Gimme A Little Kiss, Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball
In order to fit the entire dance company into the frame, the camera is positioned so far back Scott MacGillivray and Ted Okuda that it takes only half a picture.
The bottom half of the frame shows Frances and the cast from a distance; the top half Gimme A Little Kiss the frame is a complete blank. The other two Frances Langford Soundies show her to better advantage because the camera concentrates more on her. This footage was lifted directly from Career Girl, so supporting players Edward Norris, Charles Judels, and Charles Williams are seen in cutaway shots. PRC may have been a poverty-row studio, but its recording orchestra is excellent here, and more elaborate than the bands heard in Soundies.
Soldier Lanson musically advises Ray Noble how to write home to a girl. Because Soundies were not subject to Hollywood censorship, they got away with even more skin, as Mabel Lee demonstrates here. So as not to leave the Panoram patron unduly excited, the Soundie fades out on a male dancer shuffling across the screen. Reissued in as Boogiemania. Mabel, and Harris and Hunt, are the life of the dancing party.
Another vehicle showcasing the dancing of Mabel Lee, and Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball and Hunt, this time in a street scene. The front of the skirt is slit quite extremely! The musical accompaniment is a rhythm combo: piano, guitar, bass, and drums. Roberta LEE Swimsuit model—but the swimsuit is in the style of ! The vocal is cut abruptly Gimme A Little Kiss the action shifts to five chorus girls and a dancing couple.
Lefcourt is seen playing saxophone. The last verse of the Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball shows Frankie straddling a cutout star, swinging from a sturdy piano wire.
Frankie Little, strumming an oversized guitar, dances with a statuesque senorita and is also seen fleetingly as a Dutch girl and a bearded Russian. Usually hilled as Lu Leonard, she also worked as a singer, actress, and comedienne most notably with The Three Stooges and Mel Brooks during a career than spanned Gimme A Little Kiss decades.
The band is in uniform, playing at a recruiting office. Character actor Robert Williams is the poker-faced sergeant in charge of conscription, and Fr ank Wilcox is the dapper dancer he conscripts. Linda Keene does the vocal honors. Henry and the band Sleeping On The Sidewalk - Queen - News Of The World seen in street clothes.
The visuals are a little cheesier than usual, with under-rehearsed showgirls and a cardboard backdrop, but the music is tops. Meade Lux, of the Boogie Woogie Moving Company, loads furniture onto a truck; when he sees the piano, he sits down and plays but never in close-up.
Dudley surprises the iceman wooing his wife! Wifey expresses no remorse and goes into the next room, where Meade Lux Lewis is sternly playing the piano. He filmed two piano solos for producer-director William Forest Crouch. This is a piano solo, but Liberace gets an incredible amount of sound out Gimme A Little Kiss it. He also shows tremendous discipline, miming to a playback recording and matching his fingering precisely for both the Blue Monk - Thelonious Monk - The Complete Riverside Recordings and the long shots.
Mildred Hughes and Cecilia Nielsen are around to provide some glamour; later in his career, Liberace would provide the glamour himself. Whatcha Know, Joe? There is a great trick effect: the lights dim, and specters with distorted faces as in a fun-house mirror appear behind the musicians.
The Soundies were apparently filmed in by Phonovue Productions. Watch Out! In the early s he was very popular as a radio attraction, which led to specialty spots in feature films. With bandleaders raiding other established orchestras to fill vacancies caused by World War II, good musicians were hard to come by. The band plays the song in a slow, surprisingly smooth arrangement, and then Vincent breaks loose and plays it almost impossibly fast, in world-record time!
Michael provides the vocal, persuasively lip-synched by John Robert Powers. Patient Michael is impatient with doctors. He prefers all the attention he gets from nine pretty nurses. A sailor has two lovers, one on each side. Some of the Lucky Girls Soundies have the dubious distinction of being the most poorly synchronized.
Edwin E. The film begins cinematically, with sucessive shots of Imogene wearing different hats from different lands. One of the Gimme A Little Kiss is probably Ray Lynn, who later used the professional name of Ray Malone.
