Single Collection Crazy Ken Band Rare
On July 12, Ken Hirai will release his second best album, “Ken Hirai Singles Best Collection Uta Baka 2.” This is the follow up to his first best album, 2005’s “Ken Hirai 10th Anniversary Complete Single Collection ’95-’05 ‘Utabaka'”, which sold over 2 million copies and was the best selling album of 2006.“Ken Hirai Singles Best Collection Uta Baka 2” will be released in three editions: a 4CD Limited Edition A, a 3CD+Blu-ray Limited Edition B, and a 3CD Regular Edition. The Limited Edition A’s first three CDs cover Ken’s entire career, from his 1995 debut single “Precious Junk” up to this past June’s single, “Nonfiction.” The first two CDs that come with Limited Edition B pick up where Ken’s 2005 best album left off, with the 2006 single “Bye My Melody”, and ending with “Nonfiction.” The Blu-ray that comes with this edition follows the same trajectory as the first two CDs, starting off in 2006 and concluding with last month’s release. The Regular Edition’s first two CDs have the same tracklist as Limited Edition B’s.All three editions of “Ken Hirai Singles Best Collection Uta Baka 2” conclude their CD portion with a CD of collaborations, titled “Utabaka Dake ni.” On this collaboration CD, Ken worked with 10 artists who he admires. Ken takes the “baka (foolish)” part of the album’s title seriously, entrusting the artists with the writing and composing of their collaborative song, while he just sings it. The artists that Ken worked with on “Utabaka Dake ni.” include Yasutaka Nakata, tofubeats, BONNIE PINK, and Makihara Noriyuki.
The Noriyuki song, “Ichiban Hajimete no Koibito”, is the CM song for Choya’s Natsu Ume beverage, while the tofubeats song, “READY FOR YOUR LOVE”, can be heard in the TOYO TIRES commercial. Check out both commercials below, along with more information on Ken’s new best album!Limited Edition ACD1 (Single Collection 1995-2002)1. Precious Junk2. 片方ずつのイヤフォン (Katahou Zutsu no Earphone)3.
横顔 (Yokogao)4. ドシャブリ (Doshaburi)5. Stay With Me6. Love Love Love8. 楽園 (Rakuen)9. LOVE OR LUST11.
KISS OF LIFE14. Missin’ you ～It will break my heart～15. Strawberry SexCD2 (Single Collection 2002-2008)1. 大きな古時計 (Ooki na Furudokei)2. LIFE is ～another story～4.
瞳をとじて (Hitomi wo Tojite)6. キミはともだち (Kimi wa Tomodachi)7. 思いがかさなるその前に (Omoi ga Kasanaru Sono Mae ni )8. バイマイメロディー (Bye My Melody)10.
哀歌 (エレジー) (Elegy)11. 君の好きなとこ (Kimi no Suki na Toko)12. キャンバス (Canvas)14. 君はス・テ・キ♡ (Kimi wa Su・te・ki♡)15. いつか離れる日が来ても (Itsuka Hanareru Hi ga Kite mo)CD3 (Single Collection 2009-2017)1. 僕は君に恋をする (Boku wa Kimi ni Koi wo Suru)3.
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Sing Forever4. アイシテル (Aishiteru)5. いとしき日々よ (Itoshiki Hibi yo)6. 告白 (Kokuhaku)7. 桔梗が丘 (Kikyogaoka )8. 安室奈美恵 (Grotesque feat.
Namie Amuro)9. ソレデモシタイ (Soredemo Shitai)10. おんなじさみしさ (Onnaji Samishisa)11. 君の鼓動は君にしか鳴らせない (Kimi no Kodou wa Kimi ni Shika Narasenai)12.
(Mahoutte Itte Ii Kana?)15. 僕の心をつくってよ (Boku no Kokoro wo Tsukutte yo)16. ノンフィクション (Nonfiction)CD4 (Special Disc “Utabaka Dake ni.”)1. READY FOR YOUR LOVE (written, composed, and arranged by tofubeats)2. ブランケット (Blanket) (written and composed by Kusano Masamune (Spitz) / arranged by Seiji Kameda)3. Dance with you (written and composed by TOKO (Furuuchi Toko) / arranged by Tomi Yo)4.
やってらんないぜ (Yatterannaize) (written and composed by Ken Yokoyama (CRAZY KEN BAND) / arranged by Yashiki Gota)5. 一番初めての恋人 (Ichiban Hajimete no Koibito) (written, composed, and arranged by Makihara Noriyuki)6. Don’t感・Don’t恋 (Don’t Kan・Don’t Koi) (written, composed, and arranged by Ishino Takkyu (Denki Groove))7. Emmm (written and composed by BONNIE PINK / arranged by Murata Koichi)8.
