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Cave’s lecture-re-recorded for CD-features five songs, stark and touching, but it is his words that are the focus here. Pretty words, Innocent words, unaware that any day the bottom would drop out of the whole thing. Tijdens een Tribute To James Taylor in November 2006 traden ondermeer op Alison Krauss, Bonnie Raitt, Bruce Springsteen, Carole King, David Crosby, The Dixie Chicks, Dr John, Jackson Browne,  Sheryl Crow, Sting en Taj Mahal. Anneke van Giersbergen - Het Dorp Heidi Talbot - Time Everything But The Girl – Driving Clean Bandit & Jess Glynne - Rather Be Marc Cohn - Ghost Train Peter Gabriel - In the Neighborhood Simon & Garfunkel - Old Friends Tony Succar & Jean Rodriguez – Billie Jean Beste Songs van 2015 Rhiannon Giddens - She’s got you The Nylons - Up on the Roof Jenny Arean – Of ‘t nou helpt of niet James Bay - Hold Back The River Dan Fogelberg - Old Tennessee Tears For Fears & Oleta Adams - Woman In Chains Ruben Hein - Zeg me dat het niet zo is David Wilcox - Language of the Heart Sarah Jarosz - Annabelle Lee Orleans - Reach Noisettes - Ragtop Car Dionne Warwick - All In Love Is Fair Adam Cohen - We Go Home James Taylor - Secret O’ Life Bear’s Den - Above The Clouds Of Pompeii Patti Austin & James Ingram - Baby come to me Antonio Zambujo – Valsinha Toon Hermans - De appels op de tafelsprei Amos Lee - A Change Is Gonna Come Simply Red - Holding back the years Lotte van Dijck - Jong Cliff Richard - Do You Wanna Dance Moddi - House By The Sea Eva Cassidy - Over The Rainbow Beste Songs van 2014 Wende Snijders - Adem uit Randy Newman - Marie Calexico - Crystal Frontier The Swell Season - Falling Slowly Kenny Rankin - While My Guitar Gently Weeps James Taylor & Carly Simon - Mockingbird Stef Bos - My land is jou land Dan Fogelberg - Stars Mary Chapin Carpenter - Mrs Hemingway Ramses Shaffy - Het jongetje en het meisje The Civil Wars - Kingdom Come Crosby, Stills, Nash & Young en Tom Jones - Long Time Gone Arnold McCuller - Gods And Monsters Rickie Lee Jones - Dat Dere Toontje Lager - Ben jij ook zo bang?
Megan & Liz take a break from their promo tour to talk with Tommy2 about their new single and first headlining tour. Mark Ballas and Derek Hough will unveil their new song Move from their upcoming album on the November 3rd episode of Dancing with the Stars. On December 22nd, Buena Vista Home Entertainment will release The Secret Life of the American Teenager: Season 3 on DVD. Today Varsity Fanclub will be hosting a live video chat with fans on Justin.TV at 4pm Central. Stargayzing: For those readers who are unfamiliar, can you tell us a bit about Peggy Lee and contextualize her impact on popular culture? James Gavin:  Peggy broke through as a big-band singer at the height of the swing era in the early ‘40s, a time when popular singing was still in its adolescence. Stargayzing:  I know that you have great knowledge and insight into both pop and vocal jazz music. Stargayzing: In the process of creating this book, what did you learn about Miss Lee that surprised you? JG:  The degree to which she lived in a fantasy world in order to escape aspects of her life that she couldn’t handle. Stargayzing:  You have written extremely well-received biographies about Lena Horne and Chet Baker and now, Peggy Lee. Peggy’s self-propagated myth involved the abuse of a brutally violent stepmother when she was a child.
Stargayzing:  What was Peggy Lee like as a person and in what way did her personality and disposition inform her music?
Stargayzing:  What Peggy Lee album would you recommend to someone who was unfamiliar with her music? Basin Street East Proudly Presents Miss Peggy Lee, recorded live in 1961 at her longtime New York headquarters, captures all her colors.
