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3 episodes with Lori Lieberman
3 episodes with Lori Lieberman
2 episodes with Lori Lieberman
2 episodes with Lori Lieberman
5 episodes with Lori Lieberman
2 episodes with Lori Lieberman
1971年仅20岁的美国女歌手Lori Lieberman在观看Don McLean的音乐会的时候，被他的歌声深深打动，那种温柔的演唱方式仿佛有一种无形的力量，让她产生了“这歌声让我心碎”的感觉。于是，她讲这种感受写到了她的日记里并打电话告诉了她的词曲合作搭档Norman Gimbel和Gene Paul，他们一起将这种感受写成了歌曲“Killing Me Softly”，1971年Lori Lieberman首次演唱之后，并没有引起注意，1972年Roberta Flack在飞机上听到这首歌曲后备受震动，立刻打电话给Quincy Jones询问这首歌曲的版权，决定在新专辑中演唱这首歌曲，Roberta Flack以其独特的嗓音和深情的演绎，将歌曲中那种温柔却充满力量的情感展现得淋漓尽致，1973年Roberta Flack的第四张录音室专辑Killing Me Softly推出之后，大获成功。这是一首跨越时代的经典歌曲，无论是70年代的黑人的灵歌福音音乐还是白人流行的轻音乐，还是90年代Hip Hop组合Fugees，它都以优美的旋律、感人的歌词赢得了无数听众的喜爱，堪称流行音乐史上的经典之作。
This week on One Song, Diallo and LUXXURY dive into the lore of Roberta Flack's 3x Grammy-winning cover of “Killing Me Softly With His Song.” In their discussion, they journey through the life of the song, unpacking the complicated origins of Lori Lieberman's original folk ballad and highlighting the transformative changes in Roberta Flack's iconic interpretation. Plus, Diallo shares a remix of the Fugees' version that all the heads used to love. This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/ONESONG and get on your way to being your best self. Songs Discussed: “Killing Me Softly With His Song” - Roberta Flack “American Pie” - Don McLean “Empty Chairs” - Don McLean “Killing Me Softly With His Song” - Lori Lieberman “The First Time Ever I Saw Your Face” - Roberta Flack “Days Go By” - Dirty Vegas “Back Together Again” - Roberta Flack & Donny Hathaway “Killing Me Softly With His Song” - Fugees “Killing Me Softly (Sound Barrier Mix)” - Fugees ft. Bounty Killer “Bonita Applebum” - A Tribe Called Quest “Fool Yourself” - Little Feat “Memory Band” - The Rotary Connection “wanna be tied” - Salon Music “Won't Cry” - Amber Mark Learn more about your ad choices. Visit megaphone.fm/adchoices
Afgelopen week overleed Roberta Flack, de vrouw met de waargaloze rust in haar pianospel en haar zijdezachte stem. We kennen haar liefdesballades, maar ze zong ook stevige geangageerde liedjes die helaas niets aan actualiteit hebben ingeboed. Een portret van een vrouw die kracht vond in zachtheid. In deze podcast ook en mooi eerbetoon van Lori Lieberman, de oorspronkelijke vertolker van 'Killing me Softly With His Song'.
Pat Angeli du 16-20 RFM vous raconte en quelques minutes l'histoire d'un titre, d'un album ou d'un artiste mythique !
Dan Navarro Live on Game Changers With Vicki Abelson They say you can never go home- they didn't have their old pal Dan Navarro on their show––took me right back to shared memories with Chloris Leachman in the living room, the Mets winning a 2015 playoff game at Dodger Stadium (unlike today), seeing Lori Lieberman at The Grammy Museum, Mike Finnegan at The Levitt Pavilion, NAMM hangs, my book launch, a 12 Step meeting, good food, a few of these here shows before and during the pandemic… It's always warm and comfy as if no time has passed. We touched on Dan's early days, his creative parents, his famous cousin, Dave, a horrific family tragedy, starting out on horns, finding his voice, literally, writing songs, being a singing waiter at The Great American Food & Beverage Company, with a host of others who found success, including Eric Lowen, who would become his partner, and begin their relationship co-writing the iconic, We Belong, and selling it to Pat Benetar, before it came to have a life of its own, putting out 12 albums, touring for decades, also writing for the Bangles and others, before Lowen's untimely death. Dan, through it all, also voiced TV shows, including The Family Guy and American Dad, still to this day, as well as over 100 commercials, sang in the films Happy Feet, two Ice Age pictures, Rio, The Lorax, to name just some. The secret to his success? Go for it. Persistence. The only answer is “Yes.” It's worked pretty well for him. Dan told innumerable stories to exemplify his point. A man of service, Dan has served as SAG-AFTRA's National Vice President of Recording Artists/Singers, and is still on the board, he is a Trustee of the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, is a member of the Mechanical Licensing Collective's Unclaimed Royalties Oversight Committee, and is on the board of the Artists rights alliance, and recently spoke before the House Judiciary Committee on AI, where, in solution, he has been quoted requesting, the 3 Cs: Consent, Credit, Compensation. Dan treated us to a passionate We Belong, and a gorgeous Rose In the WIndow, his collaboration with the late Preston Sturges from his latest album, Horizon Line. This time with Dan was heartwarming and soul-filling and will stay with me for a long time to come. Being in Dan's good company is always inspiring, always fun, even if we are in the midst of our Mets/Dodgers rivalry. Go Mets! Dan Navarro Live on Game Changers With Vicki Abelson Wednesday, 10/16/24, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3Y3DiKq
Lori Lieberman shares the importance of romance books for her students and the club which is dedicated to celebrating romance novels and their readers. I would like to thank composer Nazar Rybak at Hooksounds.com for the music you've heard today. Literati Book Fairs: Speak with the Literati team today and mention the code UNITED to see if you qualify for a $500 Titlewave gift card once you complete your first Literati Book Fair. Capstone *use UNITED for $20 off $100 or more on print and ebooks Editable PD Certificate FAQ's and ISO (In search of…) Online Doctoral Programs APA format for citing a podcast/podcast app SLU Playlists Search by title, guest and location! Have YOUR Say!!! Share your ideas on the next episode! THAT Librarian apparel and flair! Pre-order signed copy of Amanda Jones' book “That Librarian” Amanda Chacon SLJ Librarian of the Year E207 STEM Librarian https://bit.ly/3wTWHDC E242 Media Virtual Presence https://bit.ly/3wTWHDC Patrick Taylor E55 Balancing Act: Work and School E111 Jack of ALL Trades Lori Lieberman IG: https://Instagram.com/LHSLibraryLori Email:llieber1@pps.net E246 Spotlight: OASL YA and Adult book lists Libro.fm: FREE advanced listening copies for librarians Reddit Romance Book Wik Write for Harlequin Glossary
I'm starting a countdown today of my top 10 Breakdowns of 2023! Thank you all for weighing in on this. We'll start with number 10, which is one of my favorite Breakdowns ever. It's the story of how Lori Lieberman was denied writing credit on a song she greatly contributed to – “Killing me Softly.“ I had the chance to see Lori in concert at Carnegie Hall yesterday, and got to finally meet her in person after having interviewed her for my podcast, and staying in contact with her over the last few months. She truly is a lovely woman, and I was so honored to bring more attention to her story. She is more than the wrong that was done to her, and I have learned so much about taking ownership of your life and art from her example. I'm so proud to now call her “friend.” Support the show
Lori Lieberman Live on Game Changers with Vicki Abelson Being with Lori Lieberman, the very first musical guest at Women Who Write, and the only artist to perform at every WWW location over the past decade-plus is like going home. Five years since our last midday soiree, it was so wonderful to reconnect and catch up. We got the unabridged Killing Me Softly scoop, from its inception with Lori's pen on a napkin at a Don McLean show, to it getting fleshed out with her managers, Charles Fox and Norman Gimbel, her recording it, getting airplay, Roberta hearing it, Lori making the rounds credited as a collaborator, then written off, and finally getting vindicated only recently. There's lots more to the story, all fascinating and aided greatly by its mostly happyish ending. Lori's first five albums and self-imposed hiatus that followed. Motherhood, Joe Cali, falling in love and finding her way back to the music. 20 albums later, her latest releases, The Girl and The Cat, her most emotional and personal work to date, Lori told us why, and Truly, a departure for Lori, a deep dive into the American Songbook, with a unique revisit of the before mentioned Killing Me Softly. You haven't heard it until you've heard Lori sing it. And sing it and kill us she did! She also treated us to her track, Switzerland, although Zoom prematurely derailed it. Lori's readying for her 3rd Carnegie Hall concert, on December 10th, at 2 pm. In the tri-state area, or gonna be? It's a must! Link for tkts: https://www.carnegiehall.org/.../Afternoon-Concert-with... 30% Discount code: LAL 43749 For all things Lori, including her music, visit : lorilieberman.com I love this woman so much. What fun this was! She'll remain in heavy rotation in my living room. Lori Lieberman Live on Game Changers with Vicki Abelson Wednesday, November 29th, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/47XjI5M
It's not uncommon for a song to be written for one artist, only to become widely known after being recorded by another. It's less common for a song to have yet another rebirth decades later. That's just what happened with "Killing Me Softly with His Song." Originally inspired by Lori Lieberman's profound experience at a 1971 Don McLean concert, Norman Gimbel and Charles Fox's song underwent two dramatic reinventions, first by soul titan Roberta Flack in 1973, and then by Lauryn Hill and her band Fugees in 1996. In this episode, Kirk dives into all three versions, looking to better understand how each singer put her own spin on what was already a classically strong song.Written by: Music by Charles Fox, lyrics by Norman Gimbel with uncredited contributions by Lori LiebermanRecorded by: Lori Lieberman (1972), Roberta Flack (1973), Lauryn Hill & Fugees (1996)Albums: Lori Lieberman (1972), Killing Me Softly with His Song (1973), The Score (1996), A Thousand Dreams (1995), Truly (2022)ALSO REFERENCED/DISCUSSED:"She sang ‘Killing Me Softly' before Roberta Flack. Now she just wants you to hear her side of the story," by Geoff Edgers for the Washington Post, 2020"Lori Lieberman comes to terms with 'Killing Me Softly'" by FaceCulture, 2010"Empty Chairs" by Don McLean from American Pie, 1971"Bonita Applebum" by A Tribe Called Quest from People's Instinctive Travels and the Paths of Rhythm, 1989OUTRO SOLOIST: Joey BrinkJoey Brink is University Carillonist and Professor of Carillon at the University of Denver, where he performs daily on the 65-bell Williams Tower. An award-winning performer and composer, he has released two albums for carillon and performed widely across North America and Europe. Watch him record his solo on YouTube and check out his site at joeybrink.com.----LINKS-----SUPPORT STRONG SONGS!Paypal | Patreon.com/StrongsongsMERCH STOREstore.strongsongspodcast.comSOCIAL MEDIAIG: @Kirk_Hamilton | Threads: @Kirk_HamiltonNEWSLETTERhttps://kirkhamilton.substack.com/subscribeJOIN THE DISCORDhttps://discord.gg/GCvKqAM8SmOUTRO SOLO PLAY-A-LONG:https://soundcloud.com/kirkhamilton/strong-songs-outro-music-no-soloSTRONG SONGS PLAYLISTSSpotify | Apple Music | YouTube Music--------------------JULY 2023 WHOLE-NOTE PATRONSCatherine WarnerDamon WhiteKaya WoodallDan AustinJay SwartzMiriam JoySEAN D WINNIERushDaniel Hannon-BarryAshley HoagChristopher MillerJamie WhiteChristopher McConnellDavid MascettiJoe LaskaKen HirshJezMelanie AndrichJenness GardnerJeanneret Manning Family FourDave SharpeSami SamhuriAccessViolationRyan TorvikElliot Jay O'NeillAndre BremerMark SchechterDave FloreyJULY 2023 HALF-NOTE PATRONSCallum WebbLynda MacNeilDick MorganZach WamplerBen SteinSusan GreenSean MurphyJake YumatillaAlan BroughRandal VegterGo Birds!Jeff SpeckSamuel MillettWhit SidenerChance McClainRobert Granatdave malloyTim RosenwongNick Gallowayjohn halpinPeter HardingDavidMeghan O'LearyJohn BaumanDax and Dane HuddlestonMartín SalíasTim HowesStu BakerSteve MartinoDr Arthur A GrayCarolinaGary PierceMatt BaxterGiantPredatoryMolluskLuigi BocciaRob AlbrightE Margaret WartonCharles McGeeCatherine ClauseEthan BaumanRenee DowningKenIsWearingAHatJordan BlockAaron WadeTravis PollardJamieDeebsPortland Eye CareCarrie SchneiderRichard SneddonJulian RoleffDoreen CarlsonDavid McDarbyWendy GilchristElliot RosenLisa TurnerPaul WayperBruno GaetaKenneth JungAdam StofskyZak RemerRishi SahayJason ReitmanAilie FraserVonNATALIE MISTILISJosh SingerPhino DeLeonAmy Lynn ThornsenAdam WKelli BrockingtonStephen RawlingsVictoria YuBrad Clarkmino caposselaSteve PaquinDavid JoskeEmma SklarBernard KhooRobert HeuerMatthew GoldenDavid NoahGeraldine ButlerRichard CambierMadeleine MaderJason PrattAbbie BergDoug BelewDermot CrowleyAchint SrivastavaRyan RairighMichael BermanOlivia BishopJohn GisselquistLinda DuffyLiz SegerEoin de BurcaKevin PotterM Shane BordersDallas HockleyJason GerryNathan GouwensLauren ReayEric PrestemonCookies250Damian BradyAngela LivingstoneDavid FriedmanSarah SulanDiane HughesMichael CasnerLowell MeyerStephen TsoneffLorenz SchwarzWenJack SjogrenGeoff GoldenRobyn FraserPascal RuegerRandy SouzaJCClare HolbertonDiane TurnerTom ColemanMark PerryDhu WikMelEric HelmJake RobertsJonathan DanielsMichael FlahertyJarrod SchindlerCaro Fieldmichael bochnerNaomi WatsonDavid CushmanAlexanderGavin DoigSam FennTanner MortonAJ SchusterJennifer BushDavid StroudAmanda FurlottiAndrew BakerJules BaileyAndrew FairL.B. MorseBrian AmoebasBrett DouvilleJeffrey OlsonMatt BetzelMuellerNate from KalamazooMelanie StiversRichard TollerAlexander PolsonEarl LozadaJustin McElroyArjun SharmaJames JohnsonKevin MorrellColin Hodo
An absolutely astonishing collection of songs this week. And an amazing story, with surprise appearances, proper villains, and music that endures in remarkable ways. Killing Me Softly With His Song, originally by Lori Lieberman, covered by Roberta Flack, and by The Fugees. Outro music is Schoolhouse Rock! The Great American Melting Pot, sung by Lori Lieberman.
