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By A Light Dimly: Edmonton’s Darkroom

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When I lived in Edmonton in the late seventies and early eighties, there was an amazing music scene.  And I (like most local fans, I suppose) kept hoping that THIS excellent band or THAT superb band would be the first to – as we put it – “make it out of Edmonton.” 

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The Songs of Chuck (S1-E5)—The Jeffster Exception: “Private Eyes”

1 1 1 1 1 1 1 1 1 1 Rating 88% (10 Votes)

We are dismissing all straight-up music-for-film and thus two of the five candidates for S1-E5 are gone, Daniel May’s “Women’s Wear” and “Chuck Music, Track 21” by Tim Jones.  That still leaves three good tunes, but there is an interesting exception to this episode in its choice of material.

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The Great American Epic Isn’t A Poem Or Novel – It’s A Song

1 1 1 1 1 1 1 1 1 1 Rating 93% (3 Votes)

Artists like to aim high.  How many times have you heard that someone has made (or, more typically, “is making”) the greatest rock-and-roll album of all time?  (I’m looking at you, Tom DeLonge and Courtney Love.)  And Stephen Crane and Walt Whitman were certainly not the only poets who believed they were writing the great American epic.

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Stevie Nicks Says No to an American Gigolo While Blondie says YES!

1 1 1 1 1 1 1 1 1 1 Rating 92% (16 Votes)

Stevie Nicks was first offered the chance to write the lyrics for “Call Me” for the film American Gigolo back in the late 70s; for contractual reasons she had to decline.  Next on composer Giorgio Moroder’s list was Deborah Harry of Blondie, newly molded into a superstar through the success of “Heart of Glass.” So Harry wrote the lyrics in the span of a few hours and another #1 hit was born.

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