Gift (written, composed, and arranged by LOVE PSYCHEDELICO)9. ネガティブボーイ (Negative Boy) (written, composed, and arranged by Yasutaka Nakata)10. 歌 (Uta) (written, composed, and arranged by KAN)Limited Edition BCD1 (Single Collection 2006-2010)1. バイマイメロディー (Bye My Melody)2. 哀歌 (エレジー) (Elegy)3. 君の好きなとこ (Kimi no Suki na Toko)4.
キャンバス (Canvas)6. Vaio onetime password keygen software. 君はス・テ・キ♡ (Kimi wa Su・te・ki♡)7. いつか離れる日が来ても (Itsuka Hanareru Hi ga Kite mo)8.
僕は君に恋をする (Boku wa Kimi ni Koi wo Suru)10. Sing Forever11. アイシテル (Aishiteru)CD2 (Single Collection 2011-2017)1.
いとしき日々よ (Itoshiki Hibi yo)2. 告白 (Kokuhaku)3. 桔梗が丘 (Kikyogaoka )4. 安室奈美恵 (Grotesque feat. Namie Amuro)5.
ソレデモシタイ (Soredemo Shitai)6. おんなじさみしさ (Onnaji Samishisa)7. 君の鼓動は君にしか鳴らせない (Kimi no Kodou wa Kimi ni Shika Narasenai)8.
(Mahoutte Itte Ii Kana?)11. 僕の心をつくってよ (Boku no Kokoro wo Tsukutte yo)12. ノンフィクション (Nonfiction)CD3 (Special Disc “Utabaka Dake ni.”)1. READY FOR YOUR LOVE (written, composed, and arranged by tofubeats)2. ブランケット (Blanket) (written and composed by Kusano Masamune (Spitz) / arranged by Seiji Kameda)3. Dance with you (written and composed by TOKO (Furuuchi Toko) / arranged by Tomi Yo)4.
やってらんないぜ (Yatterannaize) (written and composed by Ken Yokoyama (CRAZY KEN BAND) / arranged by Yashiki Gota)5. 一番初めての恋人 (Ichiban Hajimete no Koibito) (written, composed, and arranged by Makihara Noriyuki)6.
Don’t感・Don’t恋 (Don’t Kan・Don’t Koi) (written, composed, and arranged by Ishino Takkyu (Denki Groove))7. Emmm (written and composed by BONNIE PINK / arranged by Murata Koichi)8. Gift (written, composed, and arranged by LOVE PSYCHEDELICO)9. ネガティブボーイ (Negative Boy) (written, composed, and arranged by Yasutaka Nakata)10. 歌 (Uta) (written, composed, and arranged by KAN)Limited Edition B Blu-ray (Music Video Collection of Singles 2006-2017)1.
バイマイメロディー (Bye My Melody)2. 哀歌 (エレジー) (Elegy)3. 君の好きなとこ (Kimi no Suki na Toko)4. キャンバス (Canvas)6.
君はス・テ・キ♡ (Kimi wa Su・te・ki♡)7. いつか離れる日が来ても (Itsuka Hanareru Hi ga Kite mo)8. 僕は君に恋をする (Boku wa Kimi ni Koi wo Suru)10. Sing Forever11.
アイシテル (Aishiteru)12. いとしき日々よ (Itoshiki Hibi yo)13. 告白 (Kokuhaku)14. 桔梗が丘 (Kikyogaoka )15. 安室奈美恵 (Grotesque feat.
Namie Amuro)16. ソレデモシタイ (Soredemo Shitai)17. 君の鼓動は君にしか鳴らせない (Kimi no Kodou wa Kimi ni Shika Narasenai)18. (Mahoutte Itte Ii Kana?)20. 僕の心をつくってよ (Boku no Kokoro wo Tsukutte yo)21. ノンフィクション (Nonfiction)Regular EditionCD1 (Single Collection 2006-2010)1. バイマイメロディー (Bye My Melody)2.
哀歌 (エレジー) (Elegy)3. 君の好きなとこ (Kimi no Suki na Toko)4. キャンバス (Canvas)6. 君はス・テ・キ♡ (Kimi wa Su・te・ki♡)7. いつか離れる日が来ても (Itsuka Hanareru Hi ga Kite mo)8.
僕は君に恋をする (Boku wa Kimi ni Koi wo Suru)10. Sing Forever11. アイシテル (Aishiteru)CD2 (Single Collection 2011-2017)1. いとしき日々よ (Itoshiki Hibi yo)2. 告白 (Kokuhaku)3. 桔梗が丘 (Kikyogaoka )4.