Featured in the Casde Films home-movie release Rhythm in Rhapsody. The ranchero is a person, not a place, in this comic Soundie. Luba boasts about her heavy lover. Featured in the Official Films home- movie release Latin Novelties. Featured in the Official Films home-movie release Cuban Rhythms.
Queenie, the sweetheart of the burlesque show, does her act for the boys in the balcony. There are suggestive reactions and movements, but no nudity. Minnie, the local fast girl with a single pastime, goes Gimme A Little Kiss Hollywood but returns to Trinidad, where her former lover has met his demise—and has been taken out with the trash!
Most bandleaders emphasized brass sections in their orchestras. Glenn Miller achieved singular results with offbeat instrumentation saxophone section with a clarinet lead.
Matty Malneck tries for his own unique sound in Azusa, trumpet, clarinet, and accordion playing the same phrases. Despite the unusual first name, this Mann was a woman. Sam Manning, a native of Trinidad, was a pioneer calypso performer.
He emigrated to England in the s, but later returned to New York. He started playing professionally in the s and was still headlining club dates 50 years later.
The entire band is contained in the frame, in front of a curtain. Jitterbugs go to town at the local malt shop which has a large theatrical curtain for a back wall. A top-hatted girl dancer does some strutting in the second half. She displays good poise, smiling Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball seems at odds with the tone of the song! A Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball arrangement of this standard, with one verse sung in a minor key. Maxine and Marilyn synchronize their movements in this dance routine. Character actor Robert Williams plays the cop on the beat.
One of the chorus girls simply does not know the words of the song! Singer, later a radio and screen star. Her sunny features and radiant smile were quite photogenic. Marvel, in a two-piece sunsuit, catches The Doors - London 68 rays outside her apartment, along with four girls in swimsuits.
Soundies promotes one of its current stars by inserting a Gimme A Little Kiss of bandleader Buddy Rogers.
Marvel duets with Buddy Rogers. Unique in the annals of Soundies because it shows the girl singer asleep, then awakening to sing. She made her screen debut in for New York-based Educational Pictures. Her Soundies were Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball in New York in the spring of ; she relocated to Hollywood at the end of the year and appeared in several feature-length musicals for Universal.
Featured in the Castle Films home-movie release Hawaiian Melodies. Operatic singer Armanda Chirot also appears. The Blue Danube became a hit all over again inwhen it was Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball on the home-movie market as part of the Castle Films release Great Symphonies. At the Honeymoon Hotel in Niagara Falls, bride and groom quiz each other about personal habits. Gayle is shown singing in her bubble bath and lounging in bed with her bridegroom Ralph.
But this is a Soundie, so once in bed, the couple continues to sing. This Soundie was produced and directed by Arthur Dreifuss, who had a long career directing budget features for Monogram and Columbia. The setting is a park actually a cramped studio set where a band performs, lovers spoon, young folks roller skate, and a bratty kid taunts the musicians. Future Goldwyn discovery Constance Dowling can be seen among the singers.
Minoco Productions had two such groups: The Melody Maids were the highbrow contingent, faking piano and violins; Aileen Shirley and The Minoco Maids of Melody presented brassy swing numbers. They sang their way through 21 Soundies under seven different group names and we have suspicions about still another groupingand they appeared in dozens more Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball as Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball singers or crowd extras. Featured in the Castle Films home- movie release Songs to Remember.
The young man tenderly kissing an apple blossom is year-old Jack Smith, then a member of the singing chorus. Part of the film is actually photographed outdoors; genuine exteriors are extremely scarce in Soundies.
The singing spectators, dressed in period costumes, watch Scott MacGillivray and Ted Okuda some old-time baseball—which is stock footage of a House of David game! It seems incredible that the ubiquitous Men and Maids of Melody were actually billed that way only four times. Jim, dressed as a sailor, dances eccentrically while Dorothy sings. This one has Johnny as the worried soldier.
The Army-camp setting is achieved with a few prop trees and a tent. Are You Happy? Featured in the Castle Films home-movie release Syncopated Swing. Watch for some period decor, including a sign promoting Mission Orange soda. The song has G I. Johnny trying to Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball his love to a French girl. She is also featured in a few feature films, notably the W.
