Blog Entry

GREAT SOLO SONGWRITERS FORUM - PART 2

Posted on: September 26, 2009 10:22 pm
Edited on: September 27, 2009 10:51 am
 

                                 THE EMPIRE STRIKES BACK


In this version. I would like to continue with what I call complete songwriters, those who write both lyrics and melodies, that originated from some part of the British Empire. At it’s greatest, the British Empire included England, Ireland, India, Australia, parts of the Caribbean and the Asian islands around Indonesia and the Philippines. For argument’s sake, let’s include continental Europe so I have some place to put Mark Knopfler(I guess this would also make ABBA eligible although I won’t be writing that one!!!!) Once again, I’m asking everyone to hold back on songwriters who are primarily collaborators, such as JAGGER/RICHARDS, PINK FLOYD, U2, ELTON JOHN/TAUPIN, etc. as we can cover them in part 3. This should still give us a large amount of  songwriters to discuss. Again, I tend to be most knowledgeable in the mainstream rock genre from the mid 60s to the late 80s and will concentrate my writings in that area. Others of you who can fill in the niches I’m less familiar with or who have particular songwriters they feel strongly about please should feel free to extol their virtues as I don’t want my own point of view to dominate this too much. OK, enough rules, let’s try to have some fun.

I have a theory that much of the succcess of the British invasion and their point of view on life and art is the result of growing up in post World War II England. I have seen many interviews/shows on how many of this generation of English kids were fatherless and grew up in bombed out suburban settings that Americans can never duplicate or fully understand. It has to be more than a coincidence that so many significant musical figures come from England and were born between 1938 and 1950, including all of THE BEATLES, THE ROLLING STONES, THE WHO and THE KINKS. These kids didn't have playgrounds, they had remnants of bombed buildings to play in. A large percentage of them attended British art schools as well. Perhaps this required them to develop their creative imaginations at an earlier age, perhaps its all just a fluke. Regardless, this has to be the richest period for producing a new generation of artists that all longed for the paradise they thought America to be compared to their homeland and sought it out in the rhythm and blues of the black musicians of the American south.


Category: General
Comments

Since: Mar 20, 2008
Posted on: October 7, 2009 9:43 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2

Hey CLEAN. I thought your blog was a good idea and I tried to contribute to it without dominating it, a fine line for blogging. I thought you did well for a first attempt and hope you don't get discouraged and not do more.

Regarding Knoplfler and GEORGE THOROGOOD. From the article I quoted:
On the 27th of July 1977 Dire Straits recorded the now famous demo tapes of five songs - Wild West End, Sultans of Swing, Down To The Waterline, Sacred Loving and Water of Love.
Knopfler was living in London at this time and SULTANS OF SWING was already a finished song. I can find no evidence that Knopfler had ever been to the states at this point although he could certainly have had access Thorogood's early recordings. I read in several articles on him that he was living in the Greenwich Village equivalent of London at the time and the characters in the song were taken from club players he was familar with there, although there is no interview quotes from himn to support or disprove this conclusively. Is that ambuguous enough???  

Anyway, glad to see you drop by as you usually comment on some songwriter I tend to overlook with my mainstream myoptic vision. I am currently working on either posting Donovan or Cat stevens, two very good singer/songwriters who had their careers underated because they chose to avoid the limelight after acheiving phenomenal success. I think each of them were tremendously successful and influential for a period of 6-8 years and should be considered based on that work, not their lack of work that people under 45 would be pretty unaware of.



Since: Jan 22, 2007
Posted on: October 7, 2009 6:36 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2

Hi Fans, I know I havent been around here much. I couldnt really get much going on my singers blog, maybe songwriting is a more exciting topic.

When I first heard Sultans of Swing, I couldnt help note how Knopfler's voice was a little Dylanesque, and you may have mentioned this, but i believe Dylan like Knopfler and the band and had them work or tour with him.
Here in South Jersey we have a little urban legend about the identity of people in Sultans. It is alleged that Guitar George is George Thorogood, because apparently, Dire Straits was playing gigs in the Delaware-Philadelphia area as an opening act. Now it is known that George thought very highly of a blues rocker who played here a lot on Long Beach Island - Harry McGonigle, aka "Flaming Harry" whose daytime job was as an art detailer. Could it be?    


ndliblnc
Since: Jan 14, 2009
Posted on: October 7, 2009 6:06 pm
This comment has been removed.

