The Musical Priest, The Queen Of May - The Chieftains - The Chieftains (Vinyl, LP, Album)

The British release, with considerable airplay of "Giving It All Away" first lines "I paid all my dues so I picked up my shoes, I got up and walked away" coincided with news reports of the Who being sued for unpaid damage to their hotel on a recent tour, including a TV set being thrown out of the window. Daltrey's second solo album Ride a Rock Horse was released inand is his second most commercially successful solo album. McVicar was billed as a soundtrack album for the film of the same namein which Daltrey starred and also co-produced.

On release, Parting Should Be Painless received negative critical reviews, and was Daltrey's poorest-selling studio album up to that point. The album was a concerted effort on Daltrey's part to vent his frustrations in the wake of the Who's break-up by assembling a set of roughly autobiographical songs.

Musically, according to Daltrey the album covered areas that he had wanted the Who to pursue. The title track to Under a Raging Moon is a tribute to late Who drummer Keith Moonwho had died in at the premature age of This was his first major effort as a songwriter for his own solo career. To celebrate his LP birthday inDaltrey performed two shows at Carnegie Hall. The success of these two shows led to a US tour by the same name, featuring Pete Townshend's brother Simon on lead guitar with Phil Spalding taking bass duties for the first half of each show, and John Entwistle playing for the second half.

An Australian leg was considered but eventually scrapped. An avid fan of Premier League football club Arsenal F. The band were playing at a wedding reception in the hotel. According to a review of the Who's performance at the Quart Festival in Suddenly each and everyone stopped caring about the down-pouring rain.

When the Who took the stage we couldn't do anything but to reach for the sky and howl. Anyone who has ever thought of calling these gods old men and dinosaurs should be deeply ashamed. The reports we've heard from around the world were true: Live rock doesn't get any better. Daltrey hand-built his first guitar from a piece of plywood, and also built guitars for the band in the early days when they had little money to buy equipment.

During the Who's —97 Quadrophenia tour, he played a Gibson J acoustic guitar. Afterit became more common for Daltrey to play guitar during both the Who and solo shows.

He played a Versoul Buxom 6 handmade acoustic guitar on the Who's tour. Daltrey is among those who first brought the harmonica into popular music.

Daltrey uses Shure microphones with cords that are taped to reinforce the connection and avoid cutting his hands when he swings and catches the microphone. Daltrey has acted in advertisements, television shows, and films, and maintains an extensive filmography. A sampling of his films and TV roles follows: [74]. Daltrey contributed to a collection of childhood fishing stories published in entitled I Remember: Reflections on Fishing in Childhood. Kibblewhite: My Story. With the Who, Daltrey received a Grammy Lifetime Achievement Award in for outstanding artistic significance in music.

On 12 Marchhe received the Steiger Award Germany for excellence in music. In JulyDaltrey received an honorary degree from Middlesex University in recognition of his contributions to music. All of the Who's Encore Series profits go to young people's charities. Daltrey was instrumental in starting the Teenage Cancer Trust concert series inwith the Who actually playing in, andand Daltrey playing solo inand in as the Who. He has endorsed the Whodlumsa Who tribute band which raise money for the Trust.

Komen for the Cure breast cancer charity. InDaltrey became a patron of the Children's Respite Trust for children with disabilities. Langer 's research at the Massachusetts Institute of Technology into vocal cord repair for victims of cancer and other disorders. Inhe offered his support to a project helping unemployed young people in Heathfieldrun by Tomorrow's People Trust. InDaltrey publicly supported The National Campaign for Freedom of Informationsaying: "I come from a working-class background and I am proud of it and I intend to fight for the workers' right to know.

We all need to know what goes on behind the scenes that is causing this country's economic mess. When we have a Freedom of Information Act in this country we shall have restored our Right to Know the Truth and that will bring sanity to our tax laws. Daltrey was previously a supporter of the British Labour Partybut he withdrew his endorsement citing his opposition to the "mass immigration" policies put in place under the Blair government. Daltrey supported Britain leaving the European Union.

We went into the Common Market in Do you know what was going on before we went in? It was the s. The most exciting time ever — Britain was Swinging. Films, Theatre, Fashion, Art and Music Britain was the centre of the world. You got that because Britain was doing its own thing. It was independent. Not sure we'll ever get that again when we're ruled by bureaucrats in the European Union. Like being governed by FIFA ". InDaltrey opined that a "dead dog" could have defeated Hillary Clinton in the United States presidential election.

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Record Labels. Music Genres. OK, back to the Delmonas, the brainchild of a certain Mr. Billy Childish. According to his wikipedia page, Billy Childish "is an English painter, author, poet, photographer, film maker, singer and guitarist". I could add that he personifies the whole English garage scene and may possibly be the most prolific rock musician everas he's personally responsible for something like a albums, released by a dozen different groups.

One of the first was the rockabilly-influenced Milkshakes. A few of their EP's were released as the Milkboilerswho were actually the Milkshakes acting as a backing band for their respective girlfriends on vocals. For their first LP, they were renamed to The Delmonas - allegedly "taking their name from the word for a decorative handbag favored by women in the Klaipeda region of Lithuania".

