Jerry Hawkins: "Lord I Was Born to Ride a Harley" Video
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Jerry Hawkins: "Dancin' With This Ol' Cowboy"
A bright original tune written by Jerry Hawkins and performed "Live" on television for Urban Almanac and Money Talks niteclub...(now Club "Gravity") - I have spent alot of time in niteclubs over the years and I found that one basic challenge to quite a number of men is simply going up to a lady and asking if she would like to dance with him. This is after talking to many dudes who go through a certain "ritual" with women in niteclubs....this song came about as a result. Mr. Bob Long of Tulsa's Guitar House and Urban Almanc made all this possible for television viewing. Pat Richardson, a very funny dude, guest M.C.'d this show. This was aired on Cable channel 10 and channel 41 television. Late..at nite.
Jerry Hawkins: "I'd Be in Heaven in a Truck"
After driving across this country in a volkswagon micro mini bus, much like the kind Arlo Guthrie has mentioned in his music,...I decided to write a special song about truck driving and the life of Truckers out on the beautiful highways and interstates of America. This is an orginal song I wrote about a very special breed...The Truckers of America! Copyrighted in Library of Congress, Washington, D.C..
Ed Harcourt: "Born in the '70s"
A huge pop song about being born in the 1970s.
Roger O'Donnell, long known as the man behind the keys for legendary bands like the Cure and earlier for The Psychedelic Furs, steps out on his own with his beautiful new album The Truth in Me. A collection of songs composed and recorded using a single instrument, the Moog Voyager. An instrument with it's own cult following, the Moog is generally not known for the very warm and undeniably human sounds that become immediately apparent upon listening to this fascinating work. Always an artist of unique vision, Roger O'Donnell's playing and songwriting can be found on era defining records and he has performed on some of the biggest tours and festivals all over the world. His contributions have always had an amazing influence on the bands he played and wrote with. Following the inclusion of his song "Another Year Away" on the soundtrack for the Moog Documentary, Roger was encouraged by one of the film's producers to do an entire album orchestrated with a Moog Voyager. Since Roger had enjoyed working with the Voyager on the soundtrack, the idea appealed to him: "My initial idea (for the soundtrack) was to try and write a song and record it using only a Moog and that's what happened. I knew from my early days that I could orchestrate using mono analogue synths so in a way I was revisiting my roots." "Definitely not a concept album, more of an album concept, it was a re-visiting of my early days of composing using limited instrumentation. Consciously un-compromised or commercial, it's a mainly instrumental journey through my musical influences and where I am now (vocalist Erin Lang sings 3 songs). I was also inspired by Bjork's use of a single instrument, the voice, on her record Medulla. I found the Voyager really easy to work with and thought that maybe I had found my own voice and could do something that was entirely original. Finally, music that I am satisfied with and that satisfies me, The Truth In Me says what I have been trying to say for a long time." The Truth In Me has inspired a number of musicians to join Roger in his exploration. Remixes have already been done of a number of the album's tracks by such luminaries as Jimmy Tamborello of The Postal Service/Dntel/Figurine, Kieran Hebden of FourTet, The Notwist/Console, and Jimmy LaValle of The Album Leaf. Roger O'Donnell will be touring the US through the Fall of '06 and beyond with an appearance at this years CMJ festival in New York. "...a collection of songs that shows the sensuous and moody side of the Voyager." Electronic Musician