Post Deleted by Administrator




Since: Mar 20, 2008
Posted on: October 7, 2009 3:49 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2


Hello? Is there anybody in there?
Just nod if you can hear me. Is there anyone at home?



Where has everyone gone. I'm working on posts for DONOVAN and CAT STEVENS if anyone is still reading.



Since: Mar 20, 2008
Posted on: October 3, 2009 4:41 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2


      
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  CHECK OUT GUITAR GEORGE, HE KNOWS ALL THE CHORDS


      
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I am a huge fan of Knopfler, both as a guitarist and as a songwriter. He has consistently produced great music in my genre of music with uncompromising integrity. He is as underrated a songwriter as he is highly regarded as a guitarist. His lyrics are similar to Dylan’s in the stream of consciousness approach and his articulate use of language. His melodies are innovative and always interesting with some of his best work being the musical scores he has written for multiple movies. His playing style is instantly recognizable on every record he has graced as a sideman to other talented artists. His ALL THE ROADRUNNING collaboration with EMMYLOU HARRIS from 2006, though it was actually recorded over several years, is one of the most sonically appealing albums I have ever heard, his playing is so restrained yet still so skillful and his voice is a perfect compliment to Harris. My favorite example of one of his better known songs is the title track from BROTHERS IN ARMS. This song is deceptively peaceful sounding, very understated yet has some of the best guitar soloing I’ve ever listened to. I can try to play this song myself and approximate the chord structuring of the song and its rhythms, I am just amazed when I try to imitate the fills and the phrasing of his solo on the outro. Knopfler is simply the best fingerpicker style guitarist I have ever listened to and is impossible for a flat picker like myself to emulate. In researching this, I came across this article from 1999 that I am going to copy and paste in as it is as exquisitely written as one of Knopfler’s songs.

Mark Knopfler was born in Glasgow, Scotland, on the 12th of August 1949. He was around seven years old when the Knopfler family moved to Newcastle-Upon-Tyne in the North-East of England. Mark attended Gosforth Grammar School. As a young boy Mark was inspired by his uncle Kingsley's harmonica and boogie-woogie piano playing. Later, in his teens, he set his heart on an all too expensive flamingo-pink Fender Strat, just like Hank Marvin's, but in the end he had to settle for a £50 twin pick-up Hofner Super Solid and £50 was a lot of money in those days. Like lots of other guitar-toting schoolboys of the 1960s, he served an early apprenticeship by forming and joining anonymous schoolboy bands and listening to guitarists such as Scotty Moore, Jimi Hendrix, Django Reinhardt and James Burton. At sixteen he made a local TV appearance as half of a harmony duo along with school-friend Sue Hercombe.

At school Mark had demonstrated a flair for English and in 1967 he went to study journalism for a year at Harlow Technical College. At the end of the course he secured a job in Leeds as a junior reporter on the Yorkshire Evening Post. After two years he decided to further his studies and commenced a degree in English at Leeds University. It was whilst Mark was living in Leeds that he met a local blues singer/guitarist by the name of Steve Phillips.

Mark wrote newspaper articles and reviews on the music scene in and around Leeds. By an odd coincidence, Mark's boss was another man by the name of Stephen Phillips. This has caused some confusion over the years and a number of Steve Phillips biographies have claimed erroneously that Steve himself worked as a journalist. Mark and his boss - the other 'Steve Phillips' - went to see Steve playing in Leeds. Steve fondly recalls how Mark's first words were "Steve Phillips, meet Steve Phillips."

Steve and Mark found that musically they had much in common and they went on to form a duo called The Duolian String Pickers. By day Mark continued working as a reporter and, later, as a full-time student, while Steve took a job restoring paintings and furniture at Leeds City Art Gallery and Temple Newsam House. They played together on and off over the next five years. Some of their work is featured on Steve's 1996 Just Pickin' album. "He was a good guitar player", Steve says wryly of the young Knopfler, "in a B.B.King sort of way." Steve was to have a profound affect on Mark's guitar playing introducing him to the intricate lead technique of black blues guitarist Lonnie Johnson and the subtle skills of country blues guitar, the elements of which Mark was eventually to weave into his own unique style of guitar picking.

This was, in fact, a very important stage in Mark's development as a guitarist. He was later to tell Jack Sonni that it was not until he began to finger-pick that he found his guitar 'voice'. While living in Leeds Mark made his first record. It was recorded in a room that had been converted into studio in a house in Pudsey. The song was called Summer's Coming My Way and it featured Steve Phillips on twelve-string guitar.

