― mark s, Friday, 12 July 2002 00:00 (twenty-one years ago) link
anyhow that's what ND gets when he wants it and so my question to you sir is "Who influenced him in this regard"? ;)
― John Darnielle, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Braces Tower, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Dr. C, Friday, 12 July 2002 00:00 (twenty-one years ago) link
sounds trif, esp given the inevitable tiny discrep between the twin top e's, but if a string snaps it'll take yr hand off!!
HA HA HA HA HA.
His playing is very 'clean': the playing is lovely. But a large part of his success has to do w/his early, tragic death (no one cared when he was alive) (''promise unfulfilled''). I think John Martyn's 'Solid Air' was FAR FAR better than anything Drake managed but Martyn got old and drinks too much, etc etc.
― Julio Desouza, Friday, 12 July 2002 00:00 (twenty-one years ago) link
the production on those records is awful. a bunch of unrehearsed session musicians trying to accompany a man who obviously knows his own songs pretty well is never a recipe for success. think about all that hokey piano playing and drumming on bryter later. "jazzy"? i don't think so. it sounds like high school kids being a backing band for their music instructor. check out the crappy attempt at a piano track by john cale (no less) on "northern sky". he just screws around and makes mistakes -- you can actually hear him forget the form of the song and jump back into place (like someone shot him a disapproving glance from the recording booth).
the string section work is excellent however, and despite my complaints about poor quality instrumentation, "hazy jane" works really, really well.
even though recording technologies were very primitive at the time, many producers were making stunning records. people make so much about how "intimate" his recordings sound. i contend that's pretty much accidental -- maybe he just liked to sing closer to the microphone?
― fields of salmon, Friday, 12 July 2002 00:00 (twenty-one years ago) link
That said, I think Drake's work conjures a specific mood like few others. His guitar playing, as someone else mentioned, is significantly more accomplished than merely 'technically sound'. But, unfortunately, I also think that the cult that sprang up following his death accounts for much of his fame -- the world seems to love a tragic pop star, especially when flecked with hints of madness (hello, Syd Barrett and Brian Wilson). Couple that with a premature exit, and ::BANG::, you've got all the ingredients to rope in an audience with a morbid fascination and casual attitude towards revisionism.
― Alex in NYC, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― jel --, Friday, 12 July 2002 00:00 (twenty-one years ago) link
but only this once mark s.
― Anas FK, Friday, 12 July 2002 00:00 (twenty-one years ago) link
Rememeber that Nick Drake's parents wanted him to be a computer programmer, check out "Second Drake" and "Tanworth in Arden" (great bootleg CDs of hom recordings) - no one knows who the female singer is I believe and then move on to stuff like Moyshe McStiff and the Tartan Lancers, Vashti Bunyan and all things Boyd under the sun...
― Steve K, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Andy, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Sean, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― davidh(owie), Friday, 12 July 2002 00:00 (twenty-one years ago) link
every note he records, even if it's unlistenable crap? And you have such a personal connection to this singer that skipping his latest release feels like missing a
family funeral (or wedding, as the case may be)? Then, you grit your teeth and bear it, hoping that your beloved folk singer gets his head off his pillow. Or you beg
him to call it quits and put you out of your misery.
Nick Drake, please call it quits.
As a poet, you've been around as long as I've been on this earth. You have summer houses in Lancashire. You opened for Paper Lace. You're on a rotting major label.
For a singer that has always relied so heavily on the currency of melancholy, these aren't very encouraging signs. I have become increasingly convinced that folk
singers, like cartons of milk, have expiration dates beyond which consumption is hazardous. Unfortunately, too many folkies keep playing while the mold grows on
their guitars. (OK, so there are exceptions. Those last Fairport Convention and Joni Mitchell records were pretty great. And there are plenty of young folkies who
go stale after one single or album, not to mention those folkies that shouldn't have recorded anything in the first place. So it really doesn't have to do with age.)