Lori Lieberman is a singer-songwriter who got her start in the 70s with a song called, "Killing Me Softly", and after an extended hiatus, resumed her career in the 90s, and has released many albums since. My recent YouTube video on Killing Me Softly explored The Fugees' version, Roberta Flack's version, and told Lori's story. Today I'm thrilled to play my recent conversation with Lori, discussing this song, her career, and her upcoming performances. Find Lori Lieberman online at https://lorilieberman.com/Full video breakdown of "Killing Me Softly": https://www.youtube.com/watch?v=d2xBQgYIqz8
In the first of 7 podcasts recorded at T.H.E. Show 2023, we begin our conversation with Danish high-end audio manufacturer, Gryphon Audio Designs. We speak with Joseph Cali, owner of the premiere Southern California dealer for this ultra high-end Danish brand. Topics include Joe's rich history in high-end audio, with a special focus on Gryphon Audio electronics and loudspeakers, as well the love of music that led him to connect with Gryphon.Currently, Joe is the CEO of Joseph Cali Systems Design, a bespoke high-end audio integrator with two locations in Los Angeles; however, he started as a Gryphon Dealer in 2017 in NY where he opened a dedicated Gryphon Demo System Showroom inside the Stereo Exchange Loft.Joseph has a storied history in hi-fi and music as well as film and TV. He was a professional actor, with starring and co-starring roles in “Saturday Night Fever”, “The Competition”, "The Lonely Lady”, “Voices”, "Suicide Kings”, "Today's FBI”, and “Flatbush”. He has worked as a recording Engineer and Executive Producer on Lori Lieberman albums: Monterey, Bend Like Steel, Gun Metal Sky, Ready For The Storm, and The Girl and The Cat, and will continue those duties on future Lori Lieberman productions. He also Executive Produced: A Thousand Dreams, Home Of Whispers and Gone Is The Girl for Pope Music, and Truly for Drive On Records. In addition, he co-founded Cello Music and Film Systems with the renowned Mark Levinson. Joseph has had a love affair with music since his parents pushed back the dining room table, put big band music on the RCA HiFi Console and danced the nights away. From there, he joined the Columbia Record Club in High School in the mid 60's and had a Garrard Turntable with a Stanton cartridge, KLH speakers and a Kenwood integrated amp. The obsession never stopped. System after system, for over 50 years from Audio Research and Magneplanars to his advocacy of Cello, and now Gryphon, sharing his love of music is in his soul.https://jcsystemsdesign.comhttps://gryphon-audio.dkhttps://www.ecoustics.com/news/gryphon-audio-the-show-2023/Thank you to our sponsors Q Acoustics & SVS for the support of our programming!https://www.qacoustics.comhttps://www.svsound.comThis episode was hosted by Brian Mitchell, eCoustics Founder & CEO and Mitch Anderson of Black Circle Studios. It was recorded on June 9, 2023 at T.H.E. Show at the Hilton Orange County/Costa Mesa.Credits:• Original intro music by The Arc of All. sourceoflightandpower.bandcamp.com• Voice Over Provided by Todd Harrell of SSP Unlimited. https://sspunlimited.com• Production by Mitch Anderson, Black Circle Studios. https://blackcircleradio.comKeep up-to-date with all the latest Hi-Fi, Headphone, Home Theater and Music news by visiting:https://www.ecoustics.com#hifi #ecoustics #listeningroom #gryphonaudio #ultralux #luxuryaudio #joecali #danishdesign #audiophile #theshow2023 #theshowsocal2023 #highendaudio #breakingthesoundbarrier
Songwriter Lori Lieberman wrote a poem about the impact Don McClean's song, "Empty Chairs" had on her. That poem became, "Killing Me Softly." Her co-writers were Norman Gimbel (lyricist) and Charles Fox (composer). They helped develop the poem into a full-fledged song. But years later, after their personal and professional relationship with Lori had gone sour, they attempted to re-write history, and claimed that the story of Lori writing the poem that became, "Killing Me Softly" was an "Urban Legend." In this episode of, "I'm All Over the Place" I sit down for an extensive conversation with Lori, whose version of "Killing Me Softly" pre-dates Roberta Flack's. We discuss her upbringing, her career, her relationship with Gimbel and Fox, and how she's doing today. Be sure to join the Patreon at http://www.patreon.com/darastarrtucker. Learn more about my music and how you can support this channel below: https://www.linktr.ee/daratuckerbSupport the show
We're releasing this Breakdown in advance of our interview with Lori Lieberman, which is coming soon! For years, it was understood that Lori Lieberman's poem about Don McClean was the inspiration behind the iconic ballad, "Killing Me Softly." Until it wasn't. Here's the story of how the person whose writing was the foundation for this Grammy-winning song was edged out of a writing credit, and later, denied any acknowledgement of her work being the inspiration for the classic Roberta Flack hit at all. Be sure to join the Patreon at http://www.patreon.com/darastarrtucker. Learn more about my music and how you can support this channel below: https://www.linktr.ee/daratuckerbhttps://www.patreon.com/darastarrtuckerhttps://www.tiktok.com/@darastarrtucker https://www.facebook.com/darastarrtuckerhttps://www.instagram.com/daratuckerbhttps://www.twitter.com/darastarrtuckerhttps://www.darastarrtucker.comSupport the show
We are thrilled to have Rich Terfry join us for this episode. Rich has been the host of CBC Radio 2's "Drive" since 2008. Besides his work for CBC Music, Rich is a published author who is also known as Buck 65 - a Juno-winning alternative hip hop artist. Today we examine Rod Stewart's glorious cover of Tom Waits' "Downtown Train." Links: Our Mixtape Tom Waits Original Rod Stewart Version Patty Smythe Version Bob Seeger Version Boy Meets Girl Version Buck 65 Bandcamp Page You can find us on Instagram, Facebook, Twitter, Masadon, and our website. You can email us at BandFGuiltFree@gmail.com, too. Here is our Spotify playlist featuring every song we've featured. Our theme music is by the incredibly talented Ian McGlynn. Transcript (best read on our website) Intro Music Frank: [0:22] So today on Bill and Frank's Guilt-Free Pleasures, we have a Chicken or the Egg song. Was it Downtown Train that inspired Rod Stewart's love of model trains? Or was it his love of model trains that inspired him to cover this song? That's what we're kind of looking at a little bit. Well, not at all, but that's a it's a philosophical question that that I believe needs to be asked. And also today we're really excited to have a guest with us today, Rich Terfry who some of you may know from CBC Radio 1. Rich Terfry: [0:59] Radio 2, CBC Music as we refer to it now. Frank: [1:07] Radio 2. Yes, sorry. Yeah. So Rich Terfry has been good enough to join us today and talk about this song. And I know that you're on the radio and everything, but I can tell you're a little bit intimidated with our $25 mic stands and our towels for soundproofing, but we encourage you just to be yourself here today. Rich Terfry: [1:23] Sorry, yeah. [1:23] I'll do my best. This is much nicer than my setup at work here, so. Frank: [1:27] I'm not saying a whole lot for CBC are we? So yeah today we're looking at Downtown Train by Rod Stewart but before we talk about Downtown Train by Rod Stewart, we need to talk about Downtown Train by Tom Waits, because he was the guy that wrote the song and originally recorded it back in 1985. Bill: [1:49] Right, and that was on his Rain Dogs album, which is his most popular album, at least until... It's hard to tell... Frank: [1:57] And at least until Scarlett Johansson did her cover album, right? Bill: [2:00] Right, right, right. Rich Terfry: [2:01] Certainly a classic. Yeah. And often when people talk, Tom Waits, one of if not the first album that tends to come up in conversation. Frank: [2:12] I think it's probably maybe the most accessible. Maybe so. Yeah. Rich Terfry: [2:15] Maybe so. Bill: [2:16] Our friend Eric Stewart, no relation to Rod, sent, I asked him, I sent him a text far too Bill: [2:24] late last night asking why he's a big Tom Waits fan and asked him to tell me why Downtown Train works so well on Rain Dogs and he said I think because in the first three quarters of the album he makes the listener work so hard to find the melody that when you finally get to something that's even close to a radio song it comes as a relief. Consonance is only pleasing in the presence of dissonance. Frank: [2:49] I understood 70% of those words. Rich Terfry: [2:52] Yeah, I think the simple way to put it is that Rain Dogs is kind of a weird record. And then in a strange way, Downtown Train is a sore thumb. Because all of a sudden, here's like a pretty straight up standard, you know, good old structured pop song in the midst of all this weirdness. Bill: [3:39] There's talk that this was sort of like rock star bait, that there's rumors that Tom Waits had finally got his publishing to himself, and that they said that this song was put out there to sort of um... Lure. Yes. Rich Terfry: [3:51] Lure a bigger artist to, you know, specifically for the purpose of covering it. Bill: [3:59] Yeah. And allowing him to take some time off. Apparently the cover, one version I read was that allowed Tom Waits to take a couple years off to raise his kids. Yeah. Rod Stewart's version is it put in a pool. That's about to be quite a pool if it's 1989 royalties, I would think. Frank: [4:10] Yeah, I just thought it was, yeah. Rich Terfry: [4:38] So I've read a few Tom Waits biographies, none of which he kind of participated in the writing of, because I don't think that's really what he does. But some people very close to him believe that, that he was really doing that, that he was specifically trying to create cover bait, basically, with this song, and maybe a few others that he's written. Just, you know, throw in the potential hits out there, just waiting for someone to take the bait and make them some money. Bill: [5:10] If Rod Stewart wants to cover one of our podcasts... Frank: [5:12] Hey, put on American songbook like 47 or whatever he's on right now. Rich Terfry: [5:19] But don't forget, you know, Tom Waits, so the first chapter, if you will, of his career was very different from where he ended up in the 80s with this trilogy of records. Really, right? People talk about rain dogs, Swordfish Trombones and Frank's Wild Years is sort of a trilogy where he really started to experiment, started to become the guy that ultimately he became and sort of is now. But before that in the 70s, although it was still a little different from you know kind of what might have been on the pop charts, he was more of a songsmith less the experimenter back then. So he had this in He knew how to write a song. Always did, I would say. Bill: [6:05] And so you have Bob Seeger hearing this and saying, this is my ticket. Frank: [6:11] Before that, Patty Smythe did a cover of it too. She covered and recorded and released it in 87. Bill: [6:14] Oh yeah, yeah you're right. Frank: [6:19] It made it on the charts, I think it charted at 93. Of all the covers that I've heard, I'm gonna say that hers is my favorite. Bill: [6:28] That's tough for you, because I know Rod Stewart means so much. Frank: [6:33] He has a big spot in my heart. [6:59] Then that brings up the whole Bob Seeger controversy, right? So the story that I read anyways was that Bob Seeger recorded the song and he was gonna record an entire album surrounding the song and that was his idea and he played it for Rod Stewart and then like a month after that Rod Stewart just recorded Downtown Train just as a one off to add on to a greatest hits compilation. Rich Terfry: [7:30] And managed to release it before Bob Seeger was able to. Frank: [7:34] Yeah, so Bob's like laboring on this entire album, which is built around Downtown Train. And Rod's just like, Here's a one off and I'm going to release it on my on my greatest hits here. So I don't know, like, so it caused a rift between the two them because they were friends and now they're foes. Rich Terfry: [7:54] Yeah, they say Bob Seeger was genuinely ticked, and kind of felt like Rod Stewart's move kind of ruined it for him. Frank: [8:02] Yeah, yeah. Bill: [8:03] And it was the end of Seeger's had this big run until around 87, 88, I think. He actually scored a number one, the song called Shakedown on the Beverly Hills Cop 2 soundtrack. Frank: [8:14] Oh, yeah, that's right. Bill: [8:15] And it looked like, how is that number one? I remember hearing, I thought it was one of those awful throw offs they put on movie soundtracks. Or like, okay, there's one song like Shakedown, who's that? You know, as a kid, but I guess it went to number one. I should probably re-listen to it. But he was seeing Downtown Train, I think, either as a transition or like as, a big move for him as an artist. The story I heard is he told Rod Stewart about the song but hadn't played it for him and get this he told to him on a train. Rich Terfry: [8:44] The plot thickens. Thanks for watching! Bill: [8:47] And then yeah now Rod Stewart's version and I I kind of believe him he's like oh I don't remember. Frank: [8:47] Layers upon layers. Bill: [8:53] That and it's believable to me that Bob Seeger might have been pouring out his heart and Rod Stewart at this stage of his life might not have been paying close attention, but he's got a lot of women coming in and out of different rooms and his autobiography sound like he was quite a wild man even at his age then. Frank: [9:12] Well, yeah. Bill: [9:13] Here's the tough part. Rod Stewart was 44 years old when he recorded this. Frank: [9:20] Okay. Bill: [9:20] We are 45. Frank: [9:23] I've missed my downtown train year. Bill: [9:26] You did, and Rod Stewart, by the time he was doing Downton Train, had a whole entire career. Frank: [9:31] Yeah, I've had a career. I've had a number of careers. and just keep losing them because of gross incompetence. Bill: [9:32] Are we familiar with the story of how Rod Stewart claims that he heard the song for the first time? Rich Terfry: [9:38] I don't know if I am either. Bill: [9:49] Well, I got it from his autobiography and some mean-spirited writer online said "his autobiography" or "whoever wrote his autobiography." He was just saying he didn't write his autobiography. Frank: [10:04] Well Rod Stewart doesn't write his own songs either so why would he write his autobiography? Bill: [10:09] Well, he did. He can write a song. Frank: [10:10] He can write his own songs. No, he can. Bill: [10:11] This is the great. I guess this this sort of marked a moment where he changed directions a bit. At least they talk about this. I'll just retell it. I was gonna read it, then I realized it's too long. So his manager came in, I think it was his manager, came in with a tape player. So this is 1989. Plays Tom Waits, Downtown Train for him. And he says to Rod Stewart, holds his hand up and says, don't speak. Plays it. Rod Stewart is listening. Plays the whole entire Downtown Train. Tom Waits stops it. And then he says, don't speak. And he plays it again. Third time. Don't speak. plays it again now Rod Stewart is singing along with it he's like I want this the song has become mine or I want to sing this song and I want to put it on the album but he's saying that's the first time he heard of the song so of, course Bob Seeger's like we talked about this on the train but Rod Stewart. Frank: [11:01] The train. That all makes sense now. Models, model trains, trains. There's a Venn diagram for Rod Stewart's life. Bill: [11:03] Might have been thinking model trains or models in general and so was yeah yeah. [11:11] Well this is the perfect song for him. Rod Stewart said his eight-year-old son Rich Terfry: [11:15] Yeah. Bill: [11:17] came into the room and says, what was that awful sound? Who is that guy singing? And Rod Stewart would say, well, Tom Wait's voice, although he loves Tom Wait's voice, this is an acquired taste. Frank: [11:28] Yeah. It's kind of, it's a pop voice. Bill: [11:28] Whereas Rod Stewart's is like a mild coffee. Rich Terfry: [11:35] Both got a bit of whether you'd call it gravel or gruff or scratchiness though, there is a quality to a degree, you know, Tom Waits is kind of cranked up to 11 but. Frank: [11:49] Yeah, yeah. Tom Waits is like a coal fire. Rich Terfry: [11:51] You're right. And you could argue that at least, you know, at times in his catalog that Bob Seeger dabbled in a little bit of that as well. and so I've wondered if I don't know the question popped into my to my head when you know Tom Waits is lay in this trap was he thinking specifically like you know I'll set this one out there for the gravelly voiced bros wait till they hear. Frank: [12:20] Yeah, because because at that, because at the time, like that would be 85. Right? So like Bruce Springsteen is a huge popularity. And then just follow the road down there was. Rich Terfry: [12:22] This. Frank: [12:31] Springsteen, Brian Adams, Rod Stewart, like they all have that, sort of gruffness in their voice. Rich Terfry: [12:38] They hear Tom Waits and think I can shine this up just enough. Frank: [12:41] Yeah, Tom Waits, the godfather of gravel. Rich Terfry: [12:44] Yeah. Yeah. Bill: [12:45] And the Destroyer of Friendships, I guess too. Because if he hadn't put that out, maybe Bob Seeger would still be buddies with Rod. Frank: [12:48] Oh, yeah. [12:52] They recorded an album Rod and Bob. Rich Terfry: [12:54] That was good. Yeah. Bill: [12:58] All right, so we got this. This is released on his Storytellers album, The Greatest Hits. So I thought I kept looking for it on an album. They released a demo of it, or an early version of this on his Vagabond album from 91, the Deluxe edition. It's actually surprisingly different in a way that it sounded a little closer to Tom, Waits. Yeah, Rodster's, yeah, his voice was like, he had a bit more rasp, but it was like phlegmy. Rich Terfry: [13:22] There's no way I can do that. Bill: [13:29] Rasp which really disgusted me. As I listened to it, I realized I do have issues. Clear that comes up. Yeah, yeah, I turn the taps on if someone's using a bathroom too close to me. So it's a. [14:12] So his early version actually sounded closer to Waits or at least it seemed like something that he would been used to the Tom Waits version And then maybe was still in that zone, but then I don't not sure how much Trevor Horn had to I mean, he's the producer, But he takes it and brings it into full rod or at least full late 80s rod. Yeah. Frank: [14:32] Yeah, okay. Yeah. Yeah, what's a Oh, that's right. Yeah, he was on we talked about what the do they know it's Christmas. Bill: [14:34] We've talked Trevor Horn before He's the guy in the bugles with the thick glasses? Frank: [14:44] Right? Yeah. So, and researching the song. Yeah, you're looking you're looking Rod Stewart does his version and the, guy playing the slide guitar is Jeff Beck on this version and I diving like back deeper as far as Wikipedia was gonna take me I didn't know that Rod Stewart played with Jeff Beck like post yard birds no is before faces let me find it here oh yeah Stewart he he joined the Jeff. Bill: [15:07] Was it in Faces? Were they in Faces? No. Frank: [15:17] Beck group which is a super original name as a vocalist and sometimes songwriter So yeah, I guess he did write songs. Bill: [15:25] ... You heard Every Picture Tells a Story? [15:27] It's off on the side here, but Every Picture Tells a Story by Rod Stewart is phenomenal. Like, as an album. Frank: [15:34] Okay, when was that album? That was... 71. Okay. Bill: [15:35] Like 1971. It's so good that it makes it tough to listen to his later stuff just, because of Rod Stewart's capability as a singer and what direction he could have gone in that he he picked a path that was easy money and an easy easy living, but he had he had a lot of grit and. Rich Terfry: [15:57] Chutzpah. Bill: [16:00] Yes, he had a lot of chutzpah. Rich Terfry: [16:02] You know, I don't know if this is the right moment to interject this, but I find that in the story of both of the versions of this song that we're looking at today, the guest, guitarist really comes up as a big part of the story on both. Because famously, Keith Richards contributed to the Rain Dogs album, but it was GE Smith, who was the Saturday Night Live band leader who played the guitar on Tom, Waits' Downtown Train, who as far as you know guitar slingers mid-80s you know kind of would have been one of the the top top guns out there and so I you know you got to think Rod Stewart's probably thinking we're gonna have to bring in a real hot guitar player on this one who you know when you're talking legendary, guitarists you don't you don't get too far down the list before before Jeff Beck's name pops up. Frank: [16:57] Okay, cool. I did not know that GE Smith because GE Smith I was always introduced like my only knowledge of him was honestly from the Saturday Night Live band And that was it. And I was just like, who's this long haired skeleton? Like, why is he in charge of the band? Rich Terfry: [17:10] Yeah yeah he was you know kind of a studio guy I think you know I'm sure he probably made some records as well but he was a kind of a studio guitarist played on a lot of records I wouldn't be able to rhyme off you know kind of the, discography here and now but I know he played on some records but yeah interesting that you know they both brought in some you know some big guns to play the solos on these songs. Bill: [17:37] When I think about those two songs, like the Downtown Train, Tom Waits version, I think about that guitar. Because that guitar really, it's kind of crying and it makes you feel that sort of longing. [17:59] And when I think of Rod Stewart's Downtown Train, I don't think anything about the guitar. I'd have to re-listen to think about that guitar again. I can just think of Rod Stewart, saying oh baby and and making sounds and I'd never think about the guitar but interesting, I wonder how Jeff Beck felt about it. Frank: [18:16] Oh, they're buds. I think he enjoyed it. Bill: [18:18] Yeah, that's true. Okay. Frank: [18:37] I know that growing up that I had heard Rod Stewart because my dad probably had an eight track back in the day or or like you know 81 in the back seat of the Oldsmobile or whatever and we're he's playing something by Rod Stewart but I remember my sister got Gasoline Alley which was, his second album she got the tape for Christmas and it was like 1990 1991 so it would have been in around the same time that Downtown Train comes out and I'm wondering if that kind of inspired her, to like look back at his catalog and start picking up some of his music and stuff like that. But, I remember her specifically getting the tape for Christmas and like my dad and my aunt is just like Rod Stewart's like who's listening to him still because he's been around since the mid-60s. Like he's