|
The All
Access Group
P: 408.257.6155
|
|
||||||||
|
© Copyright All Access Group 1997-2004. All Rights Reserved. |
|||||||||
The All Access Group
14510 Big Basin Way
Suite 246
Saratoga, CA 95070P: 408.257.6155
F: 408.257.6134
TollFree:866.257.6155
[ About ] [ Clients ] [ Services ] [ Testimonials ] [ News ] [ Home ]
For Immediate Release
August 19, 2001
=====================
"Listen to What The Man Said:
Popular Artists Pay Tribute To The Music of Paul McCartney,"
To Be Released By Oglio Records on October 9th.
A Portion of Proceeds to Benefit The Susan G. Komen Breast Cancer
Foundation In Memory of Linda McCartney. Fans Such as Matthew Sweet, The Minus 5, Virgos, Robyn Hitchcock, Sloan, Members of Barenaked Ladies, World Party, Semisonic, Finn Brothers, SR-71, They Might Be Giants and Others Offer Up Their Take on Classic McCartney Tracks. Second CD of Up-And-Coming Indie Artists to be Released October 23rd.
LOS ANGELES, CA, On October 9th, Oglio Records proudly releases Listen
to What The Man Said: Popular Artists Pay Tribute To The Music of Paul
McCartney. The 16-track compilation features many of todays most gifted
songwriters and musicians paying loving tribute to one of rock1s most
enduring figures, Sir Paul McCartney. A second offering, entitled Coming
Up: Independent Artists Pay Tribute to the Music of Paul McCartney,
will be released October 23rd (see attached track listing).
Featuring artists such as SR-71, members of Barenaked Ladies, Matthew
Sweet, Semisonic, World Party, They Might Be Giants and others, Listen
to What The Man Said boasts new interpretations of such classic songs as
"Every Night" (Matthew Sweet), "Junk" (a collaboration between Steven
Page and Kevin Hearn of Barenaked Ladies and Stephen Duffy of The Lilac
Time), "Waterfalls" (Sloan), "Ram On" (They Might Be Giants) "Too Many
People" (Finn Brothers, formerly of Crowded House and Split Enz), "Band
On The Run" (by Nashville-based power-pop icon, Owsley), and "Man We
Was Lonely" (World Party), among others.
In the 30 years since the breakup of the Beatles and the launch of Paul
McCartney1s solo career, there has not been a major tribute to his
post-Beatles catalog. Some would say that the reason for this is because
the originals stand on their own and covering them jeopardizes their
integrity -- a valid argument that the producers of the album took into
careful consideration. Ultimately, it was agreed upon that a whole new
listening audience exists that may not be familiar with the original
versions of these classics. For those already familiar with this body of
work, it serves a chance to revisit these timeless tracks.
Compiled by Kirk Waldrop, Kelli Richards and James Flaherty of Tribute
LLC (a company formed in 1999, whose mission is to organize, produce
and promote music and entertainment-related events and recordings that
directly benefit charitable organizations), the genesis for the albums
came out of their mutual love and respect of the music of the Beatles and
Paul McCartney, and a genuine interest in raising money for breast
cancer research in memory of Linda McCartney1s amazing life. A large
portion of the proceeds received by Tribute LLC will be donated to The Susan
G. Komen Breast Cancer Foundation. For more info, please visit
www.tributellc.com/html/buzz.html, www.oglio.com, or www.breastcancerinfo.com.
The common factor among the artists chosen for both releases is that
all were heavily influenced by McCartney and highly respected his work.
Each of the artists that participated graciously agreed to waive their
studio costs and royalties to ensure that a larger portion of the
proceeds would be donated to the Komen Foundation. This project is truly a
labor of love for the producers and all of the participating musicians.
