Hello, well the Taliban gets to talk terms waving the US goodbye , they leave behind a totally corrupted country producing tons of heroine and the females are no better off way to go USA and now they want to feed their militairy industrial complex scraps by arming the Syrian Taliban, that won't do, they need a bigger conflict, Iran's new president better beware. Whilst US's poodle UK had Cameron blair how the poos Syrians needed our support, they do, human support food and shelter not more guns. It was interesting to see Germany and Russia at one end and the snooping PRISM duo US/UK at the other end this is about real power now.
Todays artists are also a couple; they are very private about their relationship and personal life. For some time, it was not a publicised fact that they were a couple, or that they had married subsequently. The duo have expressed a strong desire to raise their three children with as much privacy as possible. They haven't been performing together since 2000 as their kids demand their attention ...N'Joy
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Originating at the turn of the 1980s as a leader of the lite-jazz movement, Everything but the Girl became an unlikely success story more than a decade later, emerging at the vanguard of the fusion between pop and electronica. Founded in 1982 by Hull University students Tracey Thorn and Ben Watt, the duo took their name from a sign placed in the window of a local furniture shop, which claimed "for your bedroom needs, we sell everything but the girl." At the time of their formation, both vocalist Thorn and songwriter/multi-instrumentalist Watt were already signed independently to the Cherry Red label; Thorn was a member of the sublime Marine Girls, while Watt had issued several solo singles and also collaborated with Robert Wyatt.
Everything but the Girl debuted in 1982 with a samba interpretation of Cole Porter's "Night and Day"; the single was a success on the U.K. independent charts, but the duo nonetheless went on hiatus as Thorn recorded a solo EP, A Distant Shore, while Watt checked in with the full-length North Marine Drive in 1983. EBTG soon reunited to record a cover of the Jam's "English Rose" for an NME sampler; the track so impressed former Jam frontman Paul Weller that he invited the duo to contribute to the 1984 LP Cafe Bleu, the debut from his new project, the Style Council.
Everything but the Girl's own beguiling 1984 debut, Eden, followed on the heels of the single "Each and Every One," a U.K. Top 40 hit. The jazz-pop confections of the group's early work gave way to shimmering jangle rock by the time of 1985's Love Not Money, while a subtle country influence crept into the mix for 1986's lush, orchestral Baby, the Stars Shine Bright. The beautifully spare Idlewild followed in 1988, spawning the single "I Don't Want to Talk About It," a poignant cover of a song by the late Crazy Horse guitarist Danny Whitten which became EBTG's biggest hit to date, landing at the number three spot on the British charts.
Tommy Lipuma produced the band's 1990 album The Language of Life, which featured the single "Driving." Stan Getz contributed a tenor sax solo on the song "The Road". Next was Worldwide and its single "Old Friends" in 1991. Everything but the Girl mounted a series of club performances which resulted in 1992's Acoustic, a spartan set of covers (including Elvis Costello's "Alison," Bruce Springsteen's "Tougher Than the Rest," and Mickey & Sylvia's "Love Is Strange") which presaged the coming ascendancy of the "Unplugged" concept. In the wake of the record's release, Watt fell prey to Churg-Strauss Syndrome, a rare auto-immune system disease which brought him to the brink of death; after a year in recovery, he wrote several new songs which the duo recorded for inclusion on Home Movies, a 1993 hits collection.
In 1994, EBTG collaborated with trip-hop innovators Massive Attack on their LP Protection; Thorn's vocal turn highlighted the hit title track, and the cinematic Massive Attack sound clearly informed Everything but the Girl's own 1994 effort, Amplified Heart, another strong and eclectic outing featuring an appearance by guitar great Richard Thompson. In 1995 the soulful single "Missing" was innovatively remixed by Todd Terry, and after first becoming a club sensation the track blossomed as a major international hit, reaching the number two position on the U.S. pop charts.
The success of that track, along with a collaboration Thorn had with Massive Attack and Deep Dish, influenced them and helped usher the band into a more electronic sound. Having completed contractual obligations to WEA, they were free to shop their recordings and had complete ownership of their future recorded works. They signed licensing deals with Virgin Records for the United Kingdom and Europe, and Atlantic Records for the United States and Canada. Their subsequent albums Walking Wounded and Temperamental, showed the band's musical progress as well as establishing Watt as a dance music producer. Between the two albums he produced "Stars All Seem to Weep" for Beth Orton. The sampler Back to Mine was issued by Ultra in spring 2001.
