JohnVicarysMusicPassions

My choice today On Your Way Down By Little Feat from the album Dixie Chicken - Song written by Allen Toussaint

I Try by Macy Gray from her debut On How Life Is released in 1999

Today's choice Another new artist for me and an album released this year Underdressed At The Symphony by Faye Webster - The song Thainking Of You

A Day Late- Elvis Costello Watching The Detectives from 1977 Appeared on a compilation of B Sides and demos - 10 Bloody Marys and 10 How's Your Fathers Track listing All songs written by Elvis Costello except as indicated. Side one "Clean Money" (previously unreleased) - 1:57 "Girls Talk" (B-side of "I Can't Stand Up for Falling Down", 1980) - 1:56 "Talking in the Dark" (B-side of "Accidents Will Happen", 1979) - 1:56 "Radio Sweetheart" (B-side of "Less Than Zero", 1977) - 2:24 "Big Tears" (B-side of "Pump It Up", 1978) - 3:10 "Crawling to the USA" (from soundtrack to Americathon, 1979) - 2:52 "Just a Memory" (B-side of "New Amsterdam", 1980) - 2:14 "Watching the Detectives" (non-album single, 1977) - 3:43 "Stranger in the House" (non-album single, 1978) - 3:01 "Clowntime Is Over" (Version 2, B-side of "High Fidelity", 1980) - 3:44 Side two "Getting Mighty Crowded" (Van McCoy) (B-side of "High Fidelity", 1980) - 2:05 "Hoover Factory" (previously unreleased) - 1:43 "Tiny Steps" (B-side of "Radio, Radio", 1978) - 2:42 "(What's So Funny 'Bout) Peace, Love and Understanding" (Nick Lowe) - 3:31 "Dr. Luther's Assistant" (B-side of "New Amsterdam", 1980) - 3:28 "Radio, Radio" (non-album single, 1978) - 3:04 "Black and White World (No. 2)" (previously unreleased) - 1:51 "Wednesday Week" (B-side of "Accidents Will Happen", 1978) - 2:02 "My Funny Valentine" (Richard Rodgers, Lorenz Hart) (B-side of "Oliver's Army", 1979) - 1:25 "Ghost Train" (B-side of "New Amsterdam", 1980) - 3:05 Lyric "Watching The Detectives" Nice girls not one with a defect Cellophane shrink-wrapped, so correct Red dogs under illegal legs She looks so good that he gets down and begs She is watching the detectives "Ooh, he's so cute!" She is watching the detectives When they shoot, shoot, shoot, shoot They beat him up until the teardrops start But he can't be wounded 'cause he's got no heart Long shot of that jumping sign Visible shivers running down my spine Cut the baby taking off her clothes Close-up of the sign that says,"We never close" You snatch a tune, you match a cigarette She pulls the eyes out with a face like a magnet I don't know how much more of this I can take She's filing her nails while they're dragging the lake She is watching the detectives "Ooh, he's so cute!" She is watching the detectives When they shoot, shoot, shoot, shoot They beat him up until the teardrops start But he can't be wounded 'cause he's got no heart You think you're alone until you realize you're in it Now fear is here to stay. Love is here for a visit They call it instant justice when it's past the legal limit Someone's scratching at the window. I wonder who is it? The detectives come to check if you belong to the parents Who are ready to hear the worst about their daughter's disappearance Though it nearly took a miracle to get you to stay It only took my little fingers to blow you away Just like watching the detectives "Don't get cute!" It's just like watching the detectives I get so angry when the teardrops start But he can't be wounded 'cause he's got no heart Watching the detectives It's just like watching the detectives Watching the detectives...

1970 - a great year for rock - Deep Purple In Rock - The track Speed king Speed King" Good Golly, said little Miss Molly When she was rockin' in the house of blue light Tutti Frutti was oh so rooty When she was rockin' to the east and west Lucille was oh so real When she didn't do her daddies will Come on baby, drive me crazy--do it, do it I'm a speed king you go to hear me sing I'm a speed king see me fly Saturday night and I just got paid Gonna fool about ain't gonna save Some people gonna rock some people gonna roll Gonna have a party to save my soul Hard headed woman and a soft hearted man They been causing trouble since it all began Take a little rice take a little beans Gonna rock and roll down to New Orleans [repeat first two stanzas in inverse order]

My choice is The Asphalt World by Suded from their album Dog Man Star released in 1994 "The Asphalt World" I know a girl, she walks the asphalt world She comes to me, and I supply her with ecstasy Sometimes, we ride in a taxi to the ends of the city Like big stars in the back seat, like skeletons, ever so pretty I know a girl, she walks the asphalt world But where does she go? And what does she do? And how does she feel when she's next to you? And who does she love in her time-honoured fur? Is it me or her? I know a girl, she walks the asphalt world She's got a friend, they share mascara, I pretend Sometimes, they fly from the covers to the winter of the river For these silent stars of the cinema It's in the bloodstream, it's in the liver I know a girl, she walks the arse-felt world But where does she go? And what does she do? And how does she feel when she's next to you? And who does she love in her time-honoured fur? Is it me or her? With ice in her blood And a dove in her head Well, how does she feel when she's in your bed? When you're there in her arms And there in her legs Well, I'll be in her head 'Cause that's where I go And that's what I do And that's how it feels when the sex turns cruel Yes, both of us need her, this is the asphalt world With ice in her blood And a dove in her head Well, how does she feel when she's in your bed? When you're there in her arms And there in her legs Well, I'll be in her head 'Cause that's where I go And that's what I do And that's how it feels when the sex turns cruel Yes, both of us need her, this is the asphalt world Writer(s): Bernard Butler, Brett Anderson

