Rick Roberts - Windmills/She Is a Song CD

Windmills/She Is a Song CD music In an era of wishy-washy singer-songwriters, Zevon immediately stood out as a wild card, a singer unafraid of the heat in kitchen. His first albums revealed a gifted songwriter equally comfortable with heroin-based love songs and manic rockers rife with gunplay. With STAND IN THE FIRE however, he leaps into the flames with headlong abandon. Backed by a band of unknowns, Zevon embraces the spontaneous frenzy of what live performances aspire to but rarely achieve. The band pushes Zevon towards the edge of losing control and he answers every lick with crazed purpose. He throws in marvelously extemporaneous lyrics during "Werewolves of London," screaming bloodlust while calling for the head of James Taylor. Mayhem reaches an apex during a pounding "Poor, Poor Pitiful Me," in which he actually threatens to kill the audience if they don't dance. There is no real threat of bodily harm while listening in the comfort of your own home, though the urge to light fires and empty revolvers into the sofa may become overpowering. Why this searing live document, which captures the singer at the peak of his powers, has not been released on CD in anybody's guess. The 1981 live album masterpiece "Stand In The Fire", until now woefully out of print, prompted allmusic.com to write, “No one argues that Warren Zevon is a gifted singer and songwriter, but "Stand In The Fire" proves that, when he wants to, he can also rock with the best of ‘em.” Recorded at L.A.’s Roxy theatre in 1981, the disc features the two unforgettable original songs Zevon debuted on that year’s tour, “The Sin” and “Stand In The Fire.” Also includes searing versions of “Lawyers, Guns And Money,” “Werewolves Of London,” “Poor, Poor Pitiful Me,” “I’ll Sleep When I’m Dead,” “Mohammed’s Radio,” and “Jeannie Needs A Shooter,” a co-write with Bruce Springsteen, among other stellar performances. Boasts liner notes by David Fricke and four previously unreleased cuts including “Johnny Strikes Up The Band,” “Frank ...

Windmills/She Is a Song songs In 1973, the members of Mott the Hoople were tired. Island Records had dropped the band after three albums, as sales were low and audience interest was almost non-existent. But the band had a famous fan in David Bowie, who offered to write them one single to give them a leg up. That single was the chart-topping "All the Young Dudes," a glitter-era wink-wink celebration of male bonding that name-checked chart-toppers T. Rex and repositioned the once-laddish band as glammy, androgynous scenesters. Obviously, an album was called for. Produced by Bowie and opening with a smoking cover of "Sweet Jane" that played a major role in raising public awareness of the Velvet Underground, ALL THE YOUNG DUDES is a brassy, loud, obnoxious--in the best possible sense--rock & roll album. "Sucker" and "One of the Boys" recall the hit, while "Jerkin' Crocus" and "Sea Diver" are as odd as the band's earlier material. An amazing mid-career transformation. David Bowie helped these UK rockers become glam-rock giants by producing this 1972 LP and contributing the ultimate glam anthem, All the Young Dudes . That classic, their hit One of the Boys and the rest of this Mott masterpiece join seven bonus cuts: All the Young Dudes with Bowie and Ian Hunter on vocals; a live Sweet Jane ; three demos, and more! Includes bonus tracks.

