Essa música é linda, e é cantada por cantora renomadas como Gloria Estefan, Shania Twain, Celine Dion, Carole King. Show de Bola.

Acesse a Comunidade Universal:

www.comunidadeuniversal.com.br

I’m happy. This evening and my girls are going to hang out … again. Yeah, my girls -because I’m the only guy, hue hue- … my dearest friends on earth, my best friends since I was in college. My closest circle. Can’t wait for it since last Saturday, when Dhiv called me about it. Yie will become the star, caused we hadn’t seen her for almost a half year. Two others confirmed to attend. Yippie.

* Lagu peraih 1971 Grammy’s Song of the Year itu ternyata lebih meledak ketika dinyanyikan oleh James Taylor (he received the Best Pop Vocal Performance-Male pada tahun yang sama). Padahal Carole King penyanyi asli -sekaligus penulisnya- merilis single ini (diambil dari album Tapestry) beberapa bulan lebih awal. Setelah itu … wow … cover version-nya bermunculan di mana-mana. Termasuk di Asia, seperti Jepang, Korea danIndonesia (kayanya Syaharani dan beberapa artis kita pernah record lagu ini di album mereka).

* Sayah baru bener-bener kenal dan suka lagu ini ketika dinyanyikan keroyokan oleh Celine Dion, Shania Twain, Gloria Estefan dan si Oma King sendiri pada konser VH1 Divas Live  tahun 1998. Single ini dijadikan gacoan kedua -setelah (You Make Me Feel Like) A Natural Woman- dari album tuh konser. Dari perkenalan awal, lagu ini lalu jadi sering muncul di benak sayah kalau bersinggungan dengan momen melow dengan teman, rekan dan sahabat sayah.

* Rating sayah: 4 bintang (menerawang)

So, after writing about my nostalgia last week, I thought I’d reflect on truly borrowed nostalgia: the music of my mother’s generation. I’m specifically thinking about the emergence of the female singer-songwriter, who came into vogue in the mid-1960s New York-based folk scene and became a cultural juggernaut by the end of the decade and into the mid-1070s with women like Carole King, Joni Mitchell, and Carly Simon, for whom Sheila Weller wrote a toothsome, comprehensive biography last year called Girls Like Us.

Cover of Girls Like Us; image courtesy of popculturemadness.com

The women’s sound(s), look(s), and message(s) would help destigmatize (if only for a moment) the feminist movement (if still largely configured to be a straight, middle-class, white woman’s struggle). They also helped pave the way for a revival of female singer-songwriters in the 1990s, helping result in the established careers of Tori Amos, PJ Harvey, and Björk, as well as the launch of festivals like Lilith Fair (which is rumored to make a return in 2010).

Photo from a Q Magazine cover shoot; image courtesy of mybandrocks.com

comJoan Osbourne, Sarah McLachlan, Sheryl Crow, and Fiona Apple represent Lilith Fair for Entertainment Weekly; image courtesy of coverbrowser.com

And, though perhaps a stretch, I kept thinking about these three women in relation to Betty Draper, Joan Holloway, and Peggy Olsen on Mad Men, three very different women beginning to weather and confront seismic shifts in gender and sexual politics at the beginning of the 1960s that the three artists featured in this book would at times undo, surrender to, and be blocked by at the end of the decade and into the 1970s.

Having read this book, I wonder if any of the women of Mad Men became fans of these artists. Would any of these women help make Tapestry one of the best-selling albums of all time? Betty and Joan may be a little too old, but I think they’d respectively empathize with Joni’s mother’s need to have a perfect Norwegian beauty for a daughter and Carly’s conflicting feelings about her sex-bomb identity. Peggy seems just the right age to follow these women, as she does accompany a co-worker to see Bob Dylan in season two. Personally, I think she’d be a huge Carole King fan. Two tough Brooklynite professionals with a knack for commercial pop art? Yeah, I think they’d find one another.

Peggy Olson is going to need her own office; image courtesy of amctv.com

The key thing I appreciated about Girls Like Us, which does an exhaustive job documenting these three women’s personal and professional lives, is its committment to dialoging the artists with one another. Often, when attempts of this sort are made, it results in playing women off each other or reducing them to one singular entity (in this case, chick singer-songwriter seems the most apt dismissive). Weller does an admirable job individuating them (further enforced by using a different font for each woman), while at the same time highlighting where they overlap or interact and putting them in a gendered generational context of women and girls coming into their own particular feminist awakenings.

