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A lot of songwriting is things you learn, structure, and cultivating that skill, and knowing how to craft a song. But there are mystical, magical moments, inexplicable moments when an idea that is fully formed just pops into your head. And that’s the purest part of my job.


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Taylor Swift Fansite 'Taylor Swift Spotted' Taylor Swift udates 'Taylor Swift Photos' Taylor Swift gif

St Etienne - "Spring" - Play this track here.


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A great track from the London Conversations album. this time of year always reminds me of it with all the snowdrops in the hedgerows. Very uplifting that Easter and warmer, longer days just around the corner.


Saint Etienne are an English electronic music band from London, formed in 1990. The band consists of Sarah Cracknell, Bob Stanley and Pete Wiggs. They are named of course after the French football team AS Saint-Étienne


Saint Etienne were associated with the "indie dance" genre in the early 1990s. Their typical approach was to combine sonic elements of the dance-pop that emerged in the wake of the so-called Second Summer of Love (e.g. samples and digitally synthesized sounds) with an emphasis on songwriting involving romantic and introspective themes more commonly associated with traditional British pop and rock music.


Early work demonstrated the influence of '60s soul, '70s dub and rock as well as '80s dance music, giving them a broad palette of sounds and a reputation for eclecticism. Years later, The Times wrote that they "deftly fused the grooviness of Swinging Sixties London with a post-acid house backbeat". Their first two albums, Foxbase Alpha and So Tough feature sounds chiefly associated with house music, such as standard TR-909 drum patterns and Italo house piano riffs mixed with original sounds, notable by the use of found dialogue, sampled from 1960s British realist cinema. Some of these earlier recordings included skits by (Brass Eye) satirist Chris Morris.


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The day he died

i cried and cried

i tried to hide

my love away

but couldn't.


How happy he made my life.

He and Paul were and are still the masters of

songwriting....with a few others up there too.






one of my most crucial images!

Owned by YOKO ONO in her private collection.

and purchased by many other " lucky" souls.......


THANK YOU everyone for your visits, comments and favs!

I appreciate your invites and awards very much!


© ALL RIGHTS RESERVED. Use without permission is illegal.


~ Peter Mulvey ~ is an American folk singer-songwriter based in Milwaukee, Wisconsin. Since the early 1990s, he has developed a strong national following in the indie folk/rock scene through his relentless touring and critically acclaimed albums. Starting his musical career in Milwaukee while at Marquette University, he honed his performing skills while traveling in Dublin, Ireland. He later spent several years in Boston, where he frequently performed in the city's subway system. He is best known for his warmly wry songwriting and his intense percussive guitar style. He has two brothers. His older brother, Patrick, is a teacher at Woodlands School, in Milwaukee, Wisconsin. His younger brother, Michael, teaches at Nathan Hale High School, in West Allis, Wisconsin.


Fall leaves at the Orlando Veterans Memorial Park at Lake Baldwin, Orlando ~

The Kinks - "Waterloo Sunset" - Play this track here.


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Waterloo Sunset is a song by British rock band The Kinks. It was released as a single in 1967, and featured on their album Something Else by The Kinks. Composed and produced by Kinks frontman Ray Davies, "Waterloo Sunset" is one of the band's best known and most acclaimed songs. A London FM radio poll in 2004 named this the "Greatest Song About London", while Time Out named it the "Anthem of London".


The lyrics describe a solitary narrator watching (or imagining) two lovers passing over a bridge, with the melancholic observer reflecting on the couple, the Thames, and Waterloo Station. The song was rumoured to have been inspired by the romance between two British celebrities of the time, actors Terence Stamp and Julie Christie. Ray Davies denied this in his autobiography, and claimed in a 2008 interview, "It was a fantasy about my sister going off with her boyfriend to a new world and they were going to emigrate and go to another country."


Despite its complex arrangement, the sessions for "Waterloo Sunset" lasted a mere ten hours; Dave Davies later commented on the recording: "We spent a lot of time trying to get a different guitar sound, to get a more unique feel for the record. In the end we used a tape-delay echo, but it sounded new because nobody had done it since the 1950s. I remember Steve Marriott of the Small Faces came up and asked me how we'd got that sound. We were almost trendy for a while." The single was one of the group's biggest UK successes, reaching number two on Melody Maker's chart, and went on to become one of their most popular and best-known.