Stargayzing:  Many people might be surprised to learn that Peggy Lee was also an accomplished songwriter. JG:  She had begun writing song lyrics as a girl, but plunged into it seriously around 1944. Stargayzing:  What personal or professional qualities make Peggy Lee a good subject for biography? JG:  Young singers today are coming up in an era when commercial pop music has been nearly stripped of its humanity. It was the summer of 1992 and I was working for Time Warner Chairman Gerald Levin, who was hosting an intimate after-party celebrating lang’s sold-out Radio City Music Hall show in a midtown atrium that connected two east west streets somewhere in the mid-West 50s. I had run into Seymour in the mid-summer of 1992 in the lobby of 75 Rockefeller Plaza where we both worked. The Peggy Lee Piece:  Miss Peggy Lee got her break singing with Benny Goodman in the 1940s and parlayed that success into one of the great recording careers of the 1940s, 1950s, and 1960s.
A Less-Than-Harmonic Convergence:  The paths of the three great singers, all at different phases of their careers, seemed to in some way dance around each other throughout 1992 and, strangely, I always seemed to be present when they did . Turns out this was only the second and third most insensitive comments uttered in the five full minutes it took the star to negotiate the obstacle course of a room, for the most insensitive and disrespectful comment was just around the bend.
Miss Lee’s wheelchair operator tried his best to negotiate the tiny spaces between the tables in the decidely not-handicapped-friendly party space. Moments later when Miss Lee finally rolled up at the feet of Madonna, the younger singer proved to be a far better actress than she had ever demonstrated on film, as she gushed over Miss Lee. There is a great chance that regardless of your demographic profile you are familiar with Leon Russell’s A Song For You, one of the really towering copyrights of the last 40 years. Dusty Springfield recorded the song for possible inclusion on her 1972 album See All Her Faces, but her unfinished recording remained shelved for almost 15 years until finally released on the compilation Something Special in 1996. Nancy Wilson recorded the song on her the 1987 album Forbidden Lover (the jazz singer, not half of Heart). Peggy Lee included the song on her final album for Capitol Records, Norma Deloris Egstrom from Jamestown North Dakota (1972). Elliott Yamin performed the song in both his audition for American Idol and in one of his final performances.
Mavis Staples recorded a version in collaboration with British Electric Foundation, which was included on their 1991 album Music of Quality and Distinction, Volume 2. In 2005 Herbie Hancock released a version with vocals by Christina Aguilera that was also nominated for a 2006 Grammy Award for Best Pop Collaboration With Vocals.
Whitney Houston performed A Song for You for the troops and their families returning from the Gulf War on March 31, 1991 on the specialWelcome Home Heroes With Whitney Houston (1991). Elton John used it as an intro to a medley of his own songs Blue Eyes and I Guess That’s Why They Call it the Blues on his 1986 tour.
In 1994 the great Shirley Horn performed the song as a medley with the standard Goodbye on her album I Love You, Paris.
Donna Summer often sang this as her encore during tours from 1977 to 1979, and again in 1983.

Beyonce Knowles performed the arrangement made popular by Donny Hathaway regularly during her second solo world tour. Sax player Kirk Whalum recorded the song on his Everything Is Everything: The Music of Donny Hathaway (2010). A version recorded by Amy Winehouse in 2009 was included on her 2011 posthumous album Lioness: Hidden Treasures. Merry’s version of A Song for You is from her eponymous 1971 album and benefits, I think, from exactly the right balance of grandness and humility. How I hoped to never have to go public with this, but your reluctance to embrace your true musical identity as represented by a series of misguided and utterly depressing CDs—Bionic anyone?— has really forced me to spill the beans.
While I know it’s fun to be a TV star and spin around in your chair on the The Voice after six hours of hair and make-up, this strikes me as a betrayal of your tremendous early promise.
Christina, you may remember the first time we met was sometime in the early months of 1999.
At that point you had only had that one Adult Contemporary hit from Mulan (Reflections), and there was something completely lovely and utterly sympathetic about you. I got to know you much better a few years later when you were married to Jordan Bratman who I knew through producer Dallas Austin. After the Blossom Dearie revelation on that long ago evening, I realized that you were—musically speaking— an old soul, and our conversation about the American pop standards repertoire and great female vocalists was both animated and passionate. To thank you for coming, the next day I went to Amoeba Music on Sunset and literally bought you 50 vintage jazz and pop albums from the 50s and 60s and sent them over to your house with a note encouraging you to explore your musical passion sooner than later and stop worry about having radio hits.
