Showing posts with label Phoebe Snow. Show all posts
Showing posts with label Phoebe Snow. Show all posts

Saturday, October 12, 2019

Dave Grusin - Night-Lines

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 44:41
Size: 104,1 MB
Art: Front

(5:12)  1. Power Wave
(4:11)  2. Thankful N' Thoughtful
(4:15)  3. Theme From "St. Elsewhere"
(5:07)  4. Haunting Me
(3:35)  5. Secret Place
(5:05)  6. Night-Lines
(4:16)  7. Tick Tock
(4:01)  8. Kitchen Dance
(4:35)  9. Somewhere Between Old And New York
(4:19) 10. Bossa Baroque

Night-Lines is an album by American pianist Dave Grusin released in 1984, recorded for the GRP label. The album reached No. 4 on Billboard's Contemporary Jazz chart. The album's cover is from the November 1983 issue of Electronic Fun with Computers & Games. https://en.wikipedia.org/wiki/Night_Lines_(album)
 
Personnel:  Dave Grusin - piano, synthesizers; Ed Walsh - synthesizers; David Sanborn - saxophone; Marcus Miller - bass; Lincoln Goines - bass; Buddy Williams - drums; Rubens Bassini - percussion; Phoebe Snow - vocals; Randy Goodrum - vocals

Night-Lines

Wednesday, September 13, 2017

Phoebe Snow - Natural Wonder

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 51:31
Size: 118,3 MB
Art: Front

(4:14)  1. Sahara
(5:30)  2. How Beautiful
(4:21)  3. The Other Girlfriend
(4:53)  4. Ever Surprised
(5:34)  5. Lightning Crashes
(3:39)  6. Above the Band
(5:18)  7. Changed
(3:52)  8. Natural Wonder
(4:25)  9. Key to the Street
(5:33) 10. Baby, I Need Your Loving
(4:08) 11. Going Home

Phoebe Snow released her last major-label album in 1989, but returned to record-making in 1998 with I Can't Complain, an all-covers album for the House of Blues label. Five years on from that, she is back on Eagle Records with Natural Wonder, which makes a case for artistic reinvention not only because it is the first disc to feature any of her original compositions in 14 years, but also because those songs are largely devoted to issues of self-actualization and spirituality. And one more thing: Snow, who spent much of her major-label career flirting with sophisticated jazz-pop, here returns to very much of a pop/rock style, guided by her co-producer, Jim Chapdelaine, who fills the arrangements with guitar work played by Roger Butterley, Jim Mastro, and himself. That funky sound which Phil Ramone got on Snow's Columbia Records albums of the '70s is gone. So, to a large extent, is the confusion about whether Snow is a singer/songwriter or an interpretive singer. There are only two covers on the album, and while one of them is the sort of thing old fans might expect, a take on the Four Tops' "Baby, I Need Your Loving"; the other is one they probably wouldn't: a moody, intense reading of rock band Live's '90s hit "Lightning Crashes." 

But that's only two songs out of 11; the rest are Snow originals, albeit eight of them co-writes with a variety of others. On them, Snow makes clear at the outset that she is an emotional veteran who has made it through with philosophical and spiritual help. Opening track "Sahara" is not about the desert, it's about a person named Sahara Sunday Spain, whom Snow thanks in the acknowledgements for "divine inspiration," something one would have thought only God could provide. But Sahara does do something: "She says don't be frightened," Snow explains in the chorus, "Says we're all enlightened." The person or being giving guidance in the next song, "How Beautiful," is not named, but seems equally helpful. "You are my mantra," Snow begins. Those of a less religious turn of mind may be more comfortable with the more down-to-earth self-help messages conveyed in the bouncy "Above the Band," which is full of advice "Tell a joke, don't smoke, be a little careless," etc.and with the emphatic "Changed," in which the heightened language is leavened with more practical matters. "I've been changed/Purified by the flame," Snow proclaims, adding, "I remember how my last $20 was spent." Happily, all this concern with uplift has not prevented the songwriter from falling in love now and then, although, as usual, the experience is not a smooth one, as revealed in "The Other Girlfriend" (that's what the singer complains she is) and "Key to the Street," in which Snow, in her only sole composition, heeds the advice of a psychic to turn out a succession of unsuitable suitors. Ultimately, the Snow fan is likely to be less concerned with whatever spiritual guidance she has followed to keep her going to this point than relieved that, once again, it is possible to hear her sing on a disc and not just in a TV or radio commercial. Her voice itself remains a natural wonder, and if the jazz elements of her music have been purged this time around, she is just as good a rock singer as she ever was, making her return to action a cause for celebration. ~ William Ruhlmann http://www.allmusic.com/album/natural-wonder-mw0000034018

Personnel: Phoebe Snow (vocals); Jim Chapdelaine (various instruments); Roger Butterley (acoustic & electric guitars, synthesizer, percussion, background vocals); Steve Burgh, David Z, James Mastro (electric guitar); Michael Mancini (piano, Wurlitzer piano, organ, synthesizer); Brian Dozoretz, Tim Tindall (bass); Shannon Ford (drums, percussion, loops); Jon Peckman (drums, percussion).