The group curated compilations of their material in 2002 and 2005, but there have been no new recordings as Everything but the Girl since 1999. According to Thorn, the group is "currently mothballed". Watt played guitar and other instruments for some filmed performances of Thorn's solo material in 2010, which have appeared on YouTube.
Watt has concentrated on being a DJ and producer/remixer, finding success as one half of Lazy Dog with partner Jay Hannan, before going solo and launching Buzzin Fly records and The Neighborhood (a dance club). He has helped to produce two albums for Beth Orton. His latest track, "Guinea Pig", came out in 2008 and incorporated the vocals of Julia Biel. During late spring 2005, Thorn recorded her first vocals in three years, on the song "Damage" on the album, Eat Books, for the German band Tiefschwarz, for which she also wrote the lyrics and melody. Thorn's second full solo album, Out of the Woods was released in March 2007. Her third solo album, Love and Its Opposite was released in 2010. Thorn's collection of Christmas songs, Tinsel and Lights, combines covers of Christmas traditionals with two new originals; it was released in October 2012.
In an April 2011 interview, Thorn was questioned about whether she would work together with Watt, and do more Everything but the Girl. Thorn responded, "Yes, we do keep saying we are nearly ready to maybe do some work together again.
xxxxx xxxxx xxxxx xxxxx xxxxx
The debut effort by multi-instrumentalist Ben Watt and vocalist and songwriter Tracey Thorn took the alterna-pop world by surprise in 1984 Watt's lush chamber orchestra jazzscapes, full of Brazilian bossa nova structures and airy horn charts, combined with Thorn's throaty alto singing her generation's version of the torch song, was a sure attraction for fans of sophisticated pop and vocal jazz. Featuring 12 tracks, the album has deeply influenced popular song structures since that time. The set opens with "Each and Everyone," a slow samba-flavored pop song. The song comes from the broken side of love, with Thorn entreating from the heart: "You try to show me heaven but then close the door... Once again, the notion of loss, memory, and the resolve of the left half of a relationship to go on, carrying regret but not remorse, is absolutely breathtaking. Thorn continually meditated on broken relationships here, and that extended tome, which echoes through every song on the record, seems to have resonated with everyone who heard it. The set closes with Watt's vocal on "Soft Touch," a folksy pop song, illustrated with guitars, a fretless bass, and piano, that sounds like something from Supertramp in their better moments -- and no, that's not a bad thing. His voice -- while not nearly as dramatic as Thorn's -- is wonderfully expressive, and his lyrics extend the feeling of Eden to its final whisper. This set proved itself to be an auspicious debut that testified to the beginning of a long and creatively rewarding partnership that has endured.
Eden, altered for U.S. consumption, the duo of Tracey Thorn and Ben Watt performed their three U.K. chart singles, "Each and Every One," "Mine," and "Native Land," in a calm, unruffled style keyed to Thorn's warm, if slightly unfocused, vocal style. If the music had a flaw, it was that the sound, with its light sambas and steady ballads, spare instrumentation, and careful sax solos, impressed more than individual songs did, perhaps because Thorn's way of phrasing meant you could listen to "Mine," for example, several times before catching on to its feminist theme.
Everything But The Girl - Eden + US ed. (flac 316mb)
01 Each And Every One 2:45
02 Bittersweet 2:49
03 Tender Blue 3:02
04 Another Bridge 2:11
05 The Spice Of Life 3:29
06 The Dustbowl 1:37
07 Crabwalk 3:25
08 Even So 2:31
09 Frost And Fire 3:11
10 Fascination 3:20
11 I Must Confess 3:10
12 Soft Touch 2:01
US edition
13 Never Could Have Been Worse 2:39
14 Laugh You Out The House 1:45
15 Mine 3:18
16 Easy As Sin 2:56
17 Native Land 3:05
18 Riverbed Dry 2:42
Everything But The Girl - Eden + US ed. (ogg 126mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
On their third album, Baby, the Stars Shine Bright, Everything But the Girl tries another departure on their craftsmanlike ballad style, hiring a full orchestra to give a lush backing to songs usually concerned more with sexual than national politics. Their last album, Love Not Money, may have boasted a considerable social agenda, but here Tracey Thorn sings of romantic disappointment and illicit liaisons, only occasionally bowing to such favorite themes as the lure of fame ("Country Mile"), fantasies about American movie stars ("Sugar Finney," which is "for Marilyn Monroe," and has the chorus, "America is free, cheap and easy"), and fears of fascism ("Little Hitler"). Thorn's throbbing voice is well-suited to the emotional concerns of the lyrics, and Ben Watt creates attractive, string- and horn-filled backings for them. So, Everything But the Girl has found yet another way to effectively vary what would have seemed to be a limited musical style.
