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Streams Videos All Posts. Track Listing. Karma Chameleon. Culture Club. It's a Miracle. The Mona Lisa's Sister is one of Parker's most personal records. The ballad "Success" is a scathing indictment of the ethic that judges people by their material worth.
The single "Get Started. It relates to the album's cover, which depicts a modernist Mona Lisa sporting Parker's trademark shades. I was the sister who didn't get the painting done of herself. Looking back at The Mona Lisa's Sister, Parker says, "What it's given me is an approach that I can always go back to with the right kind of songs.
You can record songs and make them pretty honestly without a circus happening around you and lots of money being thrown away. You really can. When told that Culture Club's Colour By Numbers had been selected as one of the Top albums of the decade, Boy George said, with typical playfulness, "As well it should be. The band's second LP, Colour by Numbers , was released in the fall of while a second British Invasion was dominating the American pop charts.
But George insists the album's surprisingly mature pop polish wasn't motivated by competition with his peers. We wanted to be more like the older people we admired.
Colour by Numbers does display a respect for pop history. But the familiarity of the group's songs bothered at least one person. Culture Club made its second album with the same producer Steve Levine and at the same studio Red Bus Studios, in London it had used for its debut. George attributes the band's improvement from the tropical pop of Kissing to Be Clever to the input of outside musicians, notably keyboardist Phil Pickett, who co-wrote two songs with the band, and singer Helen Terry, who electrifies several tracks.
Within months of the release of Colour by Numbers, George's plucked brow was on the cover of Newsweek, followed by a Tonight Show bitch-off with Joan Rivers, a Boy George doll and his infamous acceptance speech at the Grammys, when George thanked the audience for "knowing a good drag queen when you see one. George said he last listened to Colour by Numbers three years ago, when he was trying to kick his heroin addiction.
Which doesn't mean he's not proud of the band he may — or may not — be re-forming. I've read things where people have said the songs were awful and the only important thing was the way I looked. Colour by Numbers definitely does have a place. Above who or below who, I'm not sure. Scarecrow consolidated the band's rugged, roots-rock thrash and the ongoing maturation of Mellencamp's lyrics. The album is largely about dreams and illusions in America and how the essential character of the nation was being twisted in a government-supported climate of corporate greed.
The most visible manifestation of the problem, from Mellencamp's perch in central Indiana, was the rash of farm foreclosures across the Midwest. Despite the bittersweet, reflective tone of songs like "The Face of the Nation" and "Minutes to Memories" and the sentimental cast of his ode to rural America, "Small Town," the rehearsals that led up to the recording of the songs were nothing but pure fun. When a cousin opened up a bar nearby, Mellencamp christened it by playing an entire evening's worth of cover versions, from "White Room" to "Lightnin' Strikes.
When it came time to cut Scarecrow, the band members employed the lessons they learned from their Sixties studies. The idea, according to producer Don Gehman, was "to learn all these devices from the past and then use them in a new way with John's arrangements.
And I want the overall record to have this kind of a tone, like maybe it was a modern-day Dylan record. Ian Curtis, the Manchester group's singer and songwriter, had hanged himself in May The remaining members — guitarist Bernard Albrecht, bassist Peter Hook and drummer Stephen Morris — had taken a new name, added Gillian Gilbert on guitar and keyboards and gone back into the studio with Joy Division producer Martin Hannett.
The album was recorded "in a situation of complete turmoil," according to Albrecht, the band's reluctant new singer and lyricist. After six weeks in the studio, New Order went on tour. People just stood there.
A lot of hard-core Joy Division fans wondered what we were up to. But fortunately, we started creating New Order songs. But this New Yorker with the polished tenor had been in the music business since the early Seventies. He wrote a song for The Wiz; sang on, co-wrote and arranged David Bowie's "Young Americans" in ; toured as a background singer with Bette Midler, Chaka Khan and Carly Simon; recorded albums as a member of three bands; and did sessions with Barbra Streisand, Quincy Jones and others.
He also sang a lot of ad jingles. But when he recorded his own albums, Vandross says he "got tired of going into the same studios, driving up the same streets and going up the same elevators I had gone up during all my years of sessions. After a few albums, I said, 'There's got to be another way to record.
They take off that bulletproof vest they've been wearing and give you the best that they've got. It's magnificent. Outside the control room is a big swimming pool on the side of a gigantic mountain that leads to the ocean. The mood it puts you in gives you a better perspective on your music.
Of the album's first single, the finger-popping "'Til My Baby Comes Home," Vandross says, "That was one of the baddest things on radio. You had a big pop element, without ignoring the soul element. The moody ballad "Wait for Love," Vandross says, "gets the most applause in concert.
We tear that thing up. There was something magical about the way everyone responded to it, which to this day I can't account for. With Full Moon Fever, I was lucky in that the songs just kept coming up, and I hit a good period of writing that carried through the Traveling Wilburys. Full Moon Fever, Petty's first album without the Heartbreakers, fell together almost by accident early in when he and new acquaintance Jeff Lynne wrote and cut a few songs together at guitarist Mike Campbell's garage studio.