My song for the day = Villiers Terrace by Echo and The Bunnymen from the album Crocodiles released in 1980 Crocodiles Review by Ned Raggett Inspired by psychedelia, sure. Bit of Jim Morrison in the vocals? OK, it's there. But for all the references and connections that can be drawn (and they can), one listen to Echo's brilliant, often harrowing debut album and it's clear when a unique, special band presents itself. Beginning with the dramatic, building climb of "Going Up," Crocodiles at once showcases four individual players sure of their own gifts and their ability to bring it all together to make things more than the sum of their parts. Will Sergeant in particular is a revelation -- resplendently delicate and full of inventive, unexpected melodies. More than many before or since, he plays the electric guitar as just that, electric not acoustic, dedicated to finding out what can be done with it while never using it as an excuse to bend frets. His highlights are legion, whether it's the hooky opening chime of "Rescue" or the exchanges of sound and silence in "Happy Death Men." Meanwhile, the Pattinson/De Freitas rhythm section stakes its own claim for greatness, the former's bass driving yet almost seductive, the latter's percussion constantly shifting rhythms and styles while never leaving the central beat of the song to die. "Pride" is one standout moment of many, Pattinson's high notes and De Freitas' interjections on what sound like chimes or blocks are inspired touches. Then there's McCulloch himself, and while the imagery can be cryptic, the delivery soars, even while his semi-wail conjures up, as on the nervy, edgy picture of addiction "Villiers Terrace," "People rolling round on the carpet/Mixing up the medicine." Brisk, wasting not a note, and burning with barely controlled energy, Crocodiles remains a deserved classic. Crocodiles is the debut album by the English post-punk band Echo & the Bunnymen. It was released on 18 July 1980 in the United Kingdom and on 17 December 1980 in the United States. The album reached number 17 on the UK Albums Chart. "Pictures on My Wall" and "Rescue" had previously been released as singles. Recorded at Eden Studios in London and at Rockfield Studios near Monmouth, Crocodiles was produced by Bill Drummond and David Balfe, while Ian Broudie had already produced the single "Rescue". The album received favourable reviews from the music press, receiving four out of five stars by both Rolling Stone and Blender magazines. Background and recording Echo & the Bunnymen formed in 1978 and originally consisted of Ian McCulloch (vocals and rhythm guitar), Will Sergeant (lead guitar), Les Pattinson (bass) and a drum machine. They released their debut single, "The Pictures on My Wall", in May 1979 on the independent label Zoo Records. The band then signed with WEA subsidiary label Korova and were persuaded to employ a drummer.[4] Pete de Freitas subsequently joined the band, and in early 1980 they recorded their second single, "Rescue". The single was recorded at Eden Studios in London and produced by fellow Liverpudlian and ex-member of Big in Japan Ian Broudie.[5] A British tour followed in June 1980 before the band went to Rockfield Studios to record their debut album. Despite talk of the American singer Del Shannon being asked to produce the album, it was produced by the band's manager Bill Drummond and his business partner and The Teardrop Explodes keyboard player David Balfe.[6] The recording of the album only took three weeks,[6] but Pattinson was surprised by the boring nature of the recording process: "There was a lot of hanging about. I didn't get all the 'drop-ins' and 'edits' bit."[7] Music and lyrics The music on Crocodiles is generally dark and moody: In 1980, the British music magazine NME described McCulloch's lyrics as "scattered with themes of sorrow, horror, and despair, themes that are reinforced by stormy animal/sexual imagery" and American music magazine Creem described Crocodiles as "a moody, mysterious, fascinating record."[8] In 1981, music journalist David Fricke, writing for Rolling Stone magazine, said, "Instead of dope, McCulloch trips out on his worst fears: isolation, death and emotional bankruptcy."[9] In his 2005 book Rip It Up and Start Again: Post Punk 1978–1984, British music journalist Simon Reynolds describes the sound of the album as "pared and sparse."[10] He goes on to describe Pattinson's "granite basslines" carrying the melody; Sergeant's guitar playing as "jagged-quartz" and avoiding "anything resembling a solo, apart from the odd flinty peal of lead playing"; de Freitas' drumming as minimal and "surging urgency"; and McCulloch's vocals as having "precocious authority." Reynolds describes the songs as being rooted in "doubt, anguish, despair" while the "tightness and brightness of their sound transmits contradictory sensations of confidence, vigour and euphoria."[10] He also describes how the line "Stars are stars and they shine so hard" from the track "Stars Are Stars" showed how the band felt no embarrassment in their wish to be famous.[11] In 1989 McCulloch told Reynolds how, as a teenager, he felt there was "a big movie camera in the sky." McCulloch described the opening line of the track "Going Up" – "Ain't thou watching my film" – as a terrible line, and he went on to say "It was meant to be tongue in cheek, but that was what spurred me on."[11] Cover The cover photograph is one of a series taken by photographer Brian Griffin[5] in the woods near Rickmansworth, Hertfordshire at night. The photos show themes of introspection, despair and confusion.[12] Describing the cover photo, music journalist Chris Salewicz said, "[...] the Bunnymen are placed in poses of histrionic despair in a near-neurotically gothic woodland that evokes memories of elfin glades and fabled Arthurian legends."[13] Creem magazine said, "The cover art suggests four boys dazed and confused in a drugged dream, a surreal where-are-we landscape. The Bunnymen's images are of loneliness, disconnection, a world gone awry."[8] Originally the band wanted the pictures to include burning stakes, but given the possible KKK connotations, they settled for moody lighting instead.[12] However, McCulloch was pleased with the cover, saying "the cover [...] is better to look at than the Mona Lisa."[14] Sergeant was less happy, saying that he "was pissed off that there was a solo picture of [McCulloch] on the back cover."[15] In the book The KLF: Chaos, Magic and the Band Who Burned a Million Pounds by John Higgs, Bill Drummond says that he saw the face of "Echo", an imagined giant rabbit, in the cover design.