Everything But The Girl - Baby, The Stars Shine Bright (flac 199mb)
01 Come On Home 3:18
02 Don't Leave Me Behind 3:13
03 A Country Mile 3:05
04 Cross My Heart 3:35
05 Don't Let The Teardrops Rust Your Shining Heart 3:10
06 Careless 3:21
07 Sugar Finney 3:35
08 Come Hell Or High Water 3:21
09 Fighting Talk 3:18
10 Little Hitler 3:57
Everything But The Girl - Baby, The Stars Shine Bright (ogg 76mb)
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It may have been the logical extension of Everything But the Girl's ersatz cool jazz approach to finally go all the way by hiring veteran producer Tommy LiPuma and a studio full of fusion stars like Joe Sample (the Crusaders), Russell Ferrante (the Yellowjackets), Michael Brecker, and, finally, Stan Getz, whose early-'60s albums of Brazilian jazz are a main touchstone for the group. With such firepower, The Language of Life, at least musically, may be the album that Ben Watt and Tracey Thorn have been trying to make from the beginning. But it falls down in its songwriting, largely because of the near-disappearance of Thorn and her edgy lyrics; Watt takes over for a series of so-so love songs. And the bottom of the barrel is hit with a cover of Womack & Womack's "Take Me," intended as an erotic come-on and sounding more like a lullaby.
Everything But The Girl - The Language Of Life (flac 250mb)
01 Driving 3:57
02 Get Back Together 3:55
03 Meet Me In The Morning 3:49
04 Me And Bobby D 4:09
05 The Language Of Life 4:01
06 Take Me 4:08
07 Imagining America 4:58
08 Letting Love Go 4:45
09 My Baby Don't Love Me 3:40
10 The Road 3:46
bb bonus
11 Driving (acoustic mix) 2:27
Everything But The Girl - The Language Of Life ( ogg 100mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Todays artists are also a couple; they are very private about their relationship and personal life. For some time, it was not a publicised fact that they were a couple, or that they had married subsequently. The duo have expressed a strong desire to raise their three children with as much privacy as possible. They haven't been performing together since 2000 as their kids demand their attention ...N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Originating at the turn of the 1980s as a leader of the lite-jazz movement, Everything but the Girl became an unlikely success story more than a decade later, emerging at the vanguard of the fusion between pop and electronica. Founded in 1982 by Hull University students Tracey Thorn and Ben Watt, the duo took their name from a sign placed in the window of a local furniture shop, which claimed "for your bedroom needs, we sell everything but the girl." At the time of their formation, both vocalist Thorn and songwriter/multi-instrumentalist Watt were already signed independently to the Cherry Red label; Thorn was a member of the sublime Marine Girls, while Watt had issued several solo singles and also collaborated with Robert Wyatt.
Everything but the Girl debuted in 1982 with a samba interpretation of Cole Porter's "Night and Day"; the single was a success on the U.K. independent charts, but the duo nonetheless went on hiatus as Thorn recorded a solo EP, A Distant Shore, while Watt checked in with the full-length North Marine Drive in 1983. EBTG soon reunited to record a cover of the Jam's "English Rose" for an NME sampler; the track so impressed former Jam frontman Paul Weller that he invited the duo to contribute to the 1984 LP Cafe Bleu, the debut from his new project, the Style Council.
Everything but the Girl's own beguiling 1984 debut, Eden, followed on the heels of the single "Each and Every One," a U.K. Top 40 hit. The jazz-pop confections of the group's early work gave way to shimmering jangle rock by the time of 1985's Love Not Money, while a subtle country influence crept into the mix for 1986's lush, orchestral Baby, the Stars Shine Bright. The beautifully spare Idlewild followed in 1988, spawning the single "I Don't Want to Talk About It," a poignant cover of a song by the late Crazy Horse guitarist Danny Whitten which became EBTG's biggest hit to date, landing at the number three spot on the British charts.
