JohnVicarysMusicPassions

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

My review of the debut by Everything But The Girl released in 1984 Includes the whole album at the end of my review Track listing No. 1. "Each and Every One" Tracey Thorn Ben Watt 2:48 2. "Bittersweet" Thorn 2:50 3. "Tender Blue" Watt 3:05 4. "Another Bridge" ThornWatt 2:13 5. "The Spice of Life" Thorn 3:30 6. "The Dustbowl" Thorn 1:39 7. "Crabwalk" Watt 2:02 8. "Even So" Thorn 3:24 9. "Frost and Fire" ThornWatt 2:31 10. "Fascination" Thorn 3:06 11. "I Must Confess" Watt 3:20 12. "Soft Touch" Watt 3:12 Personnel Everything but the Girl Tracey Thorn - vocals, acoustic guitar Ben Watt - guitars, vocals, Hammond organ, piano, horn arrangements Additional musicians Simon Booth - guitar Joao Bosco De Oliveira - percussion Charles Hayward - drums Chucho Merchán - double bass Dick Pearce - flugelhorn Nigel Nash - tenor saxophone Pete King - alto saxophone Technical Mike Pela - engineering Jane Fox - cover design

Great concert by New Orleans greats from Live At Tipitinas 19th June 1991 Setlist The Neville Brothers Setlist at Tipitina's, New Orleans, LA, USA Setlist Hey Pocky Way / I Walk on Gilded Splinters Voodoo Mojo Hannah Angola Bound Yellow Moon My Brother's Keeper Everybody Plays the Fool (The Main Ingredient cover) House on the Hill Bacuba Junk Man Brother Jake Africa / Thank You (Falettinme Be Mice Elf Agin) Shake Your Tambourine

My music review of the new Zombies album released in 2023 61 years after their debut - includes the whole album for you to listen to Different Game was released on 31 March 2023. Track listing All tracks composed by Rod Argent, except where noted. Different Game 1. "Different Game" 4:57 2. "Dropped Reeling & Stupid" 3:52 3. "Rediscover" 3:58 4. "Runaway" 3:17 5. "You Could Be My Love" 3:48 6. "Merry-Go-Round" 4:24 7. "Love You While I Can" 3:18 8. "I Want to Fly" 4:16 9. "Got to Move On" 3:54 10. "The Sun Will Rise Again" Colin Blunstone 3:27 Personnel The Zombies Colin Blunstone - lead vocals Rod Argent - keyboards, backing and lead vocals Tom Toomey - guitar, backing vocals Jim Rodford - bass, backing vocals Steve Rodford - drums

2 live tracks Rock n Roll Doctor and Cold cold Cold by Little Feat

great year for music here are a few honourable mentions and then my Top 10 albums for 1968 Here i a list of the music you will hear after my brief comment (You Make Me feel Like) A natural Woman Aretha Franklin Chelsea morning Fairport Convention White Room Cream The Weight The Band Hope For happiness Soft machine I’m A Mover Free Dear Mary Steve Miller Band Baron Saturday Pretty Things The Chase/Mellowing Grey Family Dear doctor Rolling Stones Madame George Van Morrison Babe I’m Gonna leave You Led Zeppelin Gypsy Eyes/Burning Of The Midnight lamp Jimi hendrix Experience Draft Morning The Byrds