Notably, these women were all self-made. Carole Klein and Canadian-born Roberta Joan Anderson became Carole King and Joni Mitchell, toiling for years in the Brill Building and the coffeehouse circuit before becoming legendary. And Carly Simon, born into the New York elite as the third child of the Simon family (yes, of Simon & Schuster), had to start from scratch after years of following artist boyfriends, watching her sisters get married, and working odd jobs before landing a career. They also established themselves as icons at the same time. 1971 would be the year that King released her second solo album, Tapestry, culminating in one of the few Grammy wins for Song of the Year, Record of the Year, and Album of the Year for a female artist. That same year, Mitchell would release Blue, a huge artistic breakthrough. And in 1972, alongside King’s sweep, Simon would win her Grammy for Best New Artist for her self-titled debut.

One unfortunate commonality all three women share is a need to make men happy, almost always the wrong man or the undeserving man. This is a lesson I saw many of my mother’s generation learn the hard way, and fear it will continue to play out with other women and girls, but hope we’ll learn from history. For Carole, this meant four marriages — first to her Brill Building lyricist Gerry Goffin (who would father singer Earl-Jean McCrae’s daughter Dawn while still married to King), then to bassist Charles Larkey, then to two chauvinist mountain men named Rick. For Joni, this meant marrying a man named Chuck Mitchell who (in her account) forced her to give up the baby she had with a college boyfriend (her pregnancy, and giving up a daughter, would haunt Mitchell for years until she was reuinted with Kilauren in the late 1990s). For Carly, this meant using her sexual wiles to snare a man at all costs, a lesson she learned from her mother Andrea, before casting her lot with a man that would remain a drug addict for the majority of her marriage before unceremoniously dumping her.

Both Carole and Carly suffered considerable heartache, though Joni, perhaps a typical only child, often would cut and run, preferring solitude and creative freedom to being tied down, a lesson she learned by following Crosby, Stills, and Nash while living with Graham Nash. The woman who wrote “Woodstock” would not be cast as another man’s groupie. 

As Carly’s man was James Taylor, it seems important to point out that all three of these women had some connection with Sweet Baby James. As James (along with almost all male rock stars of the era) was in awe of Carole King’s legacy as a Brill Building composer, he often covered her work extensively, most notably “You’ve Got a Friend.” 

King nursed an unrequited crush, though her songwriter Toni Stern wrote “It’s Too Late” after the end of her  affair with Taylor.

Joni dated James for a while as well. It ended, but at least she and Carly became friends later in life.

And Carly presumably expediated the matrimonial process by writing “You’re So Vain” and getting one of her rumored paramours, Mick Jagger, to sing back-up. Taylor proposed shortly there-after, creating the first rock star marriage. However, he would often get sidelined by his ongoing battle with heroin, as well as his wife’s meteoric rise to pop stardom. She would often worry herself sick and modify her behavior for Taylor, a symptom Weller believes is linked to wanting to please her disengaged father.

Yet, I don’t want to suggest these women are patriarchy’s tragic casualties; I certainly don’t think they would. Carole continued a long professional partnership with Goffin, and also accepted Dawn, Goffin’s daughter with McRae, as one of her own children, something her biological children did as well. In addition, she became very politically active, lobbying hard for environmental issues, particularly working to preserve Idaho’s wildlife after falling in love with its woodlands and calling them home.

Joni kept pushing herself further artistically, regardless of whether or not she was met with critical acclaim. She most notably began incorporating jazz elements into her music, hiring reputable session musicians and expanding her sonic and lyrical styles (though also began playing with race and lauding “natural” blackness, which Weller takes to task, specifically when talking about Mitchell’s black alter ego Art Nouveau, which she poses as in blackface for the cover of Don Juan’s Reckless Daughter).

And Carly was most prominent in the mainstreaming of feminism (though not without its own issues — in the 1970s, feminism was often a Seven Sisters game and Simon, a Sarah Lawrence dropout born from a wealthy family, fit right in). She also promoted the celebration of female sexual agency and autonomy, complicating the widely-held belief that all second wavers were man-haters waging a war on sex. She also had a liberated attitude toward sex, which Weller supports with conjectures that “You’re So Vain” is actually about multiple men. In addition, Simon has alluded to having an open marriage and being bisexual, as well as being an advocate for LGBT rights.