Tommy Lipuma produced the band's 1990 album The Language of Life, which featured the single "Driving." Stan Getz contributed a tenor sax solo on the song "The Road". Next was Worldwide and its single "Old Friends" in 1991. Everything but the Girl mounted a series of club performances which resulted in 1992's Acoustic, a spartan set of covers (including Elvis Costello's "Alison," Bruce Springsteen's "Tougher Than the Rest," and Mickey & Sylvia's "Love Is Strange") which presaged the coming ascendancy of the "Unplugged" concept. In the wake of the record's release, Watt fell prey to Churg-Strauss Syndrome, a rare auto-immune system disease which brought him to the brink of death; after a year in recovery, he wrote several new songs which the duo recorded for inclusion on Home Movies, a 1993 hits collection.
In 1994, EBTG collaborated with trip-hop innovators Massive Attack on their LP Protection; Thorn's vocal turn highlighted the hit title track, and the cinematic Massive Attack sound clearly informed Everything but the Girl's own 1994 effort, Amplified Heart, another strong and eclectic outing featuring an appearance by guitar great Richard Thompson. In 1995 the soulful single "Missing" was innovatively remixed by Todd Terry, and after first becoming a club sensation the track blossomed as a major international hit, reaching the number two position on the U.S. pop charts.
The success of that track, along with a collaboration Thorn had with Massive Attack and Deep Dish, influenced them and helped usher the band into a more electronic sound. Having completed contractual obligations to WEA, they were free to shop their recordings and had complete ownership of their future recorded works. They signed licensing deals with Virgin Records for the United Kingdom and Europe, and Atlantic Records for the United States and Canada. Their subsequent albums Walking Wounded and Temperamental, showed the band's musical progress as well as establishing Watt as a dance music producer. Between the two albums he produced "Stars All Seem to Weep" for Beth Orton. The sampler Back to Mine was issued by Ultra in spring 2001.
The group curated compilations of their material in 2002 and 2005, but there have been no new recordings as Everything but the Girl since 1999. According to Thorn, the group is "currently mothballed". Watt played guitar and other instruments for some filmed performances of Thorn's solo material in 2010, which have appeared on YouTube.
Watt has concentrated on being a DJ and producer/remixer, finding success as one half of Lazy Dog with partner Jay Hannan, before going solo and launching Buzzin Fly records and The Neighborhood (a dance club). He has helped to produce two albums for Beth Orton. His latest track, "Guinea Pig", came out in 2008 and incorporated the vocals of Julia Biel. During late spring 2005, Thorn recorded her first vocals in three years, on the song "Damage" on the album, Eat Books, for the German band Tiefschwarz, for which she also wrote the lyrics and melody. Thorn's second full solo album, Out of the Woods was released in March 2007. Her third solo album, Love and Its Opposite was released in 2010. Thorn's collection of Christmas songs, Tinsel and Lights, combines covers of Christmas traditionals with two new originals; it was released in October 2012.
In an April 2011 interview, Thorn was questioned about whether she would work together with Watt, and do more Everything but the Girl. Thorn responded, "Yes, we do keep saying we are nearly ready to maybe do some work together again.
xxxxx xxxxx xxxxx xxxxx xxxxx
The debut effort by multi-instrumentalist Ben Watt and vocalist and songwriter Tracey Thorn took the alterna-pop world by surprise in 1984 Watt's lush chamber orchestra jazzscapes, full of Brazilian bossa nova structures and airy horn charts, combined with Thorn's throaty alto singing her generation's version of the torch song, was a sure attraction for fans of sophisticated pop and vocal jazz. Featuring 12 tracks, the album has deeply influenced popular song structures since that time. The set opens with "Each and Everyone," a slow samba-flavored pop song. The song comes from the broken side of love, with Thorn entreating from the heart: "You try to show me heaven but then close the door... Once again, the notion of loss, memory, and the resolve of the left half of a relationship to go on, carrying regret but not remorse, is absolutely breathtaking. Thorn continually meditated on broken relationships here, and that extended tome, which echoes through every song on the record, seems to have resonated with everyone who heard it. The set closes with Watt's vocal on "Soft Touch," a folksy pop song, illustrated with guitars, a fretless bass, and piano, that sounds like something from Supertramp in their better moments -- and no, that's not a bad thing. His voice -- while not nearly as dramatic as Thorn's -- is wonderfully expressive, and his lyrics extend the feeling of Eden to its final whisper. This set proved itself to be an auspicious debut that testified to the beginning of a long and creatively rewarding partnership that has endured.