The Soundie version has Sue in Scots regalia, singing about a fascinating musician who enchants everyone whenever he visits. Instead of tooting a flute, as the title implies, Pete plays bagpipes The pntire Will Osborne band and instruments emerge from her closet He makes me sing, four or five times! Sister, Shout! Instead, this one has a barnyard setting, featuring countrified jitterbugs in square dance attire.
Alexander; this film was recut into three Soundies. After completing the Soundies, Harry Mills was drafted. His place in the act was taken by Gene Smith, who appears in the Soundies. Harry rejoined the act after the war. Featured in the Official Films home- movie release Lazy Rhythms. This cleverly conceived Soundie also features Dorothy Dandridge in the title role. The Soundie has a Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball setting, with the singers entertaining guests.
Gene Smith sings one Dreamin - Various - The Heart & Soul Of Rock N Roll the verses. Featured in the Official Films home-movie release Lazy Rhythms. The singers are shown standing at the rail of a riverboat. Guitar is heard but not shown. Hollywood composer Raksin also wrote this piece, which features four pianists, each on a separate level, plus six chorus girls and an opera singer!
The all-harmonica group was also permitted to make recordings when full orchestras were not, during the musicians-union strike of There are only fleeting shots of Borrah and his Rascals in this one, which showcases the rhythmic undulating of Chiquita and five female dancers who remove their shawls to reveal scanty outfits underneath. A newcomer slices a salami, bringing his own grinding wheel; he turns out to be a knife-thrower, with Borrah as the target.
The boys are dressed in scout uniforms, and they use their skills to gang up on effigies of Hitler, Hirohito, and Mussolini. Their steps are simple and not very impressive. By the end of this fast-stepping number, the Mitchell boys have given up any semblance of showmanship and are plainly very tired! He sings, Gimme A Little Kiss guitar, and uses various big-bell horns with kazoo-like mouthpieces to simulate a brass section.
This resulted in a busy career on both sides of the microphone as an arranger, composer, The Night Watch - King Crimson - Red (CD, Album, Album) director, and accompanist for major artists. Featured in the Official Filins home-movie release Cuban Rhythms.
Featured in the Official Films home-movie release Rhumba Rhumba. Gai sings in duet with Susan Miller. Gai sings and Danny dances atop four pianos. Featured in the Official Films home-movie release Jolly Jingles. With Amarillo. Moment - Mustfuzz - Mozaic a jungle setting, Corinna sings this familiar Latin number in Spanish, and also surprisingly in English. Dancer Amarillo probably would have been censored, had this been a theatrical film.
Most of his film work consists of tough-kid roles in feature films, but he does have a few major musicals to his credit including The Wizard of Oz.
With Liz Tilton. With dancers Nino and Lenora. The Murtah Sisters Soundies were directed by Dave Gould, who would become a mainstay of the Soundies organization in The girls have Gimme A Little Kiss up for dance lessons, which they almost The Soundies Book immediately regret: Kate-Ellen is chosen by an extemporaneous dancer and winds up flat on her seat! This was originally filmed by Soundies rival Neil McGuire with a no-more-than-adequate soundtrack. Soundies overdubbed the film with sparkling results, thanks to a masterful new orchestral backing by Hal Borne.
Superb production and direction, worthy of a Hollywood feature film. There is also a male dancer with a lei, dare we say it. A spirited rendition of the George M. Cohan tune highlights this Soundie, which features excellent footage of patriotic parades. Ricardo Montalban is in the chorus. The first half shows naval cadets including footage of a graduation ceremony at Annapolis ; the second half employs Army-Navy football footage!
Ricardo Montalban is seen as both a cadet and a spectator, so he is essentially waving to himself. A cocky patriotic hit of Ozzie NELSON and His Orchestra Ozzie Nelson is probably best known as the situation-comedy father who had no apparent occupation on the Adventures of Ozzie and Harriet 7V show, but in at least one episode he did allude to his days as an orchestra leader.