Windmills/She Is a Song album for sale Digitally remastered by Larry Keyes (CBS Records Studio, New York, New York). Mott The Hoople are often associated with the '70s glam movement, but their only real connection to that style was their involvement with David Bowie. In fact, the band was much more closely tied to the post-folkie work of Bob Dylan. Singer Ian Hunter had his British version of Dylan's transcendent moan down to a science. Though they were essentially a pure rock & roll band (and one of the main influences on the Clash), Mott sported detailed lyrics informed by the Dylan school, almost to the point of self-consciousness. One of the band's great strengths was its knack for self-mythology, as borne out by "All The Way From Memphis," a Chuck Berry-ish number about the travails of the road. "Ballad of Mott the Hoople" is an ironic but poignant look at the way the band failed to meet the expectations of both themselves and their fans. Amidst all this heady introspection, there's plenty of arresting hard rock guitar courtesy of Mick Ralphs. Things end on a quirky, oddly sentimental note with "I Wish I Was Your Mother," a folkie, idiosyncratic love song colored by chiming mandolin, and marked by some of Hunter's most inspired writing. Even while singing of heartbreak and despair, Mott got as loose and rocking as they ever did on this 1973 powerhouse: Violence; Whizz Kid; Drivin' Sister; All the Way from Memphis , and more. As with All the Young Dudes , this marks the first remastering for this LP, expanded here with the rare Rose and three demos and live cuts never issued in the U.S.! Additional personnel includes: Graham Preskitt (violin); Paul Buckmaster (electric cello); Andy Mackay (saxophone); Thunderthighs (backround vocals). Includes four bonus tracks. Recorded at Air London Studios and EMI Abbey Road, London, England, from February-April 1973. Engineers: Bill Price, Alan Harris, John Leckie. Mott the Hoople: Dale Buffin Griffin, Ian Hunter, Mick Ralphs, Overend Watts. Personnel: Mick Raplhs (vocals, guitar, acoustic guitar, electric guitar, mandolin, organ); Ian Hunter (vocals, guitar, acoustic guitar, piano); Terry Buffin (vocals, drums); Graham Preskett (violin); Paul Buckmaster (cello, electric cello); Andy Mackay (saxophone, tenor saxophone); Morgan Fisher (piano, synthesizer, background vocals); Dale Buffin Griffin (drums, percussion, background vocals); Mick Hince (bells); Pete Watts, Thunderthighs (background vocals). Audio Mixers: Pete Swettenham; Allen Harris. Liner Note Author: Keith Artez Smith. Recording information: Air Studios, London, England (1972-1973); EMI Abbey Road (1972-1973); London, England (1972-1973). Photographer: Chris Walter. Arranger: Ian Hunter. Mott The Hoople: Ian Hunter (vocals, guitar, keyboards); Mick Ralphs (vocals, guitar); Overend Watts (vocals, bass); Verden Allen (keyboards); Dale Griffin (drums). Additional personnel: Andy Mackay , Paul Buckmaster, Morgan Fisher, Graham Preskett.

Windmills/She Is a Song buy CD music While moderation was never Warren Zevon's strong suit, his efforts to clean himself up in the early '80s resulted in two of his finest albums, 1980's literate but corrosive Bad Luck Streak in Dancing School and the following year's explosive live set Stand in the Fire. It seemed as if the wired chaos of Zevon's personal life had been channeled into his art on those LPs, but after another bout with the bottle and another attempt at sobriety, Zevon tried another approach at merging his music and his life on 1982's The Envoy. On The Envoy's best songs, Zevon tackles his dangerous appetites head on; "Charlie's Medicine" is a chilling requiem for a drug dealer who used to sell him dope, "Jesus Mentioned" is a spare but curiously moving meditation on the death of Elvis Presley, who "went walking on the water with his pills," and the ragged but right "Ain't That Pretty at All" is an unlikely but powerful recovery anthem in which he howls "I'd rather feel bad than not feel anything at all." When Zevon confronts his own demons on The Envoy, the album is intense and compelling stuff, but unfortunately there aren't enough of these moments to prop up the rest of the set, which is smart and literate but not especially exciting. Novelist Thomas McGuane co-wrote "The Overdraft," a hard-charging rocker that unfortunately doesn't make much sense, while the languid "The Hula Hula Boys" plays like a joke in which the punch line got lost, and the two love songs, "Let Nothing Come Between You" and "Looking for the Next Best Thing," manage to sound at once heartfelt and like lesser variations on themes he'd covered with greater strength before. The Envoy would prove to be Zevon's last album for five years after he took another stumble into addiction, but while it's an often brave and ambitious disc, the high points don't quite redeem its weaknesses. ~ Mark Deming "The Envpy", the reflective 1982 masterpiece that Zevon once described as “The Excitable Boy Grows Up,” makes its CD debut with this release. Highlights include the title track, the moving “Never Too Late For Love,” “The Hula Hula Boys,” and “The Overdraft,” a co-write with novelist Thomas McGuane featuring a ripping Lindsey Buckingham solo. Four previously unreleased tracks include outtakes of “Word Of Mouth” and “Wild Thing,” and the romantically skewed gem “Let Nothing Come Between You.” Liner notes by Rolling Stone editor David Wild. Audio Remasterers: Dan Hersch; Bill Inglot. Liner Note Author: David Wild. Recording information: Record One, Los Angeles, CA. Actors: Ted Shackleford; Gary Braglia; Don Grabowski "Don G."; James Houghton; Jonathan Exley; Greg Ladanyi; Harry Landry; George Gruel. Photographer: Randee Saint Nicholas. Personnel: Warren Zevon (guitar, acoustic 12-string guitar, piano, prepared piano, electric piano, synthesizer, background vocals); Waddy Wachtel (guitar, acoustic guitar, percussion, background vocals); David Landau (guitar, background vocals); Danny Kortchmar, Kenny Edwards, Steve Lukather (guitar); LeRoy Marinell (acoustic guitar); Jim Horn (recorder); Jeff Porcaro (drums, log drum); Mike Botts, Rick Marotta, Russ Kunkel (drums); Steve Forman (percussion); J.D. Souther (background vocals). Audio Mixer: Greg Ladanyi.