Eden, altered for U.S. consumption, the duo of Tracey Thorn and Ben Watt performed their three U.K. chart singles, "Each and Every One," "Mine," and "Native Land," in a calm, unruffled style keyed to Thorn's warm, if slightly unfocused, vocal style. If the music had a flaw, it was that the sound, with its light sambas and steady ballads, spare instrumentation, and careful sax solos, impressed more than individual songs did, perhaps because Thorn's way of phrasing meant you could listen to "Mine," for example, several times before catching on to its feminist theme.
Everything But The Girl - Eden + US ed. (flac 316mb)
01 Each And Every One 2:45
02 Bittersweet 2:49
03 Tender Blue 3:02
04 Another Bridge 2:11
05 The Spice Of Life 3:29
06 The Dustbowl 1:37
07 Crabwalk 3:25
08 Even So 2:31
09 Frost And Fire 3:11
10 Fascination 3:20
11 I Must Confess 3:10
12 Soft Touch 2:01
US edition
13 Never Could Have Been Worse 2:39
14 Laugh You Out The House 1:45
15 Mine 3:18
16 Easy As Sin 2:56
17 Native Land 3:05
18 Riverbed Dry 2:42
Everything But The Girl - Eden + US ed. (ogg 126mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
On their third album, Baby, the Stars Shine Bright, Everything But the Girl tries another departure on their craftsmanlike ballad style, hiring a full orchestra to give a lush backing to songs usually concerned more with sexual than national politics. Their last album, Love Not Money, may have boasted a considerable social agenda, but here Tracey Thorn sings of romantic disappointment and illicit liaisons, only occasionally bowing to such favorite themes as the lure of fame ("Country Mile"), fantasies about American movie stars ("Sugar Finney," which is "for Marilyn Monroe," and has the chorus, "America is free, cheap and easy"), and fears of fascism ("Little Hitler"). Thorn's throbbing voice is well-suited to the emotional concerns of the lyrics, and Ben Watt creates attractive, string- and horn-filled backings for them. So, Everything But the Girl has found yet another way to effectively vary what would have seemed to be a limited musical style.
Everything But The Girl - Baby, The Stars Shine Bright (flac 199mb)
01 Come On Home 3:18
02 Don't Leave Me Behind 3:13
03 A Country Mile 3:05
04 Cross My Heart 3:35
05 Don't Let The Teardrops Rust Your Shining Heart 3:10
06 Careless 3:21
07 Sugar Finney 3:35
08 Come Hell Or High Water 3:21
09 Fighting Talk 3:18
10 Little Hitler 3:57
Everything But The Girl - Baby, The Stars Shine Bright (ogg 76mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
It may have been the logical extension of Everything But the Girl's ersatz cool jazz approach to finally go all the way by hiring veteran producer Tommy LiPuma and a studio full of fusion stars like Joe Sample (the Crusaders), Russell Ferrante (the Yellowjackets), Michael Brecker, and, finally, Stan Getz, whose early-'60s albums of Brazilian jazz are a main touchstone for the group. With such firepower, The Language of Life, at least musically, may be the album that Ben Watt and Tracey Thorn have been trying to make from the beginning. But it falls down in its songwriting, largely because of the near-disappearance of Thorn and her edgy lyrics; Watt takes over for a series of so-so love songs. And the bottom of the barrel is hit with a cover of Womack & Womack's "Take Me," intended as an erotic come-on and sounding more like a lullaby.
Everything But The Girl - The Language Of Life (flac 250mb)
01 Driving 3:57
02 Get Back Together 3:55
03 Meet Me In The Morning 3:49
04 Me And Bobby D 4:09
05 The Language Of Life 4:01
06 Take Me 4:08
07 Imagining America 4:58
08 Letting Love Go 4:45
09 My Baby Don't Love Me 3:40
10 The Road 3:46
bb bonus
11 Driving (acoustic mix) 2:27
Everything But The Girl - The Language Of Life ( ogg 100mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Fantastic Blog !
ReplyDeleteThank you very much for EBTG.
It will be great if you can upload "Love Not Money" and "Idlewild".
Cheers.
Hi Rho
ReplyDeleteWould it be possible to re-up the EBTG albums?
Thank you
If any of your visitors have ever wondered about the origin of the unusual name "Everything but the Girl", here is a little bit of trivia for them:
ReplyDelete"The inspiration for their name came from the local furniture shop, Turner, in Hull. On a sign in their window was the stores slogan, 'For your bedroom needs, we sell everything but the girl.'"
Not a bad anecdote. I know of a president who is named after a cartoon character...
Can you reupload these albums, please?
Thank you,
T.S.