In short, these women mattered. They shaped the perspectives and actions of millions of women and girls of my mother’s generation. They proved that female artists could garner a huge mainstream audience (a lesson that needed to be reminded to A&R folks, concert promoters, and radio programmers in the 1990s, resulting in countercultural movements like riot grrrl and mainstream enterprises like Lilith Fair). And they continue to influence female recording artists and their listeners. And, most importantly, they continue to work, just as their male counterparts do, regardless of whether or not they are deemed culturally relevant. Let their voices be heard.

When you consider all the permutations that are possible with jazz combos — not only with the number of musicians but also the instruments they play — you might occasionally find yourself craving something simple and basic. One of the purest choices would have to be a trio consisting of piano, bass and drums.

Having chosen, you might then find yourself looking for a threesome of artists who understand the concept and have the skills to do it up right. Enter the Kevin Hays Trio, with an outstanding new album, You’ve Got A Friend, now out on the Jazz Eyes label.

Hays is one of those guys who kind of sneak up on you a little — not a particularly big name in the pantheon of current jazz pianists, but someone who is talented and respected, and has a surprisingly long list of accomplishments. For one thing, in his two decades of activity he’s generated almost a dozen solid albums.

In his current effort he’s again teamed up with bassist Doug Weiss and drummer Bill Stewart, both vital parts of the group’s well-received previous album, Seventh Sense. This time around the trio is exploring a collection that is a little more pop-oriented, at least with some of the choices. Included are a very nice treatment Carole King’s “You’ve Got A Friend,” (which also serves as the album’s title) and what was probably my favorite here, McCartney’s “Fool On The Hill.” Both pieces give Hays a chance to show his keyboard skills, turning in some delicious improvisation while maintaining the melodies.

Another song from the pop world, Paul Simon’s “Bridge Over Troubled Water,” provides bassist Weiss an opportunity to earn his keep, and he does a good job of reminding us why he’s one of the most-respected around. (This track is offered as a free download by Jazz Eyes.)

But this album is also about other kinds of jazz, with offerings like Hays’ emulation of Thelonious Monk on his classic “Think Of One,” and a solid reworking of Charlie Parker’s “Cheryl.” Although Bird himself actually had more than one version of the piece, it’s a safe bet that none were like this one — I.E. without saxophone — but it’s still a nice listen, and the same could be said about all the tracks here. Recommended.

Music in advertising can have a massive impact and there are mental associations which have been zapped into our brain by apparently ignored ad breaks that can stay with us forever in a really big way.

At a performance of The Nutcracker Suite, there must be some 80% or more of the audience internally singing “Everyone’s a fruit and nutcase” when that tune arrives, and I know for a fact that no one ever hears The New World Symphony without thinking about bread.

Another example I remember from my youth was the apparently golden touch of being included in an Advert for Levi’s Jeans; whatever song got used in the latest advertising campaign seemed to shoot straight to number one. That was clearly a double edged sword though, as is demonstrated by the further careers of Stiltskin and Babylon Zoo. 

Yes, a powerful message that can’t be found in words can be transmuted through music and boy, don’t advertisers know it! It seems like choosing the right song is at least as important as any tagline or fancy animation. When they find the right tune, it gets crowbarred in at all costs.

At all costs:

In 2006, the AA made an advert that portrayed them as your friend in times of need, and someone to turn to when things go wrong (although presumably such mishaps would have to be limited to auto breakdowns for them to be of much help). To hit that message home with extra clout, the used the Carole King classic ‘You’ve Got a Friend’ which seems to be tailor made for the message they were trying to put across.

Evidently not tailor made enough to actually fit into the advert though, as some trigger happy editing guy proved in the final cut:

Hmm, that’s not how I remember it sounding. I did a quick beat count of the chorus, and it basically washes out as 7/4, 4/4, 4/4, 7/4, 4/4. 7/4 (by rights there should be another bar of 4 in there, but the editor didn’t seem to like that one) and then gets vaguely confusing at the end.

I’m not sure whether is a genius reimagining or a complete indiscriminate butchery of the song.

What is more, this doesn’t seem to be an isolated case. I’ve noticed tons of ads recently which merrily shave beats off here and there to fit the song in exactly with whatever’s going on on the screen and inadvertantly create jarringly weird versions of the songs they’re using.

I’m not a purist by any means, and I’m not even particularly offended by it all, but it just seems weird and slightly counter-intuitive.

