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@stoger wrote:
@Lefty wrote:
Thanks for posting, WW.
Before I ‘slip these surly bonds of earth,’ I’d love to hear Lucinda one day perform “Meet Me in the Morning” live & on-stage!Is this the same as “sloughing off the mortal coil,” Lefty?
Indeed, sir!
Thanks for posting, WW.
Before I ‘slip these surly bonds of earth,’ I’d love to hear Lucinda one day perform “Meet Me in the Morning” live & on-stage!Zoe played about 30 minutes…3 new songs – “Trying to Walk the Line While You Walk All Over Me,” “Waltz of the Wayward Wind” and “Mama Needs a Margarita” – plus “I’ve Been Gone.” Just her & her guitar. No specific plans for a new record just yet. And, she’s getting hitched to her drummer! Zoe’s performance should appear in the station’s web archives in a week or so.
@stoger wrote:
@Lefty wrote:
Zoe will be performing live on Seattle’s http://www.kexp.org at 7:30 pm on Wed., Jan. 11. Have to assume that’s Pacific Std Time.
And a full half hour after your eastern upstate zone midweek bedtime, Lefty: let’s make an exception for this little gem, OK?
I know, I know! I’m gonna have to take a longer nap at my desk that afternoon to ready myself… 😆
Zoe will be performing live on Seattle’s www.kexp.org at 7:30 pm on Wed., Jan. 11. Have to assume that’s Pacific Std Time.
http://www.rollingstone.com/music/blogs/alternate-take/the-best-under-the-radar-albums-of-2011-20111223
“Bridge of Sighs” – Robin Trower
Featuring vocals by the late, great Jimmy Dewar
Turn volume up to “11” and enjoy 8)I always “enjoy” reading how The New Yorker summarizes an artist’s career. From the “Night Life/Rock and Pop” section of the December 19&26 issue…
City Winery
155 Varick St. (212-608-0555) — Dec. 18-20
The British chanteuse Marianne Faithfull first rose to fame in 1964, when her rendition of the Rolling Stones tune “As Tears Go By” became a Top Ten hit in England. In time, though, she became a tragic emblem of Swinging London, owing to her tortured romance with Jagger, her struggles with drug addiction, an attempted suicide, and, for a period, homelessness. Since her first big comeback, in the late seventies, her voice has taken on a dark, husky quality that’s well suited to her powerful renditions of cabaret standards like Brecht and Weill’s “Alabama Song” and Edith Piaf’s “Les Prisons du Roy.”