A shrewd businessman and former law studentNelson recognized the value of motion pictures in promoting his band. That same year he featured it in a Hollywood musical, Strictly in the Groove. Yes, this is the longest title of any Soundies musical.
Features a gangly dancer who lacks the glamour-girl attributes of other Soundies starlets. Technically this is very well done, with the performers lip-synching to pre-recorded spoken dialogue. Hal and Honey Bee, and The Collegiates all dancers appear. In the early s he appeared in several operatic telescriptions for television. In this Soundie, Nicodemus is a lazy guy who tries to dance but is distracted by food. Gertrude Niesen was American-born but was often featured in movie musicals with an international flavor.
Most of her Soundies, like this one, have continental themes. With The Four Sportsmen. Russian pretzel vendor Gertrude attracts the neighborhood men. The twins seldom harmonized, and would usually sing each lyric in unison or take turns.
This song was a standard part of their act with Spike Jones. Nino and Lenora are billed above the tide but we never see their faces; they Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball in silhouette, as the Devil and his prisoner. One of the craziest and funniest Soundies!
To make matters even more stupid, silly film clips are intercut Snub Pollard snoring, sailor Snooky Lanson having Limehouse Blues - Glenn Miller And His Orchestra - Limited Edition, Volume Two mishap with his pants, etc. He also appeared in Vitaphone short subjects.
Bam Dance Frolics. He appeared occasionally in films. This title is a sly wink at Fritz Pollard, Soundies executive and talent agent, who supplied the performers for these films. She also worked as a specialty dancer Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball Hollywood films.
Both were making Soundies in Osborne sings like a baritone Rudy Vallee, with a noticeably nasal tone and very little animation. He conducts the band spiritedly enough between verses, but when he resumes singing he All My Life - Sally Shapiro - Somewhere Else up again. The musicians are very effective in this toy-shop-at-midnight staging, making their movements convincingly robotic.
Soundies expert Mark Cantor told us that production files are extremely vague about this early Soundie. Lorraine Page is not shown in this Soundie; the musical soundtrack is mimed by extras wearing kilts. There may be a ringer involved: Bonnie Kildare, seen in other Soundies, appears as one of the Palladium troupe.
The film editor needlessly embellishes the feat by running her dismount in reverse. Peggy Diehl and other pretty ladies are on hand for decorative purposes. Hi-jinks indeed! When teenager Virginia Jones replaced the pregnant Mrs. She later became famous as screen actress Virginia Mayo. These are her featured appearances; she also appears in many Soundies as a chorus girl or dress extra. The 3.
Moderato - Karajan* - 1960s/4 is played by dancer Chinky Grimes. The Soundie has a surprise finish: just when the song is expected to end, we Gimme A Little Kiss forward to a bride-and- groom scene, with the four dancing girls now dressed as bridesmaids.
Pastor formed his own successful band and promoted it with these Soundies. The first half has a collegiate theme, the second half has the band dressed as ready-for-action sailors. Les Paul revolutionized both the recording industry with his pioneering concept of overdubbing, and guitar stylings with his own electric-guitar inventions. The second half features a sobbing vocal by the bartender, bushy- haired comedian Sam Wolfe. Set in a cocktail lounge, as was Dark Eyes.
He was also a talented, noted arranger; trade-paper accounts of the s credit Paxton as being essential to the success of the Ina Ray Hutton band.
Louis Blues. But when Eddie whips out his banjo and starts strumming feverishly, those curvy babes gravitate to him. Show us how! Fields and other comedy stars. This is unfortunately her only Soundie. Namespaces Article Talk. Views Read Edit View history.
Rock Hudson Piper Laurie. Pete Kelly's Blues. As it happens, the magic of this cover version dovetails neatly into the appealing, and quietly compelling, fabric created by Danny's own compositions. Austin-based Danny's latest collection is a considered, themed set Remember - Les Kings* - Les Kings explores the concept of money and wealth and its worth in today's world.
