Bespoke Songs, Lost Dogs, Detours & Rendezvous liner notes: Difference between revisions
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"Girls Talk" | "Girls Talk" – Dave Edmunds | ||
Visiting a Rockpile session in 1979, I showed off my new song to Dave Edmunds and Nick Lowe in a fit of drunken bravado. That was the last I ever saw of it. | Visiting a Rockpile session in 1979, I showed off my new song to Dave Edmunds and Nick Lowe in a fit of drunken bravado. That was the last I ever saw of it. | ||
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"Unwanted Number" | "Unwanted Number" – For Real | ||
Ghostwritten for the main character, an imaginary Brill Building songwriter, in Allison Anders' motion picture ''Grace Of My Heart''. It is 1963 and teenage pregnancy in a pop song is still taboo. For Real, who provide the voices in the film, give it a very fresh and innocent reading, which might have slipped by the censors. | Ghostwritten for the main character, an imaginary Brill Building songwriter, in Allison Anders' motion picture ''Grace Of My Heart''. It is 1963 and teenage pregnancy in a pop song is still taboo. For Real, who provide the voices in the film, give it a very fresh and innocent reading, which might have slipped by the censors. | ||
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"My Brave Face" | "My Brave Face" – Paul McCartney | ||
I first met Paul McCartney when we opened the show for Wings during the 1979 Concerts for Kampuchea series in London. He was very friendly and good at putting people at ease who might have been a little overwhelmed... him having been in The Beatles, like. He was also singing and playing tremendously. During the '80s we were often working in AIR studios at the same time, sometimes sharing the engineering skills of Geoff Emerick. Once or twice Paul and Linda came down the hallway for a chat, and on a few occasions we were obliged to retrieve a slightly over-enthusiastic Attraction from their studio. | I first met Paul McCartney when we opened the show for Wings during the 1979 Concerts for Kampuchea series in London. He was very friendly and good at putting people at ease who might have been a little overwhelmed... him having been in The Beatles, like. He was also singing and playing tremendously. During the '80s we were often working in AIR studios at the same time, sometimes sharing the engineering skills of Geoff Emerick. Once or twice Paul and Linda came down the hallway for a chat, and on a few occasions we were obliged to retrieve a slightly over-enthusiastic Attraction from their studio. | ||
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"Hidden Shame" | "Hidden Shame" – Johnny Cash | ||
I came to meet Johnny Cash in an unusual way. My friend and producer Nick Lowe became his son-in-law when he married Carlene Carter. One of my more unexpected recollections from the late '70s is of visiting Nick and C.C.'s house in west London and finding Johnny Cash and June Carter taking tea in the front room. Later there were informal sessions in Nick's home studio and rumours that some patrons of nearby hard-drinking establishments had sworn to the path of temperance after hallucinating Johnny Cash walking down the Shepherd's Bush Road. | I came to meet Johnny Cash in an unusual way. My friend and producer Nick Lowe became his son-in-law when he married Carlene Carter. One of my more unexpected recollections from the late '70s is of visiting Nick and C.C.'s house in west London and finding Johnny Cash and June Carter taking tea in the front room. Later there were informal sessions in Nick's home studio and rumours that some patrons of nearby hard-drinking establishments had sworn to the path of temperance after hallucinating Johnny Cash walking down the Shepherd's Bush Road. | ||
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"All Grown Up" | "All Grown Up" – Tasmin Archer | ||
I began this tune in Cincinnati, Ohio. The voice that I had in my imagination was Carl Wilson of The Beach Boys. Although I never made any attempt to send the song to him, his handling of some of his brother's songs of lost innocence was very influential on my thinking. | I began this tune in Cincinnati, Ohio. The voice that I had in my imagination was Carl Wilson of The Beach Boys. Although I never made any attempt to send the song to him, his handling of some of his brother's songs of lost innocence was very influential on my thinking. | ||
