#bob schneider music

[youlovegoodmusic]

YouTube Channel 💻

You Love Good Music ♌️

New Music Video 🍿

"Losing You" 🎵

Bob Schneider

[AI Music Video]

https://youtu.be/mVapgiKKysM

[randomrichards]

JOAN BEAZ: I AM A NOISE

Life of folk singer

Unafraid to speak some truths

Becomes a target

[dreaminginthedeepsouth]

Bob Schneider - "Love Is Everywhere" ft. Tosca Strings

[mitjalovse]

Some missed opportunities occurred later on thanks to a variety of factors, including something in the vein of a death. Thus, Blackstar became a lost chance for James Murphy of LCD Soundsystem. He appears on two songs on that Bowie's final album, yet he felt like he should've done more on the record. Then again, he was in awe of his idol – who could've blamed him here –, though I do think he made his presence shown, he shouldn't be so hard on himself, since the pieces he worked on with him – one is on the link – had a distinct flavour that belongs to a scene LCD Soundsystem walks in and I could see them being covered by his band. Of course, an entire LP of him and Bowie shall remain Murphy's dream.

[pop-sesivo]

"Running On Empty" por Bob Schneider. Del álbum Looking Into You: A Tribute to Jackson Browne (2014).

Everyone I know, everywhere I go People need some reason to believe I don’t know about anyone but me If it takes all night, that’ll be all right If I can get you to smile before I leave

Bob Schneider delivers the saddest version of “Running On Empty” I’ve ever heard. A poignant song about the struggles of life, and one that somehow I’ve never really thought of as sad or poignant, and then listening to this cover, now, it’s strangely and startlingly empathetic, on growing old and growing up.

It’s off the new Looking Into You: A Tribute to Jackson Browne compilation, featuring Blind Pilot & Don Henley, Bruce Springsteen, Bonnie Rait, Lyle Lovett, Lucinda Williams, Bruce Hornsby and others.

Looking out at the road rushing under my wheels I don’t know how to tell you all just how crazy this life feels I look around for the friends that I used to turn to to pull me through Looking into their eyes I see them running too

[thislovintime]

Peter Tork with Bob Rafelson, May 1968. Photos by Henry Diltz.