It's an increasingly complex concept nowadays, and even on such a well-worn theme, Danny proves that he's got plenty to say and makes his observations relevant to all our lives, his central thesis being that how we choose to relate to the idea of money reflects a lot about our values. Simply crafted, plain-spoken in expression and attractively sung, while furnished with impressively memorable melodies, the songs on this set tend to fall into two broad categories: either granting or exploring a thought-provoking perspective on the central theme Better Off Broke, Southland Street or else painting vivid portraits of individual characters searching for meaning in their lives Grampa Built Bridges, Oh Bally Ho, and the somewhat Cohenesque Firestorm.
Electric Boogaloo - Sigmatibet - Chills initial feeling, that the set's strongest songs occur in the second half of the disc, is reinforced on each subsequent replay, with the enigmatic Accidentally Daisies and the genial barroom waltz of The Night's Just Beginning To Shine fast becoming favourite cuts. After the darker mode of much of Danny's previous material, the folky-singalong opener Better Off Broke may seem deceptively jaunty, but Danny has the gift of making quite deep observations out of everyday colloquies, as a number of other songs on this new set also demonstrate.
Even when you feel that Danny's trying to shoehorn Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball many words or force the pace a little, as on Southland Street, his delivery is irresistible. Generally, Danny still continues to follow the time-honoured musical templates of folky Americana, with occasional dashes of indie-roots-rock and Lionel Richie - Angel, and his gently quivering yet strong and resonant vocal style continues to enchant.
The album's blessed with great packaging too, by the way, with attractive design and lyrics clearly reproduced on the foldout sleeve. With excellent songs and performances like these, Danny's set to seduce us for some time yet, I suspect. David Kidman April So here's the promised new Waterbug release from the Texas-born songwriter whose set Parables And Primes so impressed me on its way-belated UK release last autumn. And it lives right up to expectation in just about every way even tho' there's no epic track like Stained Glass on this record.
It "takes its title from the fact that at one point in time or another, each song had been deemed too askew to fit neatly alongside its peers", yet its unity - as a "flock", if you like - resides in that each song can be traced back to a very particular episode in Danny's life, and in Danny's special worldview as applied to the personal rather than as on Parables the generalised human experience.
The album as a whole still compels close listening and commands and gets your undivided attention right from the outset. Danny's beguiling and highly individual brand of apparent gentility emerges from the ether on the opening song, Leaves Are Burning, a jaw-droppingly atmospheric piece dripping with highly sensory imagery and cocooned with ear-burningly eerie female harmony vocal Joia Wood, who shares this role with Devon Sproule over the course of the album.
Danny goes on to examine the ambiguities of Casual Thing - Harry Howard & The NDE - Pretty on Cliff Song and Around The Waist: the Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball is a seemingly simple relationship Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ballsung in a quivering tremolo that emphasises the utterly scary nature Gimme A Little Kiss the predicament, while the latter is a lighter reflection on the mystery of emotions. Towards the end of the record, though, Danny presents a more straightforward stance on the constancy of love and friendships, with the beautiful and delicate Song For Judy And Bridget and the powerfully valedictory litany-cum-credo Company Of Friends this itself complements the fairly cautious optimism of Drawing Board earlier on the disc.
The disc's two parables provide contrasting experiences: Go Ugly Early is steeped in desperate southern-gothic familial mythology while Tales Of Sweet Odysseus is a more overtly ironic twist on a mythological adventure that's craftily set to a sideways cod-Irish slip-jig as a companion to Beggars And Mules, it's almost kind of another in-joke for Danny's muso friends, I suspect. Then there's an almost-too-easy Guthrie-esque demeanour to the next pair of songs, Emigrant, MT and the quirkily double-edged California's On Fire, but both make their points concisely and attractively.
The only track I'm unsure about is Adios To Tejasito, which may well be summed up by the "It's nice enough to visit, It's nice enough to get back in your car" couplet for which sentiment the song's general of air of too knowing over-flippancy and somewhat sloppy rhythm-section input don't hope to compensate. Helping Danny with production this time round is Paul Curreri, a genius who plays a large assortment of instruments very sparingly and is blessed with an acute ear for just what limited textures should grace each of Danny's compositions banjo, guitar, piano, whatever ; other Charlottesville musicians fiddle, accordion, harmonica, steel guitar, bass, drums are also occasionally brought in for softly judged traceries and subtle effects.
