’s NY (November 9, 2009)—With his raspy DVD bleached spiked hair, and rebellious charisma, Billycrisp as a one-of-a-kind artist. On November 17, Eagle Rock Entertainment will proudly release his firststudio-quality images reinforced by live concert DVD and nothing short of blazing. sound make this a remarkable DVD. Filmed at the Congress Theater in Chicago, In Super Overdrive Live was taped for the television series “Soundstage.” Ori Stevens, and backed by bassist Stephenwas taped for Derek Sherinian, and drummer Brian Tichy. IN SUPER OVERDRIVE LIVE McGrath, keyboardist For more information, visit: the television series SOUNDSTAGE and A proprietor of pop-rock perfection, Billy Idol rouses the crowd through 12 blazing tracks. This 70-minute DVD features hit originally broadcast and newer material from his latest CD The http://billyidol.ning.comare two prev addition to Generation X favoritesin America in July Devil’s Playground. Also included
Overdrive Live is a fantastic display of the raw power Billy Idol exudes.
Billy Idol Live
“Flesh For Fantasy” and “Eyes Without A Eagle Readies Another Rockin’ Goo Face” are strategically placed gems that provide graceful decrescendos at key points in the BILLY [Note: Stevens’ opening to show. IDOL: IN SUPER OVER “Eyes Without A Face” is worth the ~First Live Concert DVD and Blu-ray Releas price of the DVD on its own.] “Kiss Includes Two a poignant Me Deadly” offersPreviously Unrelease statement for the encore that is both inspiring and reflective.
“Christmas at the Hickman’s was always a memorable time of year for us. The importance of traditions is something my mother tried to instill in me and my sister Sadie. There are always a lot of things to do before the big day arrives: setting up the advent calendar, picking out what songs we are going to sing for Christmas Day caroling and roasting marshmallows over scented candles. One of the special traditions we honor every year is the Christmas Eve potato soup dinner. My mom was one of four children of a Nazarene Minister, and they had very little money for food and holiday frills. What little money that my grandparents could spare was used for simple gifts for my mom, her brothers and sisters. Potatoes were free (since they grew them in their garden), and
if the children ate all of their soup, they could open their presents. According to my mom, potatoes were about as appetizing as dirt - since they were a very common menu item. But needless to say, the kids ate their soup, presents were opened, the Christmas story was read, prayers were said and the excitement grew as Santa drew near (my grandfather was the real Santa Claus). Nowadays, my dad snaps random pictures while Mom makes the soup. Sadie, my husband Matt and I (and the puppies) sit and watch, decked out in our new pajamas (another Christmas tradition). We have our potato soup, open our presents and remember humble beginnings and what Christmas is all about: family spending time together, slowing down all the hustle and bustle of daily life and of course, the birthday of our Lord and Savior.”
“As a kid, the holidays weren’t official until there was snow . . . of course being from Canada that was never too hard. The snow, the lights and the little box of presents my parents used to hide. I’m Jewish, so we always felt a little neglected around Xmas, but my parents always made up for it with that little box of presents, every year. Nothing extravagant, just something to unwrap!” “And of course all the holiday songs. ‘I’m dreaming of a White Christmas, la, la, la, la, I used to know.’ Not a great song for a Jewish girl, but I dug it!” “Hey, I just might record that one!”
The Story Behind
Rosanne Cash’s latest release is entitled THE LIST. It is a masterful collection of re-visited classic country tracks that provide an enriching and thoroughly enjoyable listening experience. The individual songs on THE LIST come from an actual list of essential country tunes that Rosanne’s father [Johnny Cash] gave her in 1973.
“The list was far-ranging and thorough,” Rosanne noted. “It was assembled from my father’s intuitive understanding of each critical juncture in the evolution of country music. There were old Appalachian folk ballads, and the songs of Jimmie Rodgers and Woody Guthrie. The influence of gospel and Southern blues were crucial. Then he segued into rockabilly and the birth of modern country music by way of Hank Williams, and up to the present, which was then 1973.”
In 2006, during BLACK CADILLAC: IN CONCERT, Rosanne revealed how her father became alarmed when she was 18. The legendary artist perceived that his daughter lacked a deep understanding of country music because, at the time, Rosanne was “obsessed with The Beatles and steeped in Southern California rock and pop.”
In response to his concerns, Johnny gave Rosanne a list of the “100 Essential Country Songs” and told her that it was her education and she should learn them all.