The record reached number 2 on the British charts in mid 1967 (it failed to dislodge the Tremeloes' "Silence Is Golden" from the number 1 position). Davies considered the song a professional milestone, where he managed to blend the commercial demands of a hit single with his own highly personal style of narrative songwriting. The elaborate production was the first Kinks recording produced solely by Davies, without longtime producer Shel Talmy. In subsequent arguments with Kinks management over the direction of the band, Davies would say "I've done 'Waterloo Sunset', now I want to do something else".


In 2010 Ray Davies stated the song was originally entitled 'Liverpool Sunset'. In an interview with the Liverpool Echo he explained 'Liverpool is my favourite city, and the song was originally called Liverpool Sunset. I was inspired by Merseybeat. I'd fallen in love with Liverpool by that point. On every tour, that was the best reception. We played The Cavern, all those old places, and I couldn't get enough of it. I had a load of mates in bands up there, and that sound – not The Beatles but Merseybeat – that was unbelievable. It used to inspire me every time. So I wrote Liverpool Sunset. Later it got changed to Waterloo Sunset, but there's still that play on words with Waterloo. London was home, I'd grown up there, but I like to think I could be an adopted Scouser. My heart is definitely there.


Heracleum mantegazzianum, commonly known as giant hogweed, cartwheel-flower, wild parsnip, wild rhubarb, giant cow parsnip, or giant cow parsley, is a plant in the family Apiaceae. It typically grows to heights of 2–5 metres (6 ft 7 in–16 ft 5 in), sometimes reaching 7 metres (23 ft). Except for size, it closely resembles Common Hogweed (Heracleum sphondylium), Heracleum sosnowskyi or Garden


Angelica (Angelica archangelica). It is phototoxic and considered to be a noxious weed in many jurisdictions. Giant Hogweed is native to the Caucasus Region and Central Asia. It was introduced to Britain as an ornamental in the 19th century, and it has also spread to Finland, Germany, France, Belgium, Czech Republic, Latvia, United States and Canada.


The sap of Giant Hogweed causes phytophotodermatitis in humans, resulting in blisters, long-lasting scars, and—if it comes in contact with eyes—blindness. These serious reactions are due to the furocoumarin derivatives in the leaves, roots, stems, flowers, and seeds of the plant.


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Booker T. Washington students working with the Abell's learning songwriting. A NC Arts Council grant funded project.

the process is so delicate; too much brain, and it becomes to rigid, too much heart and it misses structure; letting go but not too much ... and patience .... staying with it like with a child, until it becomes mature enough to carry on by itself...


I was about to turn it into a square but then felt that the left side would form a good counterweight to the busy right side.

That's maybe how I need to be in order to write (good) songs :)

Een avond waarop poëzie en muziek samenkwamen in het café van poppodium NIEUWE NOR. Heerlens stadsdichter Merlijn Huntjens presenteerd 'Slam Meets Poetry' op donderdag 6 september 2018. Fotograaf: Marc Bogman

A Northern Soul - "The Verve" - Play this track here.


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Released June 1995, A Northern Soul is the second studio album by English rock band The Verve. The title is a reference to Northern Soul, a popular soul movement in Britain during the 1960s at which Wigan (The Wigan casino) was near its epicentre.


The Verve formed in 1990 in Wigan with Richard Ashcroft on vox, guitarist Nick McCabe, bassist Simon Jones, and drummer Peter Salisbury. Simon Tong later became a member. Beginning with a psychedelic sound indebted to shoegazing and space rock, by the mid-1990s the band had released several EPs and three albums.


I had first heard a track from their first album on a magazine compilation and was then hooked.


For this 2nd album the band de-camped to their Wigan-based practice room to begin writing and recording songs for their second studio album. Commenting on the effect that working in the "dank rehearsal room" had on the band's songwriting process, frontman Richard Ashcroft stated:


"Practising in a dungeon in Wigan for this record, you're devoid of any kind of fashion, or thought of 'This is what we should be doing'. Like a band that goes into the studio and plays the music they hear in their heads rather than what they read in magazines".


Critical acclaim was heaped upon the album (justifyably). Guitar Magazine writer Dan Eccleston claimed "the band retreated to their Wigan rehearsal room and plugged in, tuned up and flipped out into that parallel universe wherein the Verve song resides. And the result is A Northern Soul - a record whose deep, dark funky rock makes their actually rather lovely '93 debut A Storm in Heaven sound almost limp. The Verve essence remains - swirling guitar arpeggios, grand rock themes, sprawling structures - but it's warmer, denser and more powerful in every way."