Probably a hoax - any Klaipedean visitors of the blog are kindly requested to verify the above allegation. Anyway, the Delmonas continued to make records, backed by the Milkshakes or by Childish's new group Thee Mighty Caesars. We'll get back to them on another post. Now, all these don't sound very promising : They sound like the proverbial director casting his sexy yet talentless lover as the leading lady of his latest vanity project.

Well, guess again : Liberated from the boys' need to act toughthey became a much more enjoyable proposition - tough Bo Diddley beat and Cramps riffs softened by Nancy Sinatra sass and Beatles-like harmonies.

The Queen Of May - The Chieftains - The Chieftains (Vinyl they been released in the mid's they could have been hits like today's golden oldies. Basically every song on the record sounds like it came from the mid's Nuggets compilation.

Enjoy their music, and if you're ever in Klaipeda get a Delmona handbag and mail me a photo of it This is one of those albums I've bought twice. There's no other way to get his version of Jacques Brel's "Port Of Amsterdam" at the time a B-side to the "Sorrow" single - one of my favourite songs from the great Belgian troubadour.

I love Bowie's sparse, acoustic delivery and the way he brings the lyrics to life - the English translation of the song is poetic and wonderfully decadent. It wasn't part of the original LP, but included as a bonus track in the Rykodisc reissue and cruelly pulled out for later editions. That whole remastering program from saw Bowie's albums augmented with rare bonus tracks, and most of them were real gems which remain unavailable since.

Of course one can argue that, next to his other innovations, Bowie also discovered the tribute album. In his own words, he wanted to present some of his favourite songs that he thought were unfairly neglected by American audiences at their time. It was a weird exercise in nostalgia, as these songs were only 6 or 7 years old - not yet golden oldies by any standards. By he was probably rock's greatest star, certainly one of the most interesting artists around, and the leader of the glam rock movement.

Recorded immediately after "Ziggy Stardust" and "Aladdin Sane", he's backed here also by the Spiders of Mars, the sole change being Aynsley Dunbar on drums.

Which guarantees that, while rarely surpassing the originals, these versions don't lack punch. Actually, if a weak spot even exists, it'd be Bowie himself, whose voice is a bit too mannered for some of the rougher songs. They're mostly played in a straight, garage-ymanner. Ronson's guitar performance, at least, rivals Jeff Beck's original. The change doesn't work in the song's favour. So I guess you can say the were at least part Britishafter all. Now, audiences in were very much familiar with Pink Floyd, but I doubt many of them had ever heard "See Emily Play", a Syd Barrett-penned single from Bowie's version utilises saxophone, wild piano and harpsichord, psychedelic guitars and classical strings - inventive and true to Barrett's spiritif not to the song's original structure.

Finally, the album's lead single was paradoxically the slowest song, the Merseys' "Sorrow". On the other hand, it is the one most resembling 70's Bowie and such an obscurity that people would probably take it for an original composition. This reissue offers yet another rarity, a previously unreleased cover of "Growin' Up" by a then still unknown American artist called Bruce Springsteen.

Say what you will about Bowie, there's no denying he's always had an eye for talent! Ultimately, "Pin Ups" is a pleasant album that finds itself in the awkward position of following up a string of masterpieces. It may nevertheless have been exactly what Bowie needed to shake himself free from the image of Ziggy Stardust and influence of glam rock and embark on the next stage of his career.

Initially conceived as Brit-pop's answer to the Monkeys, Supergrass always seemed like fun guys, playing a kind of upbeat power-pop that, though hip to the times, was well schooled in classic rock and pop songwriting. As you may well imagine, those included the cream of rock and new wave songwriters. There are, nevertheless, two who are conspicuous by their absence : The Beatles and Rolling Stones. A bit of searching, though, reveals that covers of " Drive My Car " and "Under My Thumb" were recorded but kept out of the CD, maybe because they were too obvious.

The Kinks are represented here by an outsider, Village Green 's "Big Sky" played in a hard rock style reminiscent of The Who another notable absentee. The Doors' "Crystal Ship" is marred by loud outbreaks. Guys, it's called the crystal ship because it's fragile. But lads are always prone to smash stuff, so that's somehow to be expected. They chose a whimsical acoustic approach that belies the lyrics, but it's great fun nevertheless. Many songs are a bit more karaokemeaning that the band just play their favourite songs without bothering for arrangements.

They play well and are having fun with it, so the outcome isn't at all dismissable. Neither is the whimsical psychedelic pop of Syd Barrett's "Bike". I now realise I -unintentionally- left the first song for last. It's a rockin' version of Velvet Underground's "I Can't Stand It" - a garage-y take not far from the original, but an appropriately feel-good way to open the album anyway. For a low-key side project, this was quite enjoyable - I sang along to it while driving to the beach and everything.

I daresay I like it better than most of Supergrass' CD's, though it's still far from essential listening.

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