![]() ![]() But she mostly is in her studio and guests aren't face to face but somewhere else over the phone I guess. I haven't listened to her in a long time. I like Terry, she does ask personal and interesting questions. I would find it extremely hard to not want to spend hours with him, although I'm sure that it's still hard for him knowing that Karen isn't here anymore, to share all of their past glories with. I took that as meaning that not many people can get into her skin, without ticking her off, but that I somehow had found, her soft spot.įor the record, I'm a huge fan of Richard and Karen and man, would I love to just sit down and talk music with Richard. Going back to my interview with Wynonna Judd, I found it funny when, after the interview, while she was outside signing autographs in the radio station parking lot, to about 30 people who heard the interview, her assistant came into the my studio and said, "I don't know what you said to her, but thank you". I had no trouble with her admitting that she used to think that their songs were "corny", that was her being honest, but, when she kept using the word and then playing that horrid version of "Superstar" by Sonic Youth, she lost him, as a good interview. I won her over and I'll be honest, it's not that easy with every artist, but if you're an honest fan, like I can tell that Terry Gross is not, of Richard Carpenter, it can fail miserably. ![]() She smiled and said, "REALLY" and I said, "sure". She said that she hadn't heard the finished product yet, so I handed her my CD and said, it's yours". I told her (off air) how much I loved the song that she and Kenny Loggins cut for the album. Thanks to a friend of mine who used to work for RCA Records, I had a real early advance on a new "West Side Story" project, that Wynonna was a part of. About 15 minutes later, ths sunglasses came off and she opened up to me. I once did an interview with Wynonna Judd and she came in with sunglasses on and a real bitchy attitude. An artist or group, can be as fussy when they arrive, as you or I can be, in the morning. I've done hundreds of radio interviews, some went well, some were better than expected and others, I'd rather just as soon forget. 19.This is the second radio interview that I've listened to this week on this forum and both of them struck me the wrong way. It also has a unique psychedelic punk sound this is as a result of the poetic vocal and prepared guitar in the song. This song is loaded with energy, a beat peculiar to a hardcore punk song, and alternate tunings. This song also features a surreal spoken word about a man called Eric and his acid trip. The elements in this song are indie-rock beats and catchy guitar parts. Eric’s TripĪnother great track in the 1988 Daydream Nation album is Eric’s Trip, written and sung by Lee Ranaldo. Hey Joni comprises bright harmonics, shrieking distortion, and a drive to outrace the past. ![]() This song features surreal lyrics, which Ranaldo sang, and it sounded distinguished without being irregular. This song title is used as a tribute to Hey Joe, a rock standard Joni Mitchell, a Canadian singer, and songwriter. This song is the second-longest track in the Daydream Nation album. The epidemic discussed in this song was the cause of the War on Drugs, which claimed the lives of about 40% of the black population in New York City in the 80s/90s. Thurston Moore sang about the widespread crack epidemic in New York City in this song. It is the longest track on the Daydream Nation album of 1988. When looking for the song, it indicates the stretching out and extrapolating properties of Sonic Youth The Sprawl is the song. The latter part of this song features broken riffs, a wind-down of pounded guitar strings with noisy but not loud feedback. This song revealed the drone elements of the band. This property was used to express the unbound female desire. The lyrics for the first verse of the song were from the novel by Dennis Johnson, The Stars at Noon. This writer used the term, Sprawl, which is the title of the song, to mean a future megacity stretching from Boston to Atlanta. This song was inspired by the works of William Gibson, a Science fiction writer. The song rounded off with Gordon’s soft and intense vocals. ![]() This song features various phases of mellow with hardcore punk and alternate tunings. Kim Gordon was the lead vocalist in this song while Lee and Moore’s dueling cacophonous guitars howl over the high-speed drum beat of Shelley. This song is one of the tracks in the Daydream Nation album of 1988. ![]()
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