On graduating from Leeds University in 1973 Mark decided to go to London and try to break into the rock scene. He scanned through the music press and finally answered the biggest advert he could find in Melody Maker. That led him to an audition and a two month stint with a blues band called Brewer's Droop. Mark played guitar on three songs they recorded at Dave Edmunds' Rockpile Studios in Wales. The band's drummer was a guy called Pick Withers. Pick had turned professional at the age of seventeen and was a very experienced drummer.

Having left Brewer's Droop Mark took up a job as a lecturer at Loughton College in Essex where he remained for two years living in a rented flat in Buckhurst Hill, sometimes giving guitar lessons at Staples Road School. Then brother David came to stay for a few weeks en route to London. The Knopfler brothers would often sit up late into the night playing songs and, without knowing it, to some extent laying the foundations of what was to become, in time, Dire Straits. It was the mid-1970s, David moved on to London and Mark went on to form a working band with friends at Loughton College. They called themselves the Café Racers.

David came to share a flat at Farrer House on Deptford's Crossfield Estate, South-East London, with a Leicester-born bass player by the name of John Illsley. John recalls first meeting Mark. "I'd been out all night and came in about ten in the morning. I walked into the kitchen, started making myself a cup of tea, walked into the lounge and there was this guy lying on the floor with his head propped up against a chair. He was fast asleep, fully clothed in denim with leather boots. He had a guitar slouched over his waist." David had often spoken to John of his guitar-playing brother and John guessed correctly that the guy sprawled out on the lounge floor was indeed Mark.

It wasn't long before John found himself on stage with Mark. One night the Café Racers' bass player was ill and John was asked to stand-in. Mark and John immediately struck up a great working relationship and both realised that, despite having built-up a good reputation on the local pub scene, the Café Racers had a limited future. In April 1977 Mark gave up his flat in Buckhurst Hill and moved in with David and John.

John quickly realised that not only was Mark a talented and excitingly different guitar player, he was also a gifted song-writer. During the summer of 1977 the three musicians found themselves playing and rehearsing Mark's songs. Yet, something was missing - a drummer. Mark, recalling his brief stint with Brewer's Droop, said he knew of a drummer who would be ideal for the sort of music they were developing. Mark had been very impresssed with Pick Withers back in 1973 and so Pick was invited to the Farrer House flat and the four musicians began doing gigs together under the name of Mark's old band, the Café Racers.

John recalled that "playing with Pick Withers was fantastic...I'd never played with anybody as good as him." Later, a friend of Pick's suggested a new name for the band - Dire Straits. The die was cast. The band's first gig took place on the open space at the back of the Farrer House flats, the electricty provided by a power cable running from the stage into a socket on the wall of John's first floor flat.

Punishing rehearsals and live gigs followed. There was just enough room in the back of John's estate car for the band's equipment and they earned just enough money to pay for PA hire and a round of beers. On the 27th of July 1977 Dire Straits recorded the now famous demo tapes of five songs - Wild West End, Sultans of Swing, Down To The Waterline, Sacred Loving and Water of Love. In what was probably October they recorded Southbound Again, In The Gallery and Six Blade Knife for BBC Radio London and, finally, on the 9th of November demo tapes were made of Setting Me Up, Eastbound Train and Real Girl.

Many of these songs reflected Mark's experiences in Newcastle, Leeds and London, and were to be featured on the first Dire Straits album the following year: Down To The Waterline recalled images of life in Newcastle; In The Gallery is a tribute to a Leeds sculptor/artist named Harry Phillips, father of Steve; and, Lions, Wild West End and Eastbound Train were all drawn from Mark's early days in the capital.

The demo tapes were given to BBC Radio London DJ Charlie Gillett. Charlie played the tapes calling upon record company executives to sign this new band: enter John Stainze and Ed Bicknell. It is said that Phonogram A&R man Stainze was in the shower listening to the radio when he first heard Dire Straits. A few weeks later he signed the band to Phonogram's Vertigo label and Mark secured a publishing deal with Rondor Music. Towards the end of 1977 Ed Bicknell was working at the NEMS agency when he got a call from Stainze asking him to fix up some gigs for Dire Straits. Ed was invited round to Phonogram's offices in December where he heard the Charlie Gillett demo tapes. He was then taken to Dingwalls Club in North London to meet Dire Straits. The date was the 13th of December, 1977, and as he walked into the club they were playing Down To The Waterline. Ed recalls, "The first thing I noticed was that it wasn't necessary to stand at the back of the room; they were very quiet.

