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█ ██▀ . ...:APOCALYPSE PRODUCTION CREW:... . ▀▄ ██ █
██▓ ▀█ ██▓
▓██ ████
░███ ARTIST..: Melissa Manchester ENCODER.: Lame V3.90.3 ███▓
▓██▓ TITLE...: When I Look Down That RoadK/BITS..: VBR ▓███
███░ LABEL...: KOCH MODE:...: Joint-Stereo ░███
███ GENRE...: Easy Listening TRACKS..: 12 ███
███ TIME....: 49:30 min ███
███ RIP DATE: 03/09/2004 SIZE....: 65,1 MB ███
███ REL DATE: 03/09/2004 SOURCE..: CDDA ███
███ ███
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███ ▀ ░ ▀ ░ ▄▀ ▀▀▀▀ ▄ ▀█▀ ░███
███ ███
███ NOTES ███
███ ███
███ Produced by Kevin DeRemer and Stephan Oberhoff ███
███ ███
███ ThereÆs nothing trendy about MELISSA MANCHESTER æs new ███
███ album, WHEN I LOOK DOWN THAT ROAD--which makes it right for ███
███ these times. ███
███ With melodies and lyrics that whisper and linger, youÆll ███
███ hear her voice, familiar yet new, rise like smoke from ███
███ simmering coals. YouÆll find silent moments that pull us ███
███ closer, rather than jam-packed mixes that push us away. ███
███ ███
███ And, of course, thereÆs that elusive last ingredient: her ███
███ unique talent, nurtured through a career that stretches back ███
███ to age fifteen and during which she has won and been ███
███ nominated for various Grammys, written some of the best ███
███ songs of the era, acted in films and TV, and been honored by ███
███ the National Academy of Recording Arts and Sciences with a ███
███ GovernorÆs Award. ███
███ ███
███ Put it this way: WHEN I LOOK DOWN THAT ROAD is more than a ███
███ great album--more, even, than the best in this artistÆs ███
███ catalog of remarkable works. It is also her commitment to a ███
███ new creative method of stripping aside the extraneous ███
███ elements in order to get to what really matters: the heart ███
███ of the song. ███
███ ███
███ Think of it in visual terms, as MELISSA does herself. WHEN I ███
███ LOOK DOWN THAT ROAD is sculpture: You chisel and chip, cut ███
███ away the rubble, then smooth and polish, until youÆve found ███
███ the soul within the stone. ███
███ ███
███ MELISSA had tried doing it the other way, with success, but ███
███ her last few projects wound up alienating her from her own ███
███ authentic voice. ôI left because I could no longer make ███
███ records that sounded less and less like me,ö she explains. ███
███ ôI tried to please people instead of believing in my own ███
███ strength, until the only thing I could do was walk away.ö ███
███ ███
███ She stayed busy, doing concerts, winning praise from Stephen ███
███ Sondheim for her performance of his songs in the show ███
███ Sweeney Todd, writing a musical (I Sent a Letter to My Love) ███
███ and a film score (Lady and the Tramp II, on which she also ███
███ sang), and scheduling her professional life around raising ███
███ her childrenùômy priority number one!ö But she stayed away ███
███ from the record business, feeling like an outcast from a ███
███ place where she once felt at homeà ███
███ ███
███ àuntil a tentative return in 1997, with a holiday album, ███
███ JOY. The project took her, for the first time, to ███
███ Nashville--which, unexpectedly, felt strangely familiar. ███
███ ôEverybody wants to write a hit song, but in Nashville ███
███ people want to write the best song, which was my original ███
███ intention as a singer/songwriter. It reminded me of how I ███
███ started writing with Carole Sager, when IÆd go to her ███
███ apartment in New York, weÆd make a cup of coffee--and after ███
███ five hours of conversation, weÆd have a song.ö ███
███ ███
███ Inspired, MELISSA began connecting with new writing ███
███ partners, including, for the first time, the legendary Paul ███
███ Williams. They hit it off immediately, produced several ███
███ songs, including ôCrazy Loving You,ö whose vivid lyrics ███
███ (ôyou and your Houdini explanationsö) help make it a ███
███ prominent cut on WHEN I LOOK DOWN THAT ROAD, and even put a ███
███ show together, Songs and Stories, in which they play each ███
███ otherÆs material and let the audience in on some of their ███
███ creative secrets. Their collaboration also led directly to ███
███ the new album, when Paul offered MELISSA some blunt advice. ███
███ ███
███ ôHe told me, æYou have to get your ass back to Nashville and ███
███ write!Æö MELISSA laughs. ôIt was wonderful, because these ███
███ writers still court each other there in quiet rooms, where ███
███ their new songs would come out of the silence.ö ███
███ ███
███ It was, in other words, as organic as the process MELISSA ███
███ had brought to writing ôMidnight Blue,ö öWhenever I Call You ███
███ Friend,ö ôCome In From The Rainö and the other songs she had ███
███ made classics years before. The same aesthetic guided her, ███
███ along with co-producers Kevin DeRemer and Stephan Oberhoff, ███
███ as they began assembling this material into album form. ôI ███