Natural Wonder

Sunday, September 10, 2017

Phoebe Snow - Never Letting Go

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 33:22
Size: 77,5 MB
Art: Front

(3:23)  1. Love Makes A Woman
(3:37)  2. Majesty Of Life
(3:55)  3. Ride The Elevator
(4:05)  4. Something So Right
(3:15)  5. Never Letting Go
(3:02)  6. We're Children
(3:33)  7. The Middle Of The Night
(3:55)  8. Electra
(4:33)  9. Garden Of Joy Blues

Phoebe Snow made it onto the soul charts with her version of Barbara Acklin's 1968 hit "Love Makes a Woman" (#87), which served as the leadoff track of her fourth album. But the record marked a fall-off in both her commercial success and her artistic accomplishment. The tasty studio musicians and Phil Ramone's pop-jazz production were still in place, and Snow remained a remarkable singer, but her synthesis of styles was beginning to seem not so much inspired as muddled. ~ William Ruhlmann http://www.allmusic.com/album/never-letting-go-mw0000308963

Personnel:  Phoebe Snow - vocals, acoustic guitar;  Hugh McCracken, Steve Burgh, Steve Khan – guitar;  Will Lee, Tony Levin – bass;  Ken Ascher, Richard Tee, Bob James – keyboards;  Chris Parker, Grady Tate, Steve Gadd – drums;  Ralph MacDonald – percussion;  Michael Brecker - tenor saxophone;  Phil Woods - alto saxophone;  Hubert Laws – flute;  Eddie Daniels – clarinet;  Gwen Guthrie, Lani Groves, Patti Austin - background vocals;  Kenny Loggins - vocals on "We're Children"

Never Letting Go

Thursday, September 7, 2017

Phoebe Snow - It Looks Like Snow

Bitrate: MP3@320K/s
Time: 49:17
Size: 112.8 MB
Styles: Adult contemporary, Soft rock
Year: 1976/2011
Art: Front

[5:14] 1. Autobiography (Shine, Shine,, Shine)
[4:29] 2. Teach Me Tonight
[3:55] 3. Stand Up The Rock
[4:46] 4. In My Girlish Days
[6:04] 5. Mercy On Those
[5:49] 6. Don't Let Me Down
[5:50] 7. Drink Up The Melody (Bite The Dust, Blues)
[2:56] 8. Fat Change
[5:52] 9. My Faith Is Blind
[4:18] 10. Shakey Ground

David Rubinson's production of Phoebe Snow on the 1976 release It Looks Like Snow is an overpowering collection of pop-jazz-funk-folk that puts this amazing vocalist's talents in a beautiful light. Whether it's the Bowen/Bond/Hazel blues classic "Shakey Ground," which Elton John, Etta James, and so many others have explored, or her exquisite interpretation of the Beatles' "Don't Let Me Down," there is no doubt the material here should have ruled on the airwaves the year after her Top Five smash, "Poetry Man." How could Columbia Records not have this material saturating radio across America is the question. There are string arrangements by Sonny Burke and horn arrangements by Kurt McGettrick; the guests galore -- from David Bromberg and Ray Parker, Jr. on guitars (along with Snow, Greg Poree, and Steve Burgh) to David Pomeranz on keys -- make the Snow/Pomeranz co-write "Mercy on Those" into a majestic and extra-special showstopper. The singer's solo composition "Drink Up the Melody (Bite the Dust, Blues)" has her dipping into Maria Muldaur territory, and a duet between the two divas here would've been sensational. "My Faith Is Blind," soaked in gospel introspection, takes the album to another level with its soul searching and sense of spiritual discovery. It Looks Like Snow is a major work from a fabulous performer traversing styles and genres with ease and elegance. The loving mom appears with her daughter on the back cover in a photo by collaborator Phil Kearns. ~Joe Viglione

It Looks Like Snow