I'd just done The Ramones, who were deafening......The second thing I noticed was that Mark was playing a red Stratocaster, which immediately made me think of Hank Marvin, who I had idolised in the sixties." After hearing two or three numbers Ed decided that he wanted to manage the band. He was organising a tour for Talking Heads and was able to put his new band on the bill as the support act. Dire Straits were paid £50 per night for the Talking Heads tour; a ten-fold increase from their fee at Dingwalls. The rest - as is often said - is history.

I once asked Ed Bicknell's former assistant, Liz Whatley, when it was that she realised Dire Straits were going to be really big. She replied that it was the first time she heard Romeo and Juliet. By the mid-1980s Dire Straits had released Brothers in Arms, one of the best selling albums of all time, and had been tagged 'the biggest band in the world'. By that stage the recording and touring personnel of the band had changed more than once. David left.

Hal Lindes, guitar, and Alan Clark, keyboards, joined. Then came Tommy Mandel, keyboards, and Mel Collins, saxophone. Pick left and was replaced on drums by Terry Williams. Keyboard player Guy Fletcher became a member of Dire Straits for the Brothers In Arms album. Jack Sonni, guitar, and Chris White, saxophone, were brought in for the subsequent world tour. By the time Dire Straits commenced the 1991/92 On Every Street tour Mark, John, Alan, Guy and Chris were left from the mid-80s line-up. They were joined on stage by Phil Palmer, guitar, Paul Franklin, pedal-steel guitar, and percussionists Danny Cummings and Chris Whitten. Others who have been featured on Dire Straits' recordings include Roy Bittan, keyboards, and Joop De Korte, drums.

The Brothers In Arms tour saw Dire Straits play 234 shows in twelve months to combined audiences of about 2.5 million. Within a couple of weeks of the tour finishing Mark was producing Tina Turner but, at the same time, felt he needed to get back to his roots. Long-time mates Steve Phillips and Brendan Croker had teamed-up to form a duo shortly after Mark had left Leeds in 1973. In 1986 Steve was in London and called in to see Mark who said he fancied coming up to Leeds and sitting in with Steve and Brendan on one of their gigs. This resulted in the three of them playing together at The Grove pub in Hunslet, Leeds, on the 31st of May, 1986. The following year Mark offered to produce Steve's next album but Steve suggested that a new album should feature both himself and Brendan. Guy Fletcher was brought in to help out on the technical side. From this evolved the Notting Hillbillies.

Ed Bicknell is an accomplished drummer in his own right and during a meal in a Notting Hill wine bar, Mark sat next to him and said "OK, Ed; we've formed a band, and you're the drummer." Paul Franklin joined on pedal-steel guitar. There followed an extensive UK tour to promote the 1990 release of the multi-platinum selling album Missing......Presumed having A Good Time. Also in 1990 Mark was able to release the Neck and Neck album, a joint project with the greatly admired Chet Atkins.

Mark brought Dire Straits back together for the 1988 Nelson Mandela 70th Birthday Concert which featured Eric Clapton who was standing-in for Jack Sonni as Jack had just become the father of twin girls. Mark, John, Alan and Guy appeared on stage at Knebworth in June 1990 along with, among others, Eric Clapton, Elton John, Ray Cooper and Phil Palmer, to help raise funds for the Nordoff Robbins charity. Then came the On Every Street album. The resulting extensive world tour, which played to more than four million people, was punishing and exhausting. After it was over Mark felt that he needed to take a break from the pressures of live performance and studio schedules.

In 1996 Mark began his career as a solo performer with the release of the Golden Heart album. The album was simply a step forward in the evolution of his music, "It's just moving forwards...", he said, "...Just trying to be better." In addition, he has scored the music to a number of films. First came Local Hero in 1983 followed in 1984 by the Cal and the Comfort and Joy soundtracks. These were followed in 1987 by The Princess Bride and two years later came Last Exit To Brooklyn. Further soundtrack work has seen the release of Metroland and Wag The Dog both of 1998. Mark's second solo album, Sailing To Philadelphia, was released in September 2000. His soundtrack album to the film A Shot At Glory is due for release in the not too distant future. To date, Mark Knopfler/Dire Straits have sold millions of singles and over 105 million albums.