For more information:
Mike Cubillos
Earshot Media
Ph: 310-318-8995
Fx: 310-318-5121
Email: Earshotmedia@earthlink.net
TRACK LISTINGS:
"Listen To What the Man Said: Popular Artists Pay Tribute
To the Music of Paul McCartney"
1. Band On the Run (Owsley)
2. My Brave Face (SR-71)
3. Junk (Steven Page and Kevin Hearn of Barenaked Ladies, and
Stephen Duffy of The Lilac Time)
4. Jet (Semisonic)
5. No More Lonely Nights (The Merrymakers)
6. Let Me Roll It (Robyn Hitchcock)
7. Too Many People (Finn Brothers)
8. Dear Friend (The Minus 5)
9. Every Night (Matthew Sweet)
10. Waterfalls (Sloan)
11. Man We Was Lonely (World Party)
12. Coming Up (The John Faye Power Trip)
13. Maybe I'm Amazed (Virgos)
14. Love In Song (Judybats)
15. Warm and Beautiful (Linus of Hollywood)
16. Ram On (They Might Be Giants)"Coming Up: Independent Artists Pay Tribute To the
Music of Paul McCartney"
1. Let 'em In (Starbelly)
2. Take It Away (The Jellybricks)
3. Every Night (Mark Bacino)
4. This One (Cliff Hillis)
5. My Brave Face (Star Collector)
6. Temporary Secretary (The Andersons)
7. Mull of Kintyre (Kyf Brewer)
8. With a Little Luck (The Masticators)
9. Somedays (Phil Keaggy)
10. Getting Closer (Michael Carpenter)
11. Maybe I'm Amazed (Gadget White Band)
12. Helen Wheels (The Shazam)
13. Oh Woman, Oh Why (Ray Paul w/Emmit Rhodes)
14. Another Day (Cherry Twister)
15. Back On My Feet (Cockeyed Ghost)
ARTIST QUOTES
OWSLEY "BAND ON THE RUN"
"My earliest recollections of music were the sounds of the Beatle
records my mother would play, in the late 601s in our home in Anniston,
Alabama. By the time I was old enough to know what was going on, the
Beatles had broken up. And I, like other kids, listened to pop-radio, and
heard all of the bands that The Fab Four had influenced, like Badfinger,
ELO, Rundgren and well, everyone.
During the summer of 174, I remember running around the local swimming
pool while a sunbather had her AM radio blasting "Band on the Run." It
totally blew me away. Time stood still. And I think it was at that
moment, that I knew what I wanted to do for the rest of my life. It marked me the deepest. After all of these years, to find out that Paul and
Wings were under considerable duress while recording this masterpiece,
truly shows that great things can come from hard times and sacrifice.
Learning this has made it an even bigger influence on me. From that point
on, I studied all of Paul's work.
When I was asked to be a part of this tribute, I immediately thought
that I wanted to record "Band on the Run," but assumed it would have been taken by another artist. Thankfully it had not!
We recorded and mixed it in 22 hours straight. It was absolutely the
most fun! I initially wavered on the production between making it my own,
or paying homage. I went with the latter. It's really hard to mess with
perfection." Owsley
Guitars and Vocals Owsley Drums and Percussion Chris McHugh Bass Doli
Stepniewski Synthesizer Jonathon Hamby Trombone, Trumpet , Flugel Horn, Tympani and Orchestra Chime John Painter Backing Vocals Rebecca Walker Produced by Owsley Engineered and Mixed by JR McNeely 2nd Engineer Todd Gunnerson Digital Editing Fred Paragano Recorded at The Sound Kitchen, Cool Springs, TN
SR-71 "MY BRAVE FACE"
"The first time I remember hearing Paul McCartney I was about two. My
father loved Band on the Run and would play that record over and over.
By the time I could have a conversation, I already knew the words to all
the songs on the album. In fact, I was one of those idiotic kids who
was dumbfounded to find out that Paul McCartney was in a band before
Wings. The first Beatles tunes I ever heard were "Yesterday" and "We Can
Work It Out." I was hooked for life. Paul McCartney is the reason I am a
songwriter. One day I hope to write my "Yesterday." When SR-71 got
together, we never strayed from the work ethic The Beatles set back in the clubs of Hamburg. Playing every night of the week and writing songs
with all of our spare time. Jeff, Mark and John all feel as I doSwithout
Paul McCartney there would not have been an SR-71S thank you."
