This is a series of posts that will talk about my favorite Keyboard players.
So far I’ve chosen, Keith Emerson, Rick Wakeman, Eumir Deodato, Gershon Kingsley, Jon Lord, Elton John, Billy Joel, Nicky Hopkins, John Paul Jones, Richard Wright, Jerry Lee Lewis, and Billy Preston. Let me chose some more to consider.
Formed to indulge their fascination with the psychedelic pop and rock of the late 1960s.
The Dukes of Stratosphear were a fictional English psychedelic-pop group who were, in reality, a side project and alter ego of XTC. Formed in 1984 in Swindon, Wiltshire, the Dukes allowed Andy Partridge, Colin Moulding and Dave Gregory to indulge their fascination with the psychedelic pop and rock of the late 1960s without the expectations attached to the XTC name.
By 1967, Studio Three at Wally Heider Recording in Los Angeles had become a preferred destination.
Wally Heider’s Studio Three was one of the most important recording rooms of the classic rock era, yet it is often overshadowed by the fame of the larger Wally Heider facilities in both Hollywood and San Francisco. By 1967, Studio Three at Wally Heider Recording in Los Angeles had become a preferred destination for artists seeking a combination of technical excellence and a relaxed creative atmosphere.
This is a series of posts that will talk about some of my favorite songs by Power Pop bands. See if you agree with any of these!
“Shine a Light” is an upbeat indie-pop/psychedelic pop song by the American band The Apples in Stereo, written by the band’s primary songwriter Robert Schneider and appearing as track 4 on their 1997 album Tone Soul Evolution; its bright, jangly production and simple, affectionate lyrics about going outside, seeing someone special, and letting light and optimism in
These are songs that contain the word “Music” in their lyrics.
“I Can Hear Music” is a pop ballad written by Jeff Barry, Ellie Greenwich, and Phil Spector, first recorded by the Ronettes in 1966 but most famously covered by the Beach Boys on their 1969 album 20/20; the Beach Boys’ version, produced by Carl Wilson, was notable as one of his first major productions for the band and featured him on lead vocal,
