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- Both artistically and commercially, Boz Scaggs had his greatest success with Silk Degrees. The laid-back singer hit the R&B charts in a big way with the addictive, sly “Lowdown” (which has been sampled by more than a few rappers and remains a favorite among baby-boomer soul fans) and expressed his love of smooth soul music almost as well on.
Toussaint. (tracks: A4), B. Scaggs. (tracks: A1 to A3, A5 to B2, B4, B5), D. Paich. (tracks: A1, A3, B1, B3, B4) Notes The title 'Silk Degrees' printed at the top left of the front cover is printed in white, while on the cover of the label variation it is printed in red see and compare images.
Boz Scaggs Silk Degrees 320 Rar Torrent
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Both artistically and commercially, had his greatest success with. The laid-back singer hit the R&B charts in a big way with the addictive, sly 'Lowdown' (which has been sampled by more than a few rappers and remains a favorite among baby-boomer soul fans) and expressed his love of smooth soul music almost as well on the appealing 'What Can I Say.' But was essentially a pop/rocker, and in that area he has a considerable amount of fun on 'Lido Shuffle' (another major hit single), 'What Do You Want the Girl to Do,' and 'Jump Street.' Meanwhile, 'We're All Alone' and 'Harbor Lights' became staples on adult contemporary radio. Though not remarkable, the ballads have more heart than most of the bland material dominating that format.
Columbia/Legacy - February 7, 2007
Boz Scaggs Silk Degrees 320 Rar Download
Boz Scaggs Silk Degrees 320 Rar Free
Track List:
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Bonus tracks recorded live at the Greek Theater, Los Angeles, Aug 15, 1976.
Boz Scaggs Silk Degrees Rar
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Boz Scaggs
1. *What Can I Say(Boz Scaggs / David Paich) (What can I say..what can I do) Three a.m. its me again and wouldn't you know Come on tell me that you´re lonely dear (What can I say) Can´t you see the people just stop and stare (What can I say) (What can I say) 2. *Georgia(Boz Scaggs) Georgia Georgia Georgia Oooh oooh oooh Georgia Georgia Georgia 3. *Jump Street(Boz Scaggs / David Paich) Dawn came sneaking like a skinny snake West side bomber looked like a comer And I'm gone Working girls just tryin to get ahead Jump Street Sally comes creeping at the break of dawn Well enough best left alone But I'm gone Don't look much like a Saturday night OW ! Jump Street And I'm gone Workin girls just tryin to get ahead Look out funk.... Jump Street.. etc 4. *What Do You Want The Girl To Do(Allen Toussaint) So you think the girl is crazy And as you take to the wind She waits for you patiently What do you want the girl to do She knows what you are She waits for your patiently What do you want the girl to do What do you want the girl to do 5. *Harbor Lights(Boz Scaggs) [Sometimes to get a start on a song I'll look for images in everyday places. On this day I looked at a racing form in the sports section and saw the names of horses running that day: Harbor Lights, Shot in the Dark, One Way Ticket, Sailor's Dream and Sailing Shadows. What more could you ask for in imagery ? And I was off..] Son of a Tokyo Rose Through the neon doorways Woah oh oh oh My eyes must be betrayin' Dawn came in this morning Woah oh oh oh Woah oh oh oh Ooooh oooh oooh 6. *Lowdown(Boz Scaggs / David Paich) [When Paich and I were at the piano, and as he vamped on the basic two chords, the E minor and A, I started singing along 'ooo-whoo-I wonder, wonder, wonder, wonder who'. And that became the basis of the melody and lyric, the refrain for someone who might be getting a little outta touch with what's going on around the house and around the block.] Baby's into runnin round (Oooh oooh, I wonder wonder wonder wonder who) Nothing you can't handle (Oooh oooh, I wonder wonder wonder wonder who) Yeah You ain't got to be so bad (Oooh oooh, I wonder wonder wonder wonder who) I wonder wonder wonder wonder who Oh look out for that lowdown 7. *Its Over(Boz Scaggs / David Paich) Best of friends So why pretend Why can't you just get it through your head I'm not really over you (Go away) Cos you were right Why can't you just get it through your head I'm not really over you (Why can't you just get it through your head 8. *Love Me Tomorrow(David Paich) You say You say Dejon I say Dejon Dejon Ah ooooh hooo hooo hooo hooo hooo 9. *Lido Shuffle(Boz Scaggs / David Paich) [Well, he's some hell-bent kid flying by the seat of his pants, trying to keep up with a fast shuffle.] Lido missed the boat that day At a tombstone bar Next stop Chi town Lido. Lido. Lido will be runnin' He'll be makin' like a bee line Lido. Lido. Lido. 10. *We're All Alone(Boz Scaggs) [I saw this title as having an intimate as well as a broader theme, and struggled to find the words to express both at once. The song had been arranged, recorded and orchestrated to a working melody from an ad-libbed vocal - and I had procrastinated and put off for weeks delivering the final vocal because I hadn't found the words. Driving to the studio on the inevitable mother of all deadline days, I was sweating bullets - praying for red lights, writing lines waiting for the light to change, and at the studio even scribbling new lines while I was there on mic between tape rewinds. The meaning of the song is