[16] Releases The album was originally released as an LP in the United Kingdom on 18 July 1980 by Warner Bros. subsidiary label Korova. Two tracks, "Do It Clean" and "Read It in Books", were included on the cassette but were initially omitted from the LP version of the album because the managing director of Warner Bros., Rob Dickins, mistakenly thought that they contained obscenities.[6] After Dickins realised his error, the tracks were included on the American version of the album, which was released by Sire Records on 17 December 1980. The two tracks were included with the UK release as a limited-edition single. The album was first released on CD in May 1989 by WEA in the UK. It was released on CD in the US by Sire Records the following year. The track listings found on these versions were the same as those of the original LP releases for each country. Along with Echo & the Bunnymen's first five albums, Crocodiles was remastered and reissued on CD in 2003, marketed as a 25th-anniversary edition ten bonus tracks on the UK version and eight on the American version. The UK version contained the missing tracks "Do It Clean" and "Read It in Books". The other bonus tracks included "Simple Stuff", which was the B-side to the single "Rescue"; early versions of "Villiers Terrace", "Pride" and "Simple Stuff" from the album's recording sessions; and the four tracks from the Shine So Hard EP, "Crocodiles", "Zimbo", "All That Jazz" and "Over the Wall". The reissued album was produced by music historian Andy Zax and producer Bill Inglot.[5] Two singles were released before the album's release. "Pictures on My Wall" (as "The Pictures on My Wall"), the band's first single, was released on 5 May 1979. The single version was recorded before de Freitas had joined the band, but the song was re-recorded for the album with de Freitas on drums.[17] The band's second single, "Rescue", released on 5 May 1980, became the band's first song to chart when it reached number 62 on the UK Singles Chart.[18] Scottish band Idlewild covered the track "Rescue" on their single "These Wooden Ideas" in June 2000.[19] In late 2001, American singer-songwriter Kelley Stoltz released the album Crockodials, a track-by-track cover version of the original Crocodiles album.[20] Writing for NME in 1980, Chris Salewicz described the album as "being probably the best album this year by a British band."[13] In his review of the album for Smash Hits, Ian Cranna said that the album was "proof positive that there's just no substitute for a good song delivered with power and emotion." Cranna added, "[The band] deliver attractive melodies with dark and moody (but not obscure) personal lyrics, all turned into compulsive listening by a driving beat, ringing guitars and a hauntingly emotional voice."[28] Reviewing the album in 1981 for Rolling Stone magazine, David Fricke awarded it four out of five stars and described McCulloch's vocals: "[He] specializes in a sort of apocalyptic brooding, combining Jim Morrison-style psychosexual yells, a flair for David Bowie-like vocal inflections and the nihilistic bark of his punk peers into a disturbing portrait of the singer as a young neurotic."[9] Fricke went on to say, "Behind him, gripping music swells into Doors-style dirges ('Pictures on My Wall'), PiL-like guitar dynamics ('Monkeys'), spookily evocative pop ('Rescue') and Yardbirds-cum-Elevators ravers jacked up in the New Wave manner ('Do It Clean,' 'Crocodiles')." Reviewing the 2003 remastered version for American music magazine Blender's website, reviewer Andrew Harrison also gave the album four out of five stars and said, "[...] the Bunnymen were a pure nihilistic thrill, with Will Sergeant's desperate, mantra-like guitar summoning up a primal night of blinking hallucinations."[22] Crocodiles reached number 17 on the UK Albums Chart in July 1980.[18] The album has since sold over 100,000 copies and the band were awarded a gold disc for the album on 5 December 1984 by the British Phonographic Industry.[30] In 1993, the NME listed Crocodiles at number 28 in its list of the 50 greatest albums of the 1980s.[31] In 2006, Uncut magazine listed the album at number 69 on its list of the 100 greatest debut albums.[32] The album was also included in the book 1001 Albums You Must Hear Before You Die.[33] In 2020, Rolling Stone included Crocodiles in their "80 Greatest albums of 1980" list, praising "Will Sergeants’ ice-dagger guitar and Les Pattinson’s spelunking bass, making “Rescue” and “Pictures on My Wall” the perfect invitations to crawl down into Ian’s hot pit of despair."[34] Track listing All tracks written by Will Sergeant, Ian McCulloch, Les Pattinson and Pete de Freitas except where noted. 1980 UK LP version and Canadian Cassette Side one "Going Up" – 3:57 "Stars Are Stars" – 2:45 "Pride" – 2:41 "Monkeys" – 2:49 "Crocodiles" – 2:38 Side two "Rescue" – 4:26 "Villiers Terrace" – 2:44 "Pictures on My Wall" (Sergeant, McCulloch, Pattinson) – 2:52 "All That Jazz" – 2:43 "Happy Death Men" – 4:56 1980 US version and 1980 UK cassette version Side one "Going Up" – 3:57 "Do It Clean" – 2:44 "Stars Are Stars" – 2:45 "Pride" – 2:41 "Monkeys" – 2:49 "Crocodiles" – 2:38 Side two "Rescue" – 4:26 "Villiers Terrace" – 2:44 "Read It in Books" (McCulloch, Julian Cope) – 2:31 "Pictures on My Wall" (Sergeant, McCulloch, Pattinson) – 2:52 "All That Jazz" – 2:43 "Happy Death Men" – 4:56 2003 bonus tracks "Do It Clean"[A] – 2:44 "Read It in Books"[A] (McCulloch, Cope) – 2:31 "Simple Stuff" – 2:38 "Villiers Terrace" (early version) – 3:08 "Pride" (early version) – 2:54 "Simple Stuff" (early version) – 2:37 "Crocodiles"[B] (live) – 5:09 "Zimbo"[B] (live) – 3:36 "All That Jazz"[B] (live) – 2:53 "Over the Wall"[B] (live) – 5:28 Personnel Echo & the Bunnymen Ian McCulloch – vocals, guitar, piano Will Sergeant – lead guitar Les Pattinson – bass Pete de Freitas – drums Technical Bill Drummond[C] – producer (original album and Shine So Hard tracks) David Balfe[C] – producer (original album), keyboards Ian Broudie – producer ("Pride" and "Rescue") The Bunnymen – producer ("Simple Stuff") Pat Moran – producer (early versions) Hugh Jones – producer (Shine So Hard tracks), engineer (original album) Andy Zax – reissue producer Bill Inglot – reissue producer, remastering Rod Houison – engineer ("Pride" and "Rescue") Gary Edwards – engineer (early versions) Dan Hersch – remastering Brian Griffin – cover photography Bill Butt – insert photography Notes A. ^1 2 Originally included on the US release of Crocodiles. B. ^1 2 3 4 From the Shine So Hard EP (Korona ECHO 1, 1981). Recorded live at the Pavilion Gardens, Buxton, UK, 17 January 1981. C. ^1 2 Credited as The Chameleons.

