This gallery contains 13 photos.
The Concert/Gig poster scene is a thriving scene. It is a tradition that started in the 60′s and is still going strong. Posters are a sound investment, a nice memorabilia and often a true piece of art. I have collected … Continue reading
But the paradox is that while Sky Blue Sky is the smoothest sounding Wilco album, it also takes the longest to absorb and understand.
~Michael Metivier (popmatters.com)..Wilco’s sixth studio album, Sky Blue Sky, sounds like the long-awaited follow-up to 1996′s Being There — while it lacks the ramshackle shape-shifting and broad twang of that earlier album, Sky Blue Sky represents a shift back to an organic sound and approach that suggests the influence of Neil Young’s Harvest and the more polished avenues of ’70s soft rock. Sky Blue Sky also marks Wilco’s first studio recordings since Nels Cline and Pat Sansone joined the group, and they certainly make their presence felt …
~Mark Deming (allmusic.com)
Impossible Germany (Live – from the DVD “Ashes Of American Flags”):
From Wikipedia:
| Released | May 15, 2007 |
|---|---|
| Recorded | November 2006 – January 2007 at The Wilco Loft, Irving Park, Chicago,Illinois, United States |
| Genre | Alternative rock, folk rock,alternative country |
| Length | 50:56 |
| Label | Nonesuch |
| Producer | Wilco |
Sky Blue Sky is the sixth studio album by American rock band Wilco, released on May 15, 2007 by Nonesuch Records. Originally announced on January 17, 2007 at a show in Nashville, Tennessee, it was the band’s first studio album with guitarist Nels Cline and multi-instrumentalist Pat Sansone. Before its release, the band streamed the entire album on its official website and offered a free download of “What Light”.
Sky Blue Sky was Wilco’s highest debuting album on the Billboard 200 at number four. The self-produced album received mostly favorable reviews by critics. Publications such as PopMatters and Rolling Stone praised its maturity, while PlayLouder and Pitchfork Media criticized its “dad-rock” sound. While some critics praised the direct lyrical approach, others criticised it when compared to previous Wilco albums. The band licensed six songs from the Sky Blue Sky sessions to a Volkswagen advertisement campaign, a move that generated criticism from fans and the media.
You Are My Face (Austin City Limits 2007):
The album was recorded by TJ Doherty at The Loft in Irving Park, Chicago, where Tweedy had recorded Loose Fur’s Born Again in the USA and most of Wilco’s Yankee Hotel Foxtrot. In an interview with Billboard, the band revealed that the album would be less experimental than the two previous albums and more influenced by The Beatles, The Beach Boys, and The Rolling Stones. Also, unlike the previous albums, the album was made with only minimal involvement of Jim O’Rourke; the album which was produced with very few overdubs.
Release & reception
Nonesuch released the album on May 15, 2007; the following week became Wilco’s best-ever sales week. The album debuted at number four on the U.S. Billboard 200, selling 87,000 copies domestically in its first week. Sky Blue Sky was also an international success, peaking at number 7 in Norway, number 21 in Belgium, number 23 in Australia and Ireland, number 26 in Sweden, number 32 in New Zealand, number 36 in Germany, and number 39 in the United Kingdom.
The album received varied critical reception upon its release.
Track Listing:
All songs written by Jeff Tweedy except as indicated.
Personnel:
Posted in Music Calendar, wilco
Tagged Brian Eno, country, Edyy Arnold, june carter cash, Sky Blue Sky, Wilco
Sticky Fingers was never meant to be the title. It’s just what we called it while we were working on it. Usually though, the working titles stick.
~Keith Richards 1971While many hold their next album, Exile On Main St., as their zenith, Sticky Fingers, balancing on the knife edge between the 60s and 70s, remains their most coherent statement.
~Chris Jones (bbc.co.uk)
#1 – Brown Sugar:
Wikipedia:
| Released | 23 April 1971 |
|---|---|
| Recorded | 2–4 December 1969, Muscle Shoals Sound Studio, Sheffield, Alabama; 17 February, March – May, 16 June – 27 July, 17–31 October 1970, and January 1971,Olympic Studios, London, UK; except “Sister Morphine”, begun 22–31 March 1969 |
| Genre | Rock |
| Length | 46:25 |
| Language | English |
| Label | Rolling Stones |
| Producer | Jimmy Miller |
Sticky Fingers is the ninth British and 11th American studio album by English rock band The Rolling Stones, released in April 1971. It is the band’s first album of the 1970s and its first release on the band’s newly formed label, Rolling Stones Records, after having been contracted since 1963 with Decca Records in the UK and London Records in the US. It is also Mick Taylor’s first full-length appearance on a Rolling Stones album, the first Rolling Stones album not to feature any contributions from guitarist and founder Brian Jones and the first one on which Mick Jagger is credited with playing guitar.
The album is often regarded as one of the Stones’ best, containing songs such as the chart-topping “Brown Sugar” and the folk-influenced “Wild Horses”, and achieving triple platinum certification in the US.
Spanish Cover
#3 – Wild Horses:
During the tour of the States we went to Alabama and played at the Muscle Shoals Studio. That was a fantastic week. We cut some great tracks, which appeared on Sticky Fingers – You Gotta Move, Brown Sugar and Wild Horses – and we did them without Jimmy Miller, which was equally amazing. It worked very well: it’s one of Keith’s things to go in and record while you’re in the middle of a tour and your playing is in good shape. The Muscle Shoals Studio was very special, though – a great studio to work in, a very hip studio, where the drums were on a riser high up in the air, plus you wanted to be there because of all the guys who had worked in the same studio.