Nick Drake, I'd like to let you know that the spores have been festering since 1968, when you released your only good album, 'Five Leaves Left.' Admittedly, had
someone proposed this idea to me in 1968, I would have cried. That was the beginning of high school for me, and not coincidentally, the beginning of my obsession
with you. Having outgrown Donovan and Gordon Lightfoot, I was seduced by your sophistication, your lack of artiness, your appropriately quotable lyrics ("Well
there was a man who lived in a shed/Spent most of his days out of his head"; "In search of a master/In search of a slave") scrawled in the margins of my biology
notes, and, of course, your acoustic guitar whispers. I gobbled up as much of your virtually non-existent discography as I could, gleefully suffering through
unfulfilled collaborations and B-sides, and countless non- appearances. Your appearance on 'Top of the Pops' was, like, the highlight of my life. With a friend, I
created a fan magazine devoted to you. (Please don't ask to see it, it's really embarrassing.) I remained devoted throughout high school; on my senior-yearbook page,
I thanked my family, my friends, and Nick Drake. And why do you think I came to Rangoon to go to college?
But a curious thing happened the summer after my freshman year: You made an album I hated. Not some weird one-off, but a Big Heavily Promoted Album, 'Bryter
Layter.' Faux-beatnik mumbo-jumbo, aimless, tuneless meanderings, and general stagnation made it limp like a three-legged puppy. In your latest press release,
'Bryter Layter' is described as "langorous" (sic). When I look up "languor" in my Webster's, it has a few definitions. The second one may be "a dreamy, lazy mood
or quality," but the first one is "lack of physical or mental energy; listlessness." So maybe you know the record bores even chumps. "Black Eyed Dog," a one-off
single, wasn't so hot either, but it had its gripping moments, and anyway, I was still so caught in the throes of passion at the time, you could do no wrong.
But now you can. I'm afraid my disappointment continues with 'Pink Moon.' The new album isn't terrible, just dull. The quiet parts aren't quiet enough and the pretty
parts aren't pretty enough. Joe Boyd apparently isn't a full-time producer anymore, as he seems to have been too busy launching Maria Muldaur into the stratosphere
to get you off the ground. And all that talk about the influence of the Munich '72 Olympics on the record (quoth the press release: "'Pink Moon' is [ostensibly]
named after the location of Nick Drake's studio. . . . Pink Moon is also the name of the cat who was struck by one of the terrorists bullets...") sure didn't amount to
much beyond the album artwork. Well, the lyrics to "Parasite" might allude to it, but then again, they might not.
You're still a master of suspense, skillfully building and building and building tension. But the foreplay, which once heralded wistful sighs in "Fruit Tree" and
"Cello Song," now leads to nothing but flaccidity and frustration. Many tracks follow your trademark "River Man" verse/chorus/extended- acoustic-finger-pick
formula that may have seemed revolutionary back in 1968, but just sounds predictable 4 years later. And the lyrics? Not one quoteworthy tidbit in the lot, unless
"Counting the cattle as they go by the door/Keeping a carpet that's so thick on the floor" counts. The minor majesty last heard on 'Five Leaves Left"'s "Saturday
Sun" is still MIA. If 'Pink Moon' didn't have the name "Nick Drake" attached to it, nobody would give it a second listen. . . . Well, maybe for "Horn," in which
acoustic guitars simulate a red traffic light, you mutter like you have the measles, and it's all over in just under two minutes. Or for "Which Will," which, like most
of your better songs, possesses a mysterious quality that causes my knees to weaken and my heart to go pitter-patter. But those two songs are tiny ships in a sea of
okayness.
I wish it didn't have to be that way. The bargain bin is already overflowing with efforts by singer-songwriters who have overstayed their welcome. Why not reduce
future clutter? Your place in folk history is certainly secure, what with you basically reinventing the sound of the acoustic guitar and influencing, like, every
somber folkie in the last 4 years. Plus, the time and money that we would have spent on your no-show concerts and new releases could go to the younger, more
introspective vocalists you've always championed and mentored.
Please think about it, Nick Drake. Calling it quits would allow you to spend more time with your grandmother and your goldfish and your poetry collections. Or you could just sit around reflecting on how sad you are. You must be tired after all these years. You deserve a long vacation. But everything I've said here should come as no surprise. After all, aren't you the singer that said, "Day is Done"?
