Bitrate: 320K/s
Year: 1999
Time: 53:59
Size: 123,7 MB
Label: Ulftone
Styles: Rock/Dirty Blues
Art: Front
Year: 1999
Time: 53:59
Size: 123,7 MB
Label: Ulftone
Styles: Rock/Dirty Blues
Art: Front
Tracks Listing:
1. Whisky Bottle - 4:22
2. Just To Talk To You - 4:07
3. Little Dark Angel - 2:53
4. Bell Of The Ball - 5:46
5. Tyranny Of Beauty - 3:35
6. Silence Is Your Friend - 4:43
7. Nothing Happened - 4:11
8. Love Me At A Distance - 4:28
9. Severine - 4:30
10. Space Kitty Blues - 3:10
11. Jaws Of Life - 6:29
12. Same Ol' Same Ol' / Last Song - 5:38
1. Whisky Bottle - 4:22
2. Just To Talk To You - 4:07
3. Little Dark Angel - 2:53
4. Bell Of The Ball - 5:46
5. Tyranny Of Beauty - 3:35
6. Silence Is Your Friend - 4:43
7. Nothing Happened - 4:11
8. Love Me At A Distance - 4:28
9. Severine - 4:30
10. Space Kitty Blues - 3:10
11. Jaws Of Life - 6:29
12. Same Ol' Same Ol' / Last Song - 5:38
In the spring of 1997, I was at Miles Copeland’s castle in France with about 30 other songwriters invited for a week of co-writing. Groups were assigned by the castle powers-that-be, and I was set up with this guy John Parish on the first day. He was playing some kind of toy instrument, but the sound – or his way of playing – seriously connected with me. Ahhhhh, he was that John Parish, the one who worked with PJ Harvey. I’d been a big fan – of “Polly” (he called her Polly) and of him as a player. His sound was at the core of hers, and of mine at the time – it played in a loop around my gravitational center. To suddenly be in a room with him for the purpose of writing a song was an unarticulated dream come true. // Cut to Spain, Benecassim ’98. John was there, playing with PJ Harvey. That was the night he offered to produce my album. We booked a couple local gigs (he on drums) so he could learn the tunes. // The studio in Barcelona was class A – in my memory, the engineers wore lab coats (though I doubt they did). Each day, I’d lay down some solo tracks until dinnertime. Before I arrived by train the next day, John had added his multi-instrumental brilliance to the previous day’s work. Some guys in my local band (I was living in Barcelona) sat in on a couple of tunes. A popular Catalon singer sang some backup. Some friends from the states flew over to join us. It was fun – and expensive! Two labels (a Spanish and a German one) split the cost. Some of my best songs got recorded. Begging Her Graces enabled some touring in Europe, but the album was never released in the U.S. Until now.
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