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"Miss Mary" | "Miss Mary" – Zucchero | ||
This song arose from a misunderstanding between Zucchero and myself. I had agreed to write an English lyric for him and received a tape containing his music, but further instructions must have got lost in translation. It later turned out that Zucchero had intended the song to be about a transvestite. Meanwhile, I wrote a story about a man who falls in love with the face in a painting of the Virgin Mary. At the time of writing, neither of us has been made a Papal count. | This song arose from a misunderstanding between Zucchero and myself. I had agreed to write an English lyric for him and received a tape containing his music, but further instructions must have got lost in translation. It later turned out that Zucchero had intended the song to be about a transvestite. Meanwhile, I wrote a story about a man who falls in love with the face in a painting of the Virgin Mary. At the time of writing, neither of us has been made a Papal count. | ||
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Zucchero graciously accepted my new lyric, and I went along to the recording session. After a couple of rehearsals Zucchero was singing: | Zucchero graciously accepted my new lyric, and I went along to the recording session. After a couple of rehearsals Zucchero was singing: | ||
''{{n}}Angels announce you with trumpets, crown you with jewels and stars<br> | |||
''{{n}}Hercules lives next door to Venus and Mars<br> | |||
''{{n}}Beside your pretty blue shoulder something may trouble Jerome<br> | |||
''{{n}}Now that you're up with your friends I know you'll never come home... | |||
as if he had been doing it his entire life. | as if he had been doing it his entire life. | ||
"Shadow And Jimmy" | "Shadow And Jimmy" – Was (Not Was) | ||
This song is a bit of a mystery to me. I know it was | This song is a bit of a mystery to me. I know it was co-written one afternoon with David Weiss, then one of the fiendish brains behind Was (Not Was). It speaks to me of time on my hands in a Hollywood hotel between sessions for the album ''King Of America''. I think David and I wrote together as an experiment. What came out was a chilly tale of two strange fish. Their lives are filled with bathing beauties and barbecued ribs. I don't recall ever mentioning hockey in a song before... or since. | ||
"Upon A Veil Of Midnight Blue" | "Upon A Veil Of Midnight Blue" – Mary Coughlan | ||
This song has a very odd history. What you hear is essentially the first draft of a tune entitled "I Wonder How She Knows." It was written for Charles Brown. | This song has a very odd history. What you hear is essentially the first draft of a tune entitled "I Wonder How She Knows." It was written for Charles Brown. | ||
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As you probably know Charles is a master of such urbane blues ballads as "Black Night" and "Merry Christmas Baby." I thought that I had written him the ideal song. It was easy to imagine Charles relishing these lines about a man who can never speak his heart: | As you probably know Charles is a master of such urbane blues ballads as "Black Night" and "Merry Christmas Baby." I thought that I had written him the ideal song. It was easy to imagine Charles relishing these lines about a man who can never speak his heart: | ||
''{{n}}You find your tongue is tied<br> | |||
''{{n}}Your words escape and hide<br> | |||
''{{n}}But she's so patient and kind<br> | |||
''{{n}}She's prepared to read your mind<br> | |||
''{{n}}That's all very well 'til you find because of the wine you drank<br> | |||
''{{n}}Your mind is just a blank... | |||
However, you probably know that old saying, "Thinking you are Cole Porter comes before a fall." When I heard Charles' recording, he had not only dispensed with most of my changes and turned the song into a blues, but he had also distilled those lines down to the essential: "I find it hard to think when I drink." Of course I was a little disappointed, but his take on the song had a lot of charm, so we agreed to publish both versions, with the first draft taking its title from the opening line. | However, you probably know that old saying, "Thinking you are Cole Porter comes before a fall." When I heard Charles' recording, he had not only dispensed with most of my changes and turned the song into a blues, but he had also distilled those lines down to the essential: "I find it hard to think when I drink." Of course I was a little disappointed, but his take on the song had a lot of charm, so we agreed to publish both versions, with the first draft taking its title from the opening line. | ||
