To link to this poem, put the URL below into your page: Song of Myself by Walt Whitman Walt Whitman: Song of Myself The DayPoems Poetry Collection, editor Click to submit poems to DayPoems, comment on DayPoems or a poem within, comment on other poetry sites, update links, or simply get in touch. Poetry Whirl Indexes Poetry Places Nodes powered by Open Directory Project at dmoz.org DayPoems Favorites, a huge collection of books as text, produced as a volunteer enterprise starting in 1990. This is the source of the first poetry placed on DayPoems., exactly what the title says, and well worth reading.: 'If a guy somewhere in Asia makes a blog and no one reads it, does it really exist?' , miniature, minimalist-inspired sculptures created from industrial cereamics, an art project at Lewis and Clark College in Portland, Oregon., More projects from Portland, Furby, Eliza, MrFriss and MissFriss., a Portland, Oregon, exhibit, Aug. 5, 2004, at Disjecta.
D a y P o e m s. D a y P o e m s. D a y P o e m s. D a y P o e m s. D a y P o e m s. D a y P o e m s.
D a y P o e m s Won't you help support DayPoems? Song of Myself By 1819-1892 1 I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form'd from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death. Creeds and schools in abeyance, Retiring back a while sufficed at what they are, but never forgotten, I harbor for good or bad, I permit to speak at every hazard, Nature without check with original energy. 2 Houses and rooms are full of perfumes, the shelves are crowded with perfumes, I breathe the fragrance myself and know it and like it, The distillation would intoxicate me also, but I shall not let it. The atmosphere is not a perfume, it has no taste of the distillation, it is odorless, It is for my mouth forever, I am in love with it, I will go to the bank by the wood and become undisguised and naked, I am mad for it to be in contact with me.
Brian Lawrence Bennett was born in Palmers Green, North London, on February 8th, 1940. His interest in music dated from an early age: as a small child he used to listen to radio broadcasts from the Aeolian Hall. He was soon hooked on the sounds of Glenn Miller and other Big Bands of the era.
He became fascinated by drums and percussion and lists Gene Krupa, Louis Bellson and, especially, Buddy Rich as his early musical heroes. By 1953, Brian had saved up enough money to purchase a rudimentary drumkit and he practiced constantly.
Before long he was performing regularly with his school orchestra and youth club big bands. He began playing professionally even before he left school, with his own Tony Brian Trio and The Esquires Dance Band. He also began composing music and writing songs from the age of fourteen onwards. Brian's initial background was in Jazz and Swing, but by 1956 - the year he left school at sixteen to play drums in a Ramsgate skiffle group performing for holiday makers- he was equally adept at playing Rock'n'Roll. « It wasn't originally by choice», recalled Brian, « but there were more and more jobs being offered and I didn't want to turn them down!». A teenage prodigy, he became the house drummer at the legendary 2Is Club - now known as the birthplace of British Rock'n'Roll - in London's Soho, backing artists like Tony Sheridan, Terry Dene, Vince Eager and Vince Taylor, and from there he earned a regular spot on the Jack Good's legendary TV music showcase Oh Boy! By 1959, Bennett was regarded as one of the top Rock & Roll drummers in England and one of the most sought-after percussionists around.
That year he joined The Wildcats, the backing band of Rock & Roll singer Marty Wilde. He remained with Wilde for two years, also playing outside live gigs with stars such as Tommy Steele, and he was also featured on a Wildcats instrumental release of ' Trambone' recorded as the Krew Kats. In 1960 he embarked on the legendary tour featuring Eddie Cochran, Gene Vincent and Marty Wilde. When Marty embarked upon a career in films and musicals, The Wildcats evolved into The Krew Kats and cut a brace of fine instrumentals. After a brief stint as an orchestral pit drummer, in October of 1961 lightning struck for Bennett's career when Tony Meehan - then regarded as the top drummer in England - quit The Shadows, who were then the top Rock & Roll British band as well as the backing group for Cliff Richard, the top singer in the field. The opening was one of the most coveted in the country - The Shadows were regularly topping the charts in their own right, and their concerts with Richard were riotous affairs, huge sell-outs in front of hordes of screaming fans across England - Bennett was offered the spot.