Certainly the fear of losing your younger audience and not getting on the radio has prevented you from exploring your musical inclinations any further than some of the cutesy retro stuff on Back to Basics (a misnomer) and completely overwrought covers of At Last (from the VH-1 Men Strike Back Concert) and A Song For You (from a Herbie Hancock duets album). In case you need a reminder in a more familiar voice, here is the note you wrote me to thank me for all the vinyl, as well asa special musical reminder of our conversation). Love songs that attach themselves to actual experience, that are a poeticising of real events have a peculiar beauty unto themselves.
Veel songwriters prijzen hem om zijn prachtige liederen en veel zangers en zangeressen om zijn prachtige stem die je raakt.
Maar de mooiste cover werd gezongen door India Arie met haar versie van Secret O’ Life. Tuesday night, High School Musical Alum – Monique Coleman, Corbin Bleu, Kenny Ortega and Ashley Tisdale posed for pictures at the This Is It Premiere After Party in Los Angeles, CA. Yesterday, the new episode of I Kissed A Vampire starring Drew Seeley and Lucas Grabeel reached number 26 on iTunes TV shows charts. Yesterday the sisters had a photo session and have been excited with what they’ve heard so far. It’s a whole new school year as Amy (Shailene Woodley) tries to juggle motherhood, school, work and family, and Grace (Megan Park) and Jack (Greg Finley) take their relationship to the next level. Sculpted by Ice Bulb, the 48-foot-8-inch creation, reaching over four stories high, and broke the previous record by nearly 8 feet.
With all that roaring brass behind them, and just one vocal chorus per song in dance tempo, band singers didn’t have much room for subtlety. What in your opinion is the difference between a pop singer and a jazz singer and how would Peggy Lee reflect that distinction? But whereby the pop singers of her day, let’s say Doris Day and Patti Page, had solid musical values, Peggy had something extra—namely, fantastic time and a swinging pulse that made her medium and uptempo numbers seem airborne. The amount of her story that she had simply made up, with no clear sense of where fact and fiction diverged.
I’m very attracted to stories of struggle, conflict, and emotional darkness that find expression in people’s art. I found strong reason to doubt this, and in the early chapters of my book I detail the lengths to which Peggy went to recast her childhood and parts of her adulthood in Cinderella-like terms. Was that something she had always done or was there a catalyst that pushed her toward not only interpreting a song but collaborating in its creation? She was on brief hiatus from her career and living as the newlywed wife of her ex-boss Benny Goodman’s former guitarist, Dave Barbour, and as the mother of their infant daughter, Nicki.
An Open Letter to Christina Aguilera Exposing the “Dirrty” Secret She Doesn’t Want You to Know! It was also named number three in Entertainment Weekly’s 10 all-time best American Idol performances (a distinction that might strike some as an oxymoron), though I must admit Yamin is not half bad. During his Crazy Love tour, he sang the majority of the song to the arena without a microphone. Her powerful version was inspiring and far superior to the bizarre dance version she sadly squawked on her final album I Look to You. Thomas, Barbara Cook, Woody Herman, Peabo Bryson, Andy Williams, Kenny Rankin, Ernestine Anderson, and on and on! An Open Letter to Christina Aguilera Exposing the Dirrty Secret She Doesn’t Want You To Know! Let me me offer heartfelt apologies in advance for breaking your confidence and sincerely say, at the risk of sounding didactic, that I am doing this for your own good. For Stargayzing readers, permit me to tell the story from the beginning, which will make my motives clearer and, at the risk of sounding grandiose, might give you pause to consider that you are, in fact, standing at a creative precipice. Of course, you did venture forth into the world and become a major pop star, first singing somewhat younger pop fare written by topnotch writers like the aforementioned Diane Warren, Steve Kipner, David Frank, and Pam Sheyne (Genie in a Bottle).
In case you don’t remember, I remember saying that you would create a more important and lasting body of work if you were a credible, contemporary incarnation of a great pre-rock era pop singer than a mature woman chasing radio trends with a series of ridiculously expensive producers and dwindling record sales. They stay alive in the same way that memories do and being alive, they grow up and undergo changes and develop.

The project stars Samantha Droke (Princess Protection Program), Tiffany Thornton (Sonny With A Chance), Francia Raisa (The Secret Life Of An American Teenager), Allen Evangelista (The Secret Life Of An American Teenager), Chris Hunter (South of Nowhere), Brandon Mychal Smith (Sonny With A Chance), and Days Of Our Lives hunk, Mark Hapka.