From Peter's Q&A at the 2006 United Fan Convention. “When I recorded ‘Can You Dig It,’ the guitar solo originally ran about three or four minutes all by itself. We cut that back to a minute and a half. Bob Rafelson took a pair of scissors and snipped off the end of it. He didn’t ask me to shorten it, which I would have been glad to do. He just chopped it off. Son of a bitch! I have a lot of gripes about that, but that’s neither here nor there.” - Peter Tork, Blitz!, May/June 1980 “[M]y personal belief is that Bob [Rafelson] is an evil-minded man. He likes to bring people down. Bob was often unsupportive as a human being and distinctly negative — and I was on the short end of that. There’s one example [in the film] — where Ray Nitschke, the football player, keeps hitting me. He was a Hall of Famer for the Green Bay Packers. He’s doing his best to hit me but not to give it all he’s got because if he does, I’m a squashed bug. So this guy’s one of the toughest men in football, he’s coming at me and I’m scared [but] figure it’s good to be scared because that’s what an actor should do. But Bob goes: ‘Ha, ha! Look at Peter! He’s scared! Ha, ha!’ I was just about the kick him in the balls. It was like, For fuck’s sake, Rafelson! You’re making fun of me ‘cos I’m scared? How do you think that’s going to affect the quality of your movie, pal? I was so angry! That’s the style in which he damaged what could have been a fulfilling quality experience.” - Peter Tork, MOJO, June 2002 “I didn’t have much to do with Kirshner and that which I did have to do with him was strained, difficult and incomprehensible. Schneider I love; he’s a hero of mine. Rafelson, the less said about, the better.” - Peter Tork, Goldmine, May 1982 “There was one guy, Steve [Stills], whom I liked enormously. Unfortunately he wasn’t quite right, but he had musical intelligence and I went so far as to ring him up and ask him along again. When he realized he wasn’t going to make it he suggested I get in touch with someone he knew, a certain Peter Thorkelson. I might have said ‘Yeah’ and forgotten about it — particularly as this Peter Thorkelson hadn’t even answered the ad and we had a lot of guys who had. Yet I remember I went to great lengths to contact him. I found him working as a dishwasher — not even as a musician, so you can imagine it took a while tracing him. But when I heard him, I knew at once he was right. I was knocked out.” - Bob Rafelson, NME, August 12, 1967 “The movie portrays them with not so much sweetness and brightness [as the TV show]. It’s a much heavier and far-out thinking group. I wouldn’t call it uncharitable. I thought it was expanding my sense of who they were. There’s a boxing scene in which Micky says, ‘Take this, you dummy.’ Suddenly the music changes and Peter appears in the corner, Christ-like, and says, ‘Micky, I’m the dummy. I’m always the dummy.’ The point was that he was always asked to be the dummy, so here he’s acknowledging it. But he’s also the one who’s given the longest speech in the movie about spiritual evolution, which he’s learned from the guru in the steam room. I was trying to give him a chance to be himself, but in a symbolic way. He is that way today, by the way. In other words, The Monkees became what they really were.” - Bob Rafelson, MOJO, June 2002 “Working for Bob was tough.” - Peter Tork, Shindig Magazine, 2010 “‘Most people are dazzled by the psychedelia, and that’s fine, but for me finally the point of the movie is the Monkees never get out,’ Tork says sadly. ‘Which is to say Bob Rafelson’s view of life is you never get out of the black box you’re in. There’s no escape.’ So how would a Peter Tork cut of Head end? ‘There might have been a scene where we get out,’ he says wistfully. ‘We jump in the water and get away.’“ - The Guardian, April 28, 2011

[eddieredmayneargentinablog]

New! Cabaret at the kit kat Club NYC> Sunday Morning CBS' new interview upcoming !

📷 Credit: Sunday Morning on CBS News Producer Jay Kernis on Facebook : "If all goes well, on this week’s Sunday Morning Mo Rocca looks at the enduring popularity of the John Kander/Fred Ebb musical "Cabaret," from its debut in 1966 and the Oscar-winning Bob Fosse film, to the latest revival on Broadway, in a production titled "Cabaret at the Kit Kat Club." Correspondent Mo talks with actors Eddie Redmayne (who plays the Emcee), Gayle Rankin (Sally Bowles) and Bebe Neuwirth (Fraulein Schneider), and with designer Tom Scutt, about their goal of immersing the audience in the story".

[soulmissed]

tag people you’d like to know better!

favorite color(s): forest green.

favorite flavor(s): salty, sweet. i eat 99% of food plain lol.

favorite music: frightened rabbit (♥️).

favorite movie(s): lilies of the field (1963), the outsiders (1983), cool hand luke (1967).

favorite series: the rifleman, the golden girls.

last song: god is my friend - bob schneider.

last series: the facts of life.

last movie: stalag 17 (1953).

currently reading: the poetry of mary oliver. also peeking at some of your threads so <3.

currently watching: football.

currently working on: drafts.

tagged by: @lvebug tagging: @sorrowsick, @againstsquares, @spungolden, @hearthtales, @ofpsalms, @stormlit

[dustedmagazine]

Aoife O’Donovan — All My Friends (Yep Roc)

The title track of folk songwriter Aoife O’Donovan’s fifth solo album, All My Friends, arrives loaded with prominent guests: the Knights, the Westerlies, and the San Francisco Girls Chorus. These classical artists, some of whom are also involved in the folk movement on other outings, remain as collaborators on several of the subsequent songs. The blend of O’Donovan’s songs and the varied palette provided for the arrangements creates an expansive and well-crafted ambience. It is the first time O’Donovan has produced her own work, and, with help from co-producers Darren Schneider and Eric Jacobsen, she successfully keeps a lot of balls in the air.