been around for a good chunk of time. Rich Terfry: [19:31] Yeah, and I would think a little bit before my time, I suppose, but the peak of his solo pop stardom, I mean, I think, you know, the average person might think, you know, kind of "do you think I'm sexy" is maybe peak, you know, Rod Stewart, which at that point would have been the better part of 10 years in the rear view mirror sort of thing. Frank: [19:45] Yeah, that Maggie Mae and all that. Yeah. Rich Terfry: [19:53] Yeah. Yeah. All that, yeah. Bill: [19:54] Now you have right before it, so 89 for me, because I'm grade six then, and I grew up listening to a lot of Elvis and Amy Grant. That was kind of, those were our two big ones. So I wasn't, yeah it was. Frank: [20:08] Oh, I'm just, I'm just picturing the duet in my mind right now. Bill: [20:11] I know if only Elvis had lived long enough he'd be, he'd definitely be doing Christian rock. So. Rich Terfry: [20:17] Alright. Bill: [20:18] I know Rod Stewart through music videos and so Forever Young came out before this. Yes. And then this little heart of mine was like released before this and this was on the greatest hits. Frank: [20:23] Yes. Yeah. Oh, yeah. Bill: [20:28] And it was the second time he did this little heart of mine. I loved it. Frank: [20:32] Yeah. Yeah. Bill: [20:33] Yeah, and then this came out and it was like wow, this is amazing So I mean Canada loved it because it went to number one. I'm pretty sure in Canada. Frank: [20:40] Yeah, downtown train went to number one in Canada and three in the states. Bill: [20:44] And it also like I started looking at his previous songs and so in Canada They often went to number one up to downtown trains. So This Old Heart of Mine went to number one I think Forever Young did really well too. So we loved Rod Stewart even in the 80s periods. Rich Terfry: [20:59] I wish I could recall this specifically, but sometime around this time, as I recall, my mom went to see him live. Okay. Yeah, so she really, and I don't have memories of her being a big time, Rod Stewart fan earlier on. Funny enough, she was actually a big Elvis fan. And I can kind of, of remember some other stuff that she would have been into late 70s, early 80s. But I think, funny enough, this 80s era Rod is where it really grabbed her. She went to see him live. I remember her, coming home from the concert that night and telling the stories of him kicking soccer balls into the, into the crowd and, you know, loving that. So that would have been in Halifax. I wish I could remember specifically what year that would have been, but I'm thinking it was right around this time. Frank: [21:52] Yeah, because I think Out of Order and then The Vagabond Heart. I think there is a bit of a maybe a bit of a resurgence. Like maybe there's a little dip and then a little bounce back at the end of the 80s, right? Bill: [22:04] In his autobiography, he talked as though he had to prove himself with Downtown Train, but I don't get it at all because he already had Forever Young and a couple other songs in the, tank. So if it's proving yourself a year after a hit, it seems weird now in our era of 2023 where, I don't know, you could go years without doing something, you're still kind of an it. But yeah, he claimed it sort of gave new life to his career. In a lot of ways, this period pads his, his live performance career. As he goes through this, now he's becoming this touring thing that can make tons of money, I think. Frank: [22:42] What's crazy to me right now is like from the beginning of his career to like when he released this album, Storytellers, that's a smaller period of time than it is from the release of that album to now and he's still releasing music. Because it's been 30 years, well 33 years now. Bill: [23:01] Holy cow. Frank: [23:02] Since that album came out, since that first greatest hits package. Bill: [23:05] Right. And he was younger than us then, than we are now. You got that math right? I'm working through this, I got issues, it's okay. Frank: [23:12] Yes. I think so. You're the math teacher. Yeah. So listening to like Rod's version versus Tom's version and I'm gonna speak about them using just their first names. Bill: [23:17] And he changed it. Frank: [23:27] Because I feel like they're familiar to me right now and and even the the covers that like Patti Smythe did and then because eventually Bob Seeger did release a cover version I think in 2011. Bill: [23:40] He didn't like his version. So all the complaining, he's listened to it and said, I don't like it and then changed it and did a new vocal and put in backup singers. Frank: [24:18] So I found the Patty Smythe and the Bob Seeger version a little more faithful to the original in terms of the music that starts off with the guitar, warble, whale, whatever it is you want to call that. But Rod Stewart comes in, it's a little softer, a little more orchestral. And in, my mind, what he's trying to do is he he started it slow. And he's just he's going for that build because he knows how to write a pop song he knows how to do well maybe this is Trevor Horn right. Bill: [24:47] Right, but this is what his voice needs to climb that mountain. Frank: [24:52] But uh yeah yeah so it's it starts off slow and it's really soft and everything and then by the end it like he's full rod. Rich Terfry: [25:00] But yeah, the arrangement on Rod Stewart's version is the most, for lack of a better term, radio-friendly. Cut down on the intro, kind of get to it, get into it a little quicker, kind of sand off some of the edges a little bit. Although strangely, the long sort of coda at the end, which is unusual for a hit song. I'm guessing maybe when it was played on the radio, there might have been some fading going on, for that whole thing. Frank: [25:30] The DJ is talking over the end of the song. Yeah, it's almost uncomfortable. Rich Terfry: [25:32] Yeah, because that is a little unusual, I must say. That's the part of the song that surprises me. That's where this version gets almost a little bit experimental, because it goes on so long. We were listening earlier, it's like, this is almost weird how long this is going on for. Bill: [25:47] It was an awkward moment for all three of us. Rich Terfry: [25:50] But otherwise, it is a very, you know, polished and cleaned up arrangement of this song, as we discussed earlier. The spotlight is somewhat taken off the guitar. And Rod Stewart's very much the star of the show on this version of it. And it really does build in a way that Tom Waits version doesn't quite have that steady upward trajectory. Frank: [26:19] It doesn't have it doesn't seem like it has a peak. It just sort of it's that it's a slow burn. Yeah Rod Stewart's version like when you hit that musical bridge and I'm assuming it's a bridge right like you're a musician you can explain do you do you know what a bridge is can you explain what a bridge is to us. Rich Terfry: [26:24] Right. [26:32] Let's call it a bridge. [26:36] I usually just simply think of it as like, sort of an instrumental passage in a song that is kind of in the middle of the song rather than at the beginning or the end. And so it's usually bridging between, say, a verse and a chorus or a chorus and a next verse or something to that effect. But yeah, usually just like an instrumental passage in the middle of the song. Frank: [26:59] OK, so I think we were right. And every every time we were asking what a bridge was. we have an answer. Yeah, yeah. Or we just end the podcast. I think that was the whole idea. The podcast was determined what a bridge was. Bill: [27:04] We finally have a succinct answer that we will now be just hitting when you ask this question next time. We'll just hit play. Rich Terfry: [27:16] . . Frank: [27:20] Well, thank you, Rich, for being on the last episode of Bill of Frank's guilt free pleasures. But but that bridge because it's climbing, climbing, climbing the entire song. But that bridge. Rich Terfry: [27:24] . Frank: [27:31] Like it takes it up like a steep ramp at that point. And then it comes to that end where he goes full Stewart. Bill: [27:53] I've written down here about my misheard lyrics. I was reading the lyrics. I'm like, that's not what I heard when I would listen to the Rod Stewart version. And I think the reason is, the Tom Waits version, there's this loneliness, longing. I don't think it's creepy, but it's certainly about someone watching somebody else and waiting to see someone he's in love with, but is never going to talk to on a train. And he's a loner who sits on a train waiting for the same person to come on that train and he's there kind of following her and whatever life she leads. At, least that's what I had in my head and all the other people, the Brooklyn girls who are there, going off to go out to clubs or whatever was going on then. That's what I hear when I hear the Tom Waits version. Now the Rod Stewart version, I have no sense that this guy's a loner, or that there's any chance that she's not going to get together with him. So when I read the lyrics, I just hear it differently like there's a line so the beginning was outside another yellow moon, Has punched a hole in the nighttime mist I climbed through the window and down to the street. I'm shining like a new dime, That's Tom Waits, but when I was a kid, I don't know if you thought this but I'm like, oh Rod Stewart, He's shining like a new diamond because yeah, because Rod Stewart's a diamond. Frank: [29:11] That's what I heard too, yeah. Bill: [29:13] I keep listening back and I only hear diamond because it's Rod Stewart and he's worth a ton of money, But the dime is super depressing. So this is the Tom Waits who makes rings out of spoons, right, for somebody to get married, whereas Rod Stewart has big diamonds. Rich Terfry: [30:05] You know, and interestingly, although you could say that in the context of the Rain Dogs album that Tom Waits sort of, you know, cleans things up a little bit on Downtown Train, we talked about it being a bit of a sore thumb. And it's true, you see it in the lyrics as well as, you know, the instrumentation that's happening, the arrangement and everything else. But there, you know, just a few little, Tom Wait-isms in there, even the mere mention of a carnival in the lyrics and you know maybe this comes from you know knowing too much about these these two individuals. I can imagine Tom Waits hanging out at a carnival. I don't picture Rod Stewart kind. [30:47] Of roaming around a fairgrounds you know just soaking up the vibes and then although Tom Waits is a California guy he spent some years in New York you know recording these albums and exploring some new musical ideas. And so knowing that he was living in New York at the time, him mentioning the Brooklyn Girls and so on, like yeah, checks out. Somehow, I don't know, Rod Stewart in Brooklyn, kind of scrappy Rod Stewart, the performances is great and he delivers and so it's believable in that sense. But when you really kind of get in there and you take a close look at the lyrics, I don't I don't know if I'm buying. First of all, Rod Stewart, I'm always imagining a subway train rather than a commuter interstate train or whatever. Rod Stewart riding the F train or whatever in New York. I don't see it, let alone in Brooklyn. Frank: [31:51] Unless he like rent it out for himself and that's about it, right? Rich Terfry: [31:54] Yeah, right. Maybe. And then like I said, hanging out at the carnival grounds. Frank: [32:01] Yeah, right. Maybe. Rich Terfry: [32:01] You know, not so sure. But it is interesting. And to me, that's the one real Tom Waits tell in the lyrics, you know, because he had a thing for all things carnival. Frank: [32:09] Yeah. [32:13] Yeah. Well, and it comes through on that rain dogs album, too, because there's a lot of like carnival sounds on it right? Rich Terfry: [32:16] Yeah. [32:16] Oh, sure does. Yeah, absolutely. Bill: [32:19] And it's like the dark corners of a carnival, even though I imagine everything's circular in a carnival, but there's always darkness somewhere in a corner and there's Tom. Rich Terfry: [32:26] Oh, the sideshow is where that's where Tom's hanging out. Frank: [32:30] Yeah yeah yeah that's where the freak shows are yeah yeah yeah yeah. [32:40] The opening line is something that I really love. Outside of another yellow moon has punched a hole than a nighttime mist. And I like that. It's very similar to me to Bruce Coburn's Lovers in a Dangerous Time, where he says you got to kick at the darkness till it bleeds daylight. Like, it's very visceral, the lyric, and you can imagine it, you can see it happening, you can see an action actually happening, you can like see the moon punching through the miss or it's almost a violent act but there's beauty in that violence. Rich Terfry: [33:12] It's a beautiful line. I mean, there's real poetry in these lyrics, and I would say more so than your average pop song, even by 80s standards. And so I must say, for me, for as much as I admire Tom Waits as a pop song, to see a few times in his career, his songs being covered and being turned into hits, surprises me in a real pleasant way because you know often you don't get this level of poetry in a number one hit pop song. Maybe from a Bruce Coburn the odd person who's that kind of writer but and so maybe this really says something about you know Rod Stewart's talent that he's able to make something that you know might otherwise be utterly inaccessible for most people in Tom Wade's hands turns into as big a hit as it could possibly be in Rod Stewart's hands where everyone loves it. Yeah. Basically. Bill: [34:08] This is why I have no animosity to this song. Like I might make fun of Rod Stewart once in a while, but I will listen to this song the whole way through. And even those last 40 seconds. But there is something about him bringing Tom Waits to the masses. So for me as a kid, I didn't know Tom Waits. He was terrifying. There's a video with him on a tricycle and he had devil horns. Rich Terfry: [34:28] "I Don't Want To Grow Up." Bill: [34:30] It was on Much. Yeah, I did. I couldn't, I just turned the station. I couldn't watch that, but this I could. And then years later, when I grew up, sometime in my mid 30s, I finally was ready to listen to Rain Dogs. Like, oh wow, this is fantastic. But it really, if it wasn't for this, I wouldn't have got there. Rich Terfry: [34:48] Yeah. Maybe it's worth mentioning, I don't know about you, Frank, but I only, like you, I only became a Tom Waits fan later. I heard the Rod Stewart version first. I became familiar anyway with the Rod Stewart version before I did the Tom Waits version. Is that the same for you? Frank: [35:03] Oh, same here. Yeah, yeah. 100% I kind of knew who Tom weights was a little bit but really didn't get into understanding him. I don't still don't think I understand him. But but like, yeah, gaining an appreciation until our friend, Eric Stewart. Like, because he's such a big fan and like he plays stuff and he's just like, Oh, geez, this is good. And you listen to his like, Oh, geez, this is really good. So you start digging into it a little bit more. You were talking about that misheard lyric and there's another one. Rich Terfry: [35:17] But gaining some appreciation. Frank: [35:37] That in the Rod Stewart version, I always heard it as when I see you tonight on a downtown train. And that was a certainty. It's like when I see you because you're going to be there and I'm going to be there. But the line will I see you tonight? It just. Bill: [35:43] Yes. Frank: [35:52] Odd. It turns it right around on its head, right? And it just makes it even more sad I guess it's it's but it's so beautiful. Rich Terfry: [35:58] Right, more longing and... Bill: [36:10] Christmas night while I was listening to this song. I'm like, oh I kept hearing it seeing Will I'm like, no, it's gotta be when like you said I wrote down Rod Stewart's going to win the girl So when he sees her he's going to see her and they and they're going to be together if they're not already. Frank: [36:25] Yeah, it's a certainty. Rich Terfry: [36:26] Whereas with the Tom Waits version I absolutely assume he won't. Frank: [36:29] Yeah, well exactly. Bill: [36:31] Oh yeah, he's never talked to her. Rich Terfry: [36:32] Yeah, this is, there's much more distance. Bill: [36:45] So second verse, maybe second verse is short. The downtown trains are full, full of all them Brooklyn girls, trying so hard to break out of their little worlds. And then this line here kind of confuses me. You wave your hand and they scatter like crows. They have nothing that'll ever capture your heart. They're just thorns without the rose. Be careful of them in the dark. [37:39] Rod Stewart's pronunciation of dark really throws me off whenever I'm saying like he I kind of wish Trevor Horn's like no Could you say dark again? It's kind of a weird our thing going on, So who's scouring my crows? Are they the Brooklyn girls? Frank: [37:53] Yeah, I think so. Because they don't have anything to offer. That this is my take on it. Like, sorry, not that they don't have anything to offer. But there's nothing of interest to, him at that point, because he's, you know, looking for that girl that he's looking for on that downtown train. That's my take. I don't know, you guys? Rich Terfry: [38:15] I've always just loved the image and like you were saying with the first line of the song it just really conjures a strong image in my mind I've never really been able to get past that to even think about it too much I just love that image. Bill: [38:28] Rod Stewart said that Tom Waits can do imagery so well as a songwriter and then Rod Stewart's like, I have to work on that, which is classic Rod Stewart sort of like, I gotta work on that. Frank: [38:40] It's like I try. Bill: [38:40] And then he said, I just write from the heart. That's what I do. I'm like, you're such a... Frank: [38:44] This is why I love Rod Stewart so much because he's all feeling. That's all I am. Bill: [38:48] He's all feeling. But the thorns without the rose, it's such a great image. And I like what you say, that Rich is like, just the image being there is enough. Like I can't really pierce through it. There's a little bit of thorn imagery there, but I don't totally know, but that what he paints there, is something that's true. Frank: [39:09] Yeah. [39:09] Yeah. Yeah, yeah. Bill: [39:11] If that makes sense. And there's a little line before, if I was the one you chose to be your only one. [39:19] Oh baby, can you hear me now? Can you hear me now? Frank: [39:22] Oh yeah, yeah, yeah. Bill: [39:23] So with Ron Rod Stewart saying, Oh baby, it's not like Tom White saying, Oh baby, where it's just, let's sort of the walk away from it, but his old baby is like, okay so you're getting you're getting you're getting with it. Frank: [39:34] You're getting the girl. [39:48] Well then then you jump into the the the course, which is, you, know, will I see you tonight on a downtown train? Every night every night is just the same on a downtown train. I like I like it. It's it's a good little course. It does its job and everything and that question of will will I see you tonight? I really like that reading through the lyrics as opposed to listening to the lyrics and understanding what the actual lyric was it like you said it just adds that longing. Rich Terfry: [40:38] It's, in my experience, rare touching on what you just mentioned, Frank, where reading the lyrics of a pop song gives you a whole other rewarding experience often. Otherwise, with a lot of pop songs, it really does nothing to heighten your experience of it. If anything, it might even drag it down. It's like, oh, these lyrics are terrible. Frank: [41:00] Yeah. Rich Terfry: [41:00] It's all just, a lot of songs are just carried by the melody. And the melody of this song is very, very strong as well. and I think that's what makes, I think you could argue anyhow, the chorus of this song memorable is the melody of it is so great. But it's true that there's a lot of people out there don't even really pay a lot of attention to lyrics, but if you're one such person and you do decide one day to look them up and, you read them, you're going to be floored. Whereas a lot of pop songs, they're not really going to give you a lot to sink your teeth but there's a lot going on here. Frank: [41:31] Well, I mean, you would have been similar to us like today, like with everything streaming and all of that. You just listen to songs. But when I was really getting into music in the 90s, you had CDs and you had CD cases. And that was my favorite thing to do was open up, check out the artwork and follow along with the lyrics, with the songs and then try and experience them that way. And you're absolutely right. you gain a better appreciation of the song. Rich Terfry: [41:58] And I think that, you know, I lament that a little bit for, you know, sort of younger generations today. Although it's easy enough, you know, everything's on online, it's easy enough to Google lyrics, but it's not always necessarily a part of the experience when you're streaming. It's not right there like it is if you're, you know, kind of, you know, playing a CD and you have the case in your hands or for that matter, you know, on an LP or something like that. There's that function if you're using Apple Music where if you, you know, tap a couple things and you can bring up the lyrics, but it's sort of a little bit of effort to do. But I sometimes wonder if young people are really, you know, spending time with lyrics of songs the way we used to automatically because the experience you described I think was a fairly universal one. I think everyone loved doing that. Frank: [42:46] Yeah, yeah, yeah. And there was always the because there are different types of CD cases to like there's the there's the book, then there's the ones that would just fold out lengthwise. Rich Terfry: [42:55] Fold. [42:55] Poster, sure. Never get it right. Frank: [42:56] And then there was the ones that folded out almost into a poster and then trying to fold those back where it was just terrible. Bill: [43:02] "Fully Completely." I remember looking like what? Oh, come on. That's not how you put lyrics on a sheet Don't be crazy and then REM would come out with like a booklet and then you just realize they're Michael Stipe pictures and that. Frank: [43:08] Yeah. Bill: [43:14] Made me so angry. We're like you could have put the lyrics on I still don't know what you're saying. Rich Terfry: [43:19] I don't think he wanted you to know what he was saying, But that's a whole other discussion right there. Bill: [43:22] Yeah, yeah. Frank: [43:24] Well, I bet the there's the third verse we can we can go we talked about it a little bit but it's like the I know your window and I know it's late. Bill: [43:26] Alright Frank, we hitting every single lyric on this song? Frank: [43:38] I know your stairs and your doorway, which I think could be taken as