Joe Jackson from LP Body and Soul - The track The Verdict The verdict Joe Jackson L P Body and Soul 1 Did you do me right? Did I do right by you? When I bared my soul it seems you did not hear Can this be true? Am I fool to fight? I could do just what you say But I'm following my heart and that takes me another way It's not easy when there's no one one giving prizes at the end Waiting in the wings Wishing that the band would start to play As the show begins Wonder what the critics have to say Waiting Waiting For the verdict Some people live so fast They're so scared of getting old Some people keep on working All they do is line their graves with gold We don''t know what happens when we die We only know we die too soon But we have to try or else our world becomes a waiting room Would you testify for me? I think I'd do the same for you Waiting in the dark Waiting for the phone to ring all day My witness disappears Wonder what the jury has to say Waiting Waiting Waiting Waiting Waiting 3

My choice today Lucinda Williams and Lake Charles a track from her album Car Wheels On A Gravel Road from 1998

I was 15 My firtst underground music experience Death of an Electric Citizen bt The Edgar Brougton Band from the LP Wasa Waa released in 1969 Track listing "Death of an Electric Citizen" (Arthur Grant, Robert Edgar Broughton, Steve Broughton) - 6:09 "American Boy Soldier" (Grant, R.E. Broughton, S. Broughton) - 4:22 "Why Can't Somebody Love Me?" (Grant, R.E. Broughton, S. Broughton) - 5:05 "Neptune" (S. Broughton) - 4:20 "Evil" (R.E. Broughton) - 2:36 "Crying" (R.E. Broughton) - 5:14 "Love in the Rain" (R.E. Broughton) - 3:46 "Dawn Crept Away" (R.E. Broughton, S. Broughton)- 14:07 Lyric: Death Of An Electric Citizen Thought I hear a raindrop fall Trickle down beneath And the raindrop was a stream And the stream was a river Ready, ready, ready, ready, to the sea And the sea met the sky And you know, you know, you know The sky had no end, no end, no end, no end, no end There was aurora borealis And it chilled to the bone And it chilled (???????????????) You're not going home I got us up her, up her And her head spin Like a cryin' out for water Like a bony thin And the sky was a city City palace all around wall And the twelve guards Were back as far Aphrodite play with There's a light growing in my hairs Electric big bear, big bear Like I gotta, ooh ooh Try, try, well, moan a bit, cry a bit, sleep a bit, die a bit If you wanna deny it There's a warm tall maiden With a green eye And she says 'this is my Heaven You can make it if you try' And there's a ooh, ooh And a, oh, wide eye There's a ooh, ooh And a ooh, warm night And you hear the promises Blowin' on the wind And the wind is a vehicle For a bad man's sins They burn the city open You gotta take it on the town Stop go, Stop go, Stop go, Stop go You know you can go With a black bone And the pleasance of, and the pleasance of, denial And that's just about the death of a, like I mean Electric citizen

My choice today from 1976 Let It Grow by Eric Clapton from the album 461 Ocean Boulevard

Its the title track from Parklife from Blur released in 1994 with Phil Daniels on vocals

Track Listing 1 Que se lo lleve el mar 01:30 2 Por ti 03:16 3 Suave y Pegao 04:16 4 Coda 03:56 5 American Boy 03:45 6 A fuego lento 03:19 7 El Amor la esperanza 03:30 8 Como vivir por el 03:24 9 I rather let it go 03:01 10 Die and live again 02:55 Al-Kemi Review by Thom Jurek Video Link YTube Suave y pegao (feat. Rafa Pabön) https://www.youtube.com/watch?v=9n0hVFZ07Qo&list=PLx0HoKIpmnAdGbEQpl-no6PwzofGKDttx&index=3 Coda Dayme Arocena from Al-Kemi 2024 https://www.youtube.com/watch?v=6dCnJAAOGWE&list=PLx0HoKIpmnAdGbEQpl-no6PwzofGKDttx&index=4 Al-Kemi is Cuban singer-songwriter Daymé Arocena's fifth album and first in five years. An award-winning jazz singer, she has expanded the Latin jazz tradition with her adventurous albums of acoustic improvisation and experimentation. Al-Kemi follows a difficult period for Arocena, who emigrated to Toronto after the release of 2019's Sonocardiogram and was stuck in isolation there during the pandemic. Depressed, she only listened to music that was simple, direct, and uplifting. A friend introduced her to Beyonce's visual album Black Is King, and she found an affinity for its feminist and spiritual lyrics. Inspired, Arocena began writing pop songs. At the behest of her pianist, she sought out Calle 13's music director, Eduardo "Visitante" Cabra. She visited him in Puerto Rico to cut demos and ended up staying four months to complete the album. She ultimately emigrated there. The breezy, sultry opener, "Que Se Lo Lleve el Mar," a gorgeous prayer of longing for the sea, finds Arocena handling all the vocals (including the doo wop-styled intro), while Cabra played everything from mbira and percussion to electric guitars, keyboards, and samples. The single "Por Ti" indicts an estranged lover for emotional cruelty and gaslighting atop minor-key piano, layered Latin beats, bossa nova horns, and a hooky refrain. "Suave y Pegao" is a vocal duet with Rafa Pabon that seamlessly melds neo-soul, pop salsa and, in its horn chart, contemporary jazz. "Coda" is a dramatic R&B jam with strings and horns (both arranged by Arocena), piano, and samples. "American Boy" weds funky, staccato horns, popping snares and hi-hats, electric guitar, keyboards, and a devastating, heartbroken lyric appended by a sweet flute solo from Sheyla del Bosque. Vicente Garcia assists on noir-ish neo-soul/contemporary jazz single "A Fuego Lento" with sparse instrumentation, dubby beats, and gorgeously entwined vocals. The breezy, quietly passionate "El Amor la Esperanza" is sparsely arranged; elegant, contemporary R&B with subtle sampling, lithe beats, Wurlitzer, synth, and electric guitar mixed with the jazz vocal tradition. Arocena duets with herself as she croons in Spanish, "The love, the hope, that your kisses pour out/Overflowing passion with light/Your eyes are religion ...." Highlight "Cómo Vivir por Él" weds ska, neo soul, and modern jazz in a meld of deep soul, bolero, and Afro-Caribbean beats. The final two tracks, "I Rather Let It Go" and "Die and Live Again," are sung in English. The former, with its bubbling hand percussion, Marisa Monte-esque melody, and elegant pianism are a manifesto that indicts machismo and celebrates feminist empowerment. The latter track weds modern jazz, neo soul balladry, Cuban son, and Latinized drum'n'bass to testify to the redemptive power of romantic love. Al-Kemi, like the Anglo word "alchemy," reflects transformation. Arocena set out to make a record that was more accessible to general listeners as a way of connecting with the history, legacy, and global influence of Black music. As such, it is relentlessly experimental in its canny approach to juxtaposing genres, instrumentation, beats, and grooves.

