Hear (Diesel album)
Hear is a 2002 studio album released by American-born, Australian-based hard rocker, Diesel. It was nominated for Best Independent Release at the ARIA Music Awards of 2003, but lost to Up All Night by the Waifs. All tracks written by Diesel except. "Angel Face" – 3:09 "Faith and Gasoline" – 3:40 "Getta Kick" – 3:55 "She's High" – 3:27 "Brighter than the Sun" – 4:18 "Battleworn" – 4:15 "Don't Send Another" – 2:26 "I'm Here" – 4:45 "On Your Sand" – 3:50 "Lotion" – 4:17 "The Embers" – 3:27 "I Wanna Fly" – 3:54 Diesel – vocals, guitar and bass Lee Moloney – drums, percussion Richie Vez – bass guitar Rob Woolf – keyboards, backing vocals Additional musiciansGuy Davies – keyboards and programming, backing vocals Gary Pinto – backing vocals GraphicsDesign, layout – artofthestate.com.au Photography – Tracy StevensonRecording detailsProducer – Diesel and Craig Porteils, Diesel and Guy Davies.
St Leonards, New South Wales
St Leonards is a suburb on the lower North Shore of Sydney, in the state of New South Wales, Australia. St Leonards is located 5 km north-west of the Sydney central business district and lies across the local government areas of Municipality of Lane Cove, North Sydney Council and the City of Willoughby. St Leonards was named after 1st Viscount Sydney of St Leonards. St Leonards applied to the whole area from the present suburb of North Sydney to Gore Hill; the township of St Leonards in 1883 is now North Sydney. The oldest railway station on the North Shore line opened in 1890 in St Leonards and only ran to Hornsby; the Gore Hill cemetery was established on the Pacific Highway in 1868 and was the main burial site for the area until its closure in 1975. It is still maintained as a heritage site by the Department of Local Government and Lands, Willoughby Municipal Council and the Heritage Council of New South Wales. St Leonards has a number of heritage-listed sites, including: Pacific Highway: Gore Hill Memorial Cemetery In the 2016 Census, there were 5,495 people in St Leonards.
34.7% of people were born in Australia. The next most common countries of birth were China 8.6%, India 6.0%, Japan 4.5%, Hong Kong 4.4% and England 3.8%. 45.7% of people spoke only English at home. Other languages spoken at home included Mandarin 10.3%, Cantonese 7.7%, Japanese 4.7%, Hindi 3.1% and Korean 2.3%. The most common responses for religion were No Religion 40.3% and Catholic 16.2%. St Leonards has a commercial centre that complements the role of Chatswood, Lane Cove and North Sydney as one of the centres for business on the North Shore of Sydney. St Leonards contains one of Sydney's suburban skyscraper clusters, with major offices for many large companies including Toyota Financial Services, IBM, Oporto Chicken & Burgers, Manchester Unity, 3, Savvytel, CIMIC Group, Forum Group, Macquarie Radio Network and Channel 31 TV studio; the NSW Department of Education and Training host their Information Technology Directorate in Herbert Street. Gore Hill Technology Park is the site of current Fox Sports television studios.
The Forum is built over the railway station and comprises three commercial office buildings, two residential towers containing 782 apartments, an independent mini-supermarket, 34 food and retail shops. The suburb's tallest building is the Forum Tower, with 483 apartments including many with panoramic views of the city skyline. Forum West is the second of the two residential buildings within the Forum Plaza, standing 25 stories tall with 290 apartments. Forum Tower was completed in Forum West 3 three years later. Both buildings boast a concierge, spa and private & public car parking facilities each. Winten Property Group was responsible for the construction of both buildings, continues to build apartment buildings in St Leonards with the construction of the T1 Apartments in Atchison St in 2012; the Plaza contains offices for Cisco Systems, Verizon Business, Getty Images and Carnival Cruise Lines, among other companies. St Leonards railway station is on the North Shore, Northern & Western Line of the Sydney Trains network.