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"Deep Dead Blue" | "Deep Dead Blue" – Anúna | ||
As director of the 1995 Meltdown Festival at London's South Bank Centre I was able to seek out and collaborate with the Brodsky Quartet, Fretwork, the Jazz Passengers and Deborah Harry, | As director of the 1995 Meltdown Festival at London's South Bank Centre I was able to seek out and collaborate with the Brodsky Quartet, Fretwork, the Jazz Passengers and Deborah Harry, Dónal Lunny, Anúna, Composers Ensemble, Marc Ribot, June Tabor, Steve Nieve, The Fairfield Four, Jeff Buckley, and the London Philharmonic Orchestra conducted by Gunther Schuller. | ||
Guitar player and composer Bill Frisell and I also put together a short program of his transcriptions of some of my songs, together with tunes such as "Weird Nightmare" and "Gigi." We ended the set with some words that I had set to music that Bill had sent to me. The result was "Deep Dead Blue." Our first public appearance together was recorded and later issued under that title on a limited-edition CD by Nonesuch Records. | Guitar player and composer Bill Frisell and I also put together a short program of his transcriptions of some of my songs, together with tunes such as "Weird Nightmare" and "Gigi." We ended the set with some words that I had set to music that Bill had sent to me. The result was "Deep Dead Blue." Our first public appearance together was recorded and later issued under that title on a limited-edition CD by Nonesuch Records. | ||
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"The Comedians" | "The Comedians" – Roy Orbison | ||
I had Roy Orbison in mind when I wrote this song, but I had no idea that I would ever meet him or that he would ever get to sing it. If you hear my version, it is hard to imagine him wanting to do so. Being in a strange, negative frame of mind during the recording of ''Goodbye Cruel World'' and aware that we had a surfeit of mournful ballads, I sacrificed the song to a quirky arrangement that lost almost all of the original drama. | I had Roy Orbison in mind when I wrote this song, but I had no idea that I would ever meet him or that he would ever get to sing it. If you hear my version, it is hard to imagine him wanting to do so. Being in a strange, negative frame of mind during the recording of ''Goodbye Cruel World'' and aware that we had a surfeit of mournful ballads, I sacrificed the song to a quirky arrangement that lost almost all of the original drama. | ||
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"The Deportees Club" | "The Deportees Club" – Christy Moore | ||
Patrick MacManus was a ship's musician on the ocean liners. His work took him to New York and back in the 1920s. It must have been a tough and uncommon experience for a young trumpet player. Many people of my grandfather's background only made that journey in one direction. | Patrick MacManus was a ship's musician on the ocean liners. His work took him to New York and back in the 1920s. It must have been a tough and uncommon experience for a young trumpet player. Many people of my grandfather's background only made that journey in one direction. | ||
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"Punishing Kiss" | "Punishing Kiss" – Annie Ross & The Low Note Quintet | ||
This was written at Hal Willner's request when he was preparing the music for the Robert Altman motion picture ''Short Cuts''. One of the stories running throughout the movie concerns the relationship between Tess, a steadily alcoholic nightclub singer, played by Annie Ross, and her emotionally disturbed daughter, a cellist, played by Lori Singer. In one brief scene at the club Tess is heard performing "Punishing Kiss" | This was written at Hal Willner's request when he was preparing the music for the Robert Altman motion picture ''Short Cuts''. One of the stories running throughout the movie concerns the relationship between Tess, a steadily alcoholic nightclub singer, played by Annie Ross, and her emotionally disturbed daughter, a cellist, played by Lori Singer. In one brief scene at the club Tess is heard performing "Punishing Kiss." | ||