On the other hand for all I know to non-musicians ears, it might all sound totally normal because all the words are present and correct and the phrasings are sort of intact. (As a point of interest, the punk band NOFX used to have an amazing tendency to just shave words off the end of lines so they’d be more pleasing musically, which resulted in some very confusing lyrics that would only become clear when you read what they should’ve been off the sleeve notes).  

Please, please post below and tell me if you’ve noticed this, or if I’m just going crazy. If you have, include some youtube links and I might do a big ‘best of’ and blow the whole racket wide open.

Sono rimasto senza parole….

Fonte

Da Baglioni a Battiato, da Ligabue a Pelù, da Ranieri a Renga e altri…

Più di cinquanta big della musica italiana per i terremotati dell’Abruzzo.
L’idea è di Jovanotti e Giuliano Sangiorgi dei Negramaro, che in tre-quattro giorni sono riusciti a organizzare l’iniziativa, dietro la quale c’è la “Sugar” di Caterina Caselli. Gli artisti si sono alternati per tutto il giorno alle Officine Meccaniche, lo studio di registrazione di Mauro Pagani, a Milano, per incidere “Domani”, un brano che uscirà nella prima settimana di maggio in versione digitale per iTunes e in versione cd singolo. I proventi saranno devoluti alle popolazioni colpite dal sisma.
Una canzone corale, scritta dallo stesso Pagani, che è anche produttore del brano, interpretata da star del calibro di Ligabue, Laura Pausini, Gianna Nannini, Giorgia, Claudio Baglioni, Tiziano Ferro, Elisa, Franco Battiato, Gianni Morandi, Cesare Cremonini, Francesco Renga, Piero Pelù, Gianluca Grignani, Morgan, Carmen Consoli, Nek, Luca Carboni, Elio e le Storie Tese, Giusy Ferreri, Antonello Venditti, Fabri Fibra, J-Ax, Max Pezzali, Caparezza, Al Bano, Massimo Ranieri, Samuele Bersani, Pacifico, Mango, Ron, Roy Paci, Frankie Hi-Nrg, i Negramaro, ai quali dovrebbe unirsi anche Ivano Fossati.
Molti di loro non sono nuovi all’impegno benefico: in prima fila da anni Morandi e Ligabue; così come Ron, da tempo impegnato nella raccolta fondi per la ricerca scientifica; Nek ha invece sostenuto un progetto per la costruzione di un villaggio in Bosnia Erzegovina; Francesco Renga, Elisa, Venditti e Max Pezzali hanno partecipato a Music For Asia – Per non dimenticare, il grande concerto benefico per le vittime dello tsunami.
Famosa l’iniziativa che unì nel 1999 Jovanotti, Piero Pelù e Ligabue per “Il mio nome è mai più”, un pezzo contro la guerra in Kosovo, ma in realtà contro tutte le guerre, il cui ricavato venne destinato al sostentamento delle vittime tramite Emergency.
Ad aiutare la popolazione abruzzese ci aveva già pensato “X Factor” tramite “Yoùve Got a Friend”, il celebre brano di Carole King sull’amicizia, cantato dai finalisti del talent show il 10 aprile scorso durante un concerto benefico all’Alcatraz di Milano. La canzone è stata poi registrata in studio da Matteo, Jury, Daniele e i Bastard Sons of Dioniso e il ricavato del download su iTunes è stato destinato alla Protezione Civile e all’emergenza terremoto.

Elisabetta Malvagna

You’ve Got a Friend

If the sky above you

should turn dark and full of clouds
and that old north wind should begin to blow
Keep your head together and call my name out loud

and soon I will be knocking upon your door.

You just call out my name and you know where ever I am

I’ll come running to see you again.

“You’ve Got a Friend” La canción fue escrita por Carole King y apareció en 1971 su álbum de Tapices. La versión más famosa de la  canción la cantó James Taylor en su álbum de diapositivas de barro Slim y el Blue Horizon.

I got this link from a dear friend today.  Rather than you clicking on it, let me just repost it here.

By Henrylito D. Tacio

“AND if I should ever go away, well then close your eyes and try to feel the way we do today. And then if you can remember: Keep smiling, keep shining knowing you can always count on me, for sure. That’s what friends are for. For good times and bad times, I’ll be on your side forever more. That’s what friends are for.”

Well, if the words are very familiar to you, it’s because they were quoted from a Burt Bacharach song, which was made famous by Dionne Warwick (although Rod Steward also sang the same song as theme song of a movie).

