neil corcoran podcast appearances and mentions

Garimpando Bolachas- Episódio 48- MOTHER EARTH

Play Episode Listen Later Feb 20, 2025 7:18

Mother Earth Foi uma banda inglesa de acid jazz e Soul com sede emLondres. Os membros da banda eram Matt Deighton na guitarra e vocais, Bryn Barklam no órgão Hammond, Chris White na bateria e Neil Corcoran no baixo. Shauna Green foi a vocalista do primeiro álbum. Antes de sua estréia ao vivo, tocaram ao lado da Jamiroquai, Começaram com um projeto de estúdio ("Almost Grown") com Paul Weller, James Taylor do James Taylor Quartet e Simon Bartholomew do Brand New Heavies.Lançaram três álbuns de estúdio e um álbum ao vivo. Se separaram em 1996. Atividades subsequentes:Deighton tocou guitarra para a banda de Paul Weller, e guitarra rítmica no Oasis Desde 1996, Matt Deighton lançou vários álbuns solo aclamados pela crítica.Bryn Barklam passou a gravar com The Chords e tocar órgão para os Buzzcocks, Participou do show de reunião dos Sex Pistols em Finsbury Park. Sua banda atual é um trio instrumental composto por órgão, bateria e guitarra, chamado de Capitão Hammond. Os integrantes da banda Mother Earth no álbum The People Tree foram: Matt Deighton: Vocal, guitarra acústica e elétricaBryn Barklam: Órgão Hammond, Fender Rhodes e pianoNeil Corcoran: BaixoChris White: BateriaMeryl Kenton Forbes: VocalJames Taylor: Fender RhodesSimon Bartholomew: Guitarra, percussão, mandolin e MoogChris Lawrence: Lap steel guitarGerard Presencer: TrompeteDennis Rollins: TromboneMichael Smith: SaxofonePablo, Snowboy: Percussão Discografia: Stoned Woman (1992) The People Tree (1993) You Have Been Watching (1995) The Desired Effect (live, 1995)Time of the Future (2001)The Further Adventures of Mother Earth (2004) Matt Deighton Para os garimpeiros que buscam um British Sugar Man, a discografia solo de Matt brilha como um diamante no meio do lodo. Você pode reconhece-lo à frente de seu tempo no Mother Earth; Pode se lembrar dele como guitarrista de Paul Weller no final dos anos 90, Na recomendação de Noel Gallagher sobre quem deveria substituí-lo no Oasis quando ele saiu da turnêeuropeia em 2000. Por quase duas décadas, o homem que eles continuam chamando de sucessor natural de Nick Drake, DaveyGraham e John Martyn tem sido mais um boato – um murmúrio entre músicos, compositores e amantes da música obstinados que exibem orgulhosamente seus raros lançamentos solo em vinil como troféus. Pela primeira vez, seu catálogo foi remasterizado e está se tornando digital.Ajudou a encorajar Bill Fay a sair da aposentadoria reapareceu tendo tocado nos discos de Bill desde 2011. Tom Cox, que revisou Wake Up The Moths para o Observer Music Monthly, comentou recentemente nas notas dacapa da reedição em vinil que seu único arrependimento ao revisar o álbum foi que ele sentiu que sua "mísera classificação de quatro em cinco estrelas lhe prestou um desserviço" "... é impossível imaginar fãs de Nick Drake ou John Martyn não se apaixonando por ele..." Discografia: Doubtless Dauntless (2018)You Are The Healer (2020) remThe Common Good (2020) remVillager(2021) remWake Up The Moths (2021) remKids Steal Feelings (2021)Today Become Forever (2023)

time soul future os antes voc oasis epis mother earth hammond lan capit sex pistols james taylor noel gallagher jamiroquai chords atividades nick drake paul weller chris white buzzcocks participou ajudou brand new heavies john martyn further adventures fender rhodes finsbury park tom cox bill fay deighton people tree james taylor quartet matt deighton neil corcoran

Amy Clampitt's "The Godfather Returns to Color TV"