Experience every episode of Season 3, complete with revealing bonus features, including a behind-the-scenes look at the cast and an exclusive sneak peek at Season 4 —available only on DVD! On one of her classic albums, Black Coffee, from 1953, Peggy sings “My Heart Belongs to Daddy” against a wild double-time quartet arrangement. The voice on her records held so much intrigue for me that I wanted every recording, every review, every TV show, every interview I could find. Is That All There Is?, her surprise hit of 1969, had given only a temporary bump to her failing record sales.
Like so many of the great songbirds, she sang about romantic love as knowingly as an oracle, but usually lacked it in real life. Oftentimes concert audiences watch pop stars on video screens as they lip-synch to tracks, surrounded by smoke-and-mirror distractions. For me, “Is That All There Is?” is about a feeling that haunted Peggy—an emptiness in life that nothing could ever fill. You see, with the truth exposed you just might be forced to acknowledge that the bulk of your discography is an act of treason against the great artist you longed to be but are clearly afraid of becoming. Even though you were now really famous I still found you to be approachable and down to earth. Most of the time, she sang so intimately and with so much nuance that you found yourself leaning in to hear her.
In 1999 I began a Vanity Fair profile of Peggy that the magazine finally ran just after she died in 2002. The almost lifelong self-destructiveness that ran on a parallel track with her ironclad, North Dakota-bred survival instincts. The repertoire is mostly songs of the day, many of them chosen by the producer, Tom Catalano, who had worked with Neil Diamond. As we all know, career-obsessed, self-obsessed artists, particularly women, tend to go wanting in the LTR department. Even the worst traumas in Jerry Leiber’s lyric, from the burning-down of one’s family house (which Peggy had, in fact, experienced twice as a child) to the loss of the love of one’s life, seem somehow anticlimactic. You had finished recording your debut album and the party was celebrating that milestone and essentially sending you off into the world to become an international pop star. The interesting thing about Peggy is that, for all her darker dimensions, all the suffering in her life, she is viewed primarily as sly, witty, sexy, and triumphant.
She had an endearingly daffy sense of humor, loved telling jokes, yet had a palpable melancholy a fragility that made people feel protective of her. Peggy gained great respect as a lyricist, especially when she collaborated with Sonny Burke on the songs for Lady and the Tramp.
I remember clearly being so impressed when everyone crowded into a smaller room and you sang a few songs with just a piano, like it was 1948. In what I considered a major coup-celebre to help my then-boss, songwriter Denise Rich, I put together a dinner at Asia De Cuba restaurant at Le Mondrian Hotel for you, Jordan, Denise, myself, Stevie Wonder and his then-wife, clothing designer Kai Milla.
She was adored by fans of good music for her very quirky, straightforward style both as a vocalist and as a piano player.
If you take a chance, I feel certain that the world will reward you not only with a successful record, but something that has heretofore proven elusive: respect and the satisfaction of being regarded as authentic.
Other listeners have pointed to a never-say-die philosophy in that song, which Peggy certainly had. Kai convinced Stevie to come because she hoped you would wear her clothes and you came because you wanted to have dinner with Stevie Wonder.
A cabaret favorite until her death in 2009, Dearie was about the furthest thing away from the hip-hop flavored Can’t Hold Me Down that one could imagine. She was still in her vocal prime, although near its end, yet emotionally she sounds broken. But she sings “Is That All There Is?” with a hazy numbness that leaves its ultimate meaning to our imaginations.
Everything turned out fine except Kai was sick so it was just Denise, Stevie, me, you and Jordan. This is Blossom Dearie singing They Say It’s Spring, a side recorded in in 1956 for her first Verve Record, the eponymous Blossom Dearie.
Yes, she was a master of stagecraft as well as vocal craft, but more than anything, her singing was a search for truth. She had a Mae West-ian sexuality about her, yet at the same time she withheld, just like Lauren Bacall, James Dean, Chet Baker, Montgomery Clift. She is a jilted older woman who has just watched her last chance at love walk out the door. That sort of aura—sensitive yet somewhat inaccessible—has always been very seductive to young people. Rejection, abandonment—these were big issues for Peggy, and she magnified them in “Superstar.” The album was a flop.
Certainly Peggy has fascinated many prominent women in pop, including Dusty Springfield, k.d. Within a year after it was released, every discount record bin in Woolworth’s and elsewhere had Norma Deloris as a $1.99 cutout.

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