creepy. But again, there's, there's from Tom Waits, like from his perspective, it's like, I don't find it creepy. find it sad. [44:23] Yeah, he's because he's going there and he's. Bill: [44:25] It makes me think a little bit of Taxi Driver, a little bit, which is a little more creepy. But when Rod Stewart says it, I'm like, well, of course, because he's going there. to date her, yeah. Rich Terfry: [45:07] Now, in my mind, I see those lines, that verse. And it adds a little intrigue to the song, because I start to wonder, oh, is there actually a bit of an established relationship here? He's been to her house. Maybe there's more going on in this relationship than first meets the eye. Maybe. It's just, in my mind, raised as a question. Could go either way. Maybe there's more familiarity there there than we've been led to believe to this point or yeah there it is a little creepier than we first thought where he's you know the creepin' is going beyond the train and it's you know. Frank: [45:49] So we kind of talked about this a little bit before when we were listening to the song, but but what's your favorite part in the song? the Rod Stewart version. Rich Terfry: [46:00] Well I'll say something controversial okay and let me give you a little context before I say this, I'm dropping a bomb here. I know you know this, but I'm a Tom Waits fan. And I like a lot of his recent work. Although I would probably say my three favorite, Tom Waits albums is this trilogy that is sort of before us here today, Rain Dogs, Swordfishtrombones, and Frank's Wild Years. Frank: [46:32] Which I don't think he really captured all of my wild years in that album, but you know. Rich Terfry: [46:37] Who could? No, really. In one album. But I'm the type of guy, the weirder Tom Waits gets, the more I like him. And if I was listening to, I hate to say this, but if I'm listening to Rain Dogs in the car, there might be days where a downtown train comes on. I might skip it. Bill: [47:01] This is shocking. Rich Terfry: [47:03] So, where I'm going with this, my point is, me being the kind of music listener that I am, for as strange as it is, the unusual coda at the end of Rod Stewart's version is where it starts to get interesting for me. It's like, oh, what's going on here? He's got a little trick up his sleeve here. He's not the one trick pony that maybe you might, paint him as. It's like, oh, now wait a minute. And was he inspired by Tom Waits to, you know, kind of explore some more interesting terrain at the end of the song. And maybe it's safer to kind of put it at the end. But I get excited when something makes me raise an eyebrow a little bit. I like when someone's willing to go there a little bit or experiment a bit. So although I can appreciate what, he did with the song, where he took it, that he turned it into a hit, it's interesting to compare in contrast his voice, his vocal chops to Tom Waits. But I'm actually intrigued. If Rod Stewart walked in the door right now, and I could ask him one question about the song, I'd be like, what's the deal with the outro on the song? To me, that's super interesting. Frank: [48:11] Yeah, okay, cool. Bill: [48:39] Most controversial moment in our podcast history. I think there no one has ever picked the the final coda Yeah, my favorite part of the rod stewart song is the party's not singing. Rich Terfry: [48:50] Well, how do you like them apples? Bill: [48:51] Let's do that. Yeah. Frank: [48:53] Well, that's my favorite part, too, except it's that musical bridge. Bill: [48:56] Oh, wow. [48:56] Okay, oh, is it after the carnival and heart attacks? is that rhythm? Okay. Frank: [49:01] Yeah, yeah, yeah, because there's a like a 30 second bridge there and the guitars coming in and it's a little orchestral and cinematic. And like it was always climbing, climbing, climbing. but that's when it gets steep. Rich Terfry: [49:09] Yeah, sure, absolutely. [49:14] And I should also mention, I'm a big time Jeff Beck Yardbirds fan. In terms of pure riffage, I'd probably pick him over a lot of guys, if not everybody. And so his inclusion on the song, that's pretty cool to me as well. Yeah. Frank: [49:58] Bill, favorite part? Bill: [49:59] I gotta say, when he says, oh baby, can you hear me now? Can you hear me now? I think that really is it. I just assumed he said it over and over throughout the song. He must have. Yeah, I like the Rod Stewart-isms. Yeah. Frank: [50:12] Yeah, yeah, yeah. Well, it makes it his own. Rich Terfry: [50:13] And that's exactly what I was about to say. Yeah, that's that right there is where he... It's interesting the story you were telling when he was first listening to it and there a moment came where he felt that he was taking ownership of the the song and right there is where he sort of delivered on that promise. Frank: [50:33] So we usually jump into categories towards the towards the last third of the podcast. So I've prepared rich. Should we do our mixtapes? You have a mixtape? I'm gonna let you guys go first and then I'll finish things off I have about 12 songs that I potentially. Bill: [50:42] Oh, good. Yeah. [50:50] Oh, wow. Okay, I got a low list, but I like a guest going first. And we didn't mention this at the beginning, but Richard Fry's, AKA Buck65 for listeners, especially our Canadian listeners who will know. And so when I hear the word mixtape, I know, you know, not like I'm intimidated in a good way. Rich Terfry: [51:10] Well, and although I had a little known fact, I too covered a Tom Waits song once. I should say maybe more than once, but in 99 I released an album called Man Overboard and the original, it might be most fair to say demo version of that album, included a, cover of Singapore by Tom Waits, which didn't make the final cut of the album. And then live, I used to do a very deep cut Tom Wait song, called Tabletop Joe. But anyhow, yes, this is my whole thing, putting these mixed tapes together. And so I gave it some thought. Should we jump into it here? I find it, I bet you guys have found the same thing, is that this song, Rod Stewart's version of this song, routinely pops up on these lists, a bunch of them, on the internet of songs you didn't know were covers. Now to me, that's an interesting enough category. God knows I've talked about that sort of thing on my radio show plenty. But with this particular case, there's more to it than just that. I think it fits into an even smaller category. And I wish there was more of this, where you have here. [52:32] Big-time bonafide mainstream pop star bringing into you know the spotlight and the mainstream consciousness what at best we might call sort of a cult figure. [52:50] Right? Tom Waits I mean you know he's not nobody but in in particular when we're looking at an album like Rain Dogs you know you ask the next person that walks down the street hey ever heard Rain Dogs? I'll put 50 bucks on them saying no. So know he's he's not I don't know if you could call Tom Waits a household name. I think of him in, particular the parts of his catalog that I love the most. To me I almost think of him as an underground type character, certainly a cult figure, and if not in the strictest definition of it, if you look at his body of work and maybe what inspired him and what he was interested in he's He's certainly coming from the deeps, you know what I mean? So maybe at best you could argue that he was an experimenter and whatever else who had more success with it than a lot of others. But nevertheless, I think that here we have a case where sort of, I'm trying to think of the most fair word I can use, but maybe a slightly more fringy musician is being brought into the mainstream. because a lot of the other songs that you would find on those lists of songs you didn't know were covers aren't necessarily that. I'm trying to think of a good example, but if you look at. [54:12] I Love Rock and Roll by Joan Jett, the Arrows, who wrote and recorded the original version, were a fairly successful band in their own right. And you see a lot of that on those sorts of lists. So this situation got me thinking of other cases where this was the case. case and I really wish that there were more examples of it because to me it's super interesting and exciting and more often you see it the other way around where and hopefully this isn't too, flippant a way to put it but where like an indie band will do kind of an ironic cover of some big, pop it that happens all the time sometimes it makes me roll my eyes but this is much more interesting and and the stakes are a little higher where a big time pop star will take a more obscure fringy, culty, whatever, however you want to describe it, person and cover them. So I came up with a couple examples and I don't know if they're quite as strong as today's example but I'll throw out there and this one is very similar parallel I would say Eric Clapton's version of Cocaine by JJ Kale. [55:23] JJ Cale, if you're going to compare anyone to Tom Waits, you know, if you're going to put anyone else in a category, maybe it's a guy like JJ Cale and Rod Stewart and Eric Clapton. I mean, not that, far off, right? So it's a very, very close, you know, kind of thing. Now, I don't know if you, know that The Tide is High by Blondie is a cover, but the original version of that song was by a, relatively small, certainly on an international level. [55:58] It was a Jamaican band called the Paragons, and I don't think they really had any success outside of Jamaica at all. Bill: [56:03] Wow, okay, I didn't know this either. Rich Terfry: [56:05] Really super interesting to me that the guys in Blondie even knew this song. Someone would really have to know their stuff, to know the Paragons and maybe this song in particular. To my knowledge, and I could be wrong about this, have to look it up but I don't even know I have the out the Paragon's album I don't know if their version was even ever released as a single so to me it extra super interesting maybe a real classic and one that does turn up on these lists fairly often the birds version of turn turn turn or whatever by, Pete Seeger right so you're taking something from a you know I guess a slightly more fringy genre, you know, kind of deep folk music and turning it into a big pop hit. I got a couple other good ones. This one is another fairly well-known case, but Roberta Flax, Killing Me Softly, is a cover of an extremely little-known song. What's her name? Lori Lieberman, I think, who originally, you know, singer, LA singer-songwriter, kind of played at the Troubadour, it never really became famous. The story goes that Roberta Flack just heard it, kind of on a total fluke and loved it. And then of course there's the whole other wave, the Fugees, Yeah. covering it again decades later and making it a hit all over again. Frank: [57:29] Because I remember we did, I forget which song it was, but it was a cover song. And then I said, you know, famous cover songs, where the the cover is more popular than the original. And I said, Fuji is covering Roberta Flack. And then afterwards, finding out that it was Laura Lieberman or just, I was wrong on the podcast. And that never happens. I've never said anything that was infactual on the podcast. Rich Terfry: [57:53] Yeah, yeah, yeah, sure. Bill: [57:55] Yeah, we can insert it. Don't worry. No one will know. Rich Terfry: [57:59] I'll throw out one more for you and then I'll and then I'll pass the mic as you. [58:05] Will. No, no, no. But and this one is a little more obscure, but a great example of what I'm talking about, I suppose. But What a Man by Salt and Pepper is, basically a cover. You might argue that it's like an interpretation, but it's, pretty darn close to a cover of a sort of a soul song by a woman named Linda Lindell. Let me double check that. I did write it down because I want to be sure, but I'm pretty sure it's Linda Lindell. Yes, Linda Lindell. It was just released as a 45, just sort of a one-off single. I don't even know if Linda Lindell ever recorded a full-length album. So not well-known, pretty obscure figure, of course. and Salt and Pepper had a bunch of hits. That might have been their biggest one. That was a big old hit. So, and you know, certainly another case where songs you didn't know were covers. And super interesting that, you know, this one sort of turns the tables a little bit in that, you know, we're talking about what was like, you know, kind of a soul song. Fairly sort of, you know, mainstream in its presentation, but then here's a hip hop group doing it. That in itself is a bit of a rarity, a hip hop group kind of taking on a cover. [59:26] But nevertheless, at this point in their career, Sal and Pepper, they were big pop stars, very well established, and like I said, they turned that into a big hit. So that was the first thing that popped into mind for me was, again, I don't know if it's the exact right word, but fringier artists being brought into the mainstream with a cover, because that doesn't happen a lot. In fact, those were really the only examples of that that I could find. I'm sure there are more, and if anyone can think of more, I'd love to hear them, because this is the sort of thing that really excites me. Frank: [1:00:01] Right into the right please someone write us please someone tell us something yeah but it's really cool because there's all sorts of like musical gems out there that no one knows about. Rich Terfry: [1:00:04] Yes. Drop us a line. Frank: [1:00:16] Like or sorry I shouldn't say no one but there it's not as well known and then these pop stars are are bringing them out to the forefront. And sometimes these artists can gain a second life because of it. Rich Terfry: [1:00:29] Now in the early days of rock and roll, this happened all the time, of course, right? So you think like Elvis doing, well practically every song Elvis did the early days of his career was a cover of a song recorded by some lesser known, usually a blues artist or R&B artist or something like that. But I digress. Bill: [1:00:49] I gotta say this is a big moment for me just as a radio listener because Rich Terfry does the (is it called the drive?) from about (is it three to seven?) okay so three to seven on CBC Radio Two. Rich Terfry: [1:00:57] Yeah. Bill: [1:01:03] And i would listen to it around i think is it around six o'clock that you would do the deep dive like on a friday or is it okay last hour of the show and there'd be this deep dive and. Rich Terfry: [1:01:09] Yeah, right. last hour of the show. Bill: [1:01:14] And it was my favorite part. And so- Well, the stories. Oh, it is great. Frank: [1:01:15] Oh yeah. Well the stories. Bill: [1:01:18] And so even if it was having a bad day at work and I knew I had to be leaving at six to go home, but I knew I could get this. And that was like my favorite part of the show. So I always wanted to find these deep dives. Like, so the one day you did a deep dive, on a tragically hip album, because you did every album. That's right. And so it was on Phantom Power and I was, didn't want to come out of the car, because I knew I wouldn't be able to find it because I'm like, there's gotta be, so I go online, rich to fry deep dives, like they're not available, I want like, you know, maybe a box set, it would be great for me personally or for the world, but we just got our own personal deep dive. Frank: [1:01:54] Yeah, which is fantastic. Rich Terfry: [1:01:55] Yeah, man. Bill: [1:01:56] Yeah, so that leads to my couple songs. I may be jumping on Frank's toes here, maybe, but because we think similarly, and this was the easiest way to do this, was originally I was thinking of train songs, But then I thought of songs that were like the vibe in Tom Waits, but then were covered so that they were kind of cheesier, but I couldn't, it wasn't coming up for me. So I ended up thinking of a couple train songs that were so similar. Because we were 12, I only have like three. So the most obvious one for me is Downbound Train by Bruce Springsteen, because it sounds so similar, downbound and downtown. And there's that longing and depression within the song that is kind of in the Tom Waits song. Well, there's something more joyous, even in the Tom Waits version, compared to the Bruce Springsteen. [1:02:55] But thinking of Rod Stewart's cover as very Rod Stewart, this is almost like Bruce Springsteen going, more Bruce Springsteen than usual to me in the song. Like sometimes he mutters his lines in a way that Ben Stiller would imitate Bruce Springsteen. So I liked the song. And so that was one. There was another one called Downbound Train by Chuck Berry, which was about the devil taking a guy to hell. Okay. And then there was another one called Night Train. There's a Bruce Cockburn one, which I love, but I went with the James Brown version because it was a bit more upbeat. Frank: [1:03:28] So I went straight planes trains and automobiles. That's the theme of my of my uh, well, it's modes of transportation. Bicycle Race by Queen. This has nothing to do with any sort of feel. It's just this is the theme. Modes of transportation. Fast Car by Tracy Chapman. Oh, I know right. Rich Terfry: [1:03:47] Modes of transport. Bill: [1:03:48] So, I'm going to go ahead and do a little bit of a, That's okay. Frank: [1:03:54] Midnight train to Georgia, Gladys Knight in the Pips, Pink Cadillac, Bruce Springsteen. Bill: [1:04:00] Very good. Frank: [1:04:02] Runaway Train, Soul Asylum, Aeroplane by Bjork, Get Out of My Dreams Get Into My Car by Billy Ocean, and then we are going to finish it off with Hands by Jewel. Bill: [1:04:16] Oh, no, no. You don't, that's not funny. And no, you don't walk in your hands somewhere. No, not funny. No. Frank: [1:04:17] Okay, okay, we won't put jewel on we'll put Train In Vain by The Clash. Rich Terfry: [1:04:26] You. Bill: [1:04:33] That's a good call. We haven't talked about another iconic performer we bring up most episodes. Frank: [1:04:40] The patron saint of Bill and Frank's Guilt-Free Pleasures. Yeah. Rich, your opinion. Could Michael Bolton sing this song? Rich Terfry: [1:04:48] Hmm oh downtown train yes I think so. Frank: [1:04:53] I think so, too. Rich Terfry: [1:04:54] I feel like I didn't even need to think about it long I can hear it in his voice almost immediately. Frank: [1:04:59] Especially at the end, like after that bridge that when when he's just repeating the chorus at the end, and he just sort of brings it up. That's when Michael Bolton destroys the world though, though, where he goes full Bolton and just ends the world. Bill: [1:05:11] Oh, yeah, and that Michael Bolton in 1989 is is a then is that when we got? Frank: [1:05:17] Oh, this is right in the that's right in the meat of the Michael Bolton sandwich. So I have in front of me here the the Grammys, for best male pop vocal performance, because Downtown Train was nominated in 1991. Lost to Roy Orbison's Pretty, woman. But Michael Bolton was on that list, Georgia on my mind. The year before Michael Bolton won for How Am I Supposed to Live Without You. The subsequent year, Michael Bolton wins 1992 for, When a Man Loves a Woman. But I'm looking at the list of the. Rich Terfry: [1:05:52] Right. How could he not? Frank: [1:05:56] Songs that were nominated in 91. Oh my goodness, how do you pick? So Roy Orbison wins for Pretty Woman. Another Day in Paradise, Phil Collins, Georgia on my mind, Michael Bolton. I Don't Have the heart James Ingram who's critically under appreciated in my mind Stormfront by Billy Joel and then Downtown Train by Rod Stewart 1991 I think was I think. Bill: [1:06:18] 1991? I thought this song came out in 89. Frank: [1:06:22] Was released in 90. Bill: [1:06:24] Oh right, because they would release it for so long. I got this all wrong. Rich Terfry: [1:06:27] Grammys are often, you know, a little behind. Bill: [1:06:29] Oh yeah, yeah sure. Yeah, that's right. So this comes out in 1990. Oh wow, I gotta to re- rethink about how I heard the song for the first time. I'm 14 then. That's a whole other world. Frank: [1:06:38] Yeah, that's a that's a different world. [1:06:40] Anyways, yeah, 100%. This could have been a Michael Bolton song. Could this be a Hallmark movie? Could easily become a creepy Hallmark movie. Bill: [1:06:51] Hallmark after dark. Rich Terfry: [1:06:52] Does Hallmark do creepy movies? Frank: [1:06:56] Yeah, I don't like them. Rich Terfry: [1:06:59] I mean, you know, there's some sort of romance, obviously, at the heart of this thing. So from that standpoint, like I said, if you went with the interpretation I've had where the third verse comes along, you think, oh, wait a minute, maybe these people, maybe these two know each other. Maybe it's the early days of a relationship or something, you know, in which case, maybe. But I'm with you in that, you know, it's more Scorsese, even, but Taxi Driver vibes, that hallmark. And if a hallmark movie set in New York, you know, it's like. Bill: [1:07:28] Yeah, I don't think that downtown train is taking them out to the country to like find themselves. Frank: [1:07:33] No, exactly. Rich Terfry: [1:07:38] Upper West Side, not Brooklyn. Frank: [1:07:40] Yeah, yeah. What other categories do we have? Bill: [1:07:44] You know. [1:07:44] I just thought out the top of my head when I was listening to the ending that you could do a pretty good floor routine To this song with that final moments. Yeah. Oh no with the with the thing with the. Rich Terfry: [1:07:54] Rhythmic gymnastics. [1:07:55] Yeah. Bill: [1:07:55] With the yeah yeah rhythmic gymnastics would work especially at the final moments where everyone's watching them the final sway. Rich Terfry: [1:08:01] And you're thinking just based on the gestures I'm seeing here, the ribbon. Bill: [1:08:04] Yeah it's all ribbon yeah yeah maybe some leaping it could be yeah I don't. Rich Terfry: [1:08:06] Yeah. It's all ribbon. Okay. [1:08:10] Maybe something like that. Thank you. Bill: [1:08:12] Know why I do this on a podcast but I'm I sometimes will talk with my hands yeah. Frank: [1:08:15] Can see if you can see Bill right now he's he's rhythmically flailing his arms about. Bill: [1:08:19] Yeah, yeah, yeah. Frank: [1:08:38] So we're bringing the the episode to a close and rich we just yeah thanks so much for bringing yourself and your knowledge and the insight not just to the song but musically in general and most especially telling us what a bridge is so that ended, over a year long debate in our minds. Rich Terfry: [1:08:58] I almost hate to ruin it for you, but this is fun. Have me by again sometime. I'd love to. Frank: [1:09:04] This would be fantastic. Yeah. And we want to thank the listeners for sticking it out right to the end. And, you know, we know you have it on your phones and on your computers and all that other sort of stuff. And you listen to it to the podcast wherever you are. And just wondering, will we see you tonight on a downtown train? Bill: [1:09:29] Thank you for listening to Bill and Frank's Guilt-Free Pleasures.