安室奈美恵 (Grotesque feat. Namie Amuro)5.
ソレデモシタイ (Soredemo Shitai)6. おんなじさみしさ (Onnaji Samishisa)7. 君の鼓動は君にしか鳴らせない (Kimi no Kodou wa Kimi ni Shika Narasenai)8. (Mahoutte Itte Ii Kana?)11. 僕の心をつくってよ (Boku no Kokoro wo Tsukutte yo)12. ノンフィクション (Nonfiction)CD3 (Special Disc “Utabaka Dake ni.”)1.
READY FOR YOUR LOVE (written, composed, and arranged by tofubeats)2. ブランケット (Blanket) (written and composed by Kusano Masamune (Spitz) / arranged by Seiji Kameda)3. Dance with you (written and composed by TOKO (Furuuchi Toko) / arranged by Tomi Yo)4. やってらんないぜ (Yatterannaize) (written and composed by Ken Yokoyama (CRAZY KEN BAND) / arranged by Yashiki Gota)5. 一番初めての恋人 (Ichiban Hajimete no Koibito) (written, composed, and arranged by Makihara Noriyuki)6. Don’t感・Don’t恋 (Don’t Kan・Don’t Koi) (written, composed, and arranged by Ishino Takkyu (Denki Groove))7.
Emmm (written and composed by BONNIE PINK / arranged by Murata Koichi)8. Gift (written, composed, and arranged by LOVE PSYCHEDELICO)9. ネガティブボーイ (Negative Boy) (written, composed, and arranged by Yasutaka Nakata)10. 歌 (Uta) (written, composed, and arranged by KAN)Ichiban Hajimete no KoibitoFOR YOUR LOVE.
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Jonathan Powell. Keith Paluso. Glenn McClelland. Dylan Elise. Ken Gioffre. Ric Fierabracci. Julian Coryell.
Michael BoscarinoBlood, Sweat & Tears is a music group. They are noted for their combination of brass and rock band instrumentation. The group recorded songs by rock/folk songwriters such as, and as well as. They also incorporated music from and into their arrangements.They were originally formed in 1967 in. Since their beginnings, the band has gone through numerous iterations with varying personnel and has encompassed a multitude of musical styles. The band is most notable for their fusion of rock, blues, pop music, horn arrangements and jazz improvisation into a hybrid that came to be known as '.
Unlike ' bands, which tend toward virtuosic displays of instrumental facility and some experimentation with electric instruments, the songs of Blood, Sweat & Tears merged the stylings of, and / with, while also adding elements of 20th-century classical and jazz traditions. This section needs additional citations for.
Unsourced material may be challenged and removed.Find sources: – ( October 2017) , and formed the original band. The creation of the group was inspired by the 'brass-rock' ideas of and its producer, as well as the early 1960s Roulette-era Orchestra (according to Kooper's autobiography).Al Kooper was the group's initial bandleader, having insisted on that position based on his experiences with, his previous band with Steve Katz, which had been organized as an.
Jim Fielder was from 's and had played briefly with. Kooper's fame as a high-profile contributor to various historic sessions of, and others was a catalyst for the prominent debut of Blood, Sweat & Tears in the musical of the mid-sixties. Kooper, Colomby, Katz and Fielder did a show as a quartet at the Village Theatre (soon to rename as ) in New York City on September 16, 1967, with opening. Fred Lipsius then joined the others a month later.
A few more shows were played as a quintet. Lipsius then recruited the other three, Dick Halligan, Randy Brecker and Jerry Weiss, who were New York jazz horn players Lipsius knew. The final lineup debuted at the Cafe Au Go Go on November 17–19, 1967, then moved over to play the following week. The band was a hit with the audience, who liked the innovative fusion of with and.After signing to, the group released.
The album cover was considered quite innovative showing the band members sitting and standing with child-sized versions of themselves. The album slowly picked up in sales despite growing artistic differences among the founding members which resulted in several personnel changes for the second album.
Colomby and Katz wanted to move Kooper exclusively to keyboard and composing duties, while hiring a stronger vocalist for the group, causing Kooper's departure in April 1968. He became a for the Columbia label, but not before arranging some songs that would be on the next BS&T album. The group's trumpeters, Randy Brecker and Jerry Weiss, also left and were replaced by and Chuck Winfield. Brecker joined 's band with his brother, and together they eventually formed their own horn-dominated musical outfits,. Jerry Weiss went on to start the similarly styled group Ambergris.David Clayton-Thomas era. This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( October 2017) After Kooper left the group, Colomby and Katz began to look for a new vocalist, considering (after the breakup of soul-rock group but before the formation of ),.
Ultimately