If you like this track, this album or Urban Hymms which followed it should be your starting point. Tell 'em I sent you!




Wigan Athletic Football Club is a professional football (Soccer ! ) team based in Wigan, Greater Manchester. They compete in the Premier League, in which they have been playing since their promotion from the Championship in 2005. Wigan's current spell in the Premier League is the only top flight run in the club's history.


They have played at the DW Stadium since 1999, which they now own, sharing the stadium with rugby league club Wigan Warriors. They previously played at Springfield Park for 67 years.


As of the 2009–10 season, Wigan Athletic are the youngest club in the Premier League, having only been formed in 1932. Sporting goods retailer JJB Sports—whose former chairman Dave Whelan owns Wigan Athletic and his company DW Sports Fitness is currently the stadium's main sponsor.


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the sun goes down on the new Fender acoustic...

Copyright 2006 by Rick Macomber

Tea Shop 168 - Dundas Street West, Toronto [ ]


Michael Kamen was one of the best arrangers in the music industry. His orchestral arrangement on Eurythmics' Here Comes The Rain Again in 1984 was very memorable. He's composed some of the best movie scores... (Polyester, Brazil, The Adventures of Baron Munchausen, Highlander, X-Men, Robin Hood: Prince of Thieves, Licence to Kill, the Lethal Weapon series). The 1999 animated film The Iron Giant didn't do too well at the box office, but Michael Kamen's movie soundtrack was pretty good in my opinion! - Mike




"'Here Comes the Rain Again' is a song by British pop duo Eurythmics. It was written by group members Annie Lennox and David A. Stewart and produced by Stewart. The song was released as the third single in the UK from the album Touch and in the United States as the first single. It became Eurythmics' second Top 10 U.S. hit, peaking at number four on the Billboard Hot 100. 'Here Comes the Rain Again' hit number eight in the UK singles chart, becoming their fifth consecutive Top 10 single in that country.


The track is similar in musical style to past Eurythmics singles and its melancholy lyrics draw a comparison between the painful and tragic feelings of unrequited love with falling rain. Notably, the group adorned the recording with the composition and arrangement skills of Michael Kamen, resulting in more natural feel to the overall finished product (versus the heavily synthetic aesthetic of the Sweet Dreams album and its singles).


During Eurythmics reunion 'Peacetour' they performed an in-studio concert for the A&E Network in the U.S. Dave Stewart revealed that the lyrics to the song came into being after an argument between himself and Lennox while they were doing some songwriting in New York City's Columbus Hotel. The basic melody had already been written and Lennox looked out the window after their fight and noticed it was starting to rain. She announced, 'Here comes the rain again.'


The running time for 'Here Comes the Rain Again' is in actuality about five minutes long and was edited on the Touch album (fading out at approximately four-and-a-half minutes). Although it was edited even further for its single and video release, many U.S. radio stations played the full-length version of it. The entire five-minute version did not appear on any Eurythmics album until the US edition of Greatest Hits in 1991.


The music video featured Lennox and Stewart opens showing The Old man of Hoy on the Island of Hoy in the Orkney Islands, with Lennox walking along the rocky shore and cliff top and later entering a derelict cottage in a nightgown, holding a lantern. In many scenes the two are filmed separately, then superimposed into the same frame. The result is that the viewer may perceive one as being a ghost in the world of the other."




Michael Kamen was an American composer (especially of film scores), orchestral arranger, orchestral conductor, song writer, and session musician.


Kamen became a highly-sought arranger in the realms of pop and rock music. In Great Britain he was among a small, illustrious group of arrangers whose names constantly appeared on popular releases by major artists. His contemporaries in this field included Academy Award winner Anne Dudley, Richard Niles, and Nick Ingman. His successes include his work with Pink Floyd, David Gilmour and Roger Waters (he is one of the few people to have been invited to work with both former Pink Floyd members, after their acrimonious split), as well as Queen, Eric Clapton, Roger Daltrey, Aerosmith, Tom Petty, David Bowie, Eurythmics, Queensrÿche, Rush, Metallica, Herbie Hancock, The Cranberries, Bryan Adams, Jim Croce, Sting, and Kate Bush. For Bush, Kamen delivered an orchestral backing for 'Moments of Pleasure' from The Red Shoes album, substantially building upon a simple piano theme Bush had composed. In this instance, and many others, he conducted the orchestra personally for the recording. In 1984, Kamen had similarly heightened the impact of a pop recording for the Eurythmics 'Here Comes the Rain Again', that score relying as much on his compositional skills as his arranging talents. Five years later, he did the music for For Queen and Country."