The woman portrayed in this song sits in front of the TV drinking and fighting the idea that her life revolves around the drama of daytime soap operas. You might recognise that melodramatic moment when a leading man brutally contorts his lover's embouchure only to reward her with a "punishing kiss." | The woman portrayed in this song sits in front of the TV drinking and fighting the idea that her life revolves around the drama of daytime soap operas. You might recognise that melodramatic moment when a leading man brutally contorts his lover's embouchure only to reward her with a "punishing kiss." | ||
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Annie Ross & The Low Note Quintet give the song a splendid, unsentimental reading, taking my written introduction and using it as an instrumental before the tag. Unfortunately, in the context of the film, Hal was unable to use the double-time bridge where our heroine really dishes the dirt about the leading lady in her favourite show. Instead the lyric, written with my wife, Cait O'Riordan, concludes: | Annie Ross & The Low Note Quintet give the song a splendid, unsentimental reading, taking my written introduction and using it as an instrumental before the tag. Unfortunately, in the context of the film, Hal was unable to use the double-time bridge where our heroine really dishes the dirt about the leading lady in her favourite show. Instead the lyric, written with my wife, Cait O'Riordan, concludes: | ||
''{{n}}The flowers and pearls, the long lost relations...<br> | |||
''{{n}}that lovesick tomboy comes in bloom...<br> | |||
''{{n}}the pointless heartaches that seem to belong in my blue room...<br> | |||
''{{n}}can't stand the suspense...<br> | |||
''{{n}}the endless embraces...<br> | |||
''{{n}}each episode lends a silly pretence...<br> | |||
''{{n}}say 'I will turn away' when I will never miss...<br> | |||
''{{n}}it starts with a joke and ends with a punishing kiss. | |||
"Shamed Into Love" | "Shamed Into Love" – Rubén Blades | ||
It is funny to think that this song should be inspired by a dog, particularly as it speaks of the very human failure to confide feelings and fears. | It is funny to think that this song should be inspired by a dog, particularly as it speaks of the very human failure to confide feelings and fears. | ||
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"Shatterproof" | "Shatterproof" – Billy Bremner | ||
I've been known to hold a grudge, and I suppose this song is the evidence. When I was swindled out of my last pound by a crooked landlord as a young married man, I think I did entertain thoughts of violence. Between 1974 and 1981 I had thankfully discovered the private and entirely legal consolation to be had in brutal thoughts. Then I wrote this song. | I've been known to hold a grudge, and I suppose this song is the evidence. When I was swindled out of my last pound by a crooked landlord as a young married man, I think I did entertain thoughts of violence. Between 1974 and 1981 I had thankfully discovered the private and entirely legal consolation to be had in brutal thoughts. Then I wrote this song. | ||
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"Dirty Rotten Shame" | "Dirty Rotten Shame" – Ronnie Drew | ||
Since moving to Dublin in 1989 I've made no special effort to be seen out in the Irish music scene, but the place is small enough that people know where I am if they need me or, for that matter, if I need them. In that time I've ended up working with Christy Moore, | Since moving to Dublin in 1989 I've made no special effort to be seen out in the Irish music scene, but the place is small enough that people know where I am if they need me or, for that matter, if I need them. In that time I've ended up working with Christy Moore, Dónal Lunny, Mary Coughlan, and The Chieftains. | ||
Coming through Dublin airport one morning, I ran into Ronnie Drew, long one of the unique voices of The Dubliners. He told me he was starting work on a solo record and asked me if I had any songs for him. I rapidly came up with this address from an old fighter to the cronies who are always asking him to relive former glories. I thought this would probably come better from Ronnie's mouth than it would mine. | Coming through Dublin airport one morning, I ran into Ronnie Drew, long one of the unique voices of The Dubliners. He told me he was starting work on a solo record and asked me if I had any songs for him. I rapidly came up with this address from an old fighter to the cronies who are always asking him to relive former glories. I thought this would probably come better from Ronnie's mouth than it would mine. | ||
