Gretchen Peters (born November 14, 1957 in Bronxville, New York) is an American singer and songwriter. She was born in New York and raised in Boulder, Colorado, but moved to Nashville in the late 1980s. There, she found work as a songwriter, composing hits for Martina McBride, Etta James, Trisha Yearwood, Patty Loveless, George Strait, Anne Murray, as well as for rock singers Neil Diamond and co-writing songs with Bryan Adams.
She won the Country Music Association Song Of The Year award for McBride’s “Independence Day” in 1995. She was twice nominated for a Grammy Award for Best Country Song, in 1995 and 1996, and was nominated for a Golden Globe for Best Original Song in 2003.
“We’re in the mud and scum of things, moaning, crying and lying At least we ain’t Lazurus and had to think twice about dying.”
– Lazurus, Ray Wylie Hubbard
“I’m very grateful. I’m an old cat, but I feel very fortunate to have seen Lightnin’ Hopkins and Freddie King. I saw Ernest Tubb play and Gary Stewart, so it’s kind of a combination of not just the different forms of music that’s influenced me, but the great musicians in that form of music. I guess it’s the ‘character’ in their songwriting that’s influenced me.”
– Ray Wylie Hubbard (to The Current)
The Squires, The Mynah Birds,Buffalo Springfield, Crosby, Stills, Nash & Young, Crazy Horse, The Stray Gators, The Stills-Young Band, The Ducks, Northern Lights,Pearl Jam, Booker T. Jones, Leon Russell, Elton John
I started writing poetry before I started writing songs. In my checkered college past I was a creative writing major at Long Beach State University, which had a great writing program, and that’s where I learned all the nuts and bolts that helped me out in songwriting. They forced us to write in traditional forms — sonnets, iambic pentameter — just so we could understand that writing wasn’t just splaying free verse all over the page. But then the more songs I wrote using all those poetic forms, the more my poetry become like prose, almost to the point of journalism…
~Dave Alvin (Interview by Jim Catalano)
It’s rock and roll all over In every street and every station Kids fight like different nations And it’s brawn against brain And it’s knife against chain But it’s all young blood Flowing down the drain
One of those albums that was played so much on vinyl that it got worn out and bought again (twice!), Fantastic album!
Give ‘Em Enough Rope is one of the greatest transition albums of all time. The Clash was a purely punk album, and the best pure punk album “evvah!” London Calling is an eclectic and unique era-spanning masterpiece. Give ‘Em Enough Rope retain their punk roots, but start to draw in more influence from a more diverse pool. The album turns out to be one of the band’s best, what am I saying?! All their albums are must-haves! (except for the Cut The crap album of course). In true Clash fashion there’s not one bad track to spare.
Give ‘Em Enough Rope is the second studio album by the English punk rock band The Clash. It was released on 10 November 1978 through CBS Records. It was their first album released in the United States, preceding the US version of The Clash. The album was well received by critics and fans, peaking at number two in the United Kingdom Albums Chart.
It’s not enough. By anyone else’s standards, of course, Bruce Springsteen & the E Street Band Live/1975-85 is an embarrassment of riches — five albums and ten years’ worth of barroom, hockey-arena and baseball-stadium dynamite; greatest hits, ace covers, love songs, work songs, out-of-work songs — the ultimate rock-concert experience of the past decade finally packaged for living-room consumption, a special gift of thanks to the fans who shared those 1001 nights of stomp & sweat and the best possible consolation prize for the poor bastards who could never get tickets.