The lyrics are pertinent for today, exploring the trajectory of the women’s rights movement and the passage of the Nineteenth Amendment of the Constitution, granting women suffrage. A native of Newton, Massachusetts, O’Donovan grew up a stone’s throw from many places — parks, churches, coffeehouses, and out in the streets — where for decades the rights of women were advocated for strongly. In the wake of Roe being overturned, this is a practice continuing today.

O’Donovan accentuates coming together instead of airing grievances. “All My Friends” includes the verse, “Marching on, the Tennessee dawn is lifting o’er the fields. Steady on, America, you know it’s time to heal, If you open your arms you’ll feel us, warm and ready for the change, all my friends.”

She spent the summers of her childhood studying Celtic music and dancing in Ireland. The lilting tone of her voice reflects this. On “Someone to Follow,” O’Donovan sings to a baby about the challenges that await her, knowing that her daughter will face them down and make it. Combining gritty resolve and a lullaby, with a memorable hook in the chorus and an accordion solo providing an Irish inflection to the arrangement, “Someone to Follow” is a standout.

“The Right Time” has a stripped down arrangement of acoustic guitar, bass, and drums, but when it gets to the chorus, double-tracked vocals provide soaring harmonies.

“Over the Finish Line” is a duet with Anais Mitchell, referencing the travails of democracy, going so far as “America’s bleeding,” in one of the verses.

Accompanied by piano, vocal harmonies in the chorus once again urge coming together: “If I could change a mind, whose mind? If I could make something to get us o’er the finish line, We’re living in hard times, feeling hard times, living in hard times.”

There is one cover, Bob Dylan’s “The Lonesome Death of Hattie Carroll,” describing the beating death of an African American woman by a white tobacco farmer in 1963, the year the song was written. The assailant got six months in jail. The Knights join O’Donovan in a rich arrangement that combines “The Battle Hymn of the Republic” with Dylan’s song, underscoring the inclusion of Black Lives Matter in O’Donovan’s meditations on America’s current challenges. It is a rousing conclusion to All My Friends, a relevant and compelling recording.

Christian Carey

[endlich-allein]

What do you know about the parents of rammguys?

Not much. I never did very extensive research on the boys' parents. I only know what I could read right and left.

Till's parents are Werner (07.10.1926 - 09.02.1993) and Gitta (11.04.1939). Werner was born in Wolfen about 50km north of Leipzig (where Till was born). Werner's mother was called Siegfried, alias Ziggy, and adored her grandson who returned it well. She made pasta for the boys from Rammstein when they came to Leipzig. Gitta was a journalist, her job sent her all over GDR, so the family moved quite often, until she stopped in Rostock. Werner was a children's writer. He and Gitta lived separately, she in Rostock and he in Wendisch Rambow. Werner died in 1993 in Zickhusen. Till has a sister six years younger than him, Saskia.

Schneider's parents were accomplished music lovers. His dad, Martin Schneider (17.03.1938 - 22.01.2021) was an opera director and university professor. Little Christoph learned to play the piano very early. He also learned to play trumpet in a music school and to play in an orchestra. Then his parents moved away and Schneider, against their will, wanted to start the drums. He had made a drumset himself before he could buy a real set. Faced with the "fait accompli", his parents allowed him to continue and take lessons. I don't know anything about his mom. Christoph has a sister two years younger than him.

Paul's parents are Anton and Erika Hiersche. Anton (born in 1934) was born in present-day Czech Republic and Erika was born in East Prussia, present-day Poland. Both had to flee their countries during the Second World War and settled in the GDR. Both are Slavists and described as fervent socialists. When Paul was eight years old and his sister eleven years old, they left with their mother to settle in Moscow because she was giving conferences at the University. They stayed there for a year before returning to Berlin.