''{{n}}Now I seem like a millionaire who brags of rags to jewels<br> | |||
''{{n}}A snarling pup is wild enough<br> | |||
''{{n}}But as his anger cools<br> | |||
''{{n}}He's left to sharpen useless tools<br> | |||
''{{n}}That tear and graze in fine affrays<br> | |||
''{{n}}Though few are worth the name<br> | |||
''{{n}}It's nothing but a dirty rotten shame. | |||
"Shipbuilding" | "Shipbuilding" – Robert Wyatt | ||
Robert Wyatt is one of the great interpretative singers of my experience. You may have heard the wonderful recordings of his own compositions from the lovely "O Caroline" to his recent album ''Shleep''. His albums contain renditions of songs from many sources; "Te Recuerdo Amanda," "Red Flag," and "At Last I Am Free" being among my personal favourites. | Robert Wyatt is one of the great interpretative singers of my experience. You may have heard the wonderful recordings of his own compositions from the lovely "O Caroline" to his recent album ''Shleep''. His albums contain renditions of songs from many sources; "Te Recuerdo Amanda," "Red Flag," and "At Last I Am Free" being among my personal favourites. | ||
The fact that this lovely record was in some remote way a product of an ugly little war in the South Atlantic seems strange with the passing of time. The lyric predicted that unemployed men would get back their jobs in the shipyards so that they could build vessels to take their sons to the conflict. The fact that it didn't happen on this occasion doesn't mean that it may never happen. Nor does it make it any easier to forgive the political opportunism, the warmongering and human slaughter that was all a part of the Falklands/Malvinas disgrace. When singing the song in the present day, I prefer to concentrate on the lines that offer a glimmer of hope, "Diving for dear life, when we could be diving for pearls." | The fact that this lovely record was in some remote way a product of an ugly little war in the South Atlantic seems strange with the passing of time. The lyric predicted that unemployed men would get back their jobs in the shipyards so that they could build vessels to take their sons to the conflict. The fact that it didn't happen on this occasion doesn't mean that it may never happen. Nor does it make it any easier to forgive the political opportunism, the warmongering and human slaughter that was all a part of the Falklands/Malvinas disgrace. When singing the song in the present day, I prefer to concentrate on the lines that offer a glimmer of hope, ''"Diving for dear life, when we could be diving for pearls."'' | ||
I'm very glad that I was able to serve Clive Langer's inspiring melody, and I would be proud of my part in the production of this record, had it not consisted of simply being in the studio while Robert sang so beautifully. | I'm very glad that I was able to serve Clive Langer's inspiring melody, and I would be proud of my part in the production of this record, had it not consisted of simply being in the studio while Robert sang so beautifully. | ||
"The Birds Will Still Be Singing" | "The Birds Will Still Be Singing" – Norma Waterson | ||
[[image:Bespoke Songs booklet 19.jpg|120px|right]] | |||
Of all the titles in this collection, I think this is the song I would have least expected to be covered. That it should be sung by one of the most deeply rooted singers in English traditional music was an even greater surprise. | Of all the titles in this collection, I think this is the song I would have least expected to be covered. That it should be sung by one of the most deeply rooted singers in English traditional music was an even greater surprise. | ||
The original version can be found at the end of ''The Juliet Letters'', a sequence of songs and musical pieces | The original version can be found at the end of ''The Juliet Letters'', a sequence of songs and musical pieces co-written with the Brodsky Quartet. Although some of the songs have been performed in the theatrical piece "Letters" (devised by five members of the company and orchestra of the Gothenburg Opera for their workshop stage), this is the first attempt by anyone to perform one of the "Juliet" numbers using different instrumentation. I think I detect the hands of Norma's excellent supporting players, Martin Carthy and Richard Thompson, in making an arrangement that sometimes goes beyond strict transcription into reharmonisation. | ||