The Pacific Highway is the major road through the suburb. A major landuse in the suburb is the Royal North Shore Hospital, the largest hospital north of Port Jackson in Sydney. A campus of the University of Technology, Sydney The campus of Northern Sydney TAFE Northside Community Church Royal North Shore Hospital Chapel St Leonards has developed into somewhat of a home for rugby union with the former headquarters of the Australian Rugby Union located at St Leonards, from neighbouring North Sydney; the Northern Suburbs Rugby Club has its clubhouse in St Leonards, featuring the Cabana Bar and Lounge. Gore Hill Oval is the home ground of North Shore Bombers. Willoughby City Council Naremburn/St Leonards - community profile
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Don't Start Me Talkin'
"Don't Start Me Talkin'" is a blues song written and performed by Sonny Boy Williamson II. It was Williamson's first single recorded for Checker Records, reached number three in the Billboard R&B charts in 1955. After Trumpet Records folded, on August 12, 1955, Sonny Boy Williamson II had his first recording session for Checker Records. "Don't Start Me Talkin'" was recorded at these sessions. Backing Williamson were Otis Spann on piano, Muddy Waters and Jimmy Rogers on guitar, Willie Dixon on bass, Fred Below on drums. "Don't Start Me Talkin'" was released as a single a month after its recording in September. The song reached number three on Billboard magazine's R&B Singles chart. James Cotton, taught the harmonica by Williamson, recorded "Don't Start Me Talkin'", for the 1967 album, The James Cotton Blues Band; the New York Dolls recorded it for their second studio album, Too Much Too Soon. Bob Dylan performed the song on The David Letterman Show in 1984. Other music artists that have recorded the song include John Hammond, Jr. the Doobie Brothers, the Yardbirds, Climax Blues Band, Champion Jack Dupree, Rory Gallagher, Willie "Big Eyes" Smith, Fenton Robinson, Gary Moore, among others
Little Red Rooster
"Little Red Rooster" is a blues standard credited to arranger and songwriter Willie Dixon. The song was first recorded in 1961 by American blues musician Howlin' Wolf in the Chicago blues style, his vocal and slide guitar playing are key elements of the song. It is rooted in the Delta blues tradition and the theme is derived from folklore. Musical antecedents to "Little Red Rooster" appear in earlier songs by blues artists Charlie Patton and Memphis Minnie. A variety of musicians have interpreted and recorded "Little Red Rooster"; some add instrumentation to mimic the sounds of animals mentioned in the lyrics. American soul music singer Sam Cooke adapted the song using a more uptempo approach and it became a successful single on both the US rhythm and blues and pop record charts in 1963. Concurrently and Howlin' Wolf toured the UK with the American Folk Blues Festival and helped popularize Chicago blues with local rock musicians overseas; the Rolling Stones were among the first British rock groups to record modern electric blues songs.
In 1964, they recorded "Little Red Rooster" with original member Brian Jones, a key player in the recording. Their rendition, which remains closer to the original arrangement than Cooke's, became a number one record in the UK and continues to be the only blues song to reach the top of the British chart; the Stones performed it on television and in concert and released several live recordings of the song. "Little Red Rooster" continues to be performed and recorded, making it one of Willie Dixon's best-known compositions. Willie Dixon's "The Red Rooster"/"Little Red Rooster" uses elements from several earlier blues songs; the theme reflects early twentieth century folk beliefs in the American South that a rooster contributes to peace in the barnyard. The image of the rooster appears in several blues songs from the 1920s and 1930s, with two particular songs identified as precursors. Influential Delta blues musician Charlie Patton's 1929 "Banty Rooster Blues" contains the verses "What you want with a rooster, he won't crow'fore day" and "I know my dog anywhere I hear him bark", which are analogous to Dixon's "I have a little red rooster, too lazy to crow'fore day" and "Oh the dogs begin to bark".
Some of the lyrics to Memphis Minnie's 1936 acoustic combo blues "If You See My Rooster" are similar. For example, she sings "If you see my rooster, please run'im on back home", while Dixon uses "If you see my little red rooster, please drive'im home". Additionally, similar melody lines are found in both songs. For her recording, Memphis Minnie does a full-throated imitation of a rooster's crow. Mimicking animal sounds became a feature of several recordings of "Little Red Rooster". In the post-war era, Margie Day with the Griffin Brothers recorded a song in 1950 titled "Little Red Rooster" in an updated jump blues style, it is a uptempo piece performed by a small combo group. Day's lyrics include "Got a little red rooster, man how he can crow... He's a boss of the barnyard, any ol' place he goes"; the original Dot Records single lists the songwriters as "Griffin-Griffin". Day's song was a hit, reaching number five on Billboard's Best Selling Retail Rhythm & Blues Records chart in 1951. Delta blues musician Charlie Patton influenced Howlin' Wolf's early musical development.