Tristan Lowther, 'Folk Weekly,' 1972
― tristan lowther, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Chuck eddy, Friday, 12 July 2002 00:00 (twenty-one years ago) link
That's not a defense of Drake-as-artist, though: my defense of Drake- as-artist is that there is a definable sense to all of his material, this distinctive and pervasive quality that sort of comes down to this: he sounds sad. He sounds tired. Even his most sprightly songs and his most "harrowing" ones have the same affect, this great weary laying-down-to-die sigh that strikes really good balances between being read as comforting and being read as deadly. And this worked for him: he embodied it personally and it seemed artless, and on certain recordings it sounds as if everything is trying to counter it but there's just no way through his beaten-down torpor. I find this interesting; plus the songs are consistently good.
(Hahaha anyway who else sings about weasels and their teeth?)
― nabisco%%, Friday, 12 July 2002 00:00 (twenty-one years ago) link
I agree. It's the sad/pretty duality that gets me.
- Sameness, like it or not, is damning. The fact that the Ramones and Wedding Present have followings doesn't mean they aren't overrated (and I would definitely say that of the former).
- By "technically sound" I meant that Drake had a distinctive technique (practice makes perfect), but it seems to have been a one- trick filly. It doesn't develop on Bryter or Pink Moon, and it wasn't used in many different ways to begin with. Hence, a good number of tunes are interchangeable. I suppose there's a revelation waiting for me on the lost album??
- Melancholy as the songs may sound, were they capable of any other moods? Sadness only moves when it is set against something else. I think Drake's vocal range was so cramped and limited that he couldn't help but sound that way, except perhaps on "Fly".
- I'm not an expert on English folk and don't know how he sounded in that context; if I were, I needn't have asked the question. As far as other folk artists, the average Tim Buckley song is way, way outside Drake's capabilities.
What one poster said about "potential" points, I think, to Drake's principal appeal. He wasn't brilliant, but he sounded capable of becoming so if he ever got through his depression and developed a real vision.
― , Friday, 12 July 2002 00:00 (twenty-one years ago) link
― Sean Carruthers, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― your null fame, Friday, 12 July 2002 00:00 (twenty-one years ago) link
You realize your "sameness is bad" argument can be used to dismiss virtually every single act in the history of music?
― Justyn Dillingham, Friday, 12 July 2002 00:00 (twenty-one years ago) link
proof: [x] records a song + it is good + all [x]'s songs are the same = all their songs are good!!
how do you do that then?
''but no one owes you an "argument" as to why nick drake is worth listening to - either you like him or you don't, and there's no point in assuming there's some objective quality that a nick drake fan can make you understand''
there's no point discussing so...just what is the fucking point of a discussion board then?
For instance i liked the fact that someone earlier in the thread was hearing drones in Nick's playing. Though I didn't hear it, it made me look at him from a different angle.
And of course: i think yr dislike of Fushitsusha is faked to prove a point so there's no need for me to answer it.
The comment about unsatisfactory arguments stands. Saying Drake is beautiful, haunting or simply a genius tells me nothing about him in relation to other musicians, yet that is how nearly all defenses of him proceed. To be fair, the accusations (on ILM, at least) are often relatively vague themselves. I tried to change that here, and if it has improved the quality of the responses, I haven't wasted my time.
Re: sameness - yes, from a certain viewpoint, all artistic endeavors are the same. Provided you specify the universe of discourse, however, it is quite possible to call some bodies of work more uniform than others. My parameters in this case are popular rock and folk music from the 1960s onward. Yours?
*Which is intentionally hyperbolic instead of descriptive.
― FUCK OFF, Friday, 12 July 2002 00:00 (twenty-one years ago) link
― your null fame, Saturday, 13 July 2002 00:00 (twenty-one years ago) link
Advanced musicology isn't required to see the near-identity of "Northern Sky" and "From the Morning", "Chime of a City Clock" and "Parasite", the recurrence of melodic passages, the mumbled cadences that crop up in nearly every song, etc. I could go back and make a long list of examples, but your words don't encourage me:
you won't be able to persuade me to the contrary about nick drake, fushitsusha or any other artist using objective criteria
If uniformity, repetition, and relative complexity aren't things you can be persuaded to see, about which you find argument pointless, then I doubt I could convince you your face was symmetrical if you didn't already believe it.
people tend to relate to music emotionally so "haunting, beautiful or simply a genius" are all things you're more likely to hear than "well, his fingerpicking style is derived from x, his songwriting is comparable to y," or an evaluation against his contemporaries.