My Review of this great album The cover photo was taken in Union Station in Los Angeles. Track listing Side One "You've Been in Love Too Long" (Ivy Hunter, Clarence Paul, William Stevenson) - 3:43 "I Gave My Love a Candle" (Joel Zoss) - 4:20 "Let Me In" (Yvonne Baker, Alphonso Howell, George Minor) - 3:38 "Everybody's Cryin' Mercy" (Mose Allison) - 3:29 "Cry Like a Rainstorm" (Eric Kaz) - 3:55 Side Two "Wah She Go Do" (Calypso Rose) - 3:12 "I Feel the Same" (Chris Smither) - 4:40 "I Thought I Was a Child" (Jackson Browne) - 3:49 "Write Me a Few of Your Lines/Kokomo Blues" (Mississippi Fred McDowell) - 3:36 "Guilty" (Randy Newman) - 2:58 Personnel Bonnie Raitt - acoustic guitar, electric guitar, vocals, bk vocs, handclapping, bottleneck guitar Paul Barrere - electric guitar George Bohanon - trombone Sam Clayton - congas Carol Farhat - handclapping Glenn Ferris - horn Freebo - fretless bass, tuba, bk vocals Lowell George - slide guitar Earl Palmer - drums John Hall - electric guitar, background vocals, handclapping, mellotron Bob Hardaway - horn Robert Hardaway - saxophone Milt Holland - tabla, tambourine, timbales, claves, shaker Carl Huston - handclapping Kirby Johnson - conductor Jim Keltner - drums Marty Krystall - saxophone Taj Mahal - harmonica, vocs, background vocals, acoustic bass Van Dyke Parks - piano, keyboard, vocals, background vocals Bill Payne - organ, piano, electric piano, vocals, background vocals Joel Peskin - saxophone Nat Seligman - handclapping Tony Terran - trumpet Oscar Brashear - trumpet Bud Brisbois - trumpet Ernie Watts - soprano saxophone Production John Hall - producer John Haeny - engineer Richard Heenan - mixing Arnie Acosta - mastering Doug Sax - mastering Ed Cherney - remastering supervisor Lee Herschberg - remastering Jo Motta - project coordinator H George Bohanon - Kirby Johnson - horn arrangements Tom Gamache - art direction, design Sandy Kroopf - art direction, design, photography, back cover Michael Dobo - photography, cover photo You’ve Been In Love Too Long" Girls, you've been in love too long I said girls, you've been in love too long When just his smile takes all your pain away And you find yourself believin' whatever he may say Now when he gets you cryin' But your heart tells you Girl keep right on tryin' You know Girls, you've been in love too long (You're a fool for your baby) Girls, you've been in love too long (You're a fool for your baby) When you accepted wrongs, just to share his kiss Even your lonely nights, you know they're filled with happiness You know Girl you're in trouble You know your...heart is seein' double Cuz when you're head tells you to run But your heart tells you "Girl he's the only one..." You know you have…been in love too long Cuz when a week of loneliness can be erased with just one sweet caress Girl...you've been in love too long When his wrong looks right…though he always treats you bad You find little excuses for all the sadness and abuses "I Gave My Love A Candle" I gave my love a candle A promise at life And I told 'm when my number comes up Winds would fill the sky Me I'm fixin' to die Moving down that same lonesome road No I don't know why Goodbye, goodbye, goodbye You didn't have to fool me You didn't have to lie My love comes 'ound like a thief in the night But only love can make you cry And we have walked side by side Moving down that same lonesome road No I don't know why Goodbye, goodbye, goodbye Your love was like a diamond ride a wave On a sea that calms my mind Moving onward to a distant shore Where the boats sail in a line We have danced to a fateful rhyme Moving down the same lonesome road No I don't know why Goodbye, goodbye, goodbye You didn't have to fool me, no You didn't have to lie If it all came out so ugly It's only my love that could make you cry And we have walked side by side Moving down that same lonesome road And I still don't know why Goodbye, goodbye, goodbye x2 Ooh ooh ooh Goodbye, goodbye, goodbye Let Me In" Let me in I can see the dancin', (let me in) The silhouettes on the shade (silhouettes) I hear the music (music) All the lovers on parade (oh) Open up (let me in), I wanna come in again I thought you were my friend Pitter patter of those fee-ee-ee-ee-eet Movin' and a-groovin' with that be-eat Jumpin' and stompin' on the flo-o-o-o-oor (Lemme in ) Let me in! (Open up.) Open up! Why won't you open up that door? (Let me in.) I hear (open up) music let me in (music) I wanna come in again Let me in (let me in), a-well I heard it just then I thought you were my friend Pitter patter of those feet Movin' and a-groovin' with that beat Jumpin' and stompin' on the floor (Lemme in.) Let me in!. (Open up.) Open up! Why don't you open up that door? (Let me in.) I-ah-I (open up) hear music, let me in (music) Oh, I heard it just then. Let me in. (Let me in.) I wanna come in again I thought you were my friend Everybody’s Cryin’ Mercy" I don't believe the things I'm seein' I've been wonderin' 'bout some things I've heard Everybody's crying mercy When they don't know the meaning of the word A bad enough situation Is sure enough getting worse Everybody's crying justice Just as soon as there's business first Toe to toe, touch and go Give a cheer and get your own souvenir Well you know the people running round in circles Don't know what they're headed for Everybody's crying peace on earth Just as soon as we win this war Straight ahead, gotta knock em dead So pack your kit, choose your own hypocrite You don't have to go to off-Broadway To see something plain absurd Everybody's crying mercy When they don't know the meaning of the word Nobody