The result was an album of pop nuggets with a bright, Sixties-style sheen. If you take me away from them, this is what you get. Full Moon Fever was truly a garage record. The sessions were relaxed and unhurried, and Petty credits Lynne, the former leader of ELO, for the upbeat atmosphere.
Boy, what fun! The sessions also led to the Traveling Wilburys, the impromptu supergroup whose knockoff album was a sensation in Petty and Lynne worked up nine songs and then stopped to make the Wilburys record. In his lyrics, Petty strove to say more in fewer words, citing Randy Newman's influence. I just kept thinking I wanted to keep the lyrics real simple, as if it were a conversation. Some songs were personal, others journalistic.
It was the most enjoyable record I've ever worked on. Some of the songs on Lyle Lovett were written as early as In , he spent his life savings as well as a loan from his parents to record eighteen demos; ten of these were finally remixed and released in The wait paid off. Lyle Lovett — an assured, refined collection of tunes about rocky romances, dubious weddings and sturdy old porches — heralded the arrival of a major songwriter who brought absurdity and wit to a field that was normally earnest and predictable.
In , Lovett, a Texas singer-songwriter with a degree in journalism, hooked up with the J. David Sloan band at a music festival in Luxembourg. He returned with the members of the band to their native Arizona, and one day in June he cut four songs at Chaton Recordings, in Scottsdale.
Lovett then drove to Nashville, looking for a publishing deal, and wound up recording fourteen more demos that August. He sent the tape around to record companies.
They liked the material but wanted him to re-record it, which he refused to do. Aside from some remixing and minor overdubbing, the tapes were virtually released as is. Brown helped Lovett select ten songs the rest have appeared on subsequent albums with an ear to country radio. There was, he complained, "no new fuel in rock music.
Anything will do. Sting's sources ranged from German composer Hans Eisler and Jimi Hendrix a jazz reading of "Little Wing" to a traditional Chilean courting dance in "They Dance Alone," a haunting tribute to the families of Chile's "disappeared," opponents of the government who are believed to have been murdered.
In his lyrics, Sting juxtaposed meditations on death and rebirth — his mother died during the making of the record — with observations on religion, history and, in "Englishman in New York," spiritual and cultural exile. Literally worlds away from the artful simplicity of his hits with the Police and even his jazz-fusion tangents on The Dream of the Blue Turtles, his first solo excursion, … Nothing Like the Sun is as much a vivid reflection of the mushrooming exploratory fervor among many of Sting's middle-aged pop peers, such as Peter Gabriel, Talking Heads and Paul Simon, as it is an expression of Sting's disgust with the state of pop.
Ironically, the eleven original songs on the album were the product not of extensive musical field trips but of five months' concentrated writing in New York City in the winter and early spring of And I had this kind of monkish life.
I lived on my own. I cooked my own food. I went to the gym every day. I took piano lessons. The phone was off the hook. And I worked usually from twelve midday to very late at night. I was too bound up in it to make judgments. Sting's record company initially questioned the wisdom of his musical expeditions on … Nothing Like the Sun. Then he may wink, and it's like 'Who's zoomin' who? The phrase — which Franklin said was an old New York street expression — immediately caught Walden's imagination.
The reclusive Franklin had spent many of the preceding years in her hometown of Detroit, looking after her seriously ill father, the Reverend C. According to Walden, Aretha hadn't sung seriously in two or three years. After her father died in , the singer began thinking about returning to the music scene. Walden started assembling backing tracks in Los Angeles. Since Franklin doesn't like to travel — she refuses to take airplanes when on tour — Walden brought the session tapes to Detroit, where Franklin added her vocals.
Who's Zoomin' Who? Looking for a male singer to work with Franklin on another duet, "Push," Walden "put out signals, but a lot of people were frightened to death to sing with her. Geils Band vocalist Peter Wolf, however, jumped at the chance. Despite Franklin's awesome reputation as a singer, Walden found her easy to work with. She's so vast and brings so much to her takes that it's more a question of keeping up with her. And when it stops, it stops.
So you've got to be on your toes. Before any session with her, I'd jog four or five miles just to be mentally alert. You have to be — she's the queen. The album was inspired, in part, by visits Browne made to Central America in and , though he had already begun writing "For America" and the title track prior to his trips. Discussing the song at the time of the video's release, Browne said, "I imply that the truth is kept from us on a regular basis. I flat out say the government lies.
Well, these things are no longer heresy. Other songs examine related aspects of the album's political theme. And, intriguingly, amid all the hard-hitting sociopolitical commentary stands "In the Shape of a Heart," one of Browne's finest love songs. Lives in the Balance never achieved the commercial success of some of Browne's earlier records. That hardly mattered to him. And whether or not an album succeeds wildly or not, that's intact.Culture Club - Colour By Numbers vinyl lp record for sale. If you like Boy George and The Culture Club, this would be a nice addition to your record collection. $