"Beautiful" and "haunting" are useless as objective bases, and rarely show up in aesthetics. Taste is another matter, but--again--I have never been talking about tastes. You recognize the difference between liking and admiring something, don't you? Between "relating to" Drake and thinking critically about his work? Not wanting to do the latter is fine, but this thread shouldn't concern you if that's the case.
― , Saturday, 13 July 2002 00:00 (twenty-one years ago) link
― Christine "Green Leafy" Indigo, Saturday, 13 July 2002 00:00 (twenty-one years ago) link
I'm not a good (or patient) writer,but I'll try and make one point. Art of all kinds can be analysed and discussed with many different criteria. An artist's techniques can be picked apart endlessly; this is fine and good. But if the ultimate purpose of (some if not most) art is to arouse emotion, evoke feelings, then saying you like something is beautiful is reason enough. What separates Drake from the other singer-songwriters of his day may indeed be a quality that we can pin down. However when discussing art it sometimes happens that this quality cannot be pinned down. If all you're after is cold hard logic, this answer is obviously unsatisfactory. If you understand that an emotional response, however difficult to describe, is sometimes not only an adequate response to art, but often the best one, then this kind of answer is adequate, in fact may be the only one necessary.
The very name of this bulletin board suggests where I'm coming from. Yes we all like talking about music... to the extent that disinterested parties would think us nuts. But if we love music, at the end of the day it should be understood that after all the technical discussion has died down, love is a mysterious emotion that needs no explanation. I hope you understand this.
― Sean, Saturday, 13 July 2002 00:00 (twenty-one years ago) link
I grinned manically when i read that. And coupled w/the fact that you didn't have the guts to tell us who you are. From a coward like you, I take the above as a compliment.
― Julio Desouza, Saturday, 13 July 2002 00:00 (twenty-one years ago) link
I'd agree w/ that but also in the heat of a discussion is sometimes very difficult to find the words to put across to someone who is of a different opinion, of why you love a singer/band. But it's nice to think that we can have a go at doing such a thing.
Yeah, White Bicycles, filled with insights like 'my generations white blues revival was better than yours' 'Nick was a genius' and other less than earth shattering insights.
― campreverb, Tuesday, 24 February 2015 13:00 (nine years ago) link
huh, i thought that book was goodanyone read the new nick drake book?
― tylerw, Tuesday, 24 February 2015 15:14 (nine years ago) link
I just don't buy into the "untrained" vs "trained" mythology.
Indeed. Who trained Bert Jansch? Or Davey Graham?
― Romeo Daltrey (Tom D.), Tuesday, 24 February 2015 15:23 (nine years ago) link
Wondering if he used fingerpicks -- his articulation was very strong
― walid foster dulles (man alive), Tuesday, 24 February 2015 15:52 (nine years ago) link
here he is -- looks like he had long fingernailshttp://i2.cdnds.net/13/11/618x462/music-nick-drake.jpg
― tylerw, Tuesday, 24 February 2015 15:55 (nine years ago) link
Awkward!
― Josh in Chicago, Tuesday, 24 February 2015 16:05 (nine years ago) link
I played in a band with guys who used a bunch of different tunings, and it made for a lot of awkward pauses in the set. Sometimes we managed to put together a set list that optimized the tuning changes (especially if we also brought an extra guitar or two), but it didn't always work.
― walid foster dulles (man alive), Tuesday, 24 February 2015 16:11 (nine years ago) link
That's the point at which you need to have a chatty, relaxed rapport with the audience. I have a feeling that might have been a problem for Nick Drake.
― めんどくさかった (Matt #2), Tuesday, 24 February 2015 16:24 (nine years ago) link
"Hello, I'm Nick Drake. Please don't look at me."
― tylerw, Tuesday, 24 February 2015 16:32 (nine years ago) link
I saw a Steve Earle/Shawn Colvin show last year, and as she was tuning she told a story about opening for Sting. She said something along the lines of every folk singer needs to know how to talk while tuning, to keep people engaged, and how she stuck to that even while playing arenas opening for Sting. She would stand there and talk and tune. Then one day she got off stage and there was Sting, who just sort of frowned at her at said "you know, you can just buy a better tuner and get it over with faster."