knows the meaning of the word Cry Like A Rainstorm" Life isn't easy Love never lasts You just carry on And keep moving fast I turned off the highway Pulled into town I'm fancy free darlin' And I've travelled round Sometimes I'm up Sometimes I'm down Tell me where can I run to Tell me how have I sinned When you cry like a rainstorm And howl like the wind So who shall I start with Tell me how to begin When you cry like a rainstorm And howl like the wind My thoughts are lost in memories That keep me free Know if all the stars were shining They would not help me see Don't you know that Sometimes I'm up Most times down Where can I run to Tell me how have I sinned You cry like a rainstorm And you howl like the wind Well my life isn't easy And my love never seems to last So I'll keep on carrying on darlin' I'll just keep moving fast I turned off the highway Pulled into town And I'm still fancy free And I keep travellin' round Sometimes I'm up Most times I'm down Where can I run to Tell me how have I sinned When you cry like a rainstorm And you howl like the wind So who shall I start with Tell me how to begin When you cry like a rainstorm And you howl like the wind Cry like a rainstorm And you howl like the wind "Wah She Go Do" I could understand why a woman must have an outside man I could understand why a woman must have an outside man A man just wants to run like rat and have his wife to abide by that Every night he's havin' a ball and when he reach home he ain't touching his wife at all And if the woman says she's feelin' sexy (Wah She Go Do) And the man says he's feelin' sleepy (Wah She Go Do) An she's bawlin' "C'mon Doo doo" but this time it soft like soft candle No satisfaction! So you see a woman must have an outside man If you have a husband give him plenty of position If he starts runnin' just laugh don't say anything If he picks up an outside woman show him you can pick up two outside men An that's the only way a woman should get some respect today (Wah She Go Do) x2 Every woman they want and usin' we as a convenience Then they turn an' say they can't trust a woman today For days he ain't seen his home; the man goes and leaves his wife all alone At the end when his head is bald; they go and don't know a woman never phone at all An' if the man say "Lie down on de bed" (Wah She Go Do) Then the man lays down as if he's dead (Wah She Go Do) An she wantin' water in she tank. Yet de man so damn disobedient No satisfaction! So you see a woman must have an outside man I Feel The Same" Say goodbye 'Well I know it's true I know you're leaving me but I 'I'm leaving too You won't forget me 'Or the sound of my name Please believe me 'I feel the same It seems so empty now 'Close the door Ain't it hard to believe that you ever ' Lived this way before All that nothing ' Causes all that pain Please believe me I feel the same Well this broken soul 'That I know a, a heart that's breakin' You can't make it whole 'Until you know what has been taken And all those pieces 'Uh that you find them all your own I said goodbye 'Now you know it's true You said you're leaving me, but honey I 'I'm leaving too You won't forget me 'Or the sound of my name Please believe me 'I feel the same x2 "I Thought I Was A Child" It's such a clever innocence with which you do your sorcery As if somehow the years just bow and let that young girl go free I thought I was a child until you turned and smiled I thought I knew where I was going until I heard your laughter flowing And came upon the wisdom in your eyes Surprise-- I've spent my whole life running 'round Chasing songs from town to town Thinking I'd be free so long as I never let love slow me down So lonely and so wild until you turned and smiled By now I should have long been gone But here I am still looking on As if I didn't know which way to run It's such a clever innocence with which you show myself to me As if you know how it feels to never be who you wanted to be I thought I was a child until you turned and smiled I thought that I was free but I'm just one more prisoner of time Alone within the boundaries of my mind I thought I was a child "Write Me a Few of Your Lines / Kokomo Blues" When you get home baby Write me a few of your lines When you get home little baby Write me a few of your lines That'll be consolation Lord Honey oh my worried mind Left my baby Standin' in the backdoor cryin' Well I left my little baby Standing in the backdoor cryin' I never felt so sorry Lord Honey till he said goodbye Kokomo me baby Kokomo me right Kokomo your mama She'll be back tomorrow night I'd like to cry in your arms tonight Baby don't you wanna go? Right on to Lemon Light City Sweet home Kokomo Go on down to the river baby Goin' to sit down on the ground Well I'm goin' down to the river baby Goin' to sit down on the ground And let the way of the water Lord Honey wash my troubles down Kokomo me baby Kokomo me right Kokomo your mama She'll be back tomorrow night I gotta cry with you baby Baby don't you wanna go? Right on to Lemon Light City Sweet home Kokomo Guilty" Yeah baby, I've been drinking And I shouldn't come by I know But I found myself in trouble darling And I had no place else to go Got some whiskey from a bar man Got some cocaine from a friend I just had to keep on moving Till I was back in your arms again Well I'm guilty, yeah I'm guilty I'll be guilty for the rest of my life How come I never do What I'm supposed to do Nothing that I try to do ever turns out right Well you know how it is with me baby You know I just can't stand myself It takes a whole lot of medicine For me to pretend to be somebody else