Flake was born, raised and still lives in Prenzlauer Berg in Berlin. His father was an engineer at the VEB Elektro-Apparate-Werke Berlin-Treptow "Friedrich Ebert" (EAW) and his mother was an academic and a journalist. He is an excellent pianist and chose to play this instrument because one of his childhood friends played it from the age of three. His parents therefore sent him to a music school. Flake has a brother three years older than him, Auge, who is a writer and cartoonist (his Instagram if you want to see his work).

Ollie was born to very young parents and describes them more as friends than parents. He always had a good relationship with them. They were music lovers, his mother listened a lot to Bob Dylan. Oliver was very bad at school, and his mother thought it was because the teachers were bad, so she let him do sports instead of his homework. Ollie describes his childhood as normal and says he was extremely shy. He has no brother or sister. And according to Flake, he started the bass because in his first band there were already guitarists so they put a bass in his hands and said to play : "Supposedly it’s a trademark of bass players that they’re easygoing and play their stuff without saying much, but I don’t think it applies to him because I have heard that he actually wanted to be a guitarist, and only began to play bass because there was already a guitarist in his former band. A bass was pressed into his hand. Play that. I know that some bass players like to spend hours stoically playing a theme, but Olli is far too impatient for that, but I think that it's good because as a result he has ideas that wouldn’t come from the others. Whether these ideas are put into action is another story."

Richard was born in Wittenberg, he is the last of a sibling. He has two older sisters and a brother. He describes his early years as beautiful and carefree. But his parents' divorce shattered everything. Subsequently, his mother rebuilt her life and decided to take her children to live with her and her new companion. It is from there that life becomes difficult for Richard. He has a conflicted relationship with his stepfather. He speaks of a "difficult relationship" which led him to run away many times. During his runaways he sleeps in the street, on benches or takes refuge with friends, until the police bring him home. I don't know anything else about his parents.

If you have any other information, do not hesitate to complete these portraits or correct them.

[youlovegoodmusic]

YouTube Channel 💻

You Love Good Music ♌️

New Music Video 🍿

"The Future" 🎵

Bob Schneider

[AI Music Video]

https://youtu.be/A6JAS5j0M3U

[eddie-redmayne-italian-blog]

Some news for Sunday!!

"If all goes well, on this week’s Sunday Morning Mo Rocca looks at the enduring popularity of the John Kander/Fred Ebb musical "Cabaret," from its debut in 1966 and the Oscar-winning Bob Fosse film, to the latest revival on Broadway, in a production titled "Cabaret at the Kit Kat Club." Mo talks with actors Eddie Redmayne (who plays the Emcee), Gayle Rankin (Sally Bowles) and Bebe Neuwirth (Fraulein Schneider), and with designer Tom Scutt, about their goal of immersing the audience in the story."

Jay Kernis on fb

[wonderfulworldofmichaelford]

Get Low by Lil Jon & The East Side Boyz

Some people, including a certain weirdo who likes to review movies and is incredibly handsome that will rename nameless, cite this as one of the greatest rap songs of all time. But me? I'm not so sure.

3, 6, 9 - damn she fine Hoping she can sock it to me one more time

Right off the bat, these lyrics are sloppy. 3, 6, 9? Um, you're missing a few numbers there buddy. And why are you talking about this girl's socks? Do you have a foot fetish? Are you Bob Odenkirk? Are you... Dan Schneider????

To the window, to the wall! Til the sweat drop down my balls

Um, gross. TMI buddy. We're here for music, not to hear about your ball sweat.

Frankly, I don't know if I can even continue reviewing this. The song is filled with foul language, racism, sexism, and a lack of good Christian values (aside from the sexism and racism, I mean). I don't think my fragile little heart can handle such a voyeuristic display of utter profanity, so this one gets a 0/5.

[sofakinghtt]

Oh look - it's THAT time of year again -- Hello Spotify Wrapped!

