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发信人: kEitH (Tambourine Man), 信区: Rock
标  题: intro:VA-Lost_Songs_Of_Lennon_And_Mccartney
发信站: 荔园晨风BBS站 (Wed Mar 24 22:23:52 2004), 站内信件

All songs written by John Lennon and Paul McCartney

Track Listing
1. Kate Pierson “I’m In Love”
2. Bill Janovitz “I’ll Keep You Satisfied”
3. Graham Parker “From A Window”
4. Kate Pierson and Johnny Society “Step Inside Love”
5. Bill Janovitz “It’s For You”
6. Graham Parker “Bad To Me”
7. Johnny Society with guest vocalist Robin Zander “That Means A Lot”
8. Bill Janovitz “Hello Little Girl”
9. Kate Pierson “Love of the Loved”
10. Graham Parker “Tip of My Tongue”
11. Bill Janovitz “Goodbye”
12. Graham Parker “Come and Get It”
13. Bill Janovitz “A World Without Love”
14. Graham Parker “One and One Is Two”
15. Kate Pierson “Nobody I Know”
16. Bill Janovitz “Woman”
17. Johnny Society “I'll Be On My Way”

Produced by Jim Sampas, the creative force behind Badlands: A Tribute to
Bruce Springsteen’s Nebraska and Kerouac: kicks joy darkness. Featured
musicians include guitarist Duke Levine (best known for his work with
Mary Chapin Carpenter), bassist/keyboardist Paul Bryan (now
collaborating with Aimee Mann), and drummer Dave Mattacks (ex-Fairport
Conventioner and session vet who’s played with innumerable artists,
including Paul McCartney), and clarinet work by modern jazz great Don
Byron.

How did these artists get involved? Jim Sampas, producer of the project,
came up with the idea of taking fairly unknown Lennon & McCartney songs
and creating new versions—with one core band and a short list of
singers.

Where did the songs come from? They were all written by John Lennon &
Paul McCartney in the sixties for artists like Peter & Gordon, Cilla
Black, and Badfinger. Here is a full list of the songs’ origins: “Come
and Get It,” (recorded by Badfinger); “I’ll Keep You Satisfied,”
(Billy J. Kramer); “Bad to Me,” (Billy J. Kramer); “From a Window,”
(Billy J. Kramer); “I’m in Love,” (the Fourmost); “I’ll Be on My
Way,” (Billy J. Kramer); “It’s for You,” (Cilla Black); “Love of
the Loved,” (Cilla Black); “Step Inside Love,” (Cilla Black); “Hello
Little Girl,” (the Fourmost); “Goodbye,” (Mary Hopkin); “One and
One Is Two,” (the Strangers); “A World Without Love,” (Peter and
Gordon); “Woman,” (Peter and Gordon); “Nobody I Know,” (Peter and
Gordon); “Tip of My Tongue,” (Tommy Quickly); “That Means a Lot,”
(P.J. Proby).

When and where did they record? Almost the entire album was recorded
in beautiful, rural western Massachusetts, at one of the best studios in
the country: Long View Farm (Aerosmith, Creed). There were two
sessions: one two-week stint at Long View in August, 2002; and another
few days in November. Kate Pierson, Graham Parker, and Bill Janovitz
sing behind Duke Levine (Mary Chapin Carpenter’s guitarist), and the
core band is comprised of Dave Mattacks (session drummer for numerable
artists such as Paul McCartney, George Harrison, Elton John), Paul Bryan
(Aimee Mann’s bass player) and jazz clarinetist Don Byron and
guitarist Kevin Barry.

“I thought this was a cool idea even before I heard the part about
Graham Parker.”
—Bill Janovitz

“I grew up listening to, and loving, the Beatles… When you cover any
of those songs, even ones that most people don’t know, you can’t
help but notice how well-constructed they are, how cool the chord
structures are, how they manage to be memorable without being
endlessly repetitious. Being able to cover more than one, as I did here,
gave me a chance to get even further inside them from a musical point
of view. They’re like perfect pop jewels, so fun and so singable that
they almost sing themselves.”
—Kate Pierson

“It was incredible to see the power of the Beatles’ compositions,
the lasting power of them. With just a little flip of the switch, you
can find this depth to them that might not have been there in the
original renderings.”
—Graham Parker

“It's an intimate and heartfelt introduction to songs that range from
unabashed innocence to the surprisingly cynical and world-weary.”
— Amazon.com “The results [of this Lost Songs collaboration] are
enlightening and gratifying, very often improving on the original
recorded versions, and prove for the zillionth time the timelessness and
adaptability of the L&M catalog.”
— Cincinnati City Beat

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