First live performance of their classic album released in 1967 with guests Dvid Gilmour and Host Arthur Brown The first rock opera ever. Hope the 13th Floor Elevators or somebody didn't beat them to it, or I'll really be flunked. Track listing: 1) S. F. Sorrow Is Born; 2) Bracelets Of Fingers; 3) She Says Good Morning; 4) Private Sorrow; 5) Balloon Is Burning; 6) Death; 7) Baron Saturday; 8) The Journey; 9) I See You; 10) Well Of Destiny; 11) Trust; 12) Old Man Going; 13) Loneliest Person; [BONUS TRACKS:] 14) Defecting Grey; 15) Mr Evasion; 16) Talkin' About The Good Times; 17) Walking Through My Dreams. I'm not getting into the discussion over whether S. F. Sorrow kicks the shit out of Tommy or whether Tommy bashes the chitlins out of S. F. Sorrow. It's clear that, since S. F. Sorrow came out first, Townshend was heavily influenced by the storyline and the concept in general; however, if you hear misguided rants about how S. F. Sorrow has no pretentions and no bombast as opposed to Pete's overbloated project, don't you go around believing it - this is an equally mystical and convoluted tale, with a plot that's even harder to guess, especially if you haven't read the story it is supposed to accompany, and while the subject matter of Sorrow is a wee bit more grounded (after all, the protagonist does have to deal with a lot of ordinary life problems before having his magical dream about Baron Saturday), the overall message is even less clear than that of Tommy. And that's all I'm gonna say. Draw your conclusions yourself after you've heard this. But one thing's for certain - hear this you must, as it's undoubtedly the Great Lost Psychedelic album of the Sixties. The Pretties are really one unjustly forgotten band: having achieved no success with their gritty blend of R'n'B and having effectively reinvented themselves as one of swinging London's coolest psycho outfits, they achieved even less success. R'n'B fans naturally thought they were betrayed, and as for the new breed of hippies and loony Tolkienists, they didn't want no aliens, being perfectly happy when entertained by the likes of Barrett's Pink Floyd, Marc Bolan and the Soft Machine. As a result, S. F. Sorrow bypassed the public eye completely, and it's a shame. It's not even that the album has a great load of melodies. It doesn't; none of the band members were perfect songwriters, and there ain't a single instantly memorable riff or a single absolutely smashing vocal melody on the record. It's the incredible, exciting atmosphere that one just has to soak in. To a certain extent, S. F. Sorrow takes a little bit of everything Britain was living on at the time: pop, psychedelia, hard rock, magic and mystery, illusions and naiveness, beauty and ugliness, whatever. In these songs I can feel everything that the Pretties were raised on - Beatlesque harmonies, Rolling Stones grittiness, Kinks humbleness, Hendrix guitars, and early Pink Floyd schizophrenia, and, what's more, lots of things that would follow on. Seems like the Who weren't the only band who got their clue from this record. Listen to the flute rhythms in 'Private Sorrow' and tell me this doesn't sound like vintage Jethro Tull. Listen to the aethereal chantings in 'Trust' and tell me Peter Gabriel didn't rip this off for a section in 'Supper's Ready'. Listen to 'Balloon Is Burning' and tell me this doesn't predict the chaotic jams of Yes. Listen to the 'love love love' chants on 'Bracelets Of Fingers' and tell me this doesn't render Freddie Mercury superfluous. Come on, you tell me all this and I'll just reply that you're not able to build up a solid historic