still being revealed to me.] Outside the rain begins Close your eyes ami Close the window Once a story's told Close the window Close the window All's forgotten now my love 11. *What Can I Say (Live)(Boz Scaggs / David Paich)(What can I say..what can I do) Its three a.m. and me again and wouldn't you know Come on tell me that you´re lonely dear (What can I say) Can´t you see the people stop and stare (What can I say) (What can I say) 12. *Jump Street (Live)(Boz Scaggs / David Paich) [This is about what happens when you don't leave those little downtown girls or boys alone] Dawn came sneakin' Westside bomber Oh I'm gone Workin' girls just tryin' to get ahead Sally came creepin' at the crack of dawn Well enough with best left alone But I'm gone Stress test tool windows. Woah I'm gone Aint much like a Saturday night And I'm gone Workin' girls just tryin' to get ahead 13. *Its Over (Live)(Boz Scaggs / David Paich) [This is when its all over folks] Best of friends So why pretend Why can't you just get it through your head I'm not really over you (Go away) Cos you were right Why can't you just get it through your head I'm not really over you (Why can't you just get it through your head) (Why can't you just get it through your head) Its over baby... | Boz's pages from the liner notes: The approach was basically to leave San Francisco for a shot on my own in Los Angeles. I'd recorded there on my previous record, 'Slow Dancer', with Johnny Bristol, a CBS staff producer out of Detroit. He'd called in a stellar cast of musicians, Mowtown transplants for the most part, and turned my demos into fully fleshed out work. It was an amazing process that awakened in me a world of possibilities. It was then that I met Joe Wissert, out of Philly, another CBS staffer who had brought Earth, Wind and Fire to the company and produced them. Joe had deep roots in urban R&B, and I felt I had an ally in him for my next album. The plan was to put together a section and try a few tunes. I owe a credit here to drummer Jim Keltner who was my first call and who said to me that he couldn't make it but that I should call Jeff Porcaro in his place and that he, Jeff, had a hardcore little section that was gonna cover me. 'Great call', says Joe, because he knew the cats and thought they were 'terrific'. A very Joe word. We set a date. The 'trio' consisted of David Paich, who played keyboards and arranged; Jeff Porcaro, drums; and David Hungate, bass. All three prodigious talents, but as a unit, sensational indeed. To round out the core section were two guitarists: Louis Shelton, a formidable producer in his own right; and Fred Tackett from Little Feat. They were a superb section, presided over by Joe and Paich, and recorded by Tom Perry in a sleek new studio in the Valley called Davlen. Mostly I wrote my share of the music on piano, an instrument that I don't play well, but can bang out rhythms and chords on with enough harmonic information for Paich to turn into an arrangement. Otherwise, he and I collaborated from 'starts' - snatches of ideas. As noted, there's a sole author song by David, 'Love Me Tomorrow', and the only outside tune, 'What Do You Want The Girl To Do', is by Allen Toussaint, one of my favourite songwriters and one I'd gone to in the past. Imagine. L.A., warm, evening. A breath of a breeze. Your new friends take you through the door and surprise ! There she is - Ferrari convertible - red. Engine at a low rumble. Door open. You get in, way down low - hip level - feel her leather, close the door and touch the pedal. 'Cool', she whispers. And off you go. That's what it felt like making that record, playing with those cats. If it had been my first record, I could have gotten real spoiled by the success that followed, but alas I'd been disappointed more than once by high expectations in that department and all I wanted was someone to take the load of managing my career off my back, some new tyres for the truck, and more gigs. That all came. Slowly. Irving Azoff, dynamic young manager of The Eagles, called me, dug the record and took off with it. The 'trio' became my new rhythm section and gigs-r-us! Word was getting around. Months passed. We worked. Radio had been not too bad, but it was not great. Then R&B radio got on 'Lowdown' and it was all over. Not just for what followed - the big sales, the Grammy for 'Best R&B Song' - but for what we knew was already there since that night back at Davlen Studios, the night we finished the backing vocals on 'Lowdown' - although that was probably the least likely track to see the light of day on Top 40 radio, that because it was the first thing Paich and I put down together when we first met, and that the groove he and Jeff and Hungate hit and the way Louis and Freddy smoked the guitar parts - that this was the shit. And that if radio ever did get to it, well then, we were gonna have a whole bunch of people grooving to us. We knew that. It just seemed to be in the air. I still enjoy playing some of these songs. They've been through all sorts of arrangements and been played by a lot of players, and they keep on giving it back. Those who contributed to the making of this record gave a lot, not blood and sweat, I can assure you. We'd all paid those dues elsewhere. This one was joy. It was a time and a place - a confluence of some sort. I always wish that wonderful Ry Cooder album title had been mine: 'Paradise and Lunch'. |