“I endeavored to learn them all and it was an education,” Rosanne admitted. “If my father had been a martial arts master, he might have passed a martial arts ‘secret’ on to me, his oldest child,” Cash stated. “If he had been a surgeon, he might have taken me into his operating room and pointed out the arteries and organs. If he were a robber baron, he might have surveyed his empire and said, ‘Honey, some day this will all be yours!’. But he was a musician and a songwriter, and he gave me The List.” The benefit of THE LIST is twofold, besides hearing an incredible collection of vital country music performed in an updated setting, R os a n n e , h e r s e lf , h a s n e ve r sounded better. The depth and passion with which she executes each and every track is absolutely riveting. “I looked to that list as a standard of excellence, and to remind myself of the tradition from which I come. This album enables me to validate the connection to my heritage rather than run away from it, and to tie all the threads together: past and future, legacy and youth, tradition the timelessness.” For more about Rosanne Cash and to find out exactly which songs made The List, please visit www.rosannecash.com.
http://click.linksynergy.com/fs-bin/stat? id=hyTjEIK1pMo&offerid=146261&type=3&subid=0&tmpid=1826 &RD_PARM1=http%253A%252F%252Fitunes.apple.com %252Fus%252Falbum%252Fsea-heartbreak-feat-brucespringsteen%252Fid332198978%253Fi %253D332199164%2526uo%253D6%2526partnerId%253D30
Previously . . .
http://www.scribd.com/doc/19506104/ SM-Sept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SM&pecial Edi'o( Sept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heathhttp:// Sept. ’09, #117a http://blogs.myspace.com/songwritersmonthly www.scribd.com/doc/19506104/SMSept-09-117aTawny-Heath
For those who missed earlier issues of Songwriter’s Monthly, just click on the cover of your choice pictured below.
&ongwri)r*+ ,on#lhttp://www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117bhttp:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117bhttp:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117bhttp:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117bhttp:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117bhttp:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ 20393735/SM-Sept-09-117b http:// www.scribd.com/doc/20393735/SMSept-09-117bhttp://www.scribd.com/doc/ Sept. ’09, #117b http://blogs.myspace.com/songwritersmonthly 20393735/SM-Sept-09-117b
Sept. ’09 Special Edition: Featuring: Country/Pop artist Tawny Heath
http://www.scribd.com/doc/ 21725699/SM-Oct-09-118http:// www.scribd.com/doc/21725699/SMOct-09-118http://www.scribd.com/ doc/21725699/SM-Oct-09-118http:// www.scribd.com/doc/21725699/SMOct-09-118 http://www.scribd.com/ doc/21725699/SM-Oct-09-118http:// www.scribd.com/doc/21725699/SM%& Oct-09-118http://www.scribd.com/ doc/21725699/SM-Oct-09-118http:// !ostmark* www.scribd.com/doc/21725699/SMOct-09-118http://www.scribd.com/ doc/21725699/SM-Oct-09-118 http://www.scribd.com/doc/ 21725699/SM-Oct-09-118http:// www.scribd.com/doc/21725699/SM!lus: Black Gold, Janet Robin, Oct-09-118http://www.scribd.com/ +icky, The Drums & Mor & doc/21725699/SM-Oct-09-118 Oct. ’09, #118
Sept. ’09 Featuring: Imelda May, Leona Lewis, Jeremy Greene, Pop Tarts, and Elizabeth and the Catapult
http://www.scribd.com/doc/ 22977118/SM-Nov-09-119http:// www.scribd.com/doc/22977118/SMNov-09-119http://www.scribd.com/ doc/22977118/SM-Nov-09-119http:// www.scribd.com/doc/22977118/SMNov-09-119http://www.scribd.com/ doc/22977118/SM-Nov-09-119http:// +eaturin, www.scribd.com/doc/22977118/SMNov-09-119http://www.scribd.com/ #ndy Chas" doc/22977118/SM-Nov-09-119http:// www.scribd.com/doc/22977118/SMof: Nov-09-119http://www.scribd.com/ doc/22977118/SM-Nov-09-119http:// )rookvi*" www.scribd.com/doc/22977118/SMNov-09-119http://www.scribd.com/ (lus: Serena Ryder, Mark Wayn " doc/22977118/SM-Nov-09-119http:// www.scribd.com/doc/22977118/SM!lasmire, Mishon, Katia & Mor " Nov-09-119 Nov. ’09, #119
Oct. ’09 Featuring: The Postmarks, Black Gold, Nicky, Janet Robin, Miss Issa, The Drums, and Lantana
Nov. ’09 Featuring: Andy Chase, Sarah Tolar, Davey O., Katia, Serena Ryder, Mark Wayne Glasmire, Lilith Talent Search, Mishon, Charlotte Gainsbourg, John Lilley, The Answering Machine and Róisín Murphy
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.