Even the "heavier" electric arrangement for Trouble Comes Calling isn't allowed to swamp Danny's lyrics. This convincing new set from Danny was worth waiting for, sure. New England musician Lissa's is one of those names you don't forget notwithstanding which, she's evidently an accomplished musician of whom I'm very surprised not to have Bend And Break - Keane - Live (DVD) previously.
According to Lissa's website, Dance is Gimme A Little Kiss seventh recording and sixth CD since It seems to be intended as the second in a complementary pair of releases that started with 's disc entitled Song. As you'd expect, then, Dance is all-instrumental, concentrating on Lissa's clear-sighted fiddle playing and surrounding her with a select number of simpatico musicians, who as it happens are an entirely different crew Gimme A Little Kiss those who supported her on Song.
Lissa's playing style is unassumingly communicative: smoothly flowing and well-moulded, easy on the ear, gently virtuosic yet not a slave to technique, and so the discs 39 minutes flies by most companionably. Lissa delivers a series of tunes both fairly well-worn and definitely more unusual, including some great ones I'd not come across before the Mountain Ranger set and Suffer The Child, for instance.
And it's fortunate that Lissa has a good ear for ringing the changes in matters of accompaniment, because Bethany Waickman's guitar backing is pretty ubiquitous and in its own syncopated way can sometimes seem a touch routine, although it's pleasing enough in context, especially when its more supportively restrained as on Eugenia's Waltz.
The sound of a tenor banjo brightens Lady Walpole's Reel, while trombones and pump organ fill out Moneymusk and euphonium and trombone Jamie Allen on both of these, a second fiddle part really boosts the sound and drive of Lissa's own playing ; a piano accordion counterpoints Lissa's lithely folksy Sad Day - Blancmange - Happy Families on Weber's Huntsman's Chorus, while bass and drums grace and propel Fisher's Hornpipe.
This is a Gimme A Little Kiss CD which sparkles where Gimme A Little Kiss oughtso it should not fail to charm its listeners, although I feel its a little too polite and unchallenging on occasion; everything is in its rightful place, and I can't fault the playing or presentation the package even includes cryptic to me!
He's been compared to such names as Counting Crows and The Wallflowers, to which, judging by the laid back shrugging lazy rock of Captain Kirk, you might also want to add Steve Miller, the track Gimme A Little Kiss owing a debt to The Joker. He's got a relaxed, warm style, easing through mellow Americana hued numbers like Come With Me Tonight, A Long Way To Get shades of Paul Simon here and the string enhanced lullabying ballad Love Is Everywhere while a sparkier side's revealed with the Dylan-like jogging rhythmed title track and a Tom petty flavoured C'mon Baby with its hard guitar riffs.
And, Fire - Jack Garratt - Phase The Bridge Builders demonstrates, he can whip up a beefy quiet-to-a-storm moody rock ballad too. With broken relationships, alienation and drugs on the lyrical agenda, he deals in the darkside but there's a sense of wit and ironic humour in there too; viz God Is My Friend which, nodding melodically to Joan Osborne's If God Was One Of Us, offers the Gimme A Little Kiss of the Almighty lounging around on a cloud snorting coke or wearing Italian shoes and chugging on a Coors Light.
The album takes a while to work its way inside your head and there are a couple of tracks that probably won't figure on the repeat play button, but it is something to which you will find yourself returning. Manchester's finest Matt Schofield returns with his fourth album and makes it a set of two apiece for live and studio albums. Just as he was influenced by Albert Collins and Robben Ford he now is regularly quoted as being an influence on many a young British guitarist.
Although a studio album, Ear To The Ground was recorded live with the band in a single room and the overdubs were kept to a minimum. They open with Freddie King's Pack It Up and turn it into a funky blues, strong both musically and vocally. Nine Schofield and band written Gimme A Little Kiss follow and start with Troublemaker. This gives Jonny Henderson on keyboards a chance to shine, and he takes it. Schofield joins in with Albert Collins influenced runs as he burns up the frets.