Mitch Allan
Vocals Mitch Allan Guitars, Vocals Mark Beauchemin Bass, Vocals Jeff
Reid Drums, Vocals John Allen Additional gang vocal stylings by Bill
Barnett Produced by David Bendeth Mixed by Neal Avron Engineered by Steve Wright Assisted by Mike McAree Recorded at Wright Way Studios,
Baltimore, MD
KEVIN HEARN & STEVEN PAGE OF BARENAKED LADIES STEPHEN DUFFY OF THE LILAC TIME "JUNK""In 1996, Barenaked Ladies were playing at the Phoenix festival in England. The headliner that night on the main stage was one of our heroes, Neil Young. A couple of us did our best to get back behind the main stage, perhaps to catch a glimpse of Neil and Crazy Horse as they walked on stage.
We ended up sneaking up on to the side of the stage, and who was
standing there watching the show with us but Paul and Linda McCartney and their kids.
I stood there, surrounded by my rock and roll heroes, wondering how I
could ever express to Paul McCartney exactly how much he meant to me. I wanted to tell him that I was in a band and that I do what I do only
because he did what he did. I figured that he must hear it from
everybody, and instead we chitchatted about Neil1s guitar solos, and although he must have guessed I was a musician, I wasn't going to bring it up with him. But I guess now it can be told: We do what we do because he does what he does." Steven Page
Guitar, Bass, Vocal Stephen Duffy Keyboards, Vocals Kevin Hearn Vocals,
Banjo, Drums Steven Page Produced by Yellowlorry Slow and Jeremy Darby
Engineered by Jeremy Darby Mastered by Ted Jensen at Sterling Sound,
NYC Recorded at Canterbury Sound, Toronto, January 2000
SEMISONIC "JET"
"For Semisonic, McCartney is less like an influence and more like the
air we breathe. I think we couldn't anymore choose to be a fan of his
than we could choose to need oxygen. Those melodies, that voice, are
imprinted on our brains somewhere near the deepest part. His sense of
melody is for me anyway the standard of beauty, and he rocks, more than you remember until you listen to the songs. When I'm writing, I'm sure
McCartney's looming in the back of my mind. How did he manage that amazing combination of finesse and throwaway? And the bass. I can remember hours in the studio with John Munson playing an old Hofner bass and the three of us reveling that we even came close to that McCartney sound. The first time I heard "Jet," I was a child and I think it was before I
really discovered the Beatles and I was completely amazed by the song. At that time it defined pop for me. Later I started to wonder "What is
that song about, anyway?" Maybe the lyrics are the throwaway part, I'll
never know, but the way it all fits together is just about perfect."
Dan Wilson
Lead Vocal, Guitar Dan Wilson Bass, Vocals John Munson Drums, Vocals
Jacob Slichter Synthesizer, Piano Chris Joyner Tambourine Brad Kern
Produced by Semisonic Recorded by Brad Kern Mixed by Brad Kern Recorded at Windmill Lane Studios, Dublin, June 2001
THE MERRYMAKERS "NO MORE LONELY NIGHTS"
"Obviously, there are lots of brilliant songs to choose from on
McCartney1s albums. The choice wasn1t made any easier by the fact that we wanted to do a song that was not only brilliant, but also a song which we felt we could contribute something to in order to make it in our
worldÐbetter. Because if we weren1t going to make it better, or at least
different, then what1s the point of doing a cover version? We looked around for a while and there it was, straight from the sweet days of being
fourteen "No More Lonely Nights." We wanted to mess around with it just
as if it were our own song, so we decided not to listen to the original
version. We just sat back to see where the chords and the melody would