Here comes the rain again

Falling on my head like a memory

Falling on my head like a new emotion

I want to walk in the open wind

I want to talk like lovers do

I want to dive into your ocean

Is it raining with you


So baby talk to me

Like lovers do

Walk with me

Like lovers do

Talk to me

Like lovers do


Here comes the rain again

Raining in my head like a tragedy

Tearing me apart like a new emotion


I want to breathe in the open wind

I want to kiss like lovers do

I want to dive into your ocean

Is it raining with you


So baby talk to me

Like lovers do


Here comes the rain again

Falling on my head like a memory

Falling on my head like a new emotion

(Here it comes again, here it comes again)

I want to walk in the open wind

I want to talk like lovers do

I want to dive into your ocean

Is it raining with you

Found in an abandoned church from the 1800s...deep in the woods of Alabama.

Here's my tribute to the very great

Mr. Dylan, who has just come out with yet

another album in his astounding career. It's

called "Modern Times," evoking the spirit of Chaplin -

which is appropriate - as I wrote myself in the introduction

to the interview I conducted with Bob - (and which

is in my book "Songwriters On Songwriting,

Expanded Edition") (It's also in a new book of

Dylan interviews edited by my pal Jonathan Cott,

who I have never met)> To quote myself,

"In person, as others have noted, he is

Chaplinesque. His body is smaller and his

head bigger than one might expect,

giving the effect of a kid wearing

a Bob Dylan mask. He possesses one

of the world's most striking faces;

while certain stars might seem surprisingly

normal and unimpressive in the flesh,

Dylan is perhaps more startling to

confront than one might expect. Seeing those

eyes, and that nose, it's clear that it could be

no one else than he,

and to sit at a table with him

and face those iconic features is

no less impressive than

suddenly finding yourself

face to face with William Shakespeare.

It's a face we associate with

an enormous, timeless body of work,

work that has changed the world.

But it's not the kind of face one

expects to encounter in everyday life."


Mr. Dylan is a Gemini, so the twin faces

here suits his dual nature. His songs are

sad and funny, beautiful and brutal,

full of love and outrage, life and death,

clarity and abstraction.


His press rep at the time insisted I

omit some of the things Dylan said to

me from my interview. One of the best,

which I am happy to share with you here,

is when he mentioned the song "People,"

and sang, in that inimitable Dylan style,

"People who need people are the

luckiest people in the world..." And then

he looked at me


and asked, "Do you think

people who need people

are REALLY the luckiest people

in the world?" He's a man who thinks

a lot about the meaning of songs.

Which is why his

mean so much.

With apologies to John Darnielle (aka The Mountain Goats).


Or... more to the point... in tribute to him.


We saw him live in Chicago a few years ago and... I was floored. Absolutely floored. Or fielded, I suppose, since it was an outdoor show. He is such a brilliant guy... and his songs... well... if you haven't heard any, please do Google him. He has a fascinating past (including living on the grounds of a mental institution, where he did a lot of songwriting).


I often find myself singing his "Island Garden Song" when I'm out in my garden (which is, like me and my life, living and happening on an island). Best line? "And my garden will grow sooooo high/That I will be completely hidden."


Sounds like paradise to me.

Why should I care to find my song?

Why should you care to find yours?

Don’t we vibrate in an Ocean of Sound?

Does the dream of reaching ourselves

To finally know who we are

To finally know where we are going

Delight an Answer in limitless queries?

Don’t our bodies soak in possibility

Within the larger symphony of stars and galaxies

Beyond all mathematical perplexity?

Will our shallow throated emissions

Penetrate the shells still dividing us?

From nowhere and everywhere

This paradoxical quest holds the Tune

We are each an aspect of its vital Harmony

We find our journey waiting and singing to us

To invoke a much deeper throated response

Until we feel ourselves to be Home


© Ganga Fondan, 2010


The quest to find Truth showers its songs upon my life and it is the only way I know to find meaning. We each have a connection to the Poetry of Life. Immersed in this we are invincible. My Blog


Findlay Napier at The Hug & Pint for Music Plus

Polaroid 190

Exp' Chocolate film

A Stockholm Songwriting Camp szervezésében 12 országból érkeznek fiatal dalszerzők és szövegírók a svéd fővárosba, hogy egymást inspirálva fejlődjenek az alkotómunkában. A szervezők az Artisjus közvetítésével Molnár Tamást választották a fiatal magyar dalszerzők közül, így ő képviselheti...