This song came to me after one of those moments when you realise that the world can get along without you — in this case, walking away from a car crash. In time it seemed the ideal song to end ''The Juliet Letters''. Norma Waterson has sung her share of those folk ballads where lead is poured into sleeping lovers' mouths to seal up their kisses or similar dark fates, so she has no trouble dealing with the note of resignation in this song. | This song came to me after one of those moments when you realise that the world can get along without you — in this case, walking away from a car crash. In time it seemed the ideal song to end ''The Juliet Letters''. Norma Waterson has sung her share of those folk ballads where lead is poured into sleeping lovers' mouths to seal up their kisses or similar dark fates, so she has no trouble dealing with the note of resignation in this song. | ||
"I Want To Vanish" | "I Want To Vanish" – June Tabor | ||
[[image:Bespoke Songs booklet 20.jpg|120px|right]] | |||
This is the second of two songs written at June Tabor's request. The first was "All This Useless Beauty," but I believe that this is both a superior song and a better record. | This is the second of two songs written at June Tabor's request. The first was "All This Useless Beauty," but I believe that this is both a superior song and a better record. | ||
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"The Other End Of The Telescope" | "The Other End Of The Telescope" – 'Til Tuesday | ||
After a chance meeting in a London street, Aimee Mann and I began a correspondence of songwriting notions. This, our most successful effort, appeared on the 'Til Tuesday album ''Everything's Different Now''. Although it now seems a little presumptuous, I tried to find the right words for someone going through a rather unhappy time. I also make a cameo appearance in the bridge of the recording, although I'm not sure that it doesn't distract from Aimee's excellent performance. | After a chance meeting in a London street, Aimee Mann and I began a correspondence of songwriting notions. This, our most successful effort, appeared on the 'Til Tuesday album ''Everything's Different Now''. Although it now seems a little presumptuous, I tried to find the right words for someone going through a rather unhappy time. I also make a cameo appearance in the bridge of the recording, although I'm not sure that it doesn't distract from Aimee's excellent performance. | ||
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"Indoor Fireworks" | "Indoor Fireworks" – Nick Lowe & His Cowboy Outfit | ||
I met Nick Lowe in 1972 in a pub opposite the Cavern in Liverpool... so there isn't space here to tell you everything I know about him. | I met Nick Lowe in 1972 in a pub opposite the Cavern in Liverpool... so there isn't space here to tell you everything I know about him. | ||
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"Almost Blue" | "Almost Blue" – Chet Baker | ||
It's strange how this song finally found its way to the singer for whom it was intended. I wrote it in 1981 after spending a lot of time with a couple of Chet Baker's vocal albums. I fell in love with the Brown/Henderson composition "The Thrill Is Gone" and resolved to write a song modeled on Chet's rendition of it. My version of "Almost Blue" was recorded for the album ''Imperial Bedroom''. | It's strange how this song finally found its way to the singer for whom it was intended. I wrote it in 1981 after spending a lot of time with a couple of Chet Baker's vocal albums. I fell in love with the Brown/Henderson composition "The Thrill Is Gone" and resolved to write a song modeled on Chet's rendition of it. My version of "Almost Blue" was recorded for the album ''Imperial Bedroom''. | ||