― Josh in Chicago, Tuesday, 24 February 2015 16:41 (nine years ago) link
those are my least favorite folk singer moments. for example, the stuff neil young says tends to not be very funny. but everyone laughs, and it's just awkward!
― you can buy your hair if it won't grow (Sufjan Grafton), Tuesday, 24 February 2015 16:57 (nine years ago) link
... it's how Billy Connolly (and numerous other less stellar and talented folkie turned comedians) got started!
Did you ever see Bert Jansch live? Chatty and relaxed he most certainly wasn't!
― Romeo Daltrey (Tom D.), Tuesday, 24 February 2015 17:33 (nine years ago) link
whereas john martyn had more rabbit on him than chas and dave's pet rescue
― let me be your fan taytay (NickB), Tuesday, 24 February 2015 17:57 (nine years ago) link
He (usually) had Danny Thompson with him also.
― Mark G, Tuesday, 24 February 2015 19:10 (nine years ago) link
xposts: i saw jansch play an outdoor mini-folk festival type thing when he toured nz in the nineties, think his only comment was that the rain and surrounding terrain reminded him of scotland!
― no lime tangier, Wednesday, 25 February 2015 00:30 (nine years ago) link
what a dumb thread concept
― Treeship, Wednesday, 25 February 2015 01:16 (nine years ago) link
"drake fans have provided no satisfactory arguments" like wtf, it's pretty folk songs
― Treeship, Wednesday, 25 February 2015 01:17 (nine years ago) link
yeah it's like he or she is reviewing a technical manuscript
― you can buy your hair if it won't grow (Sufjan Grafton), Wednesday, 25 February 2015 01:32 (nine years ago) link
feels like you rarely hear the "the boy was smoking mountains and mountains of weed" angle when people talk about why Nick Drake was so hopelessly withdrawn and depressed and anxious around people
― example (crüt), Thursday, 9 February 2017 07:00 (seven years ago) link
i mean he must have brought at least 2 joints with him on each of his night drives across Great Britain right
― example (crüt), Thursday, 9 February 2017 07:02 (seven years ago) link
are you suggesting he had been smoking too long?
― Dick Hole Son (Noodle Vague), Thursday, 9 February 2017 07:09 (seven years ago) link
The 'smoked too much weed' angle is central to Trevor Dann's biography 'Darker than the Deepest Sea' (which I haven't read). A review of it here mentions heroin use too:
Dann reveals that Drake was such a good customer that his Cockney heroin dealer bought him a car ("he's gotta 'av wheels"). Catastrophically, in terms of his mental health, he smoked "industrial quantities of cannabis", and Dann unpicks the details of Drake's disputed "suicide", pointing out that he could have taken only slightly more than double his customary dose of antidepressants; it's not hard to imagine someone in his state of mind doing that by accident.
― Bongo Herbert (Ward Fowler), Thursday, 9 February 2017 10:51 (seven years ago) link
Reminds me of the Billy Fury documentary where people kept saying he was sort of vague and not quite there a lot of the time, oh and that's right he'd been smoking shitloads of weed since the early 60s.
― Eats like Elvis, shits like De Niro (Tom D.), Thursday, 9 February 2017 11:00 (seven years ago) link
That Tristran Lowther "Folk Weekly" article above is brilliant, and obv bogus but hey.
― Mark G, Thursday, 9 February 2017 20:07 (seven years ago) link
played "WAy to Blue" for the first time in eons tonight and it broke me. especially:
"Look through time and find your rhymeTell us what you findWe will wait at your gateHoping like the blind"
― Neanderthal, Tuesday, 18 July 2017 03:38 (six years ago) link
I hadn't listened to Andy Bey's version of River Man in ages and it kind of snuck up on me this morning. Easily the best Drake cover I've heard.
https://www.youtube.com/watch?v=9SlN_hP3kYc
― Good cop, Babcock (Chinaski), Thursday, 18 April 2019 10:00 (five years ago) link
Wow, that's a superb version
― doug watson, Thursday, 18 April 2019 15:37 (five years ago) link
i'm honestly very fond of r. stevie moore's version of "river man"
https://www.youtube.com/watch?v=nIKkI9IcSms
― Burt Bacharach's Bees (rushomancy), Friday, 19 April 2019 00:26 (five years ago) link
― Robbie Shakespeare’s Sister Lovers (James Redd and the Blecchs), Monday, 30 March 2020 02:56 (four years ago) link
I am a megafan of the guy who played guitar on that track btw.