Another shot from a quick weekend getaway to northern Pennsylvania in August. This was a bit of a random shot for me. I saw that plume of trees off in the distance from the corner of my eye while driving; after a 15 second hesitation decided to turn around and pull over for this view.


Title borrowed from lyrics in the new song Lucky Now by Ryan Adams (link in comments). Love him or hate him, Ryan Adams can really deliver you a surprise with his creative songwriting, gravely voice, and modern folk musical abilities.



Een avond waarop poëzie en muziek samenkwamen in het café van poppodium NIEUWE NOR. Heerlens stadsdichter Merlijn Huntjens presenteerd 'Slam Meets Poetry' op donderdag 6 september 2018. Fotograaf: Marc Bogman

He is kissing John Lennon.

"Lucy in the Sky with Diamonds" is a song credited to Lennon–McCartney that appears on the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band. John Lennon started production of the song, and then Paul McCartney contributed to it in a songwriting session.


Have you seen an image of Pelé hugging some famous in the streets? It is the "Pele Beijoqueiro", a series of lambe-lambs by the artist Luis Bueno, 35, from São Paulo, present in walls and walls of several cities in Brazil.


Pele's Lambe-licks


Bueno has already put Pelé next to the Mona Lisa, of Leonardo da Vinci; characters from the "Star Wars" franchise; the painter Salvador Dalí and even the singer David Bowie, the biggest assembly of the series.


The lamb-lambes, artistic technique of assembly and collage, were inspired by a photo of Pelé embracing Muhammad Ali in 1977, in the United States.


"I fell in love with the image, which brought this gesture of affection and affection of a great symbol of Brazil that is Pelé. Immediately I realized that I could reconstruct the image and enjoy the gesture of the kiss, replacing Muhammad with other people," said Bueno , in an interview with Batanga.


The works are produced in stages. The artist took the photo and started a digital painting process that took months to get ready. Then it is scaled, separated into several parts for printing and cut manually. "Many pieces in the series are hand-painted too, which would be a fourth step," he says.


:: August 22, 2011


:: Nick Ashford Has Died at 70 (8/22/2011)


Fabulous songwriter and singer. Excellent's always so sad when someone like this dies.

Deepest sympathies to the family. R.I.P. Nick...!


A day to morn the loss and celebrate the life of a soul music legend, Nick Ashford. Today I encourage you to make a powerful difference in your or someone else life by showing love and compassion in your thoughts & actions.


:: NICK ASHFORD - Another music legend is gone.....he will truly be missed. A gift like Mr. Ashford is an unusual find, thank God for giving him to us to create some wonderful times and enduring memories through music! Blessings and Peace! Our Prayers & Blessings go out to Valerie Simpson and her family!



Nick Ashford, was a songwriter and singer with wife Valerie Simpson


As songwriting partners, Nick Ashford and his wife, Valerie Simpson, wrote chart-topping rhythm-and-blues hits for Ray Charles, Marvin Gaye and Diana Ross, and then went on to become singing stars themselves in the 1970s and 1980s as Ashford & Simpson.


Mr. Ashford, 70, died Aug. 22 in New York City of throat cancer, his publicist told the Associated Press.

Nickolas Ashford (May 4, 1941 – August 22, 2011) and Valerie Simpson (born August 26, 1946), were a husband and wife songwriting/production team and recording artists.


Ashford was born Fairfield, South Carolina, and Simpson in Bronx, New York. They met at Harlem's White Rock Baptist Church in 1963. After having recorded unsuccessfully as a duo, they joined aspiring solo artist and former member of the Ikettes, Joshie Jo Armstead, at the Scepter/Wand label where their compositions were recorded by Ronnie Milsap ("Never Had It So Good"), Maxine Brown ("One Step At A Time"), as well as the Shirelles and Chuck Jackson.


Another of the trio's songs, "Let's Go Get Stoned", gave Ray Charles a number one U.S. R&B hit in 1966. That same year Ashford & Simpson joined Motown, where their best-known songs included "Ain't No Mountain High Enough", "You're All I Need To Get By", "Ain't Nothing Like the Real Thing", and "Reach Out and Touch (Somebody's Hand)". As performers, Ashford and Simpson's best-known song is "Solid" (1984 US and 1985 UK). The duo was inducted into the Songwriters Hall of Fame in 2002.