Roberta Flack luistert in het vliegtuig naar het album van een zeer getalenteerde zangeres genaamd Lori Lieberman. Daar hoort ze een nummer voorbijkomen dat zo te gek is, daar moet ze wel iets mee doen. Toch beland het tijdelijk op de plank totdat een andere grootheid in de muziek lucht krijgt van dat ene liedje.. Jaap Brienen vertelt je het hele verhaal achter Killing me softly with his song van Roberta Flack.
La agrupación Fugees lanzó en 1996 su álbum “The score” con el cual se anotó un éxito mundial en las listas de Hip Hop con la canción “Killing me softly”. El tema musical del grupo Fugees en una nueva versión de la canción que alcanzó el número 1 de los listados de Rhythm and Blues y Soul en 1973, interpretada por la artista estadounidense Roberta Flack, quien la grabó bajo el título “Killing me softly with his song” (Matándome suavemente con su canción). Así la escuché yo… Aunque Roberta Flack logró el éxito con su versión y la puso en el panorama mundial, la canción original fue grabada por la artista estadounidense Lori Lieberman, quien la presentó en su álbum homónimo en 1972, composición de Charles Fox y Norman Gimbel, quienes la escribieron con el título “Killing me softly with his song”. A través de los años se han realizado diferentes versiones de esta canción como la grabada por la legendaria cantante cubana Omara Portuondo para el proyecto musical “Rhythms del mundo” del año 2006 con el título “Killing me softly”. Particularmente me gusta la versión que realizó el artista español de música flamenca conocido artísticamente como Pitingo, quien la grabó con el nombre “Killing me softly with his song”. ¿Y tú, conocías el origen de esta canción? Autores: Letra: Norman Gimbel & Música: Charles Fox (estadounidenses) - Versión al español Sigfredo Ariel (cubano) Killing me softly with his song - Fugees (1996) “The score” álbum (1996) Fugees miembros: Lauryn Hill, Pras, Wyclef Jean Lauryn Hill (nombre real Lauryn Noelle Hill, estadounidense) Wyclef Jean (nombre real Nelust Wyclef Jeanelle Jean, haitiano) Pras Michel (nombre real Prakazrel Samuel Michel, estadounidense) Killing me softly with his song - Roberta Flack (1973) “Killing me softly” álbum (1973) Roberta Flack (nombre real Roberta Cleopatra Flack, estadounidense) Killing me softly with his song - Lori Lieberman (1972) “Lori Lieberman” álbum (1972) Lori Lieberman (nombre real Lori Ann Lieberman, estadounidense) Killing me softly with his song - Pitingo (2008) “Soulería” álbum (2008) Pitingo (nombre real Antonio Manuel Álvarez Vélez, español) Killing me softly - Omara Portuondo (2006) “Rhythms del mundo - Cuba” álbum (2006) Omara Portuondo (nombre real Omara Portuondo Peláez, cubana) ___________________ “Así la escuché yo…” Temporada: 5 Episodio: 65 Sergio Productions Cali – Colombia
Eu sou Cristina George e esse é o nosso Podcast Na Boca do Mundo, que traz mais um episodio pra você, da série mulheres inspiradiras e desta vez a gente vai falar da canção Killing me Softly With His Song que é um sucesso mundial. Desta vez vamos abordar uma canção que inspirou varias regravações retratando cantoras que se inspiram em outras cantoras. A canção descreve a emoção de uma pessoa ao se identificar com uma música como se estivesse dizendo sobre a sua vida. A canção foi gravada pela primeira vez no começo de 1972 pela cantora americana Lori Lieberman que na época tinha 20 anos de idade quando saiu o seu o primeiro disco. Ela garante que a letra é baseada num poema dela anotado no guardanapo de um bar onde se apresentava o cantor Don Mclean. Isso aconteceu porque ela ficou encantada ao ouvir uma música chamada “Empty Chairs”. Lori disse que relatou essa experiência ao letrista Norman Gimbel e que dias depois recebeu a composição. Porém esta versão de como teria nascido da inspiração, é negada Tanto pelo letrista Norman Gimbel, quanto o pianista Charles Fox. A canção já foi gravada por Dezenas de artistas Porém a versão mais famosa e premiada é com a grande rainha da Soul Music Roberta Flack gravada por ela em 1973. O sucesso da Cantora se firmou, com a música “Killing Me Softly With His Song”, que permaneceu cinco semanas em primeiro lugar nas paradas da Billboard 100, e conquistou três Prêmios Grammy, incluindo a de Canção do Ano. A canção se tornou um dos grandes hits da música contemporânea. Uma outra regravação que fez muito sucesso , foi na voz de Laurin Hill do um grupo musical Fugees Siga o nosso podcast no Instagram @podcastnabocadomundo para saber das novidades --- Send in a voice message: https://anchor.fm/cristina-george/message
durée : 00:57:50 - « Killing me softly » (Charles Fox / Lori Lieberman / Norman Gimbel) (1971) - par : Laurent Valero - "Comme elle le raconte elle même, c'est en assistant à un concert du chanteur Don McLean, que Lori Lieberman fut saisie d'une forte émotion à l'écoute d'une chanson de ce chanteur. La chanson "Empty chairs" va susciter pour Lori l'écriture immédiate d'un poème qui va servir de trame" Laurent Valero - réalisé par : Antoine Courtin
On our "Good Vibes" segments , we like to spotlight a little something that's out there in the world to help you get your week started with a bit of positivity. This week, we have a special Valentine's Day edition of "Good Vibes" featuring the Lincoln High School Romance Book Club in Portland, Oregon. We hear from librarian Lori Lieberman, as well as some of her students, who helped start the one of a kind high school book club, dedicated to all things romance.
Join us as Julia presents this beautiful song with a controversial history. Who meant what when talking about being killed softly by who's song? Lori Lieberman's performance Lori Lieberman's performance of Empty Chairs Washington Post article regarding Lori's take on the song --- Send in a voice message: https://anchor.fm/christine-kiefer7/message
Roberta Flack a entendu "Killing Me Softly With His Song" dans un avion. Une jeune chanteuse folk nommée Lori Lieberman avait enregistré cette chanson en 1972, et la version de Lieberman faisait partie d'un programme promotionnel audio en vol. Dans cet épisode, on va croiser Roberta Flack, les Girl from ipanema, la série Happy Days, Don Mclean, Marvin Gaye et bien des mensonges. Pour soutenir le Podcast : https://www.patreon.com/undernierdisque
Cindy Guzman visits the crab shed to talk about her life and the lessons that she has learned along the way. We covered her childhood in a rural Pacific Northwest town, her move to Mexico during her teen years, and her return the the foggy coast of Washington with a new perspective. Cindy is wise beyond her years and has many useful pieces of insight that can help anyone to live a more fulfilling life. She talks about the contrast between Mexico and the United States and suggests a few ways that the two cultures could benefit from trying to be a bit more like the other. It is obvious that Cindy has a deep love for her home and the people who live around her. She talks a lot about community building, altruism, and kindness. It was nice to be reminded that sometimes life can be simple if we let it be. Sometimes what really matters is just making sure everyone around is okay for now, and we can worry about everything else when we have no other choice. Cindy will help you to see that your life is actually pretty good and maybe looking at it from a different angle can help to make that clear. Thank you so much for being a listener! I love you guys! Topics/Keywords: Taking chances; rejection; fear; work-ethic; marriage; Caesar Encinas; dating; match-making; dealing with loss; losing friends; Mexican culture; Hispanic communities; racism; Mexico; drug cartels; tradition; cultural appropriation; moms; bystander effect; divorce; broken families; mixed families; cultural anger; the evil eye; the law of attraction; karma; tomato farming; child labor; Mexican food; border crossing; legal immigration; illegal immigration; corrupt government; cultural assimilation; great American melting pot; English as a second language; raising a big family; extended family; multigenerational living; burritos; spending money; financial responsibility; community service; altruism; inclusion; human sameness preference; old white people; tamales; Mexican food; Pacific County Washington; population demographics; ancestry.com; 23andMe.com; genealogy; dialects; Mayan calendar; Chinook Indian Nation; ethnic cleansing; Native American Church; Peyote religion; Jalisco; tequila; gender roles; technology; screen time; unstructured free-play; boredom; poverty; perspective; gratitude; mental health; mental illness; stigma; homosexuality; secondary education; CJ Hawkinson; Ford Electric; Catholic Church; piñata; paper maché; Highland games; NFTs; Non-fungible tokens; emotional regulation; trauma; Links: During the show we mention the passing of our dear friend, Cesar Encinas. Here is the link to the GoFundMe page where you can make a donation to help his family cover medical expenses and funeral costs. Thank you. GoFundMe for Cesar Encinas funeral costs and family support: https://www.gofundme.com/f/help-support-the-loss-of-our-loved-one?utm_source=customer&utm_medium=copy_link_all&utm_campaign=m_pd+share-sheet (https://www.gofundme.com/f/help-support-the-loss-of-our-loved-one?utm_source=customer&utm_medium=copy_link_all&utm_campaign=m_pd+share-sheet) Ramble by the River Links: Join the Ram-fam. Subscribe today for exclusive access... Patreon.com/Ramblebytheriver Facebook: https://www.facebook.com/jeff.nesbitt.9619 (https://www.facebook.com/jeff.nesbitt.9619) Instagram: https://instagram.com/ramblebytheriver?r=nametag (@ramblebytheriver) Twitter: @RambleRiverPod Youtube: https://youtube.com/channel/UCNiZ9OBYRxF3fJ4XcsDxLeg (https://youtube.com/channel/UCNiZ9OBYRxF3fJ4XcsDxLeg) Business inquiries/guest booking: Ramblebytheriver@gmail.com Website: (For episode catalogue): https://my.captivate.fm/Ramblebytheriver.captivate.fm (Ramblebytheriver.captivate.fm) (Podcast main website): https://my.captivate.fm/RamblebytheRiver.com (RamblebytheRiver.com) Music Credit(s): The Rooftop, Gregory David. Still Fly, Revel Day. Great American Melting Pot, School House Rock. Music & lyrics by Lynn Ahrens. Vocals by Lori Lieberman.... Support this podcast
Ooh la la la - it's F for Fugees! We go back to the early 90s in New Jersey, where the young Lauryn Hill, Wyclef Jean and Pras Michel got started. Somehow, we then get transported to the 70s and segue into folk nights at The Troubadour, missing millions and thwarted drug smuggling. Ready or Not..! The Fugees - 'Fu-Gee-La', 'Ready Or Not', 'Killing Me Softly', The Score, 1996 'Nappy Heads' Blunted on Reality, 1994 Lori Lieberman - Killing Me Softly with his Song' Lori Lieberman, 1972 Ben Taylor - 'Digest', Another Run Around the Sun, 2005 Don McLean - 'Empty Chairs', American Pie 1971 Don McLean - 'And I Love You So', Tapestry, 1970 Roberta Flack - 'Killing Me Softly' Killing Me Softly, 1973 The Delfonics - 'Ready or Not Here I Come (Can't Hide From Love)' - Sound of Sexy Soul, 1969 Enya - 'Boadicea' Enya, 1987 Chaka Demus & Pliers - 'Tease Me' Tease Me 1993 Wyclef Jean - 'Gone Till November' Wyclef Jean Presents The Carnival featuring the Refugee All-Stars, 1997 Pras Michel - 'Ghetto Supastar (That is What You Are)', 'Blue Angels', Ghetto Supastar, 1997 Lauryn Hill, 'Doo Wop (That Thing)' - The Miseducation of Lauryn Hill, 1998 Steely Dan - 'Haitian Divorce' The Royal Scam, 1976 Elvis Presley - 'And I Love You So', Today, 1975 Source Material: Uproxx.com, Pitchfork.com, Wikipedia.com, Songfacts.com, RollingStone.com --- Send in a voice message: https://anchor.fm/societyowesmeagenxpodcast/message
Versiones originales y covers que las superan! Con Big Joe Williams, Them, Clarence Ashley, The Animals, Ozzie Nelson, Ella Fitzgerald & Louis Armstrong, Compay Segundo y Cuarteto Patria, Buena Vista Social Club, The Four Squires, Los Cinco Latinos, El Jarocho, Richie Valens, New Mayfair Dance Orchestra, Otis Redding, Lori Lieberman, Roberta Flack y Fugees
It's our tenth episode, Digo is still in Costa Rica, and Caleb is still the states. For our opening talk we got into crazy dreams. Then Caleb told Digo about the lengthy life of the song Killing me Softly, originally by Lori Lieberman, spiced up by Roberta Flack, and ultimately the Fugees. And then Digo told Caleb about the monster known as Dupont, and how they’ve been knowingly contributing to the slow killing of people, around the world.