"Strip away all the fluff. Does the song still speak the same way when performed with just a voice and a single piano or single guitar?? This is Copeland?s test of a well written song. Lead vocalist and principal songwriter, Aaron Marsh was bred in the diverse Florida music scene where he started the band with his close friend, bassist James Likeness. During their search to finish off the line-up, Aaron found a kindred spirit in Maryland native guitarist Bryan Laurenson, with a mutual appreciation of quality pop melodies to push his writing to new levels. With a concerted effort to weave memorable melodies with insightful lyrics, the band began crafting their intelligent brand of anthemic pop songs in 2000. Atlanta producer, Matt Goldman engineered Copeland?s first release in late 2000. This split EP with glam pop band Pacifico, not only earned Copeland some music industry attention, but also their first national audience in the form of a half dozen small East Coast US tours. For that first year, the band excitedly played in any venue that would have them, for whoever wanted to listen. This deep appreciation for their supporters has stuck with them as they?ve begun to see bigger tours. In the summer of 2002, Copeland signed a record deal with So-Cal independent label The Militia Group and started making plans to focus on the band full time. The band felt it was in need of a fresh start in a new scene. They relocated to Atlanta in the fall. This location seemed more conducive to full time touring and closer to producer Matt Goldman?s studio where they would start a 2 month recording session for their debut full length album. The fruit of those two months was their acclaimed opus entitled ?Beneath Medicine Tree.? Tragically beautiful, and emotionally charged with themes of love, loss, and hope, the album delighted Copeland?s small existing following and earned the band a quickly growing audience. Copeland hit the road with a rigorous tour schedule, hopping from one tour to another with the likes of Switchfoot, The Juliana Theory, The Early November, Hopesfall, Mae, and countless others. They stayed on tour for an exhausting 15 months, playing over 400 shows in that time, but not just playing music every night. Every different city became a chance to meet a new group of kids at the show. Whether playing 4-square in front of the venue, eating dinner after the show, or hanging out at the merchandise table talking about music, Copeland was always excited to turn their fans into their friends. In December of 2003, during a short break from the road, Copeland took a week to record a covers EP to be released before they begin work on their follow-up to ?Beneath Medicine Tree.? Aaron said about the EP, ?We wanted to give our supporters something to listen to while we worked on another record. We knew it might take us a while and we didn?t want everyone to forget about us. These were all songs that we grew up listening to that we thought we could bring something new to.? The EP, entitled ?Know Nothing Stays the Same,? features Copeland?s renditions of songs by Stevie Wonder, Carly Simon, Phil Collins, Berlin, and Billy Joel. Copeland released their second full-length album, "In Motion", in March of 2005. It was produced by Matt Goldman and Aaron Marsh. Ken Andrews mixed the album. The band has been touring around the world in support of the record. This fall, they will be touring in England and all over the United States. Look for them in other continents in the coming months.
In November 2002 I was a guest at local Apolo TV in a show Caffe Boulevard hosted by Karol Kovach. It was a play-back performance. I played 5 songs. If you wish you may see the video with a song "After all".
Above New York and Philadelphia debris MAN MAN materializes, tender and nightmarish, fastening together Screaming Jay Hawkins, Etta James, 80's pop and Iggy Pop; drawing on Soda Popinski, Mexican funeral marches, religious cults, bad luck, and the pervasive mythology of two-headed wolves and wrangling out something entirely else: peculiarly brilliant, acrobatic, unsettling, romantic, unpretentiously ordered. Accompanied on one song by a chorus of kindergartners, MAN MAN multiplies precise instrumentation and refined song structure by unusual rhythms and a thick, complex texture to produce a polished eclecticism unlike anything in our collective musical consciousness.
Stefan Baiatu: "Columbia Requiem"
It was live on TV. Seven good people died in a blink. My good friend Stefan Baiatu wrote the song in five minutes (music and lyrics). It was about the tragedy of the space shuttle Challenger. But what do you know - it happened again - seven angels... Columbia. History repeats itself - is this unavoidable?
One of America's best loved songs -- arranged for barbershop quartet and performed by the Coburn Children. Produced by Kirk Moore, Cassie (Coburn) Moore's Husband.
John Lee Hooker: "It Serves Me Right to Suffer" 1969
In this soul-filled performance, John Lee Hooker plays live on a 1969 television program with his song of hardship. This is from the DVD "John Lee Hooker: Come and See About Me -- the Definitive DVD".