Windmills/She Is a Song songs Intended by Neil Young as a follow-up to his near-mythic unreleased 1977 recording CHROME DREAMS, the 2007 album CHROME DREAMS II features the same basic band and approach. Unlike many of Young's more conceptual albums, it contains songs written over different periods of time in different stylistic modes. Some of the tunes here have been waiting around since the '80s, including the 18-minute epic "Ordinary People," a slow-burner in the classic Young tradition that he audaciously positioned as the album's single. Arranged around that sprawling centerpiece are some humbly poignant folk-rock gems, including the pretty, acoustic-based ballad "Beautiful Bluebird" and the shimmering, waltz-time love song "Shining Light." On the harder side, there's the trademark Crazy Horse-style crunch and quirk of the chugging rocker "Dirty Old Man" and the "Down By The River"-esque workout "No Hidden Path." Ironically, by attempting to follow no single sonic template on CHROME DREAMS II, Young turned out perhaps his most consistent effort of the decade. Enjoying one of the most prolific periods of his phenomenally prolific career, Neil Young (sans Crazy Horse) delivers Chrome Dreams II. Hard but shiny, acoustic but also electric, Chrome Dreams II continues the new millennium resurgence in popularity for one of the greatest singer-songwriters in rock history. DVD Features super-saturated DVD-Stereo mixes for the highest quality audio available on DVD. DVD Includes: Super-Saturated DVD Stereo Mixes. Contains Additional Video. Personnel: Neil Young (vocals, guitar); Ben Keith (pedal steel guitar); Rick Rosas (bass instrument); Ralph Molina (drums).

Windmills/She Is a Song album for sale For his first proper "band" album since the Soft Boys' reunion record in 2002, Robyn Hitchcock assembled a good one, drawing on the Minus 5/REM pool and also enlisting his former bandmates (Morris Windsor, Kimberley Rew) for added touches. While his subject matter is as dour and screwy as always, the band infuses every song with a crackling energy that echoes with joy and life, from the shimmering country-rocker "(A Man's Gotta Know His Limitations) Briggs" to the bouncy shuffle "Belltown Ramble" to the snaky, lurching neo-psychedelia of "Museum of Sex." Robyn Hitchcock: Robyn Hitchcock; Peter Buck , Scott McCaughey (bass guitar); Bill Rieflin. Personnel: Robyn Hitchcock (vocals, guitar, harmonica); Scott McCaughey (vocals, piano); Kimberley Rew, Peter Buck (guitar); Chris Ballew (slide guitar, keyboards, synthesizer); Colin Izod (saxophone); Ian McLagan (keyboards); Bill Rieflin (drums, percussion); Morris Windsor (percussion). Audio Mixer: Charlie Francis. Recording information: Seattle, WA. Photographers: Robyn Hitchcock; Michele Noach; Julian . Additional personnel: Chris Ballew, Morris Windsor (background vocals); Colin Izod, Ian McLagan, Kimberley Rew.