Trisha Yearwood -- the subject a cover-story profile in the January issue of Cowboys & Indians magazine, on sale Dec. 12 at fine newsstands everywhere -- recently talked with CMT.com about her new CD, Heaven, Heartache and the Power of Love. She's happy to report that, at this stage in her career, she's finally reached a "comfort level" while singing in the recording studio:
"I used to worry so much about it being pitch-perfect and over-thinking things. As a demo singer, you would go into a studio and you'd have a limited amount of time to sing your songs. You were getting paid $40 a song, you did your own harmonies, and you got work because you knew the song when you got there and you worked fast and cheap. And then when you go to make your album, and you've been waiting your entire life to make that first album, you think, 'Oh, my gosh. This is an album and it has to be perfect.' As time passes, you learn how to do a better job, just like anything. 'I know how to do this. This is what I do. Just go in and do what you do.' I think I've become less and less critical of my own work through the years. This album is my favorite, vocal-wise -- this one and the last one actually -- because I finally got to a place where I thought, 'You know what? I know what to do.'"
Monday, November 26, 2007
Monday, November 19, 2007
Them's fightin' words, pardner!
Brit film critic John Patterson argues: "[T]he Western per se -- the Western as a thriving movie genre -- is to all intents and purposes deader than Billy the Kid, Jesse James, John Ford and Sam Peckinpah put together."
Labels:
Billy the Kid,
Jesse James,
John Ford,
Sam Peckinpah
Live from Australia: The Spaghetti Western Orchestra
A five-piece band in The Land Down Under has mastered the music of Ennio Morricone.
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