perspective. :) Anyway, in case you're just an unexperienced reader who doesn't know what the hell I'm talking about, here's the rub. S. F. Sorrow is a rock opera (concept album, whatever - one can make some nitpicks and say that since there are no clear differentiations between singer parties it ain't no opera, but well, that's just a nitpick), based on a short story by some author whose name I have forgotten. It tells about a guy named S. F. Sorrow who is very lonely all his life, has an unhappy romance, joins the army, ends up in America, gets disillusioned in life and then dreams of a certain Baron Saturday who leads him away to the Moon, which he used to dream of when he was a child, and shows him his true self. It all ends up rather sadly, with S. F. Sorrow just getting further disillusioned and spending the last days of his life in isolation and misery. In other words, Ray Davies (the 'little man' line) meets Pete Townshend (the 'mystery' line). But to hell with the story. Like I said, it's just great fun to take this as a whole without bothering too much about the concept. A couple of the tracks are nothing more than dated psychedelic collages ('Well Of Destiny'), and a couple are rather primitive pop songs with rudimentary melodies ('She Says Good Mornings'), but every now and then the band falls upon a deep and rich psychedelic gold mine which, combined with their existent pop instincts, provides you with everything that, for instance, Syd Barrett could never provide you with. 'Bracelets Of Fingers', where S. F. Sorrow dreams of the moon, starts with some breathtaking accappella lines and goes from a heavenly chant to a wah-wah-driven rocker to a sitar-embellished mantra. 'Private Sorrow', as I already said, predicts Jethro Tull: the main melody, represented by a war march accompanied by a Celtic-sounding flute, is perhaps the most memorable moment on the album, and it brings such images to my mind as Tull rarely can - armies marching high up in the cold mountains, under a gray sky... wow, sorry for the lyrics. 'Death' is gloomy, dreary and sends shivers down your back. 'I See You' could threaten to conquer the world in its pomposity, if only 'hallucinogenous' didn't squeeze out from all of its openings. And 'Trust' is gorgeous beyond words, simply gorgeous beyond words. It's songs like that that really give 'psychedelic' a good name, apart from all the Beatles stuff, of course. Are you listening? Notice how the echo reprises everything Phil May chants out in that calm, awesome voice of his, too. To diversify the picture, the band rocks out in a couple of places, notably on the shrill, frantic 'Baron Saturday' and the grizzly 'Old Man Going', and they certainly haven't lost any of the roughness of the early R'n'B days. But it's not the rocking out that really makes the record, no. If you want to summarize the Pretty Things at that stage of their career with just one phrase, it would be something like this: "The Pretty Things weren't the only band to go psychedelic after the Beatles showed the way, but they were the only band that were able to expand the theme of 'Tomorrow Never Knows' over the length of an entire album and get away with it'. 'Nuff said. And don't forget to grab the re-issue, too: it adds four excellent bonus tracks, taken off the Pretties' psychedelic singles. 'Defecting Grey' in particular is a classic, one of the definining singles of its era: a multi-part psychedelic 'mini-suite' glued together from many pieces ranging from lightweight shuffles to backward sitar gimmicks to astral collages to heavy guitar freakouts. The others are no slouch, either.