He and his future wife began writing together in 1964 and found success early when a throwaway party tune, “Let’s Go Get Stoned,” (written with a third partner) rose to No. 1 on the R&B charts for Charles in 1966.


The couple then became staff writers for Motown and churned out a series of hits in the late 1960s for Gaye and his singing partner, Tammi Terrell, that included the rousing “Ain’t No Mountain High Enough,” “Your Precious Love” and “Ain’t Nothing Like the Real Thing.”


Early in their career, Mr. Ashford primarily wrote lyrics while Simpson composed the music at a piano.


“We still don’t have a formula,” Mr. Ashford told The Washington Post in 1977. “I might think of a line or two. Valerie might hear me singing and try to catch up on the piano. But then I might hear her playing and come with an idea.”


The couple also wrote for Gladys Knight & the Pips, Smokey Robinson, Aretha Franklin, The Marvelettes, Teddy Pendergrass and Chaka Khan.


“They had magic, and that’s what creates those wonderful hits, that magic,” Verdine White of Earth, Wind and Fire told the Associated Press. “Without those songs, those artists wouldn’t have been able to go to the next level.”


Ross and the Supremes scored a hit with “Ain’t No Mountain” in 1968. Two years later, she recorded a solo version that became her first No. 1 hit.


Mr. Ashford and Simpson wrote and produced all but one of the songs on Ross’s debut solo album, “Diana Ross” (1970), including the enduring hit “Reach Out and Touch (Somebody’s Hand).”


“We had been friends a long time,” Ross said in 1980, “and I knew what kind of songwriters they were. Nick and Valerie have been my good-luck charm.”


Motown founder Berry Gordy objected when the songwriting duo wanted to branch out and pursue a performing career. As a result, they left Motown in 1973 and found considerable success as an R&B-disco crossover group well into the 1980s. Their 1984 hit “Solid (as a Rock)” reached No. 1 on the R&B charts and No. 12 on the Billboard pop chart.


During the 2008 presidential campaign, the Ashford & Simpson hit found a second life when a “Saturday Night Live” skit reconfigured it as “Solid as Barack.”


Ashford grew up in Willow Run, Mich., and got his musical start in a Baptist church. He briefly attended Eastern Michigan University before moving to New York to pursue a career as a dancer.


He slept on park benches and had been homeless for several months when he met Simpson at a Harlem church. They soon teamed up to write gospel tunes before turning to love songs.


“I get bored when I’m not writing about love,” Mr. Ashford told the New York Times in 1985. “Politics or social commentary don’t inspire me. Love lifts me up.”


The couple married in 1974. In addition to his wife, of New York, survivors include two daughters, his mother and two brothers.


In 2005, Mr. Ashford told the Ann Arbor (Mich.) News that “Ain’t No Mountain” was inspired by his sense of awe in New York City: “I was walking in Central Park wondering how I was going to make it in the big city. It was so big with so many people. I looked up and the tall buildings were mountains. ‘Ain’t No Mountain High Enough’ is about being inspired by courage to make it.”




:: Tribute to Nick Ashford & Valerie Simpson


:: Ashford & Simpson :: Found A Cure




:: Ashford & Simpson :: Love Or Physical


:: Ashford & Simpson :: Don't Cost You Nothin'

Classic from one of the GREATEST songwriter & producer teams OF ALL TIME!!


Photo © by Artamia:



Now it seems to me

That you know just what to say

Words are only words

Can you show me something else

Can you swear to me that you'll always be this way

Show me how you feel

More than ever baby


I don't wanna be lonely no more

I don't wanna have to pay for this

I don't want to know the lover at my door

Is just another heartache on my list


I don't wanna be angry no more

You know I could never stand for this

So when you tell me that you love me know for sure

I don't want to be lonely anymore


Robert Kelly "Rob" Thomas (born February 14, 1972) is an American rock recording artist and songwriter. He is the primary songwriter and lead singer of the band Matchbox Twenty. Thomas also records and performs as a solo artist. Thomas earned three Grammy awards for co-writing and singing on the Carlos Santana triple-platinum hit "Smooth", on the album Supernatural in 1999.

He has also lent his songwriting talents to such artists as Tom Petty, Willie Nelson, Mick Jagger, Marc Anthony, Pat Green, Taylor Hicks, Travis Tritt and Daughtry.