take us. And here we are." The Merrymakers
Lead Vocals and Guitars David Myhr Backing Vocals, Guitars and
Synthesizers Anders Hellgren Bass Tomas Tjärnkvist Drums Mårgan Höglund
Produced and Engineered by Anders Hellgren for Monogram Recordings Recorded at Monogram Studio, Stockholm, 2000
ROBYN HITCHCOCK "LET ME ROLL IT"
"Let Me Roll It" is a dramatic, ominous song that glides effortlessly
between folk, metal, and R n B. McCartney captures the thrill and
terror of falling in love, and manages a nod to Lennon in the electrifying
guitar riffs. The song also appears to be in two keys great melody and
focused lyrics. I'll give it "5," Paul!" Robyn Hitchcock
Lead Vocal and Guitar Robyn Hitchcock Vocals and Drums Morris Windsor
Guitar Kimberley Rew Bass Matthew Seligman Produced by The Soft Boys and Pat Collier Engineered by Pat Collier Recorded at the Gravity Shack,
London England, January 2001
THE FINN BROTHERS "TOO MANY PEOPLE"
"I fell in love with the Beatles and let them change my world. Falling
in love tends to do that,and Paul and Linda1s love story was one for
our times. The music that flowed from it deserves revisiting. Neil and I
enjoyed this tune for its quirky joyfulness. Along with Buddy Miles
and Levon Helm, Paul McCartney is one of my favourite singing drummers,and doing this was a chance to beat the skins to one of his grooves. We were honoured to be asked." Tim Finn
Produced by Tim & Neil Finn Recorded by Sam Gibson at Roundhead Studios in Auckland, New Zealand, July 2000
THE MINUS FIVE "DEAR FRIEND"
"When I was a kid, my friend Gary and I used to have a big argument
over who was better, John or Paul. As if it mattered! I took Paul's side
but it was all in good fun. We waited at a record store for the truck
to show up with Ram and bought the first copies out of the box.
Worshipped that record, still do. Then Wildlife came out and sort of confused me. "Bip Bop" and "Mumbo?" But the rawness of that album has weathered well. "Dear Friend" is sort of a hidden gemÐI1ve always heard it as Paul1s mature and weary reply to John1s malignant, bitchy "How Do You Sleep." I love the way it starts so simply and keeps building and changing over the same repeating chord sequence. I think it1s a beautiful song, straight from the heart, and one that more people should know. But
then, some people never knows" Scott McCaughey
Baritone E-bow Guitars, Electric 12-string Guitar, Air Organ Peter Buck
Keyboards, Bass, Percussion, Pedal Steel, Bass, Harmonica, Vocals Scott
McCaughey Produced by Scott McCaughey Engineered by Scott McCaughey Recorded at The Fuselage, Casa de Elephante (both in Seattle WA), January 2001
MATTHEW SWEET "EVERY NIGHT"
"I always liked Paul1s first solo record, especially the sound of it.
It was interesting to hear on the Wingspan documentary how he recorded
it by "direct injection" (mics straight into the machine), and to see
photos of the huge four track he had at home. I grew up making four track
recordings on a cassette four track, so I enjoy hearing recordings
where one person plays a lot of the parts. It just had a fresh homespun
approach, and I tried to keep my cover of "Every Night" in that same
intimate realm that the original inhabited." Matthew Sweet
Vocals, Guitar, Bass Matthew Sweet Drums Ric Menck Produced by Matthew Sweet Engineered by Matthew Sweet Recorded at Ozz Manor, Los Angeles February 2001
SLOAN "WATERFALLS"
"I chose to tackle "Waterfalls" from McCartney II because the original
recording was so beautifully simple and sparse that there was potential
to widen the scope into a full band arrangement and add harmonies, etc.
It would have been more intimidating to try and copy any of his great
Wings full band recordings... the originals were so great anyhow!