Richard Thompson The Way That It Shows from Mirror Blue Mirror Blue (Richard Thompson: 1994) A record so brilliant I can't even explain it. Every song is perfectly conceived and executed, every guitar solo is jaw-droppingly creative, every lyric is fascinating. As usual, his range is impressive: everything from stark and beautiful Celtic acoustic ballads ("King Of Bohemia"; "Beeswing") to catchy, clever, and entirely up-to-date pop-rock songs ("I Can't Wake Up To Save My Life"; "Mascara Tears") - the same formula as Rumor And Sigh, just more consistent. There's yet more of Thompson's lovingly arranged rockabilly ("Shane And Dixie"), another nutty social commentary piece ("Fast Food"), an ethereal acoustic waltz ("Taking My Business Elsewhere"), an unclassifiable Scottish reel/hot rod song ("MGB-GT"), an extraordinary folk-rocker ("For The Sake Of Mary"), a gorgeous acoustic love song ("The Way That It Shows"), and a couple of his characteristically dark, disturbing mood pieces that are so dramatic they're breathtaking ("Mingus Eyes"; "I Ride In Your Slipstream"). Every tune is worth every cent - buy this record. Again produced by Froom, and again the band is affiliated with Elvis Costello: Froom on keyboards, Attractions drummer Pete Thomas, and Jerry Scheff on bass (he's memorable on "Slipstream"). Danny Thompson contributes a fabulous acoustic bass line to the jazzy, impressionistic "Easy There, Steady Now." The other guests are bit players on traditional instruments (concertina, fiddle, pipes) and backup vocalists. (JA) Rev 2 A record so brilliant I can't even explain it. Every song is perfectly conceived and executed, every guitar solo is jaw-droppingly creative, every lyric is fascinating. As usual, his range is impressive: everything from stark and beautiful Celtic acoustic ballads ("King Of Bohemia"; "Beeswing") to catchy, clever, and entirely up-to-date pop-rock songs ("I Can't Wake Up To Save My Life"; "Mascara Tears") - the same formula as Rumor And Sigh, just more consistent. There's yet more of Thompson's lovingly arranged rockabilly ("Shane And Dixie"), another nutty social commentary piece ("Fast Food"), an ethereal acoustic waltz ("Taking My Business Elsewhere"), an unclassifiable Scottish reel/hot rod song ("MGB-GT"), an extraordinary folk-rocker ("For The Sake Of Mary"), a gorgeous acoustic love song ("The Way That It Shows"), and a couple of his characteristically dark, disturbing mood pieces that are so dramatic they're breathtaking ("Mingus Eyes"; "I Ride In Your Slipstream"). Every tune is worth every cent - buy this record. Again produced by Froom, and again the band is affiliated with Elvis Costello: Froom on keyboards, Attractions drummer Pete Thomas, and Jerry Scheff on bass (he's memorable on "Slipstream"). Danny Thompson contributes a fabulous acoustic bass line to the jazzy, impressionistic "Easy There, Steady Now." The other guests are bit players on traditional instruments (concertina, fiddle, pipes) and backup vocalists. (JA) The Way That It Shows" You're going to give yourself away One of these nights Your gaze of compassion Just a little too right Your hug of encouragement A little too tight And then he'll know It's the little things betray You're going to give yourself away To some Casanova On the spills and stains Of a backstage sofa He'll catch you yawning With one leg over And there's the sin Must be the enemy within That's the way that it shows That's the way that it shows That's the way that it shows That's the way that it shows That's the way that it shows That's the way that it shows A slip of the tongue A squeeze of the hand That's the way that it shows There's glycerine in the tear Rouge in the blush Your artful stammer A little too rushed All passion to the eye All cold to the touch And then he'll guess Your mind has drifted in the kiss There's a chink in your armour A crack in your defenses When your iron will Gives way to your senses Your whispered sweet nothings All sound like expenses And that's enough He won't believe your words of love And that's the way that it shows That's the way that it shows Yes, that's the way that it shows That's the way that it shows That's the way that it shows It's the - That's the way that it shows A slip of the tongue A squeeze of the hand That's the way that it shows

My choice today is Dust and Rocks from Paul Weller's 3rd solo album released in 2000 and called Heliocentric

Another classic from Africa - Baaba Maal Cherie from the 1998 album A Nomad Soul Cherie Lyrics Like the moon moves the tides You influence my mind Like the planets and the stars Keep the rhythm to your time Are you happy with him Yes, I'll let you go Girl, I love you Cherie, I love you so Girl, I love you I was a fool to let you go Like the alchemist Who couldn't resist the devil's kiss Base metal into gold And the psychiatrist Who's battling deep within his own soul I was like them down the hole Girl, I love you Cherie, I love you so Girl, I love you I was a fool to let you go All the memories of our life Like Venice in the spring New York City summers Paris, London winters' chill Girl, I love you Girl, I love you so Cherie, I love you I was a fool to let you go I love you so Want you to know I love you so As the apples fall, the leaves turn Make it to autumn's call But you still know your way Never be outdone at all And if I falter, I see it in our child Girl, I love you Cherie, I love you so Girl, I love you No, I won't let go Girl, I love you Cherie, I love you so Girl, I love you No, I can't let go Girl, I need your sunshine to feel alright Girl, I need your sunshine to feel alright Girl, I need your sunshine to feel alright Girl, I need your sunshine to feel alright Girl, I love you Cherie, I love you so Girl, I love you No, I won't let go Girl, I love you No, I won't let go Girl, I love you Cherie, I love you so Girl, I love you Cherie, I love you so Girl, I love you Cherie, I love you so Girl, I love you Cherie, I love you so Girl, I love you Cherie, I love you so Girl, I love you Cherie, I love you so

Its my song for yesterday - ooops from Black Tie White Noise I Know It's Gonna Happen Someday" My love wherever you are Whatever you are, don't lose faith I know it's gonna happen someday to you Please wait Please wait Wait, don't lose faith You say that the day never arrives And it's never seemed so far away But I know it's gonna happen someday to you Please wait Please wait Wait, don't lose faith Please wait Please wait Please, don't lose faith Don't lose faith You say that the day never arrives And it seems so far away But I know it's gonna happen someday Someday to you To you Please wait

My choice today is from Beck's 1999 album Midnite Vultures - Debra the closer "Debra" (Oh yeah, come on) I met you at JC Penny I think your nametag said Jenny I could step to you With a fresh pack of gum If somehow I knew you were looking for some (oh no!) Like a fruit that's ripe for the picking' I wouldn't do you like that Zankou chicken 'Cause only you got a thing That I just got to get with I just got to get Get with you And you know what we're gonna do I wanna get with you (Oh girl) And your sister I think her name is Debra I wanna get with you (Only you girl) And your sister I think her name is Debra Girl, I only wanna be down with you 'Cause you got something That I just got to get with I'll pick you up late at night after work I said lady, step inside my Hyundai I'm gonna take you up to Glendale Yeah I'm gonna take you for a feel good meal 'Cause when our eyes did meet Girl, you know I was packing' heat Ain't no use in wasting no time? Getting to know each other You know the deal 'Cause only you got a thing That I just got to get with Got to get with I just got to get with you girl I wanna get with you (Only you Girl) And your sister I think her name is Debra I wanna get with you (Girl yeah) And your sister I think her name is Debra (Ohhhh) (Come on) Oh lovely lady Girl you drive me crazy Crazy! (Oh girl) And your sister Debra Yeah, you're driving me crazy Crazy (Oh) Yeah I got a little bit of sympathy for you girl Yeah, 'cause I'm a, I'm a, full-grown man And I'm not afraid to, to...