― Robbie Shakespeare’s Sister Lovers (James Redd and the Blecchs), Monday, 30 March 2020 03:05 (four years ago) link
http://www.paulmeyers.info/no_flash.php
― Ludo, Monday, 30 March 2020 10:39 (four years ago) link
Yup. Refraining from going full-on street team for now.
― Robbie Shakespeare’s Sister Lovers (James Redd and the Blecchs), Monday, 30 March 2020 11:55 (four years ago) link
I brought up the Andy Bey version of "River Man" the other day when Paul Meyers posted a picture of him and Andy on social media. I listened to it and noticed that the arrangement was exactly the same as the original. Paul told me yes, he learned the guitar part off the original record and a really talented guy named Andy Stein transcribed the strings, overdubbing the violin and viola and giving the other parts to a cellist and bassist. Turned out to be Andy Stein of Commander Cody and His Lost Planet Airmen (#OneThread), who has had a really interesting career over the years. So now I am kind of obsessed by how good it is because I think this kind of thing is amazing but hard to pull off, covering the original exactly as it was done but singing it convincingly enough that it is still its own thing and not just a copy.
― 20 Preflyte Rock (James Redd and the Blecchs), Tuesday, 24 May 2022 16:52 (one year ago) link
Thanks for sharing.
"I think this kind of thing is amazing but hard to pull off, covering the original exactly as it was done but singing it convincingly enough that it is still its own thing and not just a copy."
- exactly. Not all cover versions have to be radically different in order to be credible.
― giraffe, Wednesday, 25 May 2022 09:31 (one year ago) link
I enjoyed that cover.
― Sam Weller, Wednesday, 25 May 2022 10:28 (one year ago) link
I'm intrigued by that Andy bey cover mentioned. I have one of his early 70s lps Experience and judgment so it initially sounds as unlikely as Millie's Drake cover . But maybe makes more sense since it comes from the late 90s. Assume Millie got given the song because she was on Island. Bey had 25+ years to come across the song, or was it who he was working with in the late 90s.
― Stevolende, Wednesday, 25 May 2022 10:42 (one year ago) link
Just looked at the dates. Shades of Bey came out in 1998. The Pink Moon Volkswagen commercial was 1999. So while people were still talking about and listening to Nick Drake at the time, he was a still a bit underground.
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:05 (one year ago) link
Yes, and it's still a bit of an outlier in his work.
Millie must've been given Mayfair as a demo, I don't think Drake's recording was released until the 90s(?).
― fetter, Wednesday, 25 May 2022 11:16 (one year ago) link
Various things on the interweb say the song was brought to his attention by "the producer Herb Jordan." I found this interesting article which confirms this, although it seems to ignore the existence of some prior Bey albums which is weird.
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:18 (one year ago) link
To compare: I usually like Natacha Atlas, but her cover of "RIver Man" is neither here nor there for me, at least upon first listen:https://www.youtube.com/watch?v=eMlMNMmojhI
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:19 (one year ago) link
But maybe it's growing on me the second time.
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:21 (one year ago) link
Heh, you can buy a t-shirt or a hoodie with a picture of Andy Bey and Herb Jordan on it.
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:22 (one year ago) link
Seems to be more here, but I can't listen right now: https://www.npr.org/2019/10/24/773110485/andy-bey-at-80-a-love-letter-to-a-jazz-legend
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:25 (one year ago) link
― 20 Preflyte Rock (James Redd and the Blecchs), Wednesday, 25 May 2022 11:32 (one year ago) link
Bey's version of Sting's Fragile is a favourite of mine too. Ron Carter on bass, I think.
― fetter, Wednesday, 25 May 2022 11:36 (one year ago) link