Wolf recorded adaptations of several Patton songs, including "Spoonful", "Smokestack Lightning", "Saddle My Pony". Relatives and early friends recall Howlin' Wolf playing a song similar to "The Red Rooster" in the 1930s. Evelyn Sumlin, the wife of long-time Wolf guitarist Hubert Sumlin, felt that several of the songs that were arranged by and credited to Willie Dixon had been developed by Howlin' Wolf. Howlin' Wolf recorded "The Red Rooster" in Chicago in June 1961; the song is performed as a slow blues in the key of A. Although Dixon biographer Mitsutoshi Inaba notes it as a twelve-bar blues, the changes in the first section vary due to extra beats. Lyrically, it follows the classic AAB blues pattern, where two repeated lines are followed by a second; the opening verse echoes Charlie Patton's second verse: As with many blues songs, Dixon's lyrics are ambiguous and may be seen on several levels. Interpretations of his verses range from the "most overtly phallic song since Blind Lemon Jefferson's'Black Snake Moan'" to an innocuous farm ditty.
Although Dixon described it in the latter terms, he added, "I wrote it as a barnyard song and some people take it that way!" The lyrics are delivered in Howlin' Wolf's distinctive vocal style. A key element of the song is the distinctive slide guitar, played by Howlin' Wolf, with backing by long-time accompanist Hubert Sumlin on electric guitar, it is one of only two of the many songs recorded by Howlin' Wolf in the early 1960s which include his guitar playing. Described as "slinky" by Janovitz and "sly" by music historian Ted Gioia, it weaves in and out of the vocal lines and is the stylistic foundation of the song; the other musicians include Johnny Jones on piano, Willie Dixon on double bass, Sam Lay on drums, Jimmy Rogers on guitar."The Red Rooster", backed with "Shake for Me", recorded during the same session, was issued by Chess Records in October 1961. Neither song, nor his other songs from the period now considered to be among his best known, entered the record charts. Both were included on his acclaimed 1962 album Howlin' Wolf called the Rockin' Chair album.
Hepfidelity is the debut solo album by Australian singer/songwriter Diesel. The album was released in March 1992 through Chrysalis Records/ EMI Records, held the number-one spot on the ARIA Albums Chart for four weeks, it included the singles "Love Junk", "Come to Me", "Tip of my Tongue", "Man Alive" and "One More Time". The album was certified 3x platinum in Australia. Engineered by Rick Will and Mark Desisto Assisted by Stoli Jaeger Produced by Terry Manning, Mixed by Paul Lani and Rick Will Recorded at Hot Tin Roof Studios, Los Angeles and Studio Six, Memphis. String Arrangements written and conducted by Carl Marsh List of number-one albums in Australia during the 1990s Hepfidelity and More
Don Bryant (songwriter)
Donald Maurice Bryant is an American rhythm and blues singer and songwriter. Bryant was born in Memphis, United States, the middle of ten children, he began singing in church at age 5. He soon joined his father’s family vocal group and would form a gospel quartet for a high school radio show, finding success singing secular pop songs on Dick “Cane” Cole’s popular WLOK show; the quartet, performing as The Four Kings, would part with Cole to become the front band for Willie Mitchell, with Bryant as the leading man. In 1960, the still teenage Bryant was offered a shot at songwriting, penning “I Got To Know” for The 5 Royales, he wrote material for other artists at Hi Records while continuing to record with The Four Kings and as a solo artist, resulting in a 1969 solo album. However, with the success of Al Green, Otis Clay, other vocalists at Hi, Bryant’s singing career took a backseat to writing, joining Earl Randle, Dan Greer, Darryl Carter as Hi’s top staff writers. Bryant is credited on as many as 154 titles.
By 1970, Willie Mitchell had begun to pair Bryant with his newest act, a young Ann Peebles, for whom he wrote “99 Pounds” and “Do I Need You.” The pair co-wrote the Top 40 hit "I Can't Stand the Rain" in 1973, would be married the following year. Bryant spent much of the subsequent decade writing and opening for Peebles, with his final Hi single coming in 1981, a duet with his wife called “Mon Belle-Amour.” Bryant focused on gospel albums throughout the 1980s and 1990s, stopped performing altogether outside of church services. Following a conversation between producer Scott Bomar and former Hi Records drummer Howard Grimes, Bryant was invited to perform as a vocalist with Memphis-based soul homage outfit The Bo-Keys. After some convincing from Grimes, Bryant accepted and, within a few months, found the inspiration to return to the studio. Bryant and The Bo-Keys recorded Don’t Give Up on Love in the fall of 2016, released on the Fat Possum label in 2017; the album features an array of Bryant’s past triumphs as well as new material.
Precious Soul, 1969 Don’t Give Up on Love, 2017 What Do You Think About Jesus?, 1987 I’m Gonna Praise Him, 1989 It’s All in the World, 2000 An in-depth interview with Soul Express in May 2017