███ had finished that chapter of my life where I would hope that ███
███ somebody at the record company liked what I did and then ███
███ wait for them to make scads of suggestions for ███
███ improvements,ö she says. ôThis time, I knew that I had ███
███ something that could make people remember what they hadnÆt ███
███ even realized theyÆd forgotten, which was that music, driven ███
███ by melody and lyric, can still make you cry. And so we ███
███ sculpted these songs in the studio. We took out more and ███
███ more sound, making each song quieter and quieter, until we ███
███ found the inner life.ö ███
███ ███
███ WhatÆs left is the essence of each song, arranged minimally, ███
███ with nothing obstructing the path between it and the ███
███ listener. Rhythms are subtle and suggestive--a hand drum, a ███
███ triangle, the soft tick of maracas. Textures are airy yet ███
███ seductive; a single cello line on songs like the languorous ███
███ ôIÆll Know You By Your Heartö or the dark and stately ôBendö ███
███ speaks more eloquently than a full bank of synthesized ███
███ strings. ███
███ ███
███ Lyrically, too, these songs cast spells that linger after ███
███ the music wisps into silence. Few singer/songwriters can ███
███ carry listeners to places this far away or deep within our ███
███ own hearts. With a twist of a single line, she brings life ███
███ to people drawn from history (Gertrude Stein, in ôWhen Paris ███
███ Was a Woman,ö was ômy shepherdess, my Pyrenees,ö Melissa ███
███ writes, ôwith eagle eyes, a mountain range was sheö) or from ███
███ the streets in our own time (the character Pearl--crazy but ███
███ maybe also enlightened, buried in a funky comforter and ███
███ haunted by miracles in ôAngels Dancingö). Fewer still can ███
███ come up with material thatÆs sometimes playful (ôHey, baby, ███
███ youÆre no saint, even with a new coat of paint,ö she teases ███
███ in ôLucky Break,ö written one upbeat day with Beth Nielsen ███
███ Chapman) and sometimes anguished (ôGive me the strength to ███
███ lead the way/Send me the words I need to say,ö she pleads, ███
███ for her children and ours, in ôA MotherÆs Prayer,ö written ███
███ with Karen Taylor Good just hours after the Columbine ███
███ tragedy). ███
███ ███
███ And in the first single, ôAfter All This Time,ö the elements ███
███ come together: a melody that nestles into a comfortable ███
███ groove, KebÆ MoÆs sensually empathetic slide guitar rising ███
███ like smoke through the air of MelissaÆs piano. ôMe and that ███
███ silvÆry moon watched silently as you breathed,ö sings ███
███ MELISSA. ô I wouldnÆt break the spell, even to steal a ███
███ kissàAfter all this time, baby, we got this right.ö Soulful ███
███ and intimate, her voice is close to what we might hear in ███
███ our own imaginations when we savor the pleasures of love as ███
███ alive as if it had begun only yesterday. ███
███ ███
███ Each track is distinctive, yet all unite into a single ███
███ listening experience--another nod toward a time when context ███
███ was as important as the merits of the songs themselves. WHEN ███
███ I LOOK DOWN THAT ROAD echoes MELISSAÆs finest achievements ███
███ and heralds the beginning of an even more fruitful phase. ███
███ ███
███ ███
███ ███
███ TRACKLIST ███
███ ███
███ 01. I'll Know You By Your Heart 04:36 ███
███ 02. Angels Dancing 05:07 ███
███ 03. Bend 04:21 ███
███ 04. When Paris Was A Woman 05:24 ███
███ 05. After All This Time (Feat Keb' Mo') 03:51 ███
███ 06. Lucky Break 03:40 ███
███ 07. When I Look Down That Road 03:09 ███
███ 08. Where The Truth Lies 04:01 ███
███ 09. Tyfyfim (Thank You For Your Faith In Me) 03:48 ███
███ 10. Still Myself 03:39 ███
███ 11. Crazy Loving You (Bonus Track) 04:02 ███
███ 12. A Mother's Prayer (Bonus Track) 03:52 ███
███ ███
███ ███
███ STATEMENT ███
███ ███
███ Support the artists, buy the original audio cd. This release ███
███ is strictly for reviewing purposes only. aPC does not condone ███
███ the use of peer 2 peer networks for file-trading. If these ███
███ files continue to reach peer 2 peer networks, aPC will take ███
███ action and if need be will stop distributing releases. Peer ███
███ to peer file-trading is irreparably damaging to the record ███
███ industry. ███
███ ███
███ Releases which become widely distributed can be replicated ███
███ on a massive scale and may fund terrorism. This must be ███
███ prevented. ███
███ ███
███ BUY THE ORIGINALS. NEVER SELL COPIES. DO NOT DISTRO ON P2P. ███
███ ███
███ ███
███ ░ ███
███ ░ ▀▀▄ ░ ▄▀▀ ░ ███
███ ░█ █░ ███
███ ░▄ ▄██▀▀▄▄▄▄▄▀▄░ ░ ░ ▀▄▄▄▄▀▀██▄ ░ ███
███ ▓ █▀▄██▄▄▀▄ ▀▀▄▀▄█▄░ ▄▀▀▄▄ ▄▄██▄▀▀▄░▄▄▀▀▄█▀▄█ ▄▄ ▄▀▀█▀█░ ▀ ░ ███
███ █ █ ▄▀██▄▀▀█▀▀▀▄█▄█▄██▄▀▀▄██▄▀█▀▄▀▀▄██▄▄▀▀▀▀▀▄█▄▄█▀▀█▀██▀▀▄ ▓ ███
███ █ █▄█▀██▄██▀███▄░▀▀▄▄▄▄██▄░ ▄█ ▀▓█▄▄ ▀▄▄█▀███▄▀▄▀▄█▀██▄▀█▀██ █ ███
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███ WE ARE CLOSED ███
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ascii by caciq^acl #ascii.
updated 01.2004