Don't Let It Die (The Very Best Of Hurricane Smith) (CD) ~ Hurri... Cover Art

Don't Let It Die (The Very Best Of Hurricane Smith) (CD)

By: Hurricane Smith (Artist)


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Product Description


Track Listing

DISC 1 for Don't Let It Die (The Very Best Of Hurricane Smith) (CD) Album By Hurricane Smith (Artist)
1   Auntie Vi's  
2   Wonderful Lily  
3   Cherry  
4   My Mother Was Her Name  
5   Many Happy Returns  
6   Theme From An Unmade Silent Movie  
7   That Girl  
8   Back In The Country  
9   Grannie's Dixie Duo  
10   Journey Thru' Dawn  
11   Don't Let It Die  
12   Oh Babe What Would You Say  
13   Getting To Know You  
14   Who Was I  
15   Take Suki Home  
16   Writer Sings His Songs  
 


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Title Note

One of the more unlikely hit-makers in pop history, Hurricane Smith was a middle-aged engineer with a reedy, nasal voice who had made his only previous claim to fame by odd-jobbing around Abbey Road long enough to earn a spot engineering for the Beatles prior to Revolver, then building on his r‚sum‚ by producing Pink Floyd's first two albums as well as the Pretty Things' landmark S.F. Sorrow. True to his lack of form, his recordings of 1972-1973 revealed an artist more in love with pop crooners than British beat groups, although his songs were well-illustrated tableaux of English life with contemporary art rock productions (needless to say, they were also engineered very well). An eccentric, Smith's songs didn't sound commercial enough to really hit, nor were his songs or performances striking enough to make him a cult favorite. He endures as a pop footnote; think of John Howard or Brian Protheroe with an affinity for the early age of falsetto crooners (Rudy Vall‚e and Al Bowlly). ~ John Bush

Album Description

One of the more unlikely hit-makers in pop history, Hurricane Smith was a middle-aged engineer with a reedy, nasal voice who had made his only previous claim to fame by odd-jobbing around Abbey Road long enough to earn a spot engineering for the Beatles prior to Revolver, then building on his r‚sum‚ by producing Pink Floyd's first two albums as well as the Pretty Things' landmark S.F. Sorrow. True to his lack of form, his recordings of 1972-1973 revealed an artist more in love with pop crooners than British beat groups, although his songs were well-illustrated tableaux of English life with contemporary art rock productions (needless to say, they were also engineered very well). An eccentric, Smith's songs didn't sound commercial enough to really hit, nor were his songs or performances striking enough to make him a cult favorite. He endures as a pop footnote; think of John Howard or Brian Protheroe with an affinity for the early age of falsetto crooners (Rudy Vall‚e and Al Bowlly). ~ John Bush



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