He accepted and was with the group across a string of hit singles and albums, lasting through their intended official breakup in 1968, on the occasion of the group's tenth anniversary as a professional band. His drumming talents were but one aspect of his monumental musical contribution to the band. He wrote or co-wrote over 100 tracks for them, as well as over 20 compositions for Cliff Richard. He also earned his first Ivor Novello award for composing the title theme to the movie ' Summer Holiday', which starred Richard and the band - he also contributed songs to their subsequent movies, up through ' Finder's Keepers'. A favourite feature for the audience at any Shadows' concert was always his drum solo, with ' - a must showcase for every Beat-Drummer in the pre-Beatles era - perhaps being the best known and highly regarded piece which has inspired countless drummers over the years and is still performed now by budding young drummers at Shadows' music clubs throughout the UK. Many drummers back then considered each new Shadows' record as a drum lesson - learning how to play the fills in classic tunes such as ' and '.
'Rock Dreams' original insert (front) In 1967 Bennett released his first solo LP exploring Jazz and Easy Listening territories with the aptly entitled ' Change of Direction', which was followed in 1969 by ' The Illustrated London Noise', a return to Rock and Funky music. Following the 1968 'farewell' Shadows concert, he participated along with lead guitarist Hank Marvin and bassist John Rostill in the band's brief 1969 reunion for a tour of Japan. By the early '70s Brian was a highly successful and much sought after session drummer working with a vast array of different artists including Ella Fitzgerald, Olivia Newton-John, Engelbert Humperdinck, Richard Harris, The Walker Brothers and many more. With The Shadows on extended hiatus, Bennett turned to other areas of music. He'd already developed some insights into the mechanics of music through his work as a songwriter, and he took a correspondence course in arranging and orchestration that, when added to his natural ability as a composer, ended up reshaping his whole career.
He'd always provided vocals on the Shadows' own recordings, and now he re-established his performing credentials on the piano as well as the vibraphone. He became Cliff Richard's musical director and formed The Brian Bennett Orchestra touring the world including the first Western rock concerts performed in Russia. Even more important, amid the string of hit albums with Richard that followed, he also started writing music for movies / television and part of this huge load of work was published on many library records by specialized labels like KPM Music and Bruton. In 1977 he published his third proper solo album, ' Rock Dreams' - the subject of this post - credited to the Brian Bennett Band, which was followed the next year by the Disco/Funk opus ' Voyage - A Journey Into Discoid Funk'. ' Rock Dreams' contains the following tracks: 01. Rock Dreams (Introduction) (1:17) 02.
Rock & Roll Dreamer (4:13) 03. Banja Booga (2:44) 04.
Rave On (2:49) 05. Milwaukee Massacre (3:01) 06. C'mon Everybody (2:54) 07. Thunderbolt (3:04) 08. Saturday Night Special (4:23) 09. The Girls Back Home (3:37) 10. Wallop (3:40) 11. Roddy frame western skies rar download.
Farewell To a Friend (2:48) 12. Drum Odyssey (5:36) 13. Rock Dreams (Finale) (1:02) All tracks were remastered from the original vinyl and CD in July/August 2015, they are available as a FLAC lossless format file or as a high-quality 320 Kbps MP3 file. Both formats offer complete printable PDF artwork.
Before burning this album on CD-R using the provided CUE file you must convert the original FLAC audio file to WAV format using an appropriate software. Please have a look if you need some help. As usual, please have a look at the comments for the download links. ' Rock Dreams' was released in the U.K. By DJM Records with cat.
Number DJF 20499 sometimes in early 1977. The album was preceded by the ' Thunderbolt' single which was released in September 1, 1976, which included ' Clearing Skies', an exclusive cut, on the flip side.
Two more singles were excerpted from the album in 1977: ' Saturday Night Special' b/w ' Farewell To a Friend' on March 18, and ' The Girls Back Home' b/w the exclusive track ' Jonty Jump' on June 24. Strangely enough another single including ' Wallop' and ' The Girls Back Home' was released in Sweden by Mercury in 1981, about four years after the original album release. In 1997, exactly twenty years later, the album was finally re-released on CD - coupled with Brian Bennett's ' Voyage - A Journey Into Discoid Funk' by See For Miles Records.
Unfortunately, all the tracks on this edition were remastered from vinyl, not from the original master tapes. Anyway, the booklet of such CD offers precious information about Bennett and the album. The notes were compiled by Rob Bradford, here's some of them: «During the mid '70s, one of Brian Bennett's jobs was as producer/arranger/MD for DJM Records. It was during this period that the idea for ' Rock Dreams' came to him: « I'd actually been reading a book called 'Rock Dreams'. It was full of photographs and paintings. I realised that I actually knew, or had worked with many of the stars featured in the book.