You really begin to appreciate what a truly great singer Sir Paul is
when you try to cover one of his songs. Apologies ahead of time for any
cracked notes." Jay Ferguson
Sloan is Jay Ferguson, Chris Murphy, Patrick Pentland, Andrew Scott
Lead Vocal, Acoustic and Electric Guitars, Wurlitzers, Piano, Organ Jay
Ferguson Drums Andrew Scott Background Vocals Chris Murphy Guitar Patrick Pentland Bass, Organ, Synth Bass Brenndan McGuire Produced by Sloan and Brenndan McGuire Engineered by Brenndan McGuire Recorded at Powerline Park Fall 2000 thru Winter 2001
WORLD PARTY "MAN WE WAS LONELY"
"Once upon a time in North Wales there was a little lad who heard a
group on the radio called "Beatles." Daftie, Roger, Alf and Starkers. They
got too famous because everyone went mad when the big war was over,
even though there were still little wars going on. They tried giving peace
a chance but it was no good, they just had to make a racket. This
track was on Paul's first solo racket. Like a lot of other things, he did
it with his wife. This is probably not the best one on there but we done
it for you anyway and it goes like this now. I got Dave to help me and
Tristan probably did, too. Alright, take care, I'm off to me Aunties
house for a cream bun and a slice of Buddy Holly cake." Karl Wallinger
Performed by World Party (Karl Wallinger/ David Catlin-Birch) Produced
by Karl Wallinger Engineered by Tristan Powell Recorded at Seaview
Studios, London,England, June 2001
JOHN FAYE POWER TRIP "COMING UP"
"What could I possibly say about Paul McCartney's influence on me as a
songwriter, or a singer, for that matter? His genius is so
fundamentally ingrained in the DNA of any pop song worth its salt, and in the way such songs are sung, that to try and describe it becomes an exercise in futility! We chose to record "Coming Up," from 19801s McCartney II, first because we all like its optimistic viewpoint (being a group of extremely BITTER people ourselves), and it also afforded us a certain degree of creative license that would have been rather blasphemous in attempting one of his more widely-recognized "classics."
I think we did it justice, and hopefully, gave it a somewhat
interesting twist." John Faye
Lead Vocals, Guitar John Faye Lead Guitar, Backing Vocals Cliff Hillis
Drums Dave Anthony Bass Joann Schmidt Trumpet Milky Moonstone (R.I.P.) Produced by The John Faye Power Trip Engineered by Cliff Hillis
Recorded at Reuben Farther Studios, Rehoboth, DE, Winter 2000
VIRGOS "MAYBE I1M AMAZED"
"Maybe I1m Amazed" just so happens to be my favorite McCartney song
(post Beatles). It has always come across to me as a song that was written with one incredible intention. It just seemed like all he wanted out of that song was to let Linda know how he felt about their incredible
history and the love that they shared. They truly had an amazing story. I
know that being in a healthy marriage and being in the business of rock
and roll don1t always go hand in hand. I think it says a lot that he
gives her the credit she deserves for sticking with him through it all. I
guess I borrow that song for the same purpose with my relationship with
my wife. The song is also so perfectly arranged. It doesn1t follow the
usual pop song guidelines that most love songs do, either. I love the
fact that he puts the first two choruses back to back, separated only by
one of the most memorable guitar melodies ever to be written. In my
eyes, it seems like he didn1t care if that song was a hit, made any money,
or if anyone else liked it for that matter.
It goes without saying that Paul McCartney is one of the undisputed
kings of rock and roll, and my favorite melody writer of all time. I am
truly amazed, though, that someone that is so revered for the art can be
one of the most genuine class acts of all time, as well. I, along with
the rest of my band, are true fans of the The Man, Paul McCartney."
Brett Hestla
Drums JD Charlton Bass Chris Dickerson Guitar Ted Ledbetter Vocals,
Guitar Brett Hestla Produced by Sylvia Massy Shivy Mixed by Brett Hestla
and Kirk Kelsey Recorded at Mad Dog Studios, Burbank, CA January 2001
JUDYBATS "LOVE IN SONG"
"On being contacted regarding the tribute, I obtained several of the
Paul McCartney as well as Wings CDs. On hearing "Love in Song" I was
immediately seduced by the tune1s infectiously lonesome tone. Having made love to many a person via song, I identify strongly with all such
sentiment. In my head I heard the tune boiled down to what appears on the TributeÐa minimalistic version sans backup vocals and instrumentation, a single plaintive voice over guitars and percussionÐand was able (a
rarity) to achieve this with the very talented fellows with whom I am now
working. The band, once in the studio, found its voice in the first
take. Myself, I sang once, in the dark, over my scratch track, leaving the
lead as it is heard here. A good time, a moody and serene version which
hugs itself ever tightly as does the original. Thanks, Paul."