Over the years Mark has collaborated with many artists. He has at one time or other worked with people such as Bob Dylan, Van Morrison, Randy Newman, Buddy Guy, Tina Turner, Phil Lynott, Willy DeVille, Eric Clapton, Waylon Jennings, Chet Atkins, Phil Everly, Vince Gill, Paul Franklin, Kate and Anna McGarrigle, Paul Brady, The Chieftains, Ben. E. King, Mary Chapin-Carpenter, Joan Armatrading, Scott Walker, Jeff Healey, The Judds, Jimmy Nail, Bryan Ferry, Aztec Camera, Steely Dan, Sting, Sonny Landreth, James Taylor, Emmylou Harris, Gillian Welch and David Rawlings.

He has also devoted a great deal of time to charity work for institutions large and small. Dire Straits did a total of three concerts for the Prince's Trust in front of Prince Charles and Diana, Princess of Wales. They appeared at the 1985 Live Aid Concert and the 1988 Nelson Mandela 70th Birthday Concert. In 1995 Mark was featured on the chart-topping Dunblane single Knockin' On Heaven's Door and in September 1997 was one of the artists who performed for Sir George Martin's Music For Montserrat Concert at the Royal Albert Hall. The Notting Hillbillies, too, have performed many charity concerts helping to raise money for a range of deserving causes. Mark has been the recipient of countless awards and accolades, not least among which was the conferring in May 1993 of an Honorary Music Degree by Newcastle University of which he is justly proud.

Mark Knopfler has always been a songster, to him the song is king. It is said that he has never really understood why his music is so popular. In this he is not alone. When reviewing the Sultans of Swing compilation album in November 1998, the writers of Mojo magazine commented "overwhelming sales testify to Mark Knopfler's song-writing ability and guitar expertise, and there is certainly something intimate and friendly in that smokey voice and fluid guitar, though the scale of Dire Straits' success remains mildly baffling." Some have tried to answer this by arguing that Mark's music has an instant appeal. Perhaps a better explanation comes in Robert Sandall's liner essay for the Sultans of Swing compilation.

Sandall noted, "As the fires of punk raged around them, they made no secret of their love for styles of music which the cultural commissars of the day had recently declared irrelevant....What part could this lot possibly play in the brave new world of anarchy, media manipulation and anti-musicianship? Apart from their consummate skill as performers, it was their complete disregard for all the fashionable nonsenses of the moment that rescued Dire Straits from the fate which swiftly overtook most of their punky contemporaries. While others lived and died in a blaze of publicity and disappointing record sales, they took the world by stealth....Dire Straits were, above all, superb communicators.... The heartfelt simplicity of their music - chiefly derived from Mark Knopfler's gruff vocals and elegantly burnished Fender guitar tone - came across in songs that sounded both fresh and timeless, and which also possessed a breathtaking accuracy."

There is another side to Mark Knopfler, a very private side. By the mid-80s Mark was being referred to by some as the "quiet man of rock and roll." He is shy by nature and gets embarrassed when fans tell him how much they have been affected by his songs and how his music has changed their lives. It is a matter of public record that Mark has been married three times. His second marriage produced his twin sons, Benji and Joseph, born in 1987, and more recently his third marriage to Kitty Aldridge has been blessed with a daughter, Isabella, born in 1998. After more than twenty years at the top of his profession, Mark Knopfler is now a family man who loves to spend time with his wife and his children.

TERRY KILBURN, 12/03/99. UPDATED, 27/09/2000. ALL RIGHTS RESERVED. APPROVED BY: MARK KNOPFLER

To concloude, I rank Mark Knopfler as the best songwriter/guitarists to come out of England in the late 70s, barely beating out ELVIS COSTELLO based on his superior guitar playing, and that is noyt to be taken a a slight to Elvis as a musician at all. Like Neil Young, this ability to compose both superior lyrics with unparalleled guitar vituousity and melodic composition puts him at the most elite level. Mark Knopfler absolutely makes my five best songwriters from Britain.




Since: Jul 23, 2007
Posted on: October 2, 2009 2:11 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2

Great Bowie biography, Fans!  No new information for me, since I'm pretty familiar with his career, but it is a great overview of a long career, full of twists and turns. 