~Charlie Watts in 2003
Recording:
Although sessions for Sticky Fingers began in earnest in March 1970, The Rolling Stones had recorded at Muscle Shoals Studios in Alabama in December 1969 and “Sister Morphine”, cut during Let It Bleed’s sessions earlier in March of that year, was held over for this release. Much of the recording for Sticky Fingers was made with The Rolling Stones’ mobile studio unit in Stargroves during the summer and autumn of 1970. Early versions of songs that would appear on Exile on Main St. were also rehearsed during these sessions.
#9 – Dead Flowers:
To my mind the things that Ry (Cooder) plays on have a kind of polish that the Stones generally began to develop around that time. The rough edges came off a bit. Mick Taylor started putting on the polish that became the next period of the Stones out of the raw rock and blues band.
~Jimmy Miller in 1979
In 2003, Sticky Fingers was listed as #63 on Rolling Stone magazine’s 500 Greatest Albums of All Time.
Track Listing:
Personnel:
We made (tracks) with just Mick Taylor, which are very good and everyone loves, where Keith wasn’t there for whatever reasons… People don’t know that Keith wasn’t there making it. All the stuff like Moonlight Mile, Sway. These tracks are a bit obscure, but they are liked by people that like the Rolling Stones. It’s me and (Mick Taylor) playing off each other – another feeling completely, because he’s following my vocal lines and then extemporizing on them during the solos.
~Mick Jagger in 1995
Spotify playlist of the day:
“Jazz is the only music in which the same note can be played night after night but differently each time.” ~Ornette Coleman
“We in the Western world suffer from too many categories and classes; we’ve forgotten that we all still have diapers on. We’ve separated music from life.”
~Ornette ColemanOne of the most important (and controversial) innovators of the jazz avant-garde, Ornette Coleman gained both loyal followers and lifelong detractors..
~Scott Yanow
[No title] - ”The Art of the Solo” – Berliner Jazztage 1972:
Wikipedia:
| Birth name | Randolph Denard Ornette Coleman |
|---|---|
| Born | March 9, 1930 (age 83) Fort Worth, Texas, United States |
| Genres | Jazz, free jazz, free funk, avant-garde jazz, jazz-rock |
| Occupations | Saxophonist, violinist, trumpeter, composer |
| Instruments | Alto saxophone, tenor saxophone, violin, trumpet |
| Years active | 1958–present |
| Labels | Atlantic, Blue Note |
| Associated acts | Charlie Haden, Don Cherry, Eric Dolphy, Paul Bley, Scott LaFaro, Billy Higgins, Ed Blackwell, Greg Cohen, Jackie McLean, Jamaaladeen Tacuma, Lou Reed, Yoko Ono, Pat Metheny, Denardo Coleman, Jack DeJohnette |
| Website | ornettecoleman.com |
Randolph Denard Ornette Coleman (born March 9, 1930, Fort Worth, Texas) is an American saxophonist, violinist, trumpeterand composer. He was one of the major innovators of the free jazz movement of the 1960s.
Coleman’s timbre is easily recognized: his keening, crying sound draws heavily on blues music. His album Sound Grammar received the 2007 Pulitzer Prize for music.
“It’s the hidden things, the subconscious that lies in the body and lets you know: you feel this, you play this.”
~Ornette Coleman
Dancing In Your Head (live)
Legacy
Coleman continues to push himself into unusual playing situations, often with much younger musicians or musicians from radically different musical cultures, and still performs regularly. An increasing number of his compositions, while not ubiquitous, have become minor jazz standards, including “Lonely Woman,” “Peace,” “Turnaround,” “When Will the Blues Leave?” “The Blessing,” “Law Years,” “What Reason Could I Give” and “I’ve Waited All My Life”, among others. He has influenced virtually every saxophonist of a modern disposition, and nearly every such jazz musician, of the generation that followed him. His songs have proven endlessly malleable: pianists such as Paul Bley and Paul Plimley have managed to turn them to their purposes; John Zorn recorded Spy vs Spy (1989), an album of extremely loud, fast, and abrupt versions of Coleman songs. Finnish jazz singer Carola covered Coleman’s “Lonely Woman” and there have even been progressive bluegrass versions of Coleman tunes (by Richard Greene). Coleman’s playing has profoundly influenced, directly or otherwise, countless musicians, trying as he has for five decades to understand and discover the shape of not just jazz, but all music to come.
..it just has to be this remarkable masterpiece:
The Shape of Jazz to Come (1959)
..a watershed event in the genesis of avant-garde jazz, profoundly steering its future course and throwing down a gauntlet that some still haven’t come to grips with. The record shattered traditional concepts of harmony in jazz, getting rid of not only the piano player but the whole idea of concretely outlined chord changes. The pieces here follow almost no predetermined harmonic structure, which allows Coleman and partner Don Cherry an unprecedented freedom to take the melodies of their solo lines wherever they felt like going in the moment, regardless of what the piece’s tonal center had seemed to be.
~Steve Huey (allmusic.com)