Panagbenga 2009 blog

American author and speaker Steve Stephens listed five reasons why we need friends.

For one, friends provide perspective. “No matter how capable you are, there will be days you feel lost, when you need some clear direction, some fresh ideas, or just a different perspective,” he explains.

For another, friends provide company. “Good friends provide a distraction from the pressures of your day, comfort from the hurts of life, and escape from loneliness,” Stephens writes.

“Sometimes friends laugh with you and sometimes they cry with you, but most important, friends are always willing to be with you when you need them.”

The third reason: friends provide a place to vent. “Some days you can handle the difficulties that press you down; other days you just have to let it all out,” he points out.

“A friend is willing to listen when you just feel like complaining about the injustices and annoyances that fill this world.”

Friends also provide accountability. To be accountable, Stephens says, “is to consent to being watched and questioned. Allowing yourself to be transparent and vulnerable is a wonderful protection against temptation and naivete. You let them catch you when you fall and lift you back to the place where you know you should be.”

Lastly, friends provide encouragement. Stephens states, “Sometimes it’s easy to lose hope. The frustrations of the past haunt you, the stress of the present overwhelms you, and the prospect of the future discourages you. When you are overwhelmed, you need at least one cheerleader.” And that cheerleader is your friend.

“Friendship improves happiness, and abates misery, by doubling our joy, and dividing our grief,” said Joseph Addison. Pam Brown adds, “In loneliness, in sickness, in confusion — the mere knowledge of friendship makes it possible to endure, even if the friend is powerless to help. It is enough that they exist. Friendship is not diminished by distance or time, by imprisonment or war, by suffering or silence. It is in these things that it roots most deeply. It is from these things that it flowers.”

Tim McGraw sums up the value of friends in these words: “If all my friends were to jump off a bridge, I wouldn’t jump with them; I’d be at the bottom to catch them. Everyone hears what you say. Friends listen to what you say. Best friends listen to what you don’t say. We all take different paths in life, but no matter where we go, we take a little of each other everywhere.”

But some friendships never last forever. There are instances where friends become enemies. But there are also those that mend their differences and become friends again.

“When we develop friendships, we intend for them to last. But since two fallen human beings are involved, occasional hurt feelings and unmet expectations are likely. If one or both people simply ignore the offense, the relationship can be damaged,” explains Dr. Charles Stanley in his In Touch Daily Devotional.

But friendship can be restored and saved. “Repairing a troubled friendship requires humility to admit our faults, effort to fix the problem, and time,” he writes.

“But the reward is a renewed connection with a valued companion. The process of saving a friendship begins when you acknowledge that damage exists. This takes place the moment you say, I feel something isn’t right in our relationship. I’d like for us to find and fix the problem.”

Dr. Stanley said the two individuals must work together in order for them to save their friendship. For one, both should assess how the trouble started. Perhaps it resulted from a misunderstanding, an unresolved conflict, or one person being so busy.

(For comments, write me at henrytacio@gmail.com.)

I can only say: Cheers to friendship!

ShAKChI

Circle of Letters

Now this is the group I sticked out thru college. And there was Jenny, too, albeit a different friend tie.

Sould Friends

And then there’s Jenny. Soulfriend.  I met her when I got separated from my college buddies.  We all got separated.  Different blocks.

Chayix

And then there’s Chai.  OH MY!

I talked about love in my last post.
I thought of the song “You’ve Got a Friend” by the great Carole King. This is a remake with the lyrics.

Is it Utopian, in a way? Should people really put others before themselves, and “come running” to the side of a friend in need?

Prepare for Mass – February 22, 2009 – (2/22/2009)

Catholic Readings Schedule
See
Hear

Sunday, February 22, is the Seventh Sunday in Ordinary Time on the Church’s calendar. This day we remember how Jesus healed the paralytic. (Mk2:1-12)

Everybody wants to be happy. As the days pass, we often don’t give God a second thought. When things are going good, we get very comfortable. We think that we have the power to bring about our own happiness. In pride, we think we have all the answers. When things are going good, it is easy for us to think we don’t need God. We turn away from God and before we know it one tiny sin leads to another larger sin. We can fix anything if we just work harder. If we can’t fix it, we’re probably just not working hard enough.

Each day brings more and more challenges. The easy fix gradually becomes not so easy anymore.