It was then that the idea for my own 'Rock Dreams' proiect began to take shape. Instead of a photographic or pictorial album, what about a musical equivalent? It would be like a trip down memory lane for me, paying homage to a lot of the musicians I'd encountered along the way. That's how the whole thing started. I discussed the idea with a few friends and they said 'Go for it!'
Luckily, the people at DJM thought that it was a good idea too. It was a lovely album to work on because all of the people involved were personal friends as well as being great musicians.
I mean, I was even able to get Cliff to do backing vocals! So that's what it is, basically a musical journey from circa 1958 to 1978.» Rock Dreams (Introduction and Finale): a gentle, dreamy little item with rippling synths and voices employed quasi-instrumentally as they intone ' Rock Dreams'. The structure is not dissimilar to a familiar passage from ' Tubular Bells'. Brian: « Just a simple little number to lead into and out of the album.» Rock and Roll Dreamer: a contemporary rocker, with Joe Fagin handling lead vocal chores.
Excellent soloing from Alan Parker, without being over-indulgent. Very classy playing from all concerned.
B-52s Band Rock Lobster
Clean sound and production. Brian: « It's about the wannabes you come across. That, and the life of the roadies. Everybody dreams of making it.» Banja Booga: a real fun instrumental. A sort of Hillbilly / Cajun / Bluegrass pastiche. Brilliant playing from both Alan Parker and Pete Willsher.
It's not exactly ' Duelling Banjos' or ' Foggy Mountain Breakdown', but you get the picture. Brian: « It was just a little C&W thing. Something that I'd always wanted to do. I wrote it with Alan Hawkshaw and Alan Parker.»: a contemporary reading of the old Buddy Holly favourite.
Launched on a raft of acoustic guitars, it's quite laid-back and yet charged with emotion and loaded with affection. Joe Brown's vocals are beautifully understated.
Brian: « I just had to have a Buddy Holly number on there. He was such a great influence on so many people. Not only that, but Jerry Allison was one of the first Rock'n'Roll drummers that I actually paid any attention to.» Milwakee Massacre: a great boogie-woogie type rave up of a number. Alan Parker trots out some splendid Chuck Berry pastiche riffs, but the real star here is Alan Hawkshaw. He's a great pianist and he really cuts loose in the manner of 'Pine-Tops' Smith, Freddie 'Fingers' Lee, Jerry Lee Lewis et al.
The Killer would love it! - Brian: « It wasn't a tribute to Jerry Lee Lewis as such, at least it didn't start out with that intention.
It was just an excuse to indulge in one of those rocking boogie-woogie type things.»: it has a contemporary, almost lazy feel to it, yet it harks back to the past as well. The early slapback echo feel is recreated quite effectively. This may sound heretical, but with the thumping backbeat, it's almost akin to what Mike Leander was doing with Gary Glitter!
Lagu Top Masa Kini
Nice percussive effects with handclaps and a tasty guitar break from Alan Parker. Plus, Joe Fagin performs a fair Eddie type vocal. Brian: « I wanted this track on in memory of Eddie Cochran. The tour with him and Gene Vincent back in 1960 was one of my personal highlights. Eddie was a talented musician and a really nice guy.
Everybody learned an awful lot from him on that tour. Big Jim Sullivan, Brian Locking, Colin Green and myself. Eddie wasn't just a great singer and guitarist, he played drums too!» Thunderbolt: Shadows' fans have long admired this splendid instrumental.
Indeed, they've lobbied the group to record it over the years. Alan Tarney is featured on bass and former Cliff Richard guitarist Terry Britten plays the elegiac lead with some aplomb. Great thunderstorm FX too. Brian: « I'll come clean now.
Many fans over the years have assumed that 'Thunderbolt' was one of my library music pieces. It was written specifically for 'Rock Dreams' to represent that part of my career spent with the Shads.» Saturday Night Special: this is not the classic Lynyrd Skynyrd track of the same name, nor is it ' Saturday Night Fever'. But it is a track for the early '70s. The FX on the guitars is reminiscent of the Shadows' ' Specs Appeal' era. Alan Parker, Les Hurdle and Alan Hawkshaw are all prominent. There's lots of percussion and funky bass guitar.
Superb congas from Jim Lawless too. Brian: « It's a sort of nod to the typical dance floor music of the time. I did a lot of sessions playing stuff like that.
I thought it would be interesting to write something in a similar vein.» The Girls Back Home: quite simply, this is a delightful recreation of the 1966/67 era Beach Boys sound. Sheer vocal delight. Tony Rivers, Stu Calver, John Perry and the rest turn in a quite magnificent performance. The fact that they recorded Beach Boys' styled vocals in the '60s as Tony Rivers and the Castaways undoubtedly helped!! I can certainly detect elements of ' California Girls' and ' God Only Knows' in there! - Brian: « I've always been a great Beach Boys' fan.