Featuring Sant Fe Skyway by Martin Carr from the LP The Breaks released 2014 Martin Carr The Breaks" (release date: Sep 26, 2014) Genre: Indie Pop/Brit Pop Country: United Kingdom Year: 2014 Playtime: 00:40:33 Tracklist: 01. The Santa Fe Skyway 04:17 02. St. Peter In Chains 03:58 03. Mainstream 04:37 04. Mountains 03:42 05. Sometimes It Pours 04:29 06. Senseless Apprentice 04:24 07. No Money In My Pocket 05:22 08. I Don’t Think I’ll Make It 04:02 09. Mandy Get Your Mello On 03:19 10. The Breaks 02:20 “A theme running through my work is not fitting in,” says Martin Carr. “Whether it was at school, work, in a band and even now, a 46-year-old with two small children - I always feel slightly alienated from the process. I think everybody knows what’s going on except me.” Welcome to the human condition. We’re all a bit lost inside, trying to put on a brave face and front out through the days, doing whatever it takes to make sense of the mind and body’s tangled lines of communication. Martin Carr does it with music; has been for 25 years now, via a string of acclaimed records with The Boo Radleys, then his bravecaptain alias, and latterly under his own name. Hearing his new album, The Breaks, you’re bound to think he’s never done it any better than this, right here and now. The Breaks was recorded in January 2014, but most of its songs were written three or four years previously. Having self-released his previous album, Ye Gods And Little Fishes, Martin recorded some demos and sent them “far and wide”. People seemed to like the songs but no one was offering to release them, and after a while Martin gave up and began working on different songs. Then, at the end of 2013, he got an email from Tapete, an independent record company based in Hamburg. “They said they were looking for Martin Carr,” he says. “I was carrying it to my spam box when a thought struck me: ‘Hang on, I’M Martin Carr, maybe the Martin Carr they’re after!’ So I wrote back to them and they wrote back to me. I sent them the demos and they loved them. They sent me a big box of records and flew me over to Hamburg and got me drunk - and that was that.” Tapete’s roster is large and varied: lots of local bands, but also some from the US, Scandinavia and Austria, plus, in Lloyd Cole and Bill Pritchard, a couple of hugely accomplished UK artists with deep history and maverick tendencies. Martin Carr fits that bill perfectly: a songwriter whose work is pop but not necessarily populist, and whose trajectory reveals an ambivalent relationship with conventional sensibilities. Indeed, it’s an issue he grapples with on one of The Breaks’ keynote songs: “Here I am swimming in the mainstream/I tell my friends I subvert it from within… I tell myself I’m happy as I am.” The song - Mainstream, of course - features rapturous female harmony vocals and is a fuzzy-headed lachrymose wallow in the finest tradition of Harry Nilsson or Jeff Lynne, but with a downhome intimacy that makes Martin’s voice feel like a confessional echo of the self-doubts we all experience. Such is the hallmark of a great songwriter - making the personal feel universal - and it’s a trick Carr pulls repeatedly over the album’s 10-track stretch. On Sometimes It Pours, when he sings “Oh my little ones/In from the cold/Jump into my arms/Stop me getting old”, there’s not a parent in the world who won’t understand. “I wrote the songs when I was spending most of my days dealing with babies and young children,” he says. “The period that seems to last forever and you start to wonder of things will ever be normal again, or less normal anyway. Stifled, the hours move like mountains, the days speed like bullets.” Mainstream doubts and fears again. Yet with the heady, paraffin-warmth of his melodies and these songs’ joyous pheromone rushes, you’ll believe that Carr could deliver the last rites and give the recipient cause to smile. The Breaks has so many ascension moments: the bravura Isaac Hayes/Stax homage in opener Santa Fe Skyway, the pumping organ of St Peter In Chains, the reserves of lyrical chutzpah demonstrated amid I Don’t’ Think I’ll Make It wherein Carr rhymes “heart” with “Descartes”. The songs are performed with equal amounts attitude, soul and empathy by Carr and a group of musicians assembled specifically for the sessions: the rhythm section features Andy Fung on drums and Corin Ashley on bass, while the piano and organ are courtesy of BAFTA award-winning composer John Rae. The latter’s presence was pure kismet: he was studio manager at Cardiff’s soon-to-be-demolished ITV buildings where the sessions took place. “The studio I made my last album in was also torn down after I’d finished,” notes Martin. A wry stoicism in the face of life’s injustice is a lyrical sub-plot throughout the record: be it the precise character assassination of Senseless Apprentice (“Your greedy eyes and your mouth for rent/Your grabbing hands and your desperate scent”) or the closing title track’s assertion: “And if the breaks don’t come/We’ll just get by without them.” Throughout it all, whether accompanied by his distaff siren chorus - gorgeously so on No Money In My Pocket - or fronting up alone, Carr has never sung his own songs better than he does here. It’s a voice that both grounds and elevates The Breaks. Martin Carr is doing more than just getting by ­- he’s just made his best album. “The weird thing is,” he says, “despite all this angst it’s the most immediate and accessible record I’ve made in a while. I love pop music and find it liberating. It fills me with joy.”

Last track on this 1990 album from Prefab Sprout "Doo Wop In Harlem" There is a door we all walk through And on the other side I'll meet you Reunion in the air Acappella meets pure prayer, somewhere I can't wait to meet you there, somewhere I can't wait to meet you there If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem There is a door it may seem locked But in a little while, don't be shocked Above the noise, behind the glare I know you're listening out there somewhere, somewhere I can't wait to meet you there, somewhere I can't wait to meet you there If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem If there ain't a heaven that holds you tonight They never sang doo-wop in Harlem

From 1883 The Boss Groove by The Style Council and enjoy it being performed at the famous Live Aid concert in July 1985 Lyrics Hold on is what they say To get any back to you will have to pay Don't shout or get upset It's the same message from the holy Tory government Don't rock the sinking ship And don't fly in the face of it Work for your heaven's way It's the same bullshit from the pulpit and the president Hear keys getting in my way It drives me crazy when I hear them say "Let us pray" 'cause I want my heaven here on earth Get up is what we say Don't wait for judgement day There's too much going on You might think you're weak But together we can be so strong This world is no man's land Our lives are in our hands Our will is our command You put it together and together we can make a stand Our faith is the key to it The unifying for some reason to be You will see if you stand outside The big boss groove Get on up! Our faith is the key to it The unifying for some reason to be You will see if you stand outside The big boss groove Get up is what we say And don't wait for judgement day There's too much going on You may think you're weak But together we can be so strong This world is no man's land Our lives are in our hands Our will is our command You put it together and together we can make a stand In our hands, our command, and together we can make a stand! Yeah! Songwriters: Mick Talbot / Paul Weller Musicians Paul Weller (Guitar, Vocals. Harmonica), Mick Talbot (Keyboards), Dee C Lee (Vocals), Steve White (Drums)