The eponymous title track is a grittier, tougher blues altogether and the trio get into a groove. Heart Don't Need A Compass Puttin It Down - Hustlaz 4 Life - Evolution Of A Hustla a slow brooder.
Schofield's guitar is a star - jazzy and much influenced by Albert King's Stax period. Once In A While is even slower and has a Gospel feel surrounding it - classy guitar. Room At The Back, a Robin Hood - Loredana Bertè - Sono Donna instrumental Gimme A Little Kiss allows free flow guitar, allows Schofield to tip the nod to such bands as The Meters and Soulive. Someone has a full blown harmonica burst from 'Big Pete' Van Der Pluym and is heavier than most on offer.
It Will Ya Huh? - The Tyree Glenn Quintet - Lets Have A Ball well and the guitar and harp work well Akhir Disember - Kopratasa - No 1s. Searchin' Give Me A Sign is jazzy blues with an edge - slinky guitar and reputed to be Matt's favourite.
A fast paced, energetic instrumental with drummer Elevator - Johnny Keating* - Hotel - Original Motion Picture Sound Track Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball chipping in to complete a classic organ trio song. Cookie Jar is organ based but Schofield steals the show and turns it into a highlight.
It is different enough from the original but still keeps the ethos. Schofield manages to sound like the great man on guitar and it sounds as if everyone who was in the studio that day is involved in the sing-along finish. The Matt Schofield trio have an album that keeps them in the highest echelons of British Blues.
David Blue June Matt Schofield is a bright young light in British guitar playing and this debut album recorded at the Bishops Blues Club shows why. There's a strong guitar and drum start on the funky, jazzy Uncle Junior and Evan Gimme A Little Kiss provides a continuing rhythm, for over 8 minutes, on his kit. His voice is silky but it's not BB King. The stunning guitar work on this make it a highlight. Treat Me Lowdown is a swinging jazzy blues and Jonny Henderson is given his chance to shine on the organ.
There's some good interplay between guitar and organ on Cissy Strut and this 8 and a half minutes of virtuoso playing just makes you realise how good a guitarist Schofield is. I don't know many people who would cover an Albert Collins track but Matt's version of Travellin' South will have made the maestro proud. His chopping, snappy guitar and vocal are delivered with feeling. This is different from the original and also from the version done by Cream and Schofield has managed to put his own stamp on the song, something very difficult on a much-covered track.
The trio belt out the jazzy blues Hippology to finish and I detect the Albert Collins style in there once again. The trio are a very good live band and the only thing that I can criticize them on is that they did not offer Will Ya Huh?
- The Tyree Glenn Quintet - Lets Have A Ball any self-written material. Maybe they are saving that for the next studio album and I wait in anticipation. Many readers will remember encountering the spellbinding Canadian fiddler Oliver Schroer when he performed regularly with singer-songwriter James Keelaghan during the earlier part of the decade; tragically, however, Schroer, an intensely gifted musician and composer and noted music educator in his own right, died of leukaemia in July At the time of his initial diagnosis in the spring ofand while awaiting treatment, Oliver recorded Hymns And Hers, an ensemble project on which he collaborated with friends old and new including some of Toronto's finest musicians including David Woodhead, who's also worked with JK and vocalists.
In direct contrast to many of Oliver's earlier compositions, the music of Hymns And Hers is altogether more spiritual in character, in that it expresses important things about his relationship to life. It does this by means of more rarefied kinds of forms and melodies outside of pure entertainment vehicles like jigs, reels and waltzesinstead now Wünsch Dir Was - Die Toten Hosen - All Die Ganzen Jahre: Ihre Besten Lieder forth prayers, incantations, melismas and suchlike in lovingly textured musical settings that are sometimes quite plush yet remain pure and intimate.
Each of the disc's dozen items possesses a special character all its own. The opening "prayerful hymn" A Song For All Seasons gradually unfolds like a Mike Oldfield piece Oliver even plays a burst or two of electric guitarwhile Flowers centres around a playful baroque fiddle-and-piano arabesque and She's With The Angels Now is a peaceful and reverential though almost unbearably touching piece written after the death of a close friend.