If we can’t fix it ourselves, it has gotta be somebody else’s fault. Our pride won’t let us believe otherwise. Our pride won’t allow us to turn outside of ourselves to a God who we can’t see. This same pride can also lead us into self righteousness. It can turn us against those in need. If you hang out in Christian circles long enough, you’ll be sure to hear groups attacking this person or that person because their values don’t line up. It is easier to be against somebody who is misguided than it is to stand with them and guide them towards the Truth that will ultimately lead people to positive change.

Pride doesn’t really have any use in true faith in God. It leads to resentment which eventually becomes anger. The happiness that we hoped for is now nowhere to be found. It is a distant memory lost back in the idealistic days of our youth.

This is your life. Are you who you want to be?

We eventually come to realize that we need God in our lives to fill that emptiness. We need his pity. We need him to forgive us of our sins.

We gotta be willing to take some hits.

It ain’t about how hard you hit, it’s about how hard you can get hit and keep moving forward.
But you gotta be willing to take the hit, and not pointing fingers saying you ain’t where you are because of him, or her, or anybody. Cowards do that and that ain’t you. You’re better than that!”

God doesn’t count our past sins against us. Be willing to take the hit. But, “keep moving forward”.

Breathe Into Me

We come to know that only God can forgive us of our sins. He records our sins in pencil because he is faithful to us and bids us to turn to his mercy. The only social security we have is in Christ.

Is 43:25 – It is I, I, who wipe out, for my own sake, your offenses; your sins I remember no more.

Ps 41:4 – Once I prayed, “LORD, have mercy on me; heal me, I have sinned against you.

When your down and troubled, paralyzed by sin, when nothing is going right, it is good to have friends who are right with God who will have pity on you, pick you up, and drop you at the feet of Jesus. It would be good to have friends like the four who found the only way into Peter’s house was through the roof when all the doors were blocked. They needed to get their paralyzed friend to Jesus so badly that a blocked door would not stop them.

The Healing of the Paralytic

Jesus is the only one that can lift the paralysis caused by our sins.

Mark 2:9-12 -Which is easier, to say to the paralytic, ‘Your sins are forgiven,’ or to say, ‘Rise, pick up your mat and walk’? But that you may know that the Son of Man has authority to forgive sins on earth”– he said to the paralytic, “I say to you, rise, pick up your mat, and go home.” He rose, picked up his mat at once, and went away in the sight of everyone.

United by the desire for happiness, paralyzed by our sins, we all live in hope that our friends will be there to guide us to Jesus when we are most in need of his healing.

Father Jim Chern – Magic Beans

So the pharmaceuticals behind Mirena decided to buy the rights to Carole King’s “You’ve Got a Friend” for their spring campaign.

And even though she’s a legendary singer/songwriter, she’s never had the pleasure of the Mirena. So I’ve decided to submit my personal expertise for lyrical consideration. (I’ve even included some storyboard ideas.)

Picture a woman on a swing, in the air on a Ferris wheel, and running down the beach chasing a dog. You know, big smile, hair whipping around her no-breakout face. Realistically portraying the whole Mirena experience.

Cue: Chorus (as sung by the Mirena)

You in-sert me in-side
And you know wherever you are
You’ll be bleed-ing, everything that you’ve got
Winter, fall, summer or spring
You may never feel a thing
‘Cause you’ll be avoided
‘Cause you’ll be a biiiitch.

* * *

So let’s just say that after yet another call to the doctor’s they FINALLY told me that I might bleed for three cycles before things level out.

WHY couldn’t they tell me this before? Good question.

My guess is that they tell you the best case side effects only. And then ease you into the truth on a need-to-know basis. I wonder how many women don’t need to know…

In the meantime, I think I got my second period. I mean, it’s hard to tell. But like last month, other than an increase in bleeding and some ill-placed zits, there was zero cramping. Zero pain. Which was nice.

And the least they could do…

James Taylor appeared on BBC Radio 2’s “Ken Bruce” this morning, continuing his promotion of the UK release of Covers. He performed “You’ve Got A Friend” (with an instrumental intro of “Happy Birthday” played for Ken’s birthday), “Carolina In My Mind” and “Suzanne”.

You can listen to the entire show online here.

You can see pictures of the appearance right here.

YouTube videos of the appearance using audio over pictures from the gallery can be viewed here, here and here. (Unfortunately the user has disabled embedding.)

(Thanks to Ronnie and Garfunkel.)