"If I Ever Lose My Faith In You" You could say I lost my faith in science and progress You could say I lost my belief in the holy church You would say I lost my sense of direction Yes, you could say all of this and worse but If I ever lose my faith in you There'd be nothing left for me to do Some would say I was a lost man in a lost world You could say I lost my faith in the people on TV You would say I lost my belief in our politicians They all seem like game-show hosts to me If I ever lose my faith in you There'd be nothing left for me to do I could be lost inside their lies without a trace But every time I close my eyes I see your face I never saw no miracle of science That didn't go from a - a blessing to a curse I never saw no military solution That didn't always end up as something worse but Let me say this first If I ever lose my faith in you (If I ever lose my faith in you) There'd be nothing left for me to do (There'd be nothing left for me to do) If I ever lose my faith x4 In you Ten Summoner's Tales is the fourth solo studio album by English musician Sting. The title is a combined pun of his family name, Sumner, and a character in Geoffrey Chaucer's The Canterbury Tales, the summoner. Released in 1993, it explores themes of love and morality in a noticeably upbeat mood compared to his previous release, the introspective The Soul Cages released in 1991 after the loss of both his parents in the 1980s. This album contains two US hits; "If I Ever Lose My Faith in You" reached No. 17 on the Billboard Hot 100 while "Fields of Gold" got to No. 23.[21] Ten Summoner's Tales was shortlisted for the 1993 Mercury Prize. In 1994, it was nominated for six Grammy awards including Album of the Year (losing to Whitney Houston‘s The Bodyguard), winning Best Engineered Album, Non-Classical, Best Male Pop Vocal Performance ("If I Ever Lose My Faith in You") and Best Long Form Music Video, while "If I Ever Lose My Faith in You" was also nominated for Record and Song of the Year. A laser disc and VHS of the album were released, containing live performances of all songs on the album at Lake House. A promotional disc was made where Sting discusses some of the songs on the album. There was also an unofficial live album produced during the Ten Summoner's Tales era, entitled Meadowlands of Gold, which contained 13 tracks performed at the Meadowlands Arena on February 26, 1994, in East Rutherford, New Jersey. The songs consisted of tracks from the album, and a few songs by The Police plus a cover of the Beatles' "A Day in the Life". In February 2023, it was announced that Ten Summoner's Tales would be re-released and digitally expanded, with multiple songs not previously heard or available to download.[22] Background The album was recorded at Lake House, Wiltshire, mixed at The Town House, London and mastered at Masterdisk, New York.[23] The cover of the album was photographed at Wardour Castle in Wiltshire, featuring Hrímnir, an Icelandic horse Sting owned for a period. A long form 'performance' video of the entire album was filmed at Sting's Lake House property. The audio used is partly from the album, but partly recorded as played by the band during the filming. This film was released in conjunction with the album. The video went on to win a Grammy Award for Best Long Form Video in 1994, and was directed by Doug Nichol and produced by Julie Fong. On 11 August 1994, a compact disc of Ten Summoner's Tales became the first item ever securely purchased over the Internet, for $12.48 plus shipping.[24] There was also an interview disc released for the album, in which Sting talks about all tracks on the album. The second track on the album, "Love Is Stronger Than Justice (The Munificent Seven)", was named as a homage to the films Seven Samurai and The Magnificent Seven. According to the interview disc, the idea came to Sting when he wanted to write a song in the 7/4 time signature. The song "Seven Days" is also noted for the sophisticated playing of drummer Vinnie Colaiuta in the 5/4 time signature. The international-exclusive track "Everybody Laughed But You" was excluded from Canadian and American pressings of the album. However, US singles from the album included the song, as well as a version of the song with different lyrics titled "January Stars". The singles for Ten Summoner's Tales also give credit to Fernandes Guitars, as Dominic Miller played a Fernandes P-Project Acoustic Electric Nylon guitar throughout the album. 1998 re-release Ten Summoner's Tales was remastered and re-released in 1998. The new CD issue included a bonus video track of "If I Ever Lose My Faith in You". It also featured the song "Everybody Laughed But You", which was excluded from the original 1993 release in the US and Canada. The song did appear on the original release in the UK, Europe, Japan and other territories, and on the single "If I Ever Lose My Faith in You". The instrumental track for "Everybody Laughed But You" was also used with an alternate lyric and released as "January Stars" on the singles "Seven Days" and "If I Ever Lose My Faith in You". Track listing All tracks are written by Sting, except "It's Probably Me" written with Eric Clapton and Michael Kamen, and "Shape of My Heart" written with Dominic Miller No. Title Length 1. "Prologue (If I Ever Lose My Faith in You)" 4:30 2. "Love Is Stronger Than Justice (The Munificent Seven)" 5:12 3. "Fields of Gold" 3:42 4. "Heavy Cloud No Rain" 3:39 5. "She's Too Good for Me" 2:30 6. "Seven Days" 4:40 7. "Saint Augustine in Hell" 5:05 8. "It's Probably Me" 4:57 9. "Everybody Laughed but You" 3:53 10. "Shape of My Heart" 4:38 11. "Something the Boy Said" 5:13 12. "Epilogue (Nothing 'Bout Me)" 3:39 Total length: 52:31 Notes: Narration on "Saint Augustine in Hell" performed by David Foxxe. "Everybody Laughed But You" does not appear on most vinyl pressings or on the original US and Canadian versions of the album. Pressings of the album that do not include "Everybody Laughed But You" (and so only have 11 tracks) omit "Prologue" from the title of "If I Ever Lose My Faith in You". Personnel Sting – vocals, bass guitar, double bass, harmonica, saxophone, arrangements David Sancious – keyboards Dominic Miller – guitars Paul Franklin – pedal steel guitar Vinnie Colaiuta – drums Larry Adler – chromatic harmonica Brendan Power – chromatic harmonica Richard Edwards – trombone Mark Nightingale – trombone John Barclay – trumpet Guy Barker – trumpet Dave Heath – flute Kathryn Tickell – Northumbrian smallpipes, fiddle Sian Bell – cello James Boyd – viola Simon Fischer – violin Kathryn Greeley – violin David Foxxe – narration (devil's voice on "Saint Augustine in Hell") Production Sting – producer Hugh Padgham – producer, engineer, mixing Andrew Bradfield – assistant engineer Pete Lewis – assistant engineer Simon Osborne – assistant engineer Roger Lian – digital editing Bob Ludwig – mastering Gateway Mastering (Portland, Maine, USA) – mastering location Danny Quatrochi – personal technical assistant Richard Frankel – art direction, design Norman Moore – art direction, design Kevin Westenberg – photography Soundtrack appearances A different version of "It's Probably Me", featuring Eric Clapton, was featured in the opening titles of Lethal Weapon 3. (This version was available as a single.) The song "Shape of My Heart" was featured in the end credits of the 1994 French thriller Léon: The Professional,[26] replacing Éric Serra's "The Experience of Love" (a track that Serra eventually used in his 1995 soundtrack for the James Bond film GoldenEye). In 2011, "Shape of My Heart" was used to conclude the final episode of the seventh series of British television drama Hustle. Accolades Grammy Awards Year Nominee / work Award Result 1994 Ten Summoner's Tales Album of the Year Nominated Best Engineered Album, Non-Classical Won Best Music Video, Long Form Won "If I Ever Lose My Faith in You" Best Pop Vocal Performance, Male Won Record of the YearNominated Song of the YearNominated Brit Awards Year Nominee / work Award Result 1994 [29] Ten Summoner's Tales Best British Album Nominated Sting (performer) Best British Male Artist Won "Fields of Gold" Best British Video Nominated Mercury Prize Year Nominee / work Award Result 1993 Ten Summoner's Tales Mercury Music Prize[30] Nominated