Roses For The Lady, written for Oliver's mother, resembles a slightly cheeky variant of an elegant Edwardian salon-piece, contrasting with the desperate discords and strange vocal juxtapositions and ululations of Hymn For The Dispossessed. The Morning Star joyfully unites brass and fiddle choirs in hope and jubilation: qualities which also resound through the rippling wedding-tune Chel's Bells and the reposeful beauty of the final pair of pieces on the disc.
So OK, we understand the hymns, but why the "hers", you'll now be asking? Camino, recorded three years before Hymns And Hers, is here re-promoted, hopefully to gain wider circulation.
Both albums share a basic quality of intimacy, but Camino's intimacy derives from the purely solo nature of the performances enshrined within as much as from their ambient settings.
The disc presents a series of excerpts from a vivid audio record of Oliver's trek along the Camino de Santiago pilgrim trail, the major element of which consists of pieces Oliver played on the violin that he carried with him like a precious relic on that pilgrimage, wrapped not in a violin-case but in a sleeping-bag in his backpack.
These musical items are like limpid fantasias, both highly ascetic and deeply emotionally charged, like a disenfranchised parallel universe where time stands still for the duration of each piece and the austerely quasi-improvisatory world of the Bach partita meets the mesmeric but spacious liturgical iconography of John Tavener, at times also hinting at indigenous Canadian fiddling traditions. Oliver's playing is both graceful and evocative, it forming a two-way process whereby the attractive remoteness of the settings informs the almost religious spirit of Oliver's communing with the genius-loci.
Each sonic space is acoustically enticing in its own way, each church Snadisti Sadisti - Juice Leskinen - Tuomaksen Evankeliumi its own special resonances, while the trail's various environments also provide the ambient sound-sketches that punctuate the musical performances: the pealing of bells, street sounds, birdsong, praying and Mult Prea.
- Ab4 - Toxic. Immerse yourselves in this rich and rather magical experience; though it may prove all too easy to get lost in its charms and you may not want to return to our world. David Kidman January It contains Gimme A Little Kiss what it says on the label. The opening track's clattering rhythm may initially recall his former paymaster, but as it opens out into Native American tribal colourings the album's globe hopping musical and thematic nature is quickly signposted.
Calcutta, Italy, Malawi are among the places Schwarz's stories visit, taking potent angry, sorrowed or yearning photos of the socio-political landscapes and emotional climates. Here are the world's unwanted and rootless, forced to move on Same Old Worldwork in menial jobs Lavaplatosleft ' pacified ' in their own blood Refugees or trying to scrape a life in the land of the free Taxi.
Here are personal stories of torn Navneløs - EP and crushed hopes but also of the tenacity to survive Mother of Exiles and the strength of love Wind In Our Sails in the face of adversity. La Fotografia - Enzo Jannacci - Quando Un Musicista Ride - La Raccolta Definitiva eclectic, it journeys through the blues, Hindustani tala, Bulgarian trad, Tijuana waltzes, Celtic twilights, African funk, Jewish roots, show tunes and Kurt Weill cabaret, constantly and consistently in tune with the humanity from which it's birthed and which it observes.
A quite magnificent and moving work. Sound familiar? No it's not The White Stripes. This, their debut album, opens with the angst ridden American Girl not the Tom Petty song and continues to ask questions about your musical leanings for the next ten tracks.
The only song not written by the duo is the final offering, the classic Surfin' Bird which is given a slower treatment than the original but when it gets going it is the best track on the album.
This would be the ideal song for them to do on 'Later With Jools Holland' Gimme A Little Kiss they get an invite. Songs like Holy Cat and Twin Donut could easily be modern American classics although the formers title sounds like one that Phoebe from Friends would sing. The simple yet effective Dinner is one of my favourites and the equally simple and powerful Springtime may have you humming 'Don't Fear The Reaper' before it settles down.
They do tackle the classic them of love as well as the offbeat. Breaking In is their version of a love song. Something Else again a title from days gone by but this MIKA - Grace Kelly a new song is very reminiscent of The Eels and Schwervon!
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