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{{tags | {{tags}}[[Girls Talk]] {{-}} [[Dave Edmunds]] {{-}} [[Rockpile]] {{-}} [[Nick Lowe]] {{-}} [[Unwanted Number]] {{-}} [[For Real]] {{-}} [[Brill Building]] {{-}} [[Grace Of My Heart: Original Motion Picture Soundtrack|Grace Of My Heart]] {{-}} [[Allison Anders]] {{-}} [[Carole King]] {{-}} [[My Brave Face]] {{-}} [[Paul McCartney]] {{-}} [[Wings]] {{-}} [[Concert 1979-12-29 London|Concerts for Kampuchea]] {{-}} [[The Beatles]] {{-}} [[AIR Studios]] {{-}} [[Geoff Emerick]] {{-}} [[Linda McCartney]] {{-}} [[John Lennon]] {{-}} [[Merseybeat]] {{-}} [[You Want Her Too]] {{-}} [[Veronica]] {{-}} [[That Day Is Done]] {{-}} [[Mistress And Maid]] {{-}} [[So Like Candy]] {{-}} [[Tommy's Coming Home]] {{-}} [[My Brave Face]] {{-}} [[Paul McCartney: Flowers In The Dirt|Flowers In The Dirt]] {{-}} [[Hidden Shame]] {{-}} [[Johnny Cash]] {{-}} [[Carlene Carter]] {{-}} [[June Carter Cash|June Carter]] {{-}} [[The Big Light]] {{-}} [[Concert 1989-05-13 London|Royal Albert Hall]] {{-}} [[All Grown Up]] {{-}} [[Carl Wilson]] {{-}} [[The Beach Boys]] {{-}} [[Mighty Like A Rose]] {{-}} [[Tasmin Archer]] {{-}} [[Tasmin Archer: Shipbuilding|Shipbuilding EP]] {{-}} [[New Amsterdam]] {{-}} [[Deep Dark Truthful Mirror]] {{-}} [[Miss Mary]] {{-}} [[Zucchero]] {{-}} [[Shadow And Jimmy]] {{-}} [[Was (Not Was)]] {{-}} [[David Was]] {{-}} [[Was (Not Was)]] {{-}} [[King Of America]] {{-}} [[Upon A Veil Of Midnight Blue]] {{-}} [[Mary Coughlan]] {{-}} [[Mary Coughlan: Love For Sale|Love For Sale]] {{-}} [[I Wonder How She Knows]] {{-}} [[Charles Brown]] {{-}} [[Cole Porter]] {{-}} [[Cait O'Riordan]] {{-}} [[Baby Plays Around]] {{-}} [[Live: A Case For Song|A Case For Song]] {{-}} [[Bill Frisell]] {{-}} [[Deep Dead Blue (song)|Deep Dead Blue]] {{-}} [[Anúna]] {{-}} [[Meltdown Festival]] {{-}} [[The Brodsky Quartet]] {{-}} [[Fretwork]] {{-}} [[The Jazz Passengers]] {{-}} [[Deborah Harry]] {{-}} [[Dónal Lunny]] {{-}} [[Anúna]] {{-}} [[Composers Ensemble]] {{-}} [[Marc Ribot]] {{-}} [[June Tabor]] {{-}} [[Steve Nieve]] {{-}} [[The Fairfield Four]] {{-}} [[Jeff Buckley]] {{-}} [[Weird Nightmare]] {{-}} [[Gigi]] {{-}} [[Deep Dead Blue]] {{-}} [[Michael McGlynn]] {{-}} [[The Juliet Letters]] {{-}} [[Goodbye Cruel World]] {{-}} [[The Comedians]] {{-}} [[Roy Orbison]] {{-}} [[Roy Orbison: Mystery Girl|Mystery Girl]] {{-}} [[T{{nb}}Bone Burnett]] {{-}} [[Van Dyke Parks]] {{-}} [[Concert 1987-09-30 Los Angeles|Black And White Night Live]] {{-}} [[Cocoanut Grove]] {{-}} [[Elvis Presley]] {{-}} [[The TCB Band]] {{-}} [[Bruce Springsteen]] {{-}} [[Bonnie Raitt]] {{-}} [[Tom Waits]] {{-}} [[k.d. lang]] {{-}} [[Jackson Browne]] {{-}} [[The Deportees Club]] {{-}} [[Christy Moore]] {{-}} [[Pat MacManus|Patrick MacManus]] {{-}} [[New Amsterdam]] {{-}} [[Kid About It]] {{-}} [[American Without Tears]] {{-}} [[Last Boat Leaving]] {{-}} [[Veronica]] {{-}} [[Christy Moore]] {{-}} [[Punishing Kiss]] {{-}} [[Annie Ross]] {{-}} [[Low Note Quintet|The Low Note Quintet]] {{-}} [[Hal Willner]] {{-}} [[Robert Altman]] {{-}} [[Short Cuts: Music From And Inspired By The Film|Short Cuts]] {{-}} [[Shamed Into Love]] {{-}} [[Rubén Blades]] {{-}} [[Rubén Blades: Nothing But The Truth|Nothing But The Truth]] {{-}} [[Shatterproof]] {{-}} [[Billy Bremner]] {{-}} [[Ray Davies]] {{-}} [[Madness]] {{-}} [[Dirty Rotten Shame]] {{-}} [[Ronnie Drew]] {{-}} [[Christy Moore]] {{-}} [[The Chieftains]] {{-}} [[Shipbuilding]] [[Robert Wyatt]] {{-}} [[O Caroline]] {{-}} [[At Last I Am Free]] {{-}} [[Clive Langer]] {{-}} [[The Birds Will Still Be Singing]] {{-}} [[Norma Waterson]] {{-}} [[Richard Thompson]] {{-}} [[I Want To Vanish]] {{-}} [[June Tabor]] {{-}} [[All This Useless Beauty (song)]] {{-}} [[The Other End Of The Telescope]] {{-}} [['Til Tuesday]] {{-}} [[Aimee Mann]] {{-}} [['Til Tuesday: Everything's Different Now|Everything's Different Now]] {{-}} [[All This Useless Beauty]] {{-}} [[Indoor Fireworks]] {{-}} [[Nick Lowe & His Cowboy Outfit]] {{-}} [[(What's So Funny 'Bout) Peace, Love And Understanding?]] {{-}} [[Vanity Fair 2000-11-01#Nick Lowe|Jesus Of Cool]] {{-}} [[Blood & Chocolate]] {{-}} [[Brutal Youth]] {{-}} [[The Ugly Things]] {{-}} [[Heart Of The City]] {{-}} [[Lover Don't Go]] {{-}} [[Almost Blue (song)]] {{-}} [[Chet Baker]] {{-}} [[Lew Brown]] {{-}} [[Ray Henderson]] {{-}} [[The Thrill Is Gone]] {{-}} [[Imperial Bedroom]] {{-}} [[Punch The Clock]] {{-}} [[The Attractions]] {{-}} [[Concert 1986-06-06 London|Ronnie Scott's]] {{-}} [[Bruce Weber]] {{-}} [[Chet Baker: Let's Get Lost|Let's Get Lost]] {{-}} [[Chet Baker: Chet Baker In Tokyo|Chet Baker In Tokyo]] {{-}} [[Gary Stewart]] | ||
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Revision as of 16:00, 1 May 2024
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