Since 1995, his band has released a string of hit singles to radio including "Push", "3 A.M.", "Real World", "Back 2 Good", "Bent", "If You're Gone", "Mad Season", "Disease", "Unwell", "Bright Lights", and "How Far We've Come". In 2004, the Songwriters Hall of Fame awarded Thomas its first Starlight Award, recognizing young songwriters who have already had a lasting influence in the music industry.

Al atardecer una pareja cruza solitaria el puente sobre el Guadalquivir en Sevilla

The Verve - "A Northern Soul" - Play this track here.


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A Northern Soul is the second studio album by English alternative rock band The Verve. The album was released in the United States on 20 June 1995 on the Hut label and in the United Kingdom on 3 July 1995 on Vernon Yard Records. The title is a reference to Northern Soul, an integral part of Wigans history in the 1960's and early 1970's, popular dance/music movement.


Following their performance at Lollapalooza in 1994, The Verve returned to their Wigan-based practice room to begin writing and recording songs for their second studio album. Commenting on the effect that working in the "dank rehearsal room" had on the band's songwriting process, frontman Richard Ashcroft stated: “Practising in a dungeon in Wigan for this record, you're devoid of any kind of fashion, or thought of 'This is what we should be doing'. Like a band that goes into the studio and plays the music they hear in their heads rather than what they read in magazines.”


Initially, the band tried to record the LP inside the rehearsal room itself, so that "they could record as they had been rehearsing", but, when this approach proved to be impossible, they relocated the recording sessions to rural Wales with producer Owen Morris. Tom Hiney, writing for The Guardian in September 1997, claimed that the band's experience of recording during this period was "intense and morose, but it produced an album that will still be listened to in 30 years' time. In my opinion, he was right on that one.


The band thought highly of the album, with drummer Peter Salisbury declaring it to be "one of the best albums in the last 10 or 15 years. As good as Nirvana's or the Roses", and McCabe claiming it contained "some of the best music I have ever heard by anyone". The album was a moderate success upon its release, reaching no 13 on the UK album chart. However, in later years the album saw more acclaim, with readers of Q Magazine voting it the 53rd best album of all time in 1998, and NME ranking it as the 28th best album of all time in 2003 and the 13th best British album in 2006.


Locals will recognise this reflection in a road puddle, just down Tib Street Manchester. The Northern Quarter (N4 or NQ) is an area of Manchester City Centre, England, UK, generally marked out between Piccadilly, Victoria and Ancoats, and centred around Oldham Street, just off Piccadilly Gardens.


A centre of alternative and bohemian culture, the area is usually considered to be contained within Newton Street (borders with Piccadilly Basin), Great Ancoats Street (borders with Ancoats), Back Piccadilly (borders with Piccadilly Gardens) and Swan Street/High Street (borders with Shudehill/Arndale). Popular streets include Oldham Street, Tib Street, Newton Street, Lever Street, Dale Street, Hilton Street and Thomas Street.


The Northern Quarter is part of a larger area of Greater Manchester that is on a tentative list of nominated sites for UNESCO World Heritage Site Status, a position held since 1999. Its a great place to grab some vintage clothing at Aflecks Palace, some Belgian beer, chorizo burgers at Trof or a brilliant piece of cake with custard in 1950's surroundings at Sugar Junction. Did I mention the Night & Day?


In my youth it was a street of XXX Sex Shops and pet shops. A funny mix. Its a lot less menacing than it was, fewer pet and sex shops, more trendy places & eateries.


For Dave Haslam (I can read his music books all day if I can), the Northern Quarter became the last refuge of the Manchester music scene in the 1990s: "A community, of sorts, had developed around music-makers wedded to experimentalism, from Andy Votel to Waiwan, nurtured at club nights such as Graham Massey's Toolshed and Mark Rae's Counter Culture ... In 1992, Frank Schofield and Martin Price (of 808 State) had lamented the fate of the independent record shop, yet within five years there were several new record shops in the Northern Quarter".


When you next visit Manchester, checkout the Northern Quarter. Proper Manchestor!


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(c) Hotpix / HotpixUK Tony Smith - WDCC

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues musician, among the most famous of Delta blues musicians. His landmark recordings from 1936–1937 display a remarkable combination of singing, guitar skills, and songwriting talent that have influenced generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend. Robert Johnson was born in Hazlehurst, Mississippi sometime around May 8, 1911, the 11th child of Julia Major Dodds, who had previously borne 10 children to her husband Charles Dodds. Born out of wedlock, Johnson did not take the Dodds name.