Jeff Heiskell
Vocals, Synthesizer Jeff Heiskell Guitars Reed Pendleton & Doug Hairell
Bass Rob Bell Drums Mike Hairell Produced by John Keaney & Mike Corbett
@ The Wax Museum Engineered by Jack Hill Recorded at Big Mama Recording Studios, September 2000
LINUS OF HOLLYWOOD "WARM AND BEAUTIFUL"
"It probably comes as no surprise to those who are familiar with my
music that Paul McCartney is a huge influence. It is certainly an honor to
pay tribute to him, and especially to do it alongside many other
artists who, like Paul, have inspired and/or influenced my music. I chose
"Warm and Beautiful" because the melody is so simple yet so timelessS like
so many of Paul1s songs. Anyone who writes songs knows that this can be
the most difficult balance to achieve, yet he does it effortlessly and
perfectly. I was initially entertaining the idea of covering one of two
songs from Ram that I really dig "The Back Seat Of My Car" or "Dear
Boy," although I couldn't imagine doing them any differently than he did.
"Warm and Beautiful" seemed to lend itself to the vocals-only
arrangement that ended up being my tribute. Thanks so much for the music, Paul!" Linus of Hollywood
Vocals Linus of Hollywood Produced by Linus of Hollywood Engineered by
Linus of Hollywood Recorded at Franklin Castle, May 2001
THEY MIGHT BE GIANTS "RAM ON"
>From John Flansburgh of They Might Be Giants:
"I was always a huge fan of the first couple of McCartney solo albums
in part because, like the Stevie Wonder albums of the same era, they
were great examples of the intensity of homemade recordings. You can hear a lot of the experimentation and discovery right in the tracks, and
that makes the recordings a kind of event in themselves. McCartney's "Ram On" is an especially nice example. It seems to have started as a sketch with ukulele and voice and then been built up with overdubs into an
unforgettable song.
It is daunting to try to reinterpret any McCartney song, but it's
especially so when it is such a spirited track. Our version of "Ram On" is
essentially an instrumental "dub" arrangement. We recorded our band
playing the track, which features a remarkably out of tune upright piano,
with a Casio keyboard and an accordion trading the melody line. We then
took that recording and mixed it with NY producers The Elegant Too who
helped us create the wide variety of echos that constantly threaten to
take over the track."
Accordion John Linnell Casio CZ-101 John Flansburgh Acoustic Guitar,
Piano Dan Miller Hofner Bass Dan Wienkauf Drums Dan Hickey Recorded by
Albert Caiati Mixed by The Elegant Too and They Might Be Giants Recorded
at Coyote Studio, Brooklyn and Elegant Too Studio, Manhattan, February
2001
THE SUSAN G. KOMEN BREAST CANCER FOUNDATION
The Susan G. Komen Breast Cancer Foundation was established in 1982 by
Nancy Brinker to honor the memory of her sister, Susan G. Komen, who
died of breast cancer at the age of 36. Today, the Komen Foundation is an international organization with a network of 70,000 volunteers in more
than 100 communities fighting to eradicate breast cancer as a
life-threatening disease. Through its renowned Research Program, the Komen Foundation runs one of the most innovative and responsive grant programs in breast cancer today. In addition, the Komen Foundation and its Affiliates are the nation1s largest private source of funding for community outreach programs that offer breast cancer education, screening and treatment services to the medically undeserved. Since its inception, the Komen Foundation has raised hundreds of millions of dollars to support the fight against breast cancer.
For more information about breast health or breast cancer, visit the
Foundation1s award-winning website at www.breastcancerinfo.com.
Tribute LLC will donate a minimum of $3.00 per album from net sales of
albums sold at suggested retail list price to the Susan G. Komen Breast
Cancer Foundation. A proportionately reduced amount from net sales will
be donated to the Komen Foundation for any albums sold at a reduced
price (e.g., mid-price records, budget records, cutouts, deletes).
[ About ] [ Clients ] [ Services ] [ Testimonials ] [ News ] [ Home ]
© Copyright All Access Group 1997-2004. All Rights Reserved.