Again, it was just a little exercise to write something in a similar vein. I was quite pleased with the end result. Actually, Warren Bennett helped to write this one. It must have been one of his earliest efforts. He was only about fifteen or sixteen at the time.» Wallop: the kind of track where everyone has the chance to solo on various instrumental breaks, be it organ, keyboards, bass, drums, guitar or whatever. It's like a melange of heavy rock and Quo-like boogie.almost.
There's even a Moog in there somewhere. But it's all very tasteful and veers away from histrionic over-indulgence. Brian: « I wrote this one with Alan Hawkshaw, just to give everyone a chance to show off their playing skills a little bit.
Again, an attempt to write something similar to a lot of the mainstream music that was around in 1978.» Farewell To a Friend: sheer poetry, but without words. Beautiful acoustic guitars, shimmering synthesisers and plangent, keening pedal steel. Very nostalgic. It's just a gorgeous, yearning track played with great sensitivity. Brian: « That was my tribute to John Rostill. A lovely guy and I still miss him.» Drum Odyssey: I recall that when Brian released ' Change of Direction' back in 1967, reviewers were quick to point out that it simply wasn't a terribly self-indulgent Sandy Nelson type LP with loads of drum numbers on it. Brian has never been that way inclined, his drums have always been an integral part of the whole.
On this track though his drum and percussion work is well to the fore. As ever though, it's not iust mindless incessant tub-thumping. No, it's intelligent and well-crafted.
It's avant-garde and yet accessible with myriad overdubs. Just lots of drums, percussion and fascinating FX. Other instruments support relatively unobtrusively. Also, an early appearance of syndrums, which Brian used to good effect on 1979' 'Riders In the Sky'. A sort of Techno ' Little 'B'!
- Brian: « I always like to try out new ideas. Download aplikasi face warp jar. There were some interesting technological developments at the time and I tried to utilise and incorporate some of them. I was fairly pleased with the overall effect.».
A magazine ad for the 'Thunderbolt' single, late 1976 Listening to ' Rock Dreams' in 1997, exactly twenty years after it was released, is a pleasant and edifying experience. It hasn't really dated and it still sounds quite fresh. It's probably a more relevant album now than it was then! It's significant that artists then could put out carefully prepared albums that they were both really interested in and had a certain amount of direct control over.
Brian did ' Rock Dreams' simply because he genuinely wanted to do it! He wasn't at the mercy of executives who wondered whether or not this album would sell in excess of 250,000 copies.
The cover of ' Rock Dreams' is made to look like a photograph from an album (.hands up those who remember adhesive photo-corners.). The cover painting was actually faithfully copied from a print of Brian lugging his drumkit down the platform of Bexhill station during the Eddie Cochran tour in 1960.
« It was bloody hard work,» recalls Brian, « but I got nearly as good at carrying my drums as I did at playing them!». Welcome to Stereo Candies! As an avid music lover I've been purchasing and enjoying records for the most part of my life. In the recent years I've quite appreciated many music blogs, they've been a great source of information about a lot of artists that for some reason I had never got into, or music that I simply didn't know existed. I thought that it was time to give my own contribution, so here I am.
I decided to focus mostly on music that has not been re-released in CD format and on artists/labels that are not widely represented on the web, or whose releases are sold-out and quite hard to find nowadays, without sticking to any particular music style. All recordings presented here have been carefully transferred, cleaned and remastered with digital techniques for better enjoyment. When possible, I also try to add useful information, pictures, videos and so on.
Download links are available in the comments section of each post. If you download anything from this blog, please consider leaving a comment, your feedback is important.
Please let me know about any broken link and deleted or unavailable files: I'll do my best to quickly reupload them, thank you! The Stereo Candies video channel is available. All the contents on this blog are provided only to promote music as culture and for no other purpose. All recordings comes from physical media such as vinyl records, CDs and cassettes that I purchased new at time of original release or later in second hand records shops and on the Internet. As far as I know, all the releases posted here are not in production at the present time and/or are unavailable for sale as new on the market.
If you are one of the featured artists or one of their agents, or if you simply own any of the material and would like it to be removed, please notify me via email ( stereocandies at hotmail dot com ) and I will endeavour to remove them as soon as possible. If you enjoy the music presented here please consider supporting the artists and labels buying their available releases. Last but not least, don't EVER forget to support your local record shop!
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