Suchergebnisse
Suchergebnisse:
Thanks, I'll Eat It Here: Warner Bros. Records: 1979 Indigo Girls: Nomads Indians Saints: Epic Records: 1990 Lesley Gore: Love Me By Name: A&M Records: 1976 Marjoe Gortner: Bad, but Not Evil: Chelsea Records: 1972 Henry Gross: Henry Gross: ABC Records: 1972 Arlo Guthrie: Hobo's Lullaby: Reprise Records: 1972 Last of the Brooklyn ...
Thanks I'll Eat It Here is an eclectic mix of styles reminiscent of Little Feat's earlier albums – in particular Dixie Chicken, on which the track "Two Trains" originally appeared. The album was released four months before George's death and has cover art by Neon Park, who created artwork for most Little Feat albums.
1979 Lowell George – Thanks I’ll Eat It Here. Bill Payne, David Foster, David Paich, Dean Parks, Dennis Belfield, Fred Tackett, James Newton-Howard, Jeffrey Porcaro, Jim Keltner, Lowell George, Mike Baird, Richie Hayward, Steve Madaio, The Waters, Valerie Carter.
Lowell George - Thanks I'll Eat Here. Warner Bros. Records WB56487 (1979) Track Listing: 1. What Do You Want The Girl To Do ? 2. Honest Man. 3. Two Trains. 4. I Can't Stop The Rain. 5. Cheek To Cheek. 6. Easy Money. 7. 20 Million Things. 8. Find A River. 9. Himmler's Ring. 10. Heartache. Personnel:
8. März 2010 · The Greats: Jim Keltner. By On 08th Mar 2010. Jim Keltner is inarguably a true studio drum god. Highly regarded for his session work on solo recordings by three of the Beatles, Jim could also be considered a close life-long friend of George Harrison, John Lennon, and Ringo Starr. Jim met Ringo in 1971, during preparations for George Harrison ...
Thanks, I'll Eat It Here didn't showcase George as a songwriter much, as it contained a high number of cover songs, some of them rather surprising (including Ann Peeble's "Can't Stand The Rain" and Jimmy Webb's "Himmler's Ring"). Of the four originals, one of them was actually a re-recording of an old Little Feat track from Dixie Chicken.
Jim Keltner was initially inspired to start playing because of an interest in jazz, but the popularity of jazz was declining during the late 1950s and early 1960s, and it was the explosion of pop/rock in the mid-1960s that enabled him to break into recording work in Los Angeles. His first gig as a session musician was recording “She’s Just My Style” for the pop group Gary Lewis and the ...
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