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After Joni got the Gershwin Prize last year, the Library of Congress quickly moved on to Carlile's other well-established hero-BFF, and so it's little surprise, and not the slightest bit unwelcome, to see her show up repeatedly here. Leaving her old concert cover of "Rocket Man" behind (actually, no one does that here), Carlile's first selection of the night is "Madman Across the Water," which ...
Keyboards – Bill Payne, Clifford Carter, Don Grolnick. Percussion – Airto Moreira, Jim Maelen *, Starz Vanderlockit *. Producer – Frank Filipetti, James Taylor (2), Peter Asher ( tracks: 4, 7) Recorded By, Mixed By – Frank Filipetti. Remastered By [Digitally] – Ted Jensen.
8. Nov. 2021 · Nash immediately noticed Mitchell sitting in the corner of the room by herself and went over to introduce himself: “‘I know who you are,’ she said, slyly. ‘That’s why I’m here.'” The two got talking, and quickly they found themselves back at her hotel, where the fire was roaring and incense burned in ashtrays dotted around the ...
FYI. Recent search by myself on Google for lyrics of Big Yellow Taxi produced first up a full txt of the song as provided by Musixmatch. I was surprised to find the line 'And a big yellow taxi took away my old man' had been replaced with '"And a big yellow taxi took my girl away" and therefore searched on Musixmatch site to investigate but I could find no lyrics available at all, so, the ...
15. Juni 2015 · Both personally and professionally, That’s Why I’m Here — the follow-up to Dad Loves His Work — marks a turning point in Taylor’s life, and is indicative of ways in which, lyrically, he ...
27. Juni 2021 · I'm in the audience too, except I'm a clear cellophane bag of exposed human organs. Just a bag of human organs with a heart beating in the center. I felt like that. I felt exposed, like I couldn't have people in the room witnessing me. I felt like everybody could see into me and see that I was suffering. I don't remember why I was suffering so much.
And it's just you up there. Getting them to feel like that. Remember the days when you used to sit. And make up your tunes for love. And pour your simple sorrow. To the soundhole and your knee. And now you're seen. On giant screens. And at parties for the press.