I'm not surprised that TDH is my most listened to artist this year...especially tickled that I got to see them play live last year for the the Indigo Child tour and then again this year for the 10th anniversary of the Migrant album.

Also got to see JohnnySwim this year too - such a great time!

I went to so many shows this year: Weezer, Jason Mraz, Janet Jackson, Young The Giant, Matchbox Twenty, The Dear Hunter and JohnnySwim! It has been so affirming to go out and be among other people, hearing live music and supporting the artists that I love.

Hoping for a amazing concert season next year too! 😁

Hoping some of the artists that I love who arent as mainstream/popular roll through my area too:

Come on Matthew Santos, Dale Hollow, Wrabel, Reign Of Kindo, Bob Schneider - I want to see all of you guys live, in-person! My body and my spirit are ready! Let's gooooo! 🤗

[jayhawksofficial]

Jayhawks Tour Update March 2023

We will be adding some new summer and fall 2023 tour dates soon. Stay tuned to The Jayhawks website and social media for the latest updates.

Tour dates & ticket links: bit.ly/JayhawksShows

Next up is our first trip to Europe in a few years. Tim O'Reagan had to drop out at the last minute due to circumstances beyond his control but we have recruited Austin, Texas drummer Conrad Choucroun to fill in. Conrad has played with many artists over the years - NRBQ, Bob Schneider, John Doe, Patty Griffin, Ron Sexsmith, et al - and we're very happy he was able to bail us out on such short notice. The only other alternative was to cancel or postpone these dates, some of which have already been pushed back (see: COVID). Tim will be back on the drum throne for our April east coast dates.

European dates April 7 - Blue Heart Festival - Alkmaar, Netherlands April 8 - Heartland Festival - Hengelo, Netherlands April 10 - Nalen - Stockholm, Sweden April 11 - Pustervik - Goteberg, Sweden April 12 - Slagthusets Teater - Malmo, Sweden April 14 - O2 Shepherds Bush Empire - London, England

Later in April we will be on the east coast for 4 dates with Freedy Johnston opening all shows. Port Washington, Tarrytown and Fairfield are sold out, but check back closer to the show date in case any tickets get released. There are still tickets remaining for Jersey City.

East coast dates April 26 - White Eagle Hall - Jersey City, NJ April 27 - Landmark on Main Street - Port Washington, NY (SOLD OUT) April 28 - Tarrytown Music Hall - Tarrytown, NY (SOLD OUT) April 29 - Sacred Heart University Community Theatre - Fairfield, CT (SOLD OUT)

[burlveneer-music]

SUSS & Andrew Tuttle - SUSS brings their ambient country sound to Longform Editions in this New York-Sydney collaboration

New York-based trio SUSS bridge atmospheric minimalism with classic Americana instrumentation, pioneering a genre they call ‘ambient country’ – a term that aptly defines their vivid and singular sound. SUSS have been described by UNCUT as if “Eno’s Apollo Atmospheres crash-landed in America’s Sonoran Desert”, and by Pitchfork as “neither rawboned nor ramshackle … [their] elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots”. Composed of veteran musicians Pat Irwin (B-52s), Bob Holmes (Rubber Rodeo), and Jonathan Gregg (The Linemen), the group made the decision to carry on as a trio after the loss of founding member Gary Leib in 2020. Crafting their cinematic soundscapes with the resumes to back them up, SUSS weave pedal steel, harmonica, harmonium, mandolin, baritone guitar, and National guitar with synthesisers and loops, creating a massive and high lonesome sound. Andrew Tuttle is a best-kept secret of the Australian musical underground – a songwriter, composer and improviser who has collaborated with Matmos, Steve Gunn, Charlie Parr, Gwenifer Raymond, Luke Schneider and many others. Tuttle’s music exists serenely and purposefully in a space where the five-string banjo and the six-string acoustic guitar weave in and out of processed electronics. Like time-lapse photography, it unfolds its colours and textures with an astonishing gracefulness and wonderment.