1st of 2 videos ranking my Top 20 songs for 1973

A look back at the songs that caught my ear on the radio way back in 1972 with audio

Paul talks about how the album developed, his recording style and the input of the artists who added to the magic of the songs - A review here that i stole sums up this album and Paul Weller's styles Curiously, and somewhat admirably, Paul Weller is one of the very few artists of his generation that actually makes one less bothered about what he did at the start of his career than what he does now. It’s 40 years since he first broke through with The Jam and In The City hit the record shelves, but unlike so many of his contemporaries who are only too happy to hit the anniversary trail with a tedious regularity (just wait for those 50th anniversary shows where one surviving member is propped up by youthful sidemen and a Zimmer frame), Weller has little truck with the past. As evidenced by the creative re-birth that started with 22 Dreams just under a decade ago, Woking’s most famous son has got on with the business of the here and now with one eye on the ticking clock and an ear open for new sounds. Following on from the experimental nature of his previous three albums - works that rank among his very best material - A Kind Revolution initially presents itself at odds with its predecessors, yet repeated listens find a document that continues in a sequence of high quality control. So while the production isn’t as in-your-face as before, the flourishes that characterised those releases are here deployed to subtle effect on an album that’s only too happy to explore a variety of stylistic routes including blues, jazz, deep house and dub elements to make a surprisingly coherent and cohesive statement. The opening one-two of ‘Woo Sé Mama’ and ‘Nova’ really do lull the listener into a false sense of security. Both up-tempo numbers rooted in soul and psychedelia - the latter makes nods to the Pink Floyd of swinging London - the playing and delivery is made by an artist and band clearly enjoying themselves but it’s what follows that truly grabs the attention. The real core of the album is based around Weller taking a look at the world as he approaches his 60s and trying to make some sense of the turmoil, madness and instability that’s come to define the second decade of the 21st century. Crucially, these aren’t howls of rage but something more contemplative and meditative and, consequently, more memorable and affecting. Featuring Boy George on backing vocals, ‘One Tear’ evolves from a hybrid of influences including dub, house and funk into a deep groove that finds Weller raging against organized religion and the carnage that’s been wreaked in the name of God. Equally affecting is ‘The Cranes Are Back’ wherein Weller tries to find hope in a desolate world that’s becoming increasingly desensitised to images of dead refugee children washed up on beaches. His optimism is palpable in the shape of cranes - both the birds and machines - that represent re-birth and regeneration. Not that he pretends to have any answers. ‘The Impossible Idea’ is a yearning for a better world but how we get there is anybody’s guess. And that’s not a cop out, but an admission of a world in chaos led by people with even less of a clue than those they’re supposed to be representing. But what’s also remarkable about A Kind Revolution is Weller’s heightened sense of melodicism that translates as hope and so prevents the album falling into despair. Indeed, as displayed by ‘Hopper’, a track that wouldn’t feel out of place on a Super Furry Animals’ set list, sometimes all you can do is take some time out, kick back and watch the world go by. Paul Weller may well be hampered by a particular image in the eyes of his detractors as much as his more conservative followers, but peel away the surface layers and you’re left with a restless artist with an itch that just needs constant scratching. And let’s hope it stays that way; with the past firmly behind him, Weller’s forward advance is something worth looking forward to whilst savouring a satisfying present. My initial thoughts 2017 First impressions two standout tracks Satellite Kid and One Tear but a host of other great cuts in a variety of styles. Weller is always challenging himself to create something new and this album is no exception.

Talking Heads fans - David Byrne solo Great concert Setlist Tracklist : 01:04 - (Nothing But) Flowers (Talking Heads) 06:10 - And She Was (Talking Heads) 10:34 - Once In A Lifetime (Talking Heads) 16:07 - God's Child 21:08 - The Great Intoxication 25:42 - Uni De Felice 28:40 - The Revolution 31:16 - Sax And Violins (Talking Heads) 37:24 - This Must Be The Place (Naive Melody) (Talking Heads) 42:23 - What A Day That Was 49:43 - Like Humans Do 54:06 - UB Jesus 58:30 - Life During Wartime (Talking Heads) 01:04:28 - Lazy 01:11:01 - I Wanna Dance With Somebody (Whitney Houston) 01:16:08 - Ausencia 01:20:04 - The Accident 01:23:21 - Road To Nowhere (Talking Heads)

Those music albums that remind you of life's memories with people with places and at a particular impressionable age - Here are a few that sum up my life from 1975 through to 1985