Songwriters write lyrics about what they can see, feel, and experience. Poets say that eyes are the windows to the soul. Couples can fall in love while looking deeply into each others' eyes. A lot of how people view the world around them, both literally and figuratively, is done through eyes. Eyes are important for more than just vision, and there are a lot of songs written about them.


Franke Valle sang “Can’t Take My Eyes Off of You,” putting voice to one of the most common feelings of falling in love. Frank Sinatra furthered this idea with “I Only Have Eyes for You.” When a couple begins to fall in love, they can spend hours staring at each other. They are only interested in that one other person. This is very easily conveyed in these two songs.


Eyes are also used in songs about heartache. Crystal Gayle’s song, “Don’t it Make My Brown Eyes Blue,” is sung by a woman who has been left by her lover for someone new. “These Eyes,” by The Guess Who, is about a love gone wrong, and the sorrow of the person left behind. A classic song about heartache, “Smoke Gets in Your Eyes,” performed by The Platters, warns young couples that “when the flame (of love) dies, smoke gets in your eyes.”


There are a lot of songs about the look in someone’s eyes. Probably the most well-known of these songs is “Lyin’ Eyes,” performed by the Eagles. Another song like this is “Betty Davis Eyes,” sung by Kim Carnes. This song is about a woman who can play with men because they respond to her eyes. LeAnn Rimes’ “The Light in Your Eyes,” is encouraging the listener to follow their dreams, and instructing, “don’t ever lose that light in you’re eyes.”


Some songs are about the way people are viewed through the eyes of others. One such song is “Angel in My Eyes,” by John Michael Montgomery. Another is “In Another’s Eyes,” by Garth Brooks and Trisha Yearwood, about two lovers who are both cheating on others so that they can be together. The two people they are cheating on can’t see that the person they are with is even capable of being untrue.


One of the best songs with eyes in the title is “Brown Eyed Girl,” performed by Van Morrison. Another well-known favorite is “Cotton-eyed Joe,” performed by the band Rednex, and many others. The Who’s song, “Behind Blue Eyes,” was one place shy of becoming a top ten hit on the Billboard charts when it was covered by Limp Bizkit in 2003. Lita Ford and Ozzy Osbourne performed “Close my Eyes Forever,” on the 1988 release of Ford’s album Lita. “The Bluest Eyes in Texas,” performed by Restless Heart, was also released in 1988, and became a number one hit for the band.


There are a lot of songs that have been written about eyes, or with eyes in the title. Songs about eyes have been written for every popular music format. A songwriter can use eyes to convey a lot of different meanings, and in a lot of different types of imagery. Using eyes, or vision, in songwriting creates an image that almost all listeners can relate to.


Eyes are organs that detect light and convert it to electro-chemical impulses in neurons. The simplest photoreceptors in conscious vision connect light to movement. In higher organisms the eye is a complex optical system which collects light from the surrounding environment, regulates its intensity through a diaphragm, focuses it through an adjustable assembly of lenses to form an image, converts this image into a set of electrical signals, and transmits these signals to the brain through complex neural pathways that connect the eye via the optic nerve to the visual cortex and other areas of the brain. Eyes with resolving power have come in ten fundamentally different forms, and 96% of animal species possess a complex optical system. Image-resolving eyes are present in molluscs, chordates and arthropods.

Findlay Napier at The Hug & Pint for Music Plus

act338. distel. zand. cd. ant-zen


the followup album to 'puur' displays once again distel's outstanding skills, fusing sound treatments, songwriting and emotional intensity with the ability to generate a coherent, monolithic opus reaped from a wide range of sources.





Garageband for Songwriting and Music Production – Become a master at using GarageBand. Learn how to Compose, Edit, Mix and Master your music with real-life examples.

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This is a reference to the Lou Reed Song of the same title.

The song, produced by David Bowie and Mark Ronson, is a metaphor for the romantic niceties of life but is also filled with the dark undertones of the struggle Lou Reed was having with addiction. Needless to say, it's a brilliant piece of songwriting, as profound as anything from Dylan or Leonard Cohen.


If you enlarge this, you'll see that the boat here is for sale. It's a very expensive boat.

Soren Staff is does lead vocals, guitar, piano, and songwriting for Them Coulee Boys.

a girl songwriting in her room.

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