Since: Mar 20, 2008
Posted on: October 2, 2009 1:00 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2

      
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  THE MONKEES AND THE SPIDERS FROM MARS


      
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nbsp; DAVID BOWIE

Born David Robert Jones, David Bowie is either a trendsetter or a very good mimic. He has had so many different personas and been at the leading edge of so many musical trends that I think he is the former, although I am not really a big fan of his. Bowie first gained attention in England recording under the name Davy Jones until 1966, but with the first release of SPACE ODDITY in 1969 he had his first major hit. By this time he had adopted the stage name DAVID BOWIE  to avoid being confused with the Davy Jones of the MONKEES. Bowie spent a couple of years in the late 60s in the New York/Andy Warhol scene where he formed long lasting friendships with Lou Reed and Iggy Pop. During this period, Bowie was just another acoustic singer/songwriter in the mold of Donovan, but with the influence of Warhol and Reed, he emerged in 1971 as ZIGGY STARDUST and really infused the glam-rock movement started by his long time friend, Marc Bolan of T-REX fame. I’m not sure we should credit him with creating glam-rock, but the ZIGGY persona was probably the most famous and influential example of this genre. He also had married Angela Barnett in 1970, the ANGIE from the song by the Rolling Stones. Early in an 1972 interview, Bowie claimed to be gay despite having fathered a son with his wife the previous year. This androgynous characteristic would mark his life and work forever. HUNKY DORY and the single CHANGES(what a song title for someone who just announced he was bi-sexual) would follow in 72 and bring him more success, but it was the concert tour of ZIGGY STARDUST that brought him the most attention. This was a period a great creativity for Bowie where he was not only recording and touring, he produced the great albums TRANSFORMER for Lou Reed,  IGGY POP AND THE STOOGES, and wrote and produced ALL THE YOUNG DUDES for MOTT THE HOOPLE. Suddenly, in 1973, Bowie announced at the final concert of a long tour that he was retiring from music and would no longer be ZIGGY STARDUST. 1974 saw the release of DIAMOND DOGS and the hit single REBEL, REBEL a drastic change from his ZIGGY sound. For the next few years, Bowie would inhabit the character he called the THIN WHITE DUKE and record a series of albums of material he called PLASTIC SOUL. This would be marked by the albums YOUNG AMERICANS, which greatly expanded his US audience with the singles FAME and the title track, and STATION TO STATION with its disco sounding hit GOLDEN YEARS. Cocaine abuse was running rampant in Bowie’s life at this time and his erratic behavior and failing health would coax him into going to Berlin with Iggy Pop for three years from 77-80. Here he would kick the coke and produce “the Berlin Trilogy” albums  LOW, HEROES, and LODGER. Another new sound was produced on these albums, the synth sound of his collaboration with Brian Eno. In 1980, Bowie would finalize his divorce from ANGIE and move to New York where he recorded SCARY MONSTERS and the hit single ASHES TO ASHES. Another album would not follow until 1983’s LET’S DANCE, an album of dance music produced by Niles Rogers of CHIC and introducing a young guitarist named STEVIE RAY VAUGHN. The title track, MODERN LOVE, and CHINA GIRL would prove to be Bowie’s most commercially successful records yet. Bowie would continue to change his personas and record until the present day, but he would never again be as popular. Side forays into acting in movies and on Broadway, forming the band TIN MACHINE and other distractions and projects would mark the rest of his career. Bowie has to be considered one of the most diverse rock stars ever, playing the parts of acoustic balladeer, glam rocker, soul singer, dance mogul, hard rocker, record producer, and songwriter. His catalog of songs is as prolific as it is diverse. He has been at the cutting edge of too many musical trends to just be lucky. I think he is one of the most influential and strangely curious of all the songwriters to emerge from England in the 60s. And while he does make my ten favorite artist list, he probably does make my ten best songwriters for his vast influences. He is certainly as multi-talented as any one individual can be and deserves his rightful place among the best songwriters ever.




























Since: Mar 20, 2008
Posted on: October 2, 2009 9:52 am
 

GREAT SOLO SONGWRITERS FORUM - PART 2

Fans, that is "Is She Really Going Out With Him?" and it is on Look Sharp!
OK,  I'm officially embarassed now!!!!!



Since: Jul 23, 2007
Posted on: October 2, 2009 8:54 am
 

GREAT SOLO SONGWRITERS FORUM - PART 2

The radio station I prefer plays one of his tracks that I really like and the only line I can really remember is "something's going on around here" I think.

Fans, that is "Is She Really Going Out With Him?" and it is on Look Sharp!



Since: Apr 6, 2009
Posted on: October 1, 2009 5:03 pm
 

GREAT SOLO SONGWRITERS FORUM - PART 2

Great work on Morrison,great career,I remember,when he played with the group Them,they had a big hit with "Here Comes The Night",prior to his solo career."Brown Eyed Girl" was a classic.


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