¿Qué tal ha ido la semana? Vale, mejor no pregunto. Vamos a intentar, con la música, con la buena música, apañar los desperfectos. Así que, fuera problemas, fuera preocupaciones, fuera malos rollos, vamos a la música. Hoy con un disco que se lanzó al mercado el 24 de octubre de 1971 y que a pesar del tiempo transcurrido no ha perdido ni un ápice de su frescura. Hablamos de American Pie, de Don Mclean, todo un clásico. American Pie es el segundo álbum de estudio del cantante y compositor estadounidense Don McLean , en el que se aprecia un marcado estilo folk/rock, característico del autor y el disco está dedicado a Buddy Holly. «American Pie» hace referencia a la historia del rock and roll, y comienza en el momento de la muerte de los músicos Buddy Holly, Ritchie Valens y The Big Bopper en un accidente aéreo en 1959. Por cierto, en esta canción fue donde se acuñó la frase “El día que murió la música”. La letra de la canción es un poco desconcertante porque, aunque McLean dedicó el álbum American Pie a Buddy Holly, ninguno de los músicos que viajaban en el avión en el momento del accidente es mencionado por su nombre. Cuando se le preguntó a McLean el significado de "American Pie", él dijo: "Significa que jamás tendré que trabajar otra vez". Lógicamente se refería a la cantidad de pasta que le había proporcionado. Posteriormente, declaró de forma más trascendental: "Encontrarán muchas 'interpretaciones' de mi letra pero no les diré la mía... Lamento dejarlos a todos así, pero hace tiempo me di cuenta de que los compositores deben dar sus declaraciones y marcharse, manteniendo un silencio digno". Amen. Otra de las canciones más famosas del álbum es este Vincent, un arrebatado homenaje a Vincent van Gogh Vincent Esta canción, "Vincent", alcanzó la decimo segunda posición en las listas de Estados Unidos y la primera en el Reino Unido en 1972, Os voy a contar una curiosidad, de la que me acabo de enterar por otra parte. Un poema sobre McLean, «Killing Me Softly With His Blues» de Lori Lieberman, se convirtió en la canción “Killing me softly”, canción que la voz de Roberta Flack llevó al éxito en 1973. Hubo muchas versiones de esta canción pero todos recordamos la de Roberta Flack. Seguimos con American Pie y escuchamos ahora Till Tomorrow, una canción compuesta al más puro estilo folk de los 60. Preciosa. Till Tomorrow En la carátula del disco, el coro final de "American Pie" está acreditado "Coro de West Forty Fourth Street Rhythm and Noise". Pero, por Ed Freeman, el productor del álbum, sabemos que en ese coro estaban también Pete Seeger, James Taylor, Livingston Taylor y Carly Simon. No son malos compañeros de coro, ciertamente. Everybody loves me, baby. Cuando se publicó este disco, la crítica le auguró un precioso “suicidio comercial”. Bueno, pues lejos de acertar, el álbum se convirtió en un fenómeno cultural. American pie pulsa la fibra sentimental de la generación del rock: se trata de una parábola donde se habla, sin mencionar sus nombres, de Elvis Presley, Bob Dylan, los Byrds, los Beatles, los Rolling Stones y, desde luego, del ya mencionado accidente de Buddy Holly. Las emisoras se dividieron: unas radiaban el tema completo, otras se conformaban con la versión del single, pero sobre todo,0 Y se multiplicaron las explicaciones de la letra, que enfrentaron a los que sólo veían nostalgia y los que creían reconocer allí la expresión de la frustración ante la impotencia del rock para transformar la realidad y, lo más inmediato, detener la guerra en Vietnam. En un tomo muy intimista, esta canción: Empty Chairs, Sillas vacías, McLean se lamenta de no haber sabido entender los mensajes que su amada le envió antes de abandonarle. “Me pregunto si sabes Que nunca comprendí Que aunque decías que te irias Hasta que lo hiciste nunca pensé que lo harías. Bueno, su amada era su esposa. Le había abandonado hacia poco. Tras vender millones de copias de American pie, McLean recondujo su carrera. Su voz dulce no era la más adecuada para unos años en los que el rock duro campa a sus anchas, su voz era más adecuada para firmar rarezas como la pista final de nuestro disco de hoy, "Babilonia", que es una paráfrasis del 1er verso del salmo 137 y está basado en el canon "By the Waters of Babylon", Por las aguas de Babilonia, atribuido a Philip Hayes y compuesto aproximadamente en 1786 y que, aunque fuera de época, mantiene la tradición barroca y renacentista inglesa. Raro pero precioso Babylon Bueno amigos, hemos terminado por hoy. La próxima semana nos ocuparemos de otro disco insustituible. Os emplazo aquí para seguir disfrutando de la buena música. A fin de cuentas, escuchar música crea picos de emociones que incrementan la cantidad de dopamina, un neurotransmisor que ayuda a controlar los centros de recompensa y placer del cerebro. Además ayudan a procesar otras emociones como miedo, tristeza, resentimiento y dolor, aún cuando estén presentes a nivel subconsciente. Eh¡¡¡ ¿A que no os esperabais esto? Lo acabo de leer en Wikipedia y me ha parecido un final muy chulo. Solo faltaría que fuera verdad. Hasta la semana que viene, y como siempre… ¡¡¡Buenas vibraciones!!!
¿Qué tal ha ido la semana? Vale, mejor no pregunto. Vamos a intentar, con la música, con la buena música, apañar los desperfectos. Así que, fuera problemas, fuera preocupaciones, fuera malos rollos, vamos a la música. Hoy con un disco que se lanzó al mercado el 24 de octubre de 1971 y que a pesar del tiempo transcurrido no ha perdido ni un ápice de su frescura. Hablamos de American Pie, de Don Mclean, todo un clásico. American Pie es el segundo álbum de estudio del cantante y compositor estadounidense Don McLean , en el que se aprecia un marcado estilo folk/rock, característico del autor y el disco está dedicado a Buddy Holly. «American Pie» hace referencia a la historia del rock and roll, y comienza en el momento de la muerte de los músicos Buddy Holly, Ritchie Valens y The Big Bopper en un accidente aéreo en 1959. Por cierto, en esta canción fue donde se acuñó la frase “El día que murió la música”. La letra de la canción es un poco desconcertante porque, aunque McLean dedicó el álbum American Pie a Buddy Holly, ninguno de los músicos que viajaban en el avión en el momento del accidente es mencionado por su nombre. Cuando se le preguntó a McLean el significado de "American Pie", él dijo: "Significa que jamás tendré que trabajar otra vez". Lógicamente se refería a la cantidad de pasta que le había proporcionado. Posteriormente, declaró de forma más trascendental: "Encontrarán muchas 'interpretaciones' de mi letra pero no les diré la mía... Lamento dejarlos a todos así, pero hace tiempo me di cuenta de que los compositores deben dar sus declaraciones y marcharse, manteniendo un silencio digno". Amen. Otra de las canciones más famosas del álbum es este Vincent, un arrebatado homenaje a Vincent van Gogh Vincent Esta canción, "Vincent", alcanzó la decimo segunda posición en las listas de Estados Unidos y la primera en el Reino Unido en 1972, Os voy a contar una curiosidad, de la que me acabo de enterar por otra parte. Un poema sobre McLean, «Killing Me Softly With His Blues» de Lori Lieberman, se convirtió en la canción “Killing me softly”, canción que la voz de Roberta Flack llevó al éxito en 1973. Hubo muchas versiones de esta canción pero todos recordamos la de Roberta Flack. Seguimos con American Pie y escuchamos ahora Till Tomorrow, una canción compuesta al más puro estilo folk de los 60. Preciosa. Till Tomorrow En la carátula del disco, el coro final de "American Pie" está acreditado "Coro de West Forty Fourth Street Rhythm and Noise". Pero, por Ed Freeman, el productor del álbum, sabemos que en ese coro estaban también Pete Seeger, James Taylor, Livingston Taylor y Carly Simon. No son malos compañeros de coro, ciertamente. Everybody loves me, baby. Cuando se publicó este disco, la crítica le auguró un precioso “suicidio comercial”. Bueno, pues lejos de acertar, el álbum se convirtió en un fenómeno cultural. American pie pulsa la fibra sentimental de la generación del rock: se trata de una parábola donde se habla, sin mencionar sus nombres, de Elvis Presley, Bob Dylan, los Byrds, los Beatles, los Rolling Stones y, desde luego, del ya mencionado accidente de Buddy Holly. Las emisoras se dividieron: unas radiaban el tema completo, otras se conformaban con la versión del single, pero sobre todo,0 Y se multiplicaron las explicaciones de la letra, que enfrentaron a los que sólo veían nostalgia y los que creían reconocer allí la expresión de la frustración ante la impotencia del rock para transformar la realidad y, lo más inmediato, detener la guerra en Vietnam. En un tomo muy intimista, esta canción: Empty Chairs, Sillas vacías, McLean se lamenta de no haber sabido entender los mensajes que su amada le envió antes de abandonarle. “Me pregunto si sabes Que nunca comprendí Que aunque decías que te irias Hasta que lo hiciste nunca pensé que lo harías. Bueno, su amada era su esposa. Le había abandonado hacia poco. Tras vender millones de copias de American pie, McLean recondujo su carrera. Su voz dulce no era la más adecuada para unos años en los que el rock duro campa a sus anchas, su voz era más adecuada para firmar rarezas como la pista final de nuestro disco de hoy, "Babilonia", que es una paráfrasis del 1er verso del salmo 137 y está basado en el canon "By the Waters of Babylon", Por las aguas de Babilonia, atribuido a Philip Hayes y compuesto aproximadamente en 1786 y que, aunque fuera de época, mantiene la tradición barroca y renacentista inglesa. Raro pero precioso Babylon Bueno amigos, hemos terminado por hoy. La próxima semana nos ocuparemos de otro disco insustituible. Os emplazo aquí para seguir disfrutando de la buena música. A fin de cuentas, escuchar música crea picos de emociones que incrementan la cantidad de dopamina, un neurotransmisor que ayuda a controlar los centros de recompensa y placer del cerebro. Además ayudan a procesar otras emociones como miedo, tristeza, resentimiento y dolor, aún cuando estén presentes a nivel subconsciente. Eh¡¡¡ ¿A que no os esperabais esto? Lo acabo de leer en Wikipedia y me ha parecido un final muy chulo. Solo faltaría que fuera verdad. Hasta la semana que viene, y como siempre… ¡¡¡Buenas vibraciones!!!
Fugees. Flack. Lieberman? The wonderfully talented yet woefully unheralded singer-songwriter Lori Lieberman explains how she conceived, co-wrote and was the first to record the '70s (and '90s) classic "Killing Me Softly With His Song" — without ever getting a songwriting credit, and while under the thumb of a domineering management team that tried to suppress her story and her career. In this interview, Lori and I talk about her early years as a recording and touring artist in the '70s, her return to what is now a thriving music career after a long time away, and her extraordinary voice, which, after many years in the shadows, is finally being heard. Hosted on Acast. See acast.com/privacy for more information.
'De aard van het beest' heet het nieuwe album van de 3JS. Simone Walraven gaat op zoek naar de aard van Jan Dulles, de zanger van de band. Hij vertelt over zijn vroegste muzikale herinnering, zijn favoriete reisplekken en over de vriendschap met de Amerikaanse singer-songwriter Lori Lieberman. Met fijne muziek van o.a. Simon & Garfunkel, Van Morrison en The Doors.
'De aard van het beest’ heet het nieuwe album van de 3JS. Simone Walraven gaat op zoek naar de aard van Jan Dulles, de zanger van de band. Hij vertelt over zijn vroegste muzikale herinnering, zijn favoriete reisplekken en over de vriendschap met de Amerikaanse singer-songwriter Lori Lieberman. Met fijne muziek van o.a. Simon & Garfunkel, Van Morrison en The Doors.
durée : 00:04:17 - Pop N' Co - par : Rebecca Manzoni - "Killing Me Softly" par les Fugees est la reprise d'une chanson de Roberta Flack. Mais la version de Roberta Flack était déjà la reprise d'une chanson de Lori Lieberman. Et ce titre, qui figure sur le brillant album 'The Score', permet avant tout de prendre conscience du fait indéniable que Lauryn Hill est une reine.
On Episode 2 of NOTES BETWEEN SESSIONS WITH MARY EDWARDS, singer/songwriter Lori Lieberman speaks quite candidly of her relationship with the team of Charles Fox and Norman Gimbel—creators of themes such as Barbarella, Goodbye Columbus, Love, American Style, Happy Days, Laverne & Shirley, Angie and Wonder Woman—who at once chaperoned her into the wider musical realm with “Killing Me Softly,” on which they collaborated. They were also the key figures in her decades-long struggle to reclaim rightful origin to a song delivered with as equal authenticity by Roberta Flack, Lauryn Hill and the Fugees, and of course, Lieberman herself. We had a good old fashioned phone conversation from her home in LA to my studio in NY, where we shared laughs, tears and truths about the song that at one time symbolically kept her hiding in plain sight, but now sets her free. --- Support this podcast: https://anchor.fm/mary-edwards7/support
The Doc invites Lori Lieberman on the show! Lori has been in the music business since '71 and the Doc and Lori cover it all! They talk about the famous trip to the Troubadour to see Don McClean, they talk old managers, bad recording experiences, parenting and children, and the newest album and recording Empty Chairs! Make sure to listen now! Monologue: 0:22 Birthday Suit 1: 9:28 Ripped from the Headlines: 14:12 Lori Lieberman - Killin' Me Softly: 38:56 Shoutouts: 45:03 Birthday Suit 2: 51:08 Lori Lieberman - Song for the Asking: 56:20 Lori Lieberman Interview - 58:54 Lori Lieberman - Empty Chairs: 1:48:34 Birthday Suit 3: 1:56:08
Uur 1 1. La vie en rose – Michael Buble & Cecile McLorin Salvant 2. Bloemendaalse bos – Martine Bijl 3. Liverpool lullaby – Cilla Black 4. Spread a little happiness – Sting 5. Wir schreibm Geschichte – Ina Regen 6. Hij is wat hij zingt – Liesbeth List 7. Are you lonesome tonight – Elvis Presley 8. On s’habitue a tout – Renan Luce 9. Happens to the heart – Leonard Cohen 10. Tower of song – Tom Jones 11. Liefste – Lenny Kuhr 12. Roller coaster – Danny Vera 13. Historia de un amor – Gaby Moreno & van Dyke Parks 14. Iboyan – Tata Miranda Uur 2 1. If we never meet again this side of heaven – Leon Redbone 2. Die schönsten Wege sind aus Holz – Annett Louisan 3. The day before you came – ABBA 4. Groningen – Janneke Jager 5. Catch a falling leaf – Ad Vanderveen 6. Mala hierba – Rumbaristas 7. Sammy – Maarten Heijmans 8. You go to my head – Mathilde Santing 9. By Strauss – Ella Fitzgerald 10. A foggy day in London town – David Bowie 11. Angst is maar voor even – Kommil Foo 12. As long as – Lori Lieberman & Matangi Quartet 13. Panamericaine – Karpatt 14. Entre dos aguas – Paco de Lucia
Uur 1 1. Time after time – Margaret Whiting 2. Tous les visages de l’amour – Charles Aznavour 3. We nemen nooit voluit de tijd – Sjors van der Panne 4. Easy as the rain – The Little Willies 5. Goin’ back – The Byrds 6. Heaven only knows – Geraint Watkins 7. Akkordeon – Alexandra 8. Karnemelk met bitterkoekjes – Henny Vrienten 9. I miss you – Randy Newman 10. I don’t want to hear it anymore – Walker Brothers 11. You can’t take it back – Lori Lieberman & Matangi Quartet 12. De exenman – Herman van Veen 13. A little piece of heaven – Godley & Creme 14. In the sweet bye and bye – Peoria Jazzband Uur 2 1. Poor happy Jimi – Gino Vanelli 2. Summertime – Sam Cooke 3. Itsumo nando demo – Erutan 4. Zeventien – Katrien Verheijden 5. Mary Ann – Marianne Faithfull 6. Talk back mic – Marc Cohn & Blind Boys of Alabama 7. Coenraad Buys – Rian Malan 8. Itiraf – Karsu 9. Do I love you – Leo Reisman Orchestra 10. Don’t fence me in – Willie Nelson & Leon Russell 11. A phiuthrag’s a phiuthar – Julie Fowlis & Mary Chapin Carpenter 12. Some more time – Philip Kroonenberg 13. Two roads – Chris Rea 14. Oxygene IV – Jean Michel Jarre
Uur 1 1. When you’re smiling – Dean Martin 2. Right down the line – Gerry Rafferty 3. Angst is maar voor even – Kommil Foo 4. Una de esas noches sin final – Inma Cuesta y Javier Limon 5. Morning glory – Tim Buckley 6. Arcade – Duncan Laurence 7. Are you lonesome tonight – Elvis Presley 8. Houd moed – Britta Maria 9. Lonely at the top – Randy Newman 10. Bad news from home – Mathilde Santing 11. Sonvanger – Valiant Swart 12. Ai solidom – Dulce Pontes 13. My baby just cares for me – Frank Sinatra 14. Good old days – Lotte Walda 15. Blue tango - Malando Uur 2 1. Rainbow road – Joan Baez 2. Wos geween is geween – Leo Fuld 3. You can’t take it back – Lori Lieberman en Matangi Quartet 4. Ergens is het fout gegaan – Alex van Holstein en Eefje de Visser 5. The rhythm divine – Yello and Shirley Bassey 6. On s’habitue a tout – Renan Luce 7. Rhiannon – Fleetwood Mac 8. Vanaf hier – Marlijn 9. Another op’nin’ another show – Edmund Hockridge 10. Anything goes – Helen Merill 11. The tide – The Lasses 12. Solitary man – Chris Isaak 13. Tip van de sluier – Boudewijn de Groot 14. Erotas parodia – Mirella Pachou en Penny Baltatzy 15. Walk in the night – Junior Walker
Uur 1 1. Uncle Satchmo’s lullaby – Louis Armstrong und Gabriele 2. Oom Jan – Wieteke van Dort 3. I love you today – Chip Taylor 4. Malaguena salerosa – Olivia Ruiz y Didier Blanc 5. Mr. Bojangles – Jerry Jeff Walker 6. When you’re gone – Bedouine 7. Tot slot – Zijlstra 8. As long as – Lori Lieberman 9. Waiting for the miracle – Leonard Cohen 10. The story of Isaac – Suzanne Vega 11. L’horloge tourne – Mickael Miro 12. My girl – Rolling Stones 13. The final question – Louis van Dijk en Metropole Orkest Uur 2 1. Perfect day – Lou Reed 2. The one I love – Dinah Shore 3. Kaat – Roseaux et Blick Bassy 4. Time after time – Tuck and Patti 5. Laat me – Wende 6. En 2043 – I Muvrini 7. Pearl’s a singer – Elkie Brooks 8. Die lewe is donker – Emile Minnie 9. You are you – Victoria Hart 10. You’d bes o hard to replace – Vera Lynn 11. Alegria – Cirque Du Soleil 12. Oh meisje – Esther Groenenberg 13. Manic Monday – Prince 14. Popcorn – Hot Butter
Uur 1 1. This is all I ask - Nat King Cole 2. Our house - Crosby Stills Nash and Young 3. Dans mon lit - Bobbi 4. Salvador Dali - Stef Bos 5. Imagine - Randy Crawford 6. This is my home - Keb'Mo' 7. Don't let me be misunderstood - Nina Simone 8. Groningen - Janneke Jager 9. The stranger song - Leonard Cohen 10. Suzanne - Neil Diamond 11. Echo Park - Bedouine 12. Sodade - Cesaria Evora and Bonga Uur 2 1. Pale blue - The Byrds 2. Travellin' light - Cliff Richard 3. As long as - Lori Lieberman en Matangi String Quartet 4. De Peel in brand - Stephanie Struijk 5. Le dernier qui a parle - Amina 6. Marigolds - Kishi Bashi 7. People gotta move - Gino Vanelli 8. Een liedje dat nergens over gaat - Van Piekeren 9. Where is she - David Craig 10. Who cares - Judy Garland 11. Sweet lullaby - Deep Forest 12. This is party man - Peter Gabriel 13. Massachusetts - The Bee Gees 14. Afeto - Mayra Andrade 15. Pardon me sir - Joe Cocker
212 - Lori Lieberman Did you watch the 2019 Grammys? Did you see the performance Alicia Keys did that included the song "Killing Me Softly with His Song" Lori Lieberman is best known for her song “Killing Me Softly” written during her Troubadour days in Los Angeles when she saw the legendary Don McLean in concert. Lori Lieberman was born in California, but raised in Switzerland. She was influenced by Francoise Hardy, Tom Rush, Cat Stevens and other American singer-songwriters. Lori Lieberman went on to attend University in Boston and signed her very first record deal with Capitol Records. Lori Lieberman toured the United States with artists like Randy Newman, Billy Joel, Leonard Cohen, John B. Sebastian and Rick Nelson. This interview took place promoting the fourteenth album entitled Bend Like Steel. The CD features songs Lieberman wrote along with songs others wrote like Paul Simon's “Cecilia.” Lori Lieberman is a part of the great American songwriting tradition. It is a pleasure to present the interview here on The Paul Leslie Hour. Support The Paul Leslie Hour by donating to their Tip Jar: https://tips.pinecast.com/jar/the-paul-leslie-hour
“I don’t know how I truly feel about the fully recovered vs. recovery debate. But I can tell you this. I am a different person than when I was in the throes of an eating disorder. Nothing is the same. Nothing. I laugh, cry, take risks, speak in front of people, bake for fun, go out to eat, foster warm, caring relationships. I have my sense of humor back. Life is huge, and chaotic, and painful, and lovely, and I’m living it. Life in color with all of its uncertainties is so preferable to that cold, sterile certain life with an eating disorder.” – ColleenIn my conversation with Colleen we talk more about the biopsychosocial model of mental health and illness, personality traits in people with eating disorders, advice for people who are in recovery that want to work in the eating disorder field, Health at Every Size, and more.Full List of Conversation Topics:-Biopsychosocial model in developing an eating disorder-Personality traits predisposed to an eating disorder-How these personality traits can also help in recovery and life-How to navigate the waves of emotions in recovery-Importance of experiential therapy techniques in recovery-How body language and changing your physiology can help-Higher Purpose in Recovery-Recovery Resources-Instagram and Recovery-Advice for people in recovery who want to work in the recovery field-Health at Every SizeResources:-Project HEAL-Recovery Warriors-Food Psych Podcast with Christy Harrison-Life Without Ed by Jenni Schaefer-Food to Eat: Guided, hopeful, and Trusted Recipes -for Eating Disorder Recovery by Lori Lieberman, RD-8 Keys to Recovery From an Eating Disorder by Carolyn Costin-Eating in the Light of the Moon by Dr. Anita Johnston-Appetites: Why Women Want by Caroline Knapp-The Three Waves of Volunteers and the New Earth by Dolores Cannon (the book Kristen couldn’t remember the name of in the episode)
In 1971, Don McLean was a known artist but hadn't yet hit it big with "American Pie." Lori Lieberman was a 19-year-old singer-songwriter who'd recently scored a contract. Lieberman attended one of McLean's shows and she was so struck by his performance of the song "Empty Chairs" that she wrote a poem about it, more or less on the spot. She took the notes to her collaborators and they put together a song for her album. It became her first single, but it was quickly overshadowed when Roberta Flack covered it. While the song was covered numerous times, including versions by artists as diverse as Perry Como and Michael Jackson, it wasn't until The Fugees put together a hip-hop cover that the song gained new life. Lauryn Hill's singing gives the song an extra emotional ache, perhaps because their original idea was to turn the song into a cautionary tale about substance abuse, an idea that the original writers didn't support. As usual, your podcatcher should have the show by now, or you can play it right here. Or, if you prefer to download it yourself, click here and have at it. And remember: you can also listen to the show via Stitcher, iHeartRadio, Google Play Music and TuneIn.com, which means you can also play it through your Amazon Alexa! ("Alexa, play How Good It Is on Tune In Dot Com.") Go check out the links somewhere in the right-hand column.