My new series capturing a beautiful song each day from my listening stack Africa Remembers by Youssou N'dour Eyes Open Youssou N’Dour Pop, Folk, World, & Country Style:African Year:1992 Africa Remembers 9:22 Youssou N'Dour Lyrics Stand Up Stand Up Wakhtou dafa djott niou mom sunu bopp Wakhtou dafa djott niou djokk thi sunu bopp Diokhniou indépendance waye bataye nioniou djitou Founiou la djokhei bene dieulfeu foukk sen beut neniou Yaye boye kaye dieulma bala ma dem guet (×2) Pitch mile noppil dom Anh noppil dom Pitch mile noppil dom khamnga bala djant Sokh sa yaye nieuw dieul leu Yayo Yaye Yaye Danga ma beug nakh yaye dou nieuw (×2) Danga ma beug nakh yaye dou nieuw ndakhte yaye Boudone nieuw nieuwna ba diant fekke Yayo Yaye Yaye Nioye khamb tal diayla arme ba pare dileu ate Guem suniou bopp daldi doyelo moniou manquei Suniou soubeu laniou tayele banque mondiale akk FMI Liguey thi bopp kagn laniou mom suniou bop Yaye boy kaye dieulma balama dep gue Monde dama meunteu naw Monde dama meunteu naw fekki Yaye (×2) Wouy Yayo boye Monde dama meunteu naw fekki yaye Danga ma beug nakh Yaye dou nieuw Monde dama meunteu naw fekki yaye Ndakhtei yaye boudone nieuw nieuwneu ba diante fekkei Monde dama meunteu naw fekki yaye Anh Monde dama meunteu naw fekki yaye Ihh Yayo Yayo Yayo Overall Meaning The lyrics of Youssou N'Dour's song "Africa Remembers" calls for Africans to unite and stand up for their rights as they reflect on their history and their struggles to gain independence from colonialism. The song begins with the repetition of the phrase "Stand Up" and emphasizes the need for solidarity among African nations. The lyrics then acknowledge that independence has been achieved but not without difficulties, poverty, and external influences such as the World Bank and IMF that have negatively impacted Africa's economic development. The song ends on a positive note, calling for Africa to recognize their worth and greatness as they navigate through the challenges that come with being an independent nation.

This great album from 1989 with full audio to listen to Track listing "My Blood" (Daryl Johnson, Cyril Neville, Willie Green, Charles Moore) - 4:11 "Yellow Moon" (Aaron Neville) - 4:04 "Fire and Brimstone" (Link Wray) - 3:57 "A Change Is Gonna Come" (Sam Cooke) - 3:43 "Sister Rosa" (Daryl Johnson, Cyril Neville, Charles Moore) - 3:29 "With God on Our Side" (Bob Dylan) - 6:37 "Wake Up" (Cyril Neville, Brian Stoltz, Willie Green) - 3:21 "Voodoo" (Aaron Neville, Daryl Johnson, Cyril Neville, Brian Stoltz, Willie Green) - 4:26 "The Ballad of Hollis Brown" (Bob Dylan) - 5:45 "Will the Circle Be Unbroken" (A. P. Carter) - 5:16 "Healing Chant" (Aaron Neville, Tony Hall, Cyril Neville, Brian Stoltz, Willie Green) - 4:34 "Wild Injuns" (Aaron Neville, Tony Hall, Cyril Neville, Brian Stoltz, Willie Green) - 3:17 Personnel Aaron Neville - vocals, keyboards, percussion Art Neville - vocals, keyboards Charles Neville - saxophones, percussion, backing vocals Cyril Neville - vocals, hand drums, percussion Brian Stoltz - guitar Tony Hall - bass, percussion, backing vocals Willie Green - drums Brian Eno - keyboards, sound effects, vocals on "A Change Is Gonna Come" Daniel Lanois - guitar, keyboards, backing vocals Malcolm Burn - keyboards, guitar The Dirty Dozen Brass Band - horns Eric Kolb - keyboard programming Kenyatta Simon and Kufaru Mouton - percussion on "My Blood" Aashid Himmons and Terry Manual - keyboards on "Sister Rosa"Tracklist

Loggins and Messina reunite and perform live in Concert Sittin In their debut album from the 70's Live: Sittin' in Again at Santa Barbara Bowl is a live compilation album (and eleventh overall release) by singer-songwriter duo Loggins and Messina, released in late 2005. It was recorded in Santa Barbara at one of the first performances of their reunion tour. The physical CD features thirteen tracks; however an online download-only version includes five additional tracks: "Sailin' the Wind", "Long Tail Cat", "Thinking of You", "Be Free", and "You Need a Man" which can also be heard (and seen) on the DVD release of the concert.[1] Track listing "Watching the River Run" (Kenny Loggins, Jim Messina) – 3:54 "House at Pooh Corner" (Loggins) – 4:16 "Listen to a Country Song/Holiday Hotel" (Messina, Al Garth) – 4:44 "Back to Georgia" (Loggins) – 3:19 "Trilogy: Lovin' Me/To Make a Woman Feel Wanted/Peace of Mind" (Loggins, Messina, Murray MacLeod) – 14:45 "Your Mama Don't Dance" (Loggins, Messina) – 3:38 "A Love Song" (Loggins, Donna Lyn George) – 2:23 "Same Old Wine" (Messina) – 8:02 "Changes" (Messina) – 5:17 "Vahevala" (Loggins, Dann Lottermoser) – 7:06 "Angry Eyes" (Loggins, Messina) – 7:54 "Nobody But You" (Messina) – 4:30 "Danny's Song" (Loggins) – 2:41