The Daily Poem

Play Episode Listen Later Jul 12, 2024 8:43

Just when you thought you were out, The Daily Poem pulls you back in–to poems about movies. Today's charming and earnest poem imitates the medium it describes (film) by swapping memorable images and sensations for linear propositions. Happy reading.Amy Clampitt was born and raised in New Providence, Iowa. She studied first at Grinnell College in Grinnell, Iowa, and later at Columbia University and the New School for Social Research in New York City. Throughout the 1940s and 1950s, Clampitt held various jobs at publishers and organizations such as Oxford University Press and the Audubon Society. In the 1960s, she turned her attention to poetry. In 1974 she published a small volume of poetry titled Multitudes, Multitudes; thereafter her work appeared frequently in the New Yorker. Upon the publication of her book of poems The Kingfisher in 1983, she became one of the most highly regarded poets in America. Her other collections include A Silence Opens (1994), Westward (1990), What the Light Was Like (1985), and Archaic Figure (1987). Clampitt received fellowships from the Guggenheim Foundation, the MacArthur Foundation, and the Academy of American Poets. A member of the American Academy of Arts and Letters, Clampitt taught at the College of William and Mary, Amherst College, and Smith College.Joseph Parisi, a Chicago Tribune Book World reviewer, called the poet's sudden success after the publication of The Kingfisher “one of the most stunning debuts in recent memory.” Parisi continued, “throughout this bountiful book, her wit, sensibility and stylish wordplay seldom disappoint.” In one of the first articles to appear after The Kingfisher's debut, New York Review of Books critic Helen Vendler wrote that “Amy Clampitt writes a beautiful, taxing poetry. In it, thinking uncoils and coils again, embodying its perpetua argument with itself.” Georgia Review contributor Peter Stitt also felt that “The Kingfisher is … in many ways an almost dazzling performance.” In the Observer, Peter Porter described Clampitt as “a virtuoso of the here and the palpable.” Porter ranked her with the likes of Emily Dickinson and Elizabeth Bishop.Critics praised the allusive richness and syntactical sophistication of Clampitt's verse. Her poetry is characterized by a “baroque profusion, the romance of the adjective, labyrinthine syntax, a festival lexicon,” said New York Times Book Review contributor Alfred Corn in an article about Clampitt's second important collection, What the Light Was Like (1985). Indeed, the poet's use of vocabulary and syntax is elaborate. “When you read Amy Clampitt,” suggests Richard Tillinghast in the New York Times Book Review, “have a dictionary or two at your elbow.” The poet has, Tillinghast continues, a “virtuoso command of vocabulary, [a] gift for playing the English language like a musical instrument and [a] startling and delightful ability to create metaphor.” Her ability as a poet quickly gained Clampitt recognition as “the most refreshing new American poet to appear in many years,” according to one Times Literary Supplement reviewer.Clampitt's work is also characterized by erudite allusions, for which she provides detailed footnotes. Times Literary Supplement critic Lachlan Mackinnon compared her “finical accuracy of description and the provision of copious notes at the end of a volume,” to a similar tendency in the work of Marianne Moore. “She is as ‘literary' and allusive as Eliot and Pound, as filled with grubby realia as William Carlos Williams, as ornamented as Wallace Stevens and as descriptive as Marianne Moore,” observed Corn. Washington Post reviewer Joel Conarroe added Walt Whitman and Hart Crane to this list of comparable poets: “Like Whitman, she is attracted to proliferating lists as well as to ‘the old thought of likenesses,'” wrote Conarroe. “And as in Crane her compressed images create multiple resonances of sound and sense.”What the Light Was Like centers around images of light and darkness. This book is “more chastely restrained than The Kingfisher,” according to Times Literary Supplement contributor Neil Corcoran. Conarroe believed that the poet's “own imagery throughout [the book] is sensuous (even lush) and specific—in short, Keatsian.” Corn similarly commented that “there are stirring moments in each poem, and an authentic sense of Keats' psychology.” He opined, however, that “her sequence [‘Voyages: A Homage to John Keats‘] isn't effective throughout, the reason no doubt being that her high-lyric mode” does not suit narrative as well as a plainer style would.Clampitt's Archaic Figure (1987) maintains her “idiosyncratic style,” as William Logan called it in the Chicago Tribune. New York Times Book Review contributor Mark Rudman noted the poet's “spontaneity and humor; she is quick to react, hasty, impulsive, responsive to place—and to space.” In the London Sunday Times, David Profumo further praised Archaic Figure. Taking the example of the poem “Hippocrene,” the critic asserted that this work “demonstrates her new powers of economy, the sureness of her rhythmic touch and the sheer readability of her magnificent narrative skills.” “Amy Clampitt,” concluded Logan, “has become one of our poetry's necessary imaginations.”Clampitt died in Lenox, Massachusetts in 1994. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

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