It's 1971 and Don McLean hadn't yet hit it big with "American Pie," so he was touring around and caught the attention of a singer-songwriter named Lori Lieberman, who was so touched by his performance that she wrote a poem which ultimately became a hit in multiple genres.
Went Live with Lori Lieberman. Don McLean inspired Lori to write a poem, which became Killing Me Softly. When Roberta Flack heard Lori’s recording on a plane she jumped! The rest is record-breaking history. There’s a story there. She told it, she played it. Goosebump city! We talked DonMcLean, Roberta Flack, The Fugees, Saturday Night Fever... there are takeaways. Lots of 'em. And, I love her. Vicki Abelson's The Road Taken, Celebrity Maps to Success Live, Wed, Sept 6th, 7 pm PT http://zinna.tv/ And, Live on Facebook Replay here: http://bit.ly/2gIRrbf With Louise Palanker Produced by Brant Thoman Associate Producer Jake Belcher This week's show is sponsored by Ultimate Jam Night at The Whisky, Tuesdays at 8 pm, Live on http://zinna.tv And, by Rick Smolke of Quik Impressions, the best printers, printing. quikimpressions.com
Charles Fox was born and raised in New York City, graduated from the High School of Music and Art, and continued his formal musical education and composition studies with Nadia Boulanger in Paris. He studied jazz piano with Lenny Tristano and electronic music with Vladimir Ussachevsky at Columbia University. He began his career playing the piano, composing and arranging for such salsa legends as Ray Barretto, Joe Quijano and Tito Puente, as well as writing theme music and arrangements for Skitch Henderson and the Tonight Show Orchestra.Charles has composed music for hundreds of songs for records, motion pictures and television. Among the many legendary and diverse recording artists who have recorded his songs are Roberta Flack, Sarah Vaughan, Barry Manilow, Jim Croce, Fred Astaire, Luther Vandross, Johnny Cash, Lena Horne, George Shearing, The Boston Pops, Jack Jones, Tito Puente, Goldie Hawn, Carly Simon, Johnny Mathis, Shirley Bassey, Crystal Gayle, Lori Lieberman, Sergio Mendes, Maureen McGovern, Olivia Newton John, Lauryn Hill, and Ice T.Among his works for theater, in collaboration with lyricist Norman Gimbel, are “The Eleventh” and “A Midsummer Night's Dream”. In collaboration with Hal David, he has composed the musicals “The Chosen” and “The Turning Point”. Other song collaborators include Paul Williams, Bob Crewe, David Zippel, Sammy Cahn, Carly Simon, Carole Bayer Sager and Marilyn and Alan Bergman.He has composed the musical scores for over 100 motion pictures and television films including “Barbarella”, “Nine to Five”, “Goodbye Columbus”, and “Foul Play” for which he received one of his two Academy Award nominations. The other was for the film “The Other Side of the Mountain”. Among his popular songs are "Ready to Take a Chance Again," "I Got a Name," and "Killing Me Softly with His Song," for which he received the Grammy Award for Best Song of the year. His TV shows and theme songs include “The Love Boat”, “Happy Days”, “Laverne and Shirley”, “Wonder Woman”, “The Paper Chase”, “Wide World of Sports”, “Monday Night Football” and “Love American Style, for which he received two Emmy Awards.In addition to his popular works, Charles has composed music for the concert hall and ballet. In 2009, Charles conducted the Poland National Opera Company Chorus and Orchestra in a performance of his Oratorio, “Lament and Prayer” based on the words of Pope John Paul II. In 2010, he conducted the world premiere of his “Fantasie, Homage a Chopin” which he was commissioned to compose by the Polish Government to honor the 200th birthday of Chopin. He has conducted symphony orchestras performing his music worldwide in Budapest, Prague, Poland, Caracas, London, Israel and Tokyo as well as in the US.Charles was inducted into the Songwriter Hall of Fame in 2004. He was awarded Lifetime Achievement awards from the Society of Composers and Lyricists and BMI and is a Governor of the Academy of Motion Pictures Arts and Sciences. www.charlesfoxmusic.com www.100voicesmovie.com
On this week's episode of Feast Yr Ears, Harry's guest is nutritionist and cookbook author Lori Lieberman. Lori is the co-author of the books Food to Eat: Guided, Hopeful and Trusted Recipes for Eating Disorder Recovery, and Drop the Diet: Guided Recipes for Overcoming Your Food Rules. She provides medical nutrition therapy for conditions including eating disorders, diabetes (including gestational diabetes), weight management, hypercholesterolemia, pregnancy and Parkinson’s Disease. Lori and Harry discuss the overall tendency of our society to condemn obesity, and to praise weight loss, regardless of a person's particular circumstances.
Ken's Last Ever Radio Extravaganza - "My So-Called Mind" - Show #447, Dec. 24, 2012 [Going deep, time unfolds (Entire show plays today...unfolding below!)] Show promo - "Radio Tropicale" - WTJU Ken's Last Ever Radio Extravaganza - "12/13/12" - Show #446, Dec. 13, 2012 Vic - "Introduces show some previous week" - WTJU Ken's Last Ever Radio Extravaganza - "Snow plans to help" - Show #445, Nov. 29, 2012 [Do plans tell you what to do? (Samples)] Michael Nyman - "Drowning By Number 2" - Drowning By Numbers s.t. W. G. Snuffy Walden - "My So-Called Life theme" Ken - "Freakout warmup" Ken's Last Ever Radio Extravaganza - "I Don't Remember to Breathe. (I do remember.)" - Show #444, 11/8/12 [Samples. Music from that] Vic - "This infamous dude" Clint Mansell (Featuring Kronos Quartet) - "The Shape Of Things To Come" - Requiem for a Dream s.t. They Might Be Giants - "Flying V" - Here Come the ABCs! Ken - "A few layers of layers" possibilitywaves - "Live phone call" Little Wings - "Cat cereal (Memo5)" [Finish your cereal, dude] Scholastic - "What Next" - How Do I Learn? [Does snow plan to melt?] Fleetwood Mac - "Everywhere" Ken's Last Ever Radio Extravaganza - "Applause from show" - Outside: Show #387, 8/2/08, Austin [Samples] Tony Robbins - "Breathing exercise" Arvo Part - "Spiegel im Spiegel" Ogurusu Norihide Diane Cluck - "styrofoam flurries,plastic bag tumbleweeds,styrofoam icicles" Wayne Dyer - "Connecting to Intention" - Power of Intention Pete Heller - "Big Love" Ogurusu Norihide Jose Gonzalez - "Heartbeats" - Veneer [Maybe?] Ken - "I Don't Remember to Breathe. (I do remember.)" [The monologue is in there. Samples] possibilitywaves - "Live text-to-landline message" Ken - "Manatee PSA" possibilitywaves - "Live text-to-landline message" Charlie Kaufman [Some lecture] Scholastic - "What Next" - How Do I Learn? [Do some things always come next?] Serpico's wife - "You wanna be free and unattached" - Serpico [To go on fighting for your cause and keep torturing yourself] Ken's Last Ever Radio Extravaganza - "Long and gentle (How many mistakes?)" - Show #443, 10/25/12 [Samples] possibilitywaves - "Every day, once a day, give yourself a present" BBC & Open University - "Talking Turtle (Seymour Papert)" - BBC-Open University [On Logo, and computers in education in the 80's] Ken's Last Ever Radio Extravaganza - "The Decadence of Obsolesence" - Show #432, 5/11/12 [Samples] Holcombe Waller - "I Can Feel It" - Into the Dark Unknown [Shaker looping] Jose Gonzalez - "Heartbeats" - Veneer Orson Welles interview - "I cannot compromise" Timothy "Speed" Levitch - "This need to work for a living" - The Cruise La Dusseldorf - "Rheinita" Ken's Last Ever Radio Extravaganza - "Surely Laughter Brings You Closer to the Guy" - Show #366, 5/24/05 [fuck, this one contains about 40 more samples in rapid succession. Samples] Live phone callers - "Austin" Explosions In The Sky CocoRosie - "By Your Side" Her Space Holiday - "My Girlfriend's Boyfriend" Jim Henson and Sam Pottle - "The Muppet Show Closing Theme (instrumental)" - The Muppet Show: Music, Mayhem and More! The 25th Anniversary Collection Aleksandr Sokurov - Russian Ark Simple Minds - "Don't You Forget About Me (backwards)" Cranes - "Don't Close Your Eyes" - Jewel Lullatone - "My Second Favorite Song in the World" - Computer Recital Magnetic Fields - "In An Operetta" - i Magnetic Fields - "I Thought You Were My Boyfriend" Harrison Ford, River Phoenix - "How did America get this way?" - Mosquito Coast Harrison Ford - "We eat when we're not hungry..." - Mosquito Coast Ken's Last Ever Radio Extravaganza - "Just Wanted to Say Goodbye" - Show #363, 4/26/05 [Samples] Joe Frank - "Hamburger paper waste" - Another Country Pt. 3 Stan - "Live phone caller" [Austin] Steve - "Radio day" Dot - "We're listening to a CD" Ida - "My Fair, My Dark" Jim Henson and Sam Pottle - "The Muppet Show Closing Theme (instrumental)" - The Muppet Show: Music, Mayhem and More! The 25th Anniversary Collection Flocabulary - "Quantify" [Rap song from SAT vocabulary study site] KOOP DJ - "One of our more exciting programs" Ken - "Unravelling" Fridge - "Harmonics" - Happiness [Spooky loopy thing from 5/11/05 show] Timothy "Speed" Levitch - "Running from the cops" - The Cruise W. G. Snuffy Walden - "My So-Called Life theme" La Dusseldorf - "Rheinita" possibilitywaves - "Live text-to-landline message" Serpico's wife - "You wanna be free and unattached" - Serpico Fleetwood Mac - "Everywhere" W. G. Snuffy Walden - "My So-Called Life theme" [Herein, the extended eponymous jam.] Claire Danes - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) Patti D'Arbanville, Bennet Guillory, Wilson Cruz, others - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) Neutral Milk Hotel - "In the Aeroplane Over the Sea" - In the Aeroplane Over the Sea Jared Leto - "My So-Called Life" Latter Day Saints - "Our Jill?" Bright Eyes - "An Attempt to Tip the Scales" - Fevers And Mirrors Bee Gees - "More Than a Woman" Bill Nelson - "The Spirit Cannot Fail" - Chance Encounters in the Garden of Lights- (1) The Angel at the Western Window [Loopy guitar] The Feelies - "When Company Comes" Neil Young - "Down By the River" Belle and Sebastian - "This is just a modern rock song" - This is just a modern rock song Gundecha Brothers - "tGunitle" - Hum Sab Mahi Music behind DJ: W. G. Snuffy Walden - "My So-Called Life theme" W. G. Snuffy Walden - "My So-Called Life theme" John F. Kennedy - "I do not believe that any of us would exchange places with any other people" [or any other generation. Within the My So-Called Life episode] - "Ringing clock" Ken's Last Ever Radio Extravaganza - "You have Nowhere to Go" - (What's wrong?) An Ode to Walter Murch's THX-1138. Show #346, 12/21/04 [Samples] Walter Murch - "Sound effects" - THX-1138 J.S. Bach - Matthew's Passion Walter Murch - "What's wrong? Stay calm. 23, 22. We've got a malfunctioning officer" - THX-1138 Fleetwood Mac - "Everywhere" - "Animal breathing" possibilitywaves - "Live phone call" I Am Robot and Proud - "Count to Six (I Am Robot and Proud Remix)" - The Uberkids Remixes Part 1 Ken's Last Ever Radio Extravaganza - "Swirled Freely" - Show #348, 1/4/05 [Samples] Explosions In The Sky - "Your Hand in Mine (backwards)" - The Earth is Not a Cold Dead Place Ken's Last Ever Radio Extravaganza - "Splashing Strumming, Sometimes Stereo" - Show #288, 1/13/04 [Samples] David Wax Museum - "Refuge" - Knock Knock Get Up Ben Dixon - "Jumping In" - One-Minute Vacation [Splashing, screaming: Field recording: "Ku-Ring-Gai Chase, Australia"] Music behind DJ: David Wax Museum - "Refuge" - Knock Knock Get Up End of set Explosions In The Sky - "Your Hand in Mine (backwards)" - The Earth is Not a Cold Dead Place possibilitywaves - "Live phone call" Fridge - "Lost Time" John F. Kennedy - "Or any other generation" Claire Danes - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) [Slowed down] They Might Be Giants - "Flying V" - Here Come the ABCs! A.J. Langer - "Rayanne laughing at a note" - My So-Called Life, season 1 episode 3 Extra - ""That's my soda!"" - My So-Called Life, season 1 episode 3 - "Ambient music from one of the 15 shows playing" David Wax Museum - "Refuge" - Knock Knock Get Up The Books - "That Right Ain't Shit" - The Lemon of Pink [Strumming] La Dusseldorf - "Rheinita" The Carpenters - "Calling Occupants of Interplanetary Craft" [Like a Disney cult theme song] Music behind DJ: - "We show what we have, we know what we are" David Wax Museum - "Refuge" - Knock Knock Get Up [Suz Slezak singing] Andrea True Connection - "More, More, More" Matthew Broderick, Alexander Payne - "Apples, apples, and more apples" - Election [Now you can make a decision] J. S. Bach - Matthew's Passion Ken's Last Ever Radio Extravaganza - "You have Nowhere to Go" - (What's wrong?) An Ode to Walter Murch's THX-1138. Show #346, 12/21/04 [Samples and FULL SHOW] Walter Murch - "You are in my hands, I am here to protect you, you have nowhere to go" - THX-1138 Don Pedro Colley - "How shall the new environment be programmed?" - THX-1138 [It all happened so slowly, most men failed to realize that anything had happened at all] Roddy Piper, Keith David - "He who has the gold makes the rules" - They Live [Everybody's got their own hard times these days] David Wax Museum - "Refuge" - Knock Knock Get Up [w/Suz] Kyle MacLachlan - "I'm going to let you in on a little secret" - Twin Peaks [Every day, once a day, give yourself a present] W. G. Snuffy Walden - "My So-Called Life theme" Dj hummingbird feeder End of set Set: And now, Children's Television Voteshop, from 2004, the 6-minute edit! NOT in today's archive! Hear the full show at https://lastever.org/ken/extrav/audio/040727.shtml Ken's Last Ever Radio Extravaganza - "Children's Television Voteshop (2007 edit)" [FULL SHOW and samples] J. Peter Robinson - "Robotic Freddy Krugar hand nightmare opening scene" - A Nightmare on Elm Street Part 7 (New Nightmare) [Just like a real hand. Wes Craven, director; J. Peter Robinson, music; Miko Hughes, Heather Langenkamp, Matt Winston, Rob LaBelle, Wes Craven, David Newsom, actors] The Marx Brothers - "The Country's Going to War" - Duck Soup mike_fictiti0us - "The United States of America" [with George W. Bush] Tom Anthony - "3-2-1 Contact Theme song" - 3-2-1 Contact Season 1, Episode 1 ("Noisy/Quiet: Production & Processing of Sound") (Jan. 14, 1980) Frank DeVol - "The Brady Brides opening theme" - The Brady Brides TV show Peg Luksik, PA Parents Commission - "Who Controls the Children excerpts" - Who Controls the Children video (Aug. 3, 1992) [Presentation on "outcome based education" - goals-based behavior and attitude modification requirements for schools - targetted at Christian Coalition chapters and framed by anti-abortion Constitutional Party three-time candidate for Governor of Pennsylvania] Schoolhouse Rock! (George Newall, Bob Dorough, writers; Jack Sheldon, singer) - "I'm Gonna Send Your Vote To College (2002)" - Schoolhouse Rock! (Special 30th Anniversary Edition) DVD [We've got a tale to tell. The Disney/ABC propagandists reunited in 2001 just to make this delightful cartoon celebrating the existence of the electoral college that prevents citizens from having the final choice in presidential elections. "The electoral college will have the final voice."] Barney - "Being a police officer is all about helping other people" - Barney & Friends: Who's Your Neighbor? [People helping other people is what this world's about] Sonny Curtis - "Love Is All Around (The Mary Tyler Moore Show opening theme)" - The Mary Tyler Moore TV show Ben Shenkman - "Hebrew numbers" - Pi Schoolhouse Rock! (Lynn Ahrens, writer; Lori Lieberman, singer) - "The Great American Melting Pot" - Schoolhouse Rock! [Anyone can be the president] Billy Goldenberg - "Rhoda closing theme" - Rhoda TV show Michael Moore - "Excerpt about Al Gore in joint session of Congress certifying 2000 election results" - Fahrenheit 9/11 Liz Moses - "The show is about people and themes and ideas all coming into contact" - 3-2-1 Contact Season 1, Episode 1 ("Noisy/Quiet: Production & Processing of Sound") (Jan. 14, 1980) [Children's Television Workshop (CTW)] Schoolhouse Rock! (Lynn Ahrens, writer & singer) - "The Preamble" - Schoolhouse Rock! [Constitution for the United States of America] https://www.wfmu.org/playlists/shows/52586
Ken's Last Ever Radio Extravaganza - "My So-Called Mind" - Show #447, Dec. 24, 2012 [Going deep, time unfolds (Entire show plays today...unfolding below!)] Show promo - "Radio Tropicale" - WTJU Ken's Last Ever Radio Extravaganza - "12/13/12" - Show #446, Dec. 13, 2012 Vic - "Introduces show some previous week" - WTJU Ken's Last Ever Radio Extravaganza - "Snow plans to help" - Show #445, Nov. 29, 2012 [Do plans tell you what to do? (Samples)] Michael Nyman - "Drowning By Number 2" - Drowning By Numbers s.t. W. G. Snuffy Walden - "My So-Called Life theme" Ken - "Freakout warmup" Ken's Last Ever Radio Extravaganza - "I Don't Remember to Breathe. (I do remember.)" - Show #444, 11/8/12 [Samples. Music from that] Vic - "This infamous dude" Clint Mansell (Featuring Kronos Quartet) - "The Shape Of Things To Come" - Requiem for a Dream s.t. They Might Be Giants - "Flying V" - Here Come the ABCs! Ken - "A few layers of layers" possibilitywaves - "Live phone call" Little Wings - "Cat cereal (Memo5)" [Finish your cereal, dude] Scholastic - "What Next" - How Do I Learn? [Does snow plan to melt?] Fleetwood Mac - "Everywhere" Ken's Last Ever Radio Extravaganza - "Applause from show" - Outside: Show #387, 8/2/08, Austin [Samples] Tony Robbins - "Breathing exercise" Arvo Part - "Spiegel im Spiegel" Ogurusu Norihide Diane Cluck - "styrofoam flurries,plastic bag tumbleweeds,styrofoam icicles" Wayne Dyer - "Connecting to Intention" - Power of Intention Pete Heller - "Big Love" Ogurusu Norihide Jose Gonzalez - "Heartbeats" - Veneer [Maybe?] Ken - "I Don't Remember to Breathe. (I do remember.)" [The monologue is in there. Samples] possibilitywaves - "Live text-to-landline message" Ken - "Manatee PSA" possibilitywaves - "Live text-to-landline message" Charlie Kaufman [Some lecture] Scholastic - "What Next" - How Do I Learn? [Do some things always come next?] Serpico's wife - "You wanna be free and unattached" - Serpico [To go on fighting for your cause and keep torturing yourself] Ken's Last Ever Radio Extravaganza - "Long and gentle (How many mistakes?)" - Show #443, 10/25/12 [Samples] possibilitywaves - "Every day, once a day, give yourself a present" BBC & Open University - "Talking Turtle (Seymour Papert)" - BBC-Open University [On Logo, and computers in education in the 80's] Ken's Last Ever Radio Extravaganza - "The Decadence of Obsolesence" - Show #432, 5/11/12 [Samples] Holcombe Waller - "I Can Feel It" - Into the Dark Unknown [Shaker looping] Jose Gonzalez - "Heartbeats" - Veneer Orson Welles interview - "I cannot compromise" Timothy "Speed" Levitch - "This need to work for a living" - The Cruise La Dusseldorf - "Rheinita" Ken's Last Ever Radio Extravaganza - "Surely Laughter Brings You Closer to the Guy" - Show #366, 5/24/05 [fuck, this one contains about 40 more samples in rapid succession. Samples] Live phone callers - "Austin" Explosions In The Sky CocoRosie - "By Your Side" Her Space Holiday - "My Girlfriend's Boyfriend" Jim Henson and Sam Pottle - "The Muppet Show Closing Theme (instrumental)" - The Muppet Show: Music, Mayhem and More! The 25th Anniversary Collection Aleksandr Sokurov - Russian Ark Simple Minds - "Don't You Forget About Me (backwards)" Cranes - "Don't Close Your Eyes" - Jewel Lullatone - "My Second Favorite Song in the World" - Computer Recital Magnetic Fields - "In An Operetta" - i Magnetic Fields - "I Thought You Were My Boyfriend" Harrison Ford, River Phoenix - "How did America get this way?" - Mosquito Coast Harrison Ford - "We eat when we're not hungry..." - Mosquito Coast Ken's Last Ever Radio Extravaganza - "Just Wanted to Say Goodbye" - Show #363, 4/26/05 [Samples] Joe Frank - "Hamburger paper waste" - Another Country Pt. 3 Stan - "Live phone caller" [Austin] Steve - "Radio day" Dot - "We're listening to a CD" Ida - "My Fair, My Dark" Jim Henson and Sam Pottle - "The Muppet Show Closing Theme (instrumental)" - The Muppet Show: Music, Mayhem and More! The 25th Anniversary Collection Flocabulary - "Quantify" [Rap song from SAT vocabulary study site] KOOP DJ - "One of our more exciting programs" Ken - "Unravelling" Fridge - "Harmonics" - Happiness [Spooky loopy thing from 5/11/05 show] Timothy "Speed" Levitch - "Running from the cops" - The Cruise W. G. Snuffy Walden - "My So-Called Life theme" La Dusseldorf - "Rheinita" possibilitywaves - "Live text-to-landline message" Serpico's wife - "You wanna be free and unattached" - Serpico Fleetwood Mac - "Everywhere" W. G. Snuffy Walden - "My So-Called Life theme" [Herein, the extended eponymous jam.] Claire Danes - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) Patti D'Arbanville, Bennet Guillory, Wilson Cruz, others - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) Neutral Milk Hotel - "In the Aeroplane Over the Sea" - In the Aeroplane Over the Sea Jared Leto - "My So-Called Life" Latter Day Saints - "Our Jill?" Bright Eyes - "An Attempt to Tip the Scales" - Fevers And Mirrors Bee Gees - "More Than a Woman" Bill Nelson - "The Spirit Cannot Fail" - Chance Encounters in the Garden of Lights- (1) The Angel at the Western Window [Loopy guitar] The Feelies - "When Company Comes" Neil Young - "Down By the River" Belle and Sebastian - "This is just a modern rock song" - This is just a modern rock song Gundecha Brothers - "tGunitle" - Hum Sab Mahi Music behind DJ: W. G. Snuffy Walden - "My So-Called Life theme" W. G. Snuffy Walden - "My So-Called Life theme" John F. Kennedy - "I do not believe that any of us would exchange places with any other people" [or any other generation. Within the My So-Called Life episode] - "Ringing clock" Ken's Last Ever Radio Extravaganza - "You have Nowhere to Go" - (What's wrong?) An Ode to Walter Murch's THX-1138. Show #346, 12/21/04 [Samples] Walter Murch - "Sound effects" - THX-1138 J.S. Bach - Matthew's Passion Walter Murch - "What's wrong? Stay calm. 23, 22. We've got a malfunctioning officer" - THX-1138 Fleetwood Mac - "Everywhere" - "Animal breathing" possibilitywaves - "Live phone call" I Am Robot and Proud - "Count to Six (I Am Robot and Proud Remix)" - The Uberkids Remixes Part 1 Ken's Last Ever Radio Extravaganza - "Swirled Freely" - Show #348, 1/4/05 [Samples] Explosions In The Sky - "Your Hand in Mine (backwards)" - The Earth is Not a Cold Dead Place Ken's Last Ever Radio Extravaganza - "Splashing Strumming, Sometimes Stereo" - Show #288, 1/13/04 [Samples] David Wax Museum - "Refuge" - Knock Knock Get Up Ben Dixon - "Jumping In" - One-Minute Vacation [Splashing, screaming: Field recording: "Ku-Ring-Gai Chase, Australia"] Music behind DJ: David Wax Museum - "Refuge" - Knock Knock Get Up End of set Explosions In The Sky - "Your Hand in Mine (backwards)" - The Earth is Not a Cold Dead Place possibilitywaves - "Live phone call" Fridge - "Lost Time" John F. Kennedy - "Or any other generation" Claire Danes - "My So-Called Life" - Guns and Gossip (Season 1, episode 3) [Slowed down] They Might Be Giants - "Flying V" - Here Come the ABCs! A.J. Langer - "Rayanne laughing at a note" - My So-Called Life, season 1 episode 3 Extra - ""That's my soda!"" - My So-Called Life, season 1 episode 3 - "Ambient music from one of the 15 shows playing" David Wax Museum - "Refuge" - Knock Knock Get Up The Books - "That Right Ain't Shit" - The Lemon of Pink [Strumming] La Dusseldorf - "Rheinita" The Carpenters - "Calling Occupants of Interplanetary Craft" [Like a Disney cult theme song] Music behind DJ: - "We show what we have, we know what we are" David Wax Museum - "Refuge" - Knock Knock Get Up [Suz Slezak singing] Andrea True Connection - "More, More, More" Matthew Broderick, Alexander Payne - "Apples, apples, and more apples" - Election [Now you can make a decision] J. S. Bach - Matthew's Passion Ken's Last Ever Radio Extravaganza - "You have Nowhere to Go" - (What's wrong?) An Ode to Walter Murch's THX-1138. Show #346, 12/21/04 [Samples and FULL SHOW] Walter Murch - "You are in my hands, I am here to protect you, you have nowhere to go" - THX-1138 Don Pedro Colley - "How shall the new environment be programmed?" - THX-1138 [It all happened so slowly, most men failed to realize that anything had happened at all] Roddy Piper, Keith David - "He who has the gold makes the rules" - They Live [Everybody's got their own hard times these days] David Wax Museum - "Refuge" - Knock Knock Get Up [w/Suz] Kyle MacLachlan - "I'm going to let you in on a little secret" - Twin Peaks [Every day, once a day, give yourself a present] W. G. Snuffy Walden - "My So-Called Life theme" Dj hummingbird feeder End of set Set: And now, Children's Television Voteshop, from 2004, the 6-minute edit! NOT in today's archive! Hear the full show at http://lastever.org/ken/extrav/audio/040727.shtml Ken's Last Ever Radio Extravaganza - "Children's Television Voteshop (2007 edit)" [FULL SHOW and samples] J. Peter Robinson - "Robotic Freddy Krugar hand nightmare opening scene" - A Nightmare on Elm Street Part 7 (New Nightmare) [Just like a real hand. Wes Craven, director; J. Peter Robinson, music; Miko Hughes, Heather Langenkamp, Matt Winston, Rob LaBelle, Wes Craven, David Newsom, actors] The Marx Brothers - "The Country's Going to War" - Duck Soup mike_fictiti0us - "The United States of America" [with George W. Bush] Tom Anthony - "3-2-1 Contact Theme song" - 3-2-1 Contact Season 1, Episode 1 ("Noisy/Quiet: Production & Processing of Sound") (Jan. 14, 1980) Frank DeVol - "The Brady Brides opening theme" - The Brady Brides TV show Peg Luksik, PA Parents Commission - "Who Controls the Children excerpts" - Who Controls the Children video (Aug. 3, 1992) [Presentation on "outcome based education" - goals-based behavior and attitude modification requirements for schools - targetted at Christian Coalition chapters and framed by anti-abortion Constitutional Party three-time candidate for Governor of Pennsylvania] Schoolhouse Rock! (George Newall, Bob Dorough, writers; Jack Sheldon, singer) - "I'm Gonna Send Your Vote To College (2002)" - Schoolhouse Rock! (Special 30th Anniversary Edition) DVD [We've got a tale to tell. The Disney/ABC propagandists reunited in 2001 just to make this delightful cartoon celebrating the existence of the electoral college that prevents citizens from having the final choice in presidential elections. "The electoral college will have the final voice."] Barney - "Being a police officer is all about helping other people" - Barney & Friends: Who's Your Neighbor? [People helping other people is what this world's about] Sonny Curtis - "Love Is All Around (The Mary Tyler Moore Show opening theme)" - The Mary Tyler Moore TV show Ben Shenkman - "Hebrew numbers" - Pi Schoolhouse Rock! (Lynn Ahrens, writer; Lori Lieberman, singer) - "The Great American Melting Pot" - Schoolhouse Rock! [Anyone can be the president] Billy Goldenberg - "Rhoda closing theme" - Rhoda TV show Michael Moore - "Excerpt about Al Gore in joint session of Congress certifying 2000 election results" - Fahrenheit 9/11 Liz Moses - "The show is about people and themes and ideas all coming into contact" - 3-2-1 Contact Season 1, Episode 1 ("Noisy/Quiet: Production & Processing of Sound") (Jan. 14, 1980) [Children's Television Workshop (CTW)] Schoolhouse Rock! (Lynn Ahrens, writer & singer) - "The Preamble" - Schoolhouse Rock! [Constitution for the United States of America] http://www.wfmu.org/playlists/shows/52586
It was my pleasure to interview Lori who is responsible for one the most well known songs of the past 40 years, "Killing Me Softly." With a song so far above the noise I was curious to hear about Lori's experience in the music industry and how people can learn from it. Aaron Bethune Lori Lieberman is best known for “Killing Me Softly”, written during her Troubadour days in Los Angeles when she saw Don McLean in concert, Lori Lieberman has consistently recorded LP after CD, gleaning the respect of an industry and a devoted base of fans. Featured in author, Leo Blokhuis’ book, “Sounds Of The West Coast” which won the Golden Tulip Award, he devotes a chapter that details Lori Lieberman’s early music — California in the seventies, the Sunset Strip and the West Coast club circuit that included singer-songwriters such as Joni Mitchell, Jackson Browne, and The Eagles. A true full circle moment occurred a few weeks ago, when she met Don McLean for the first time at his concert in Los Angeles, where he credited the song to Lori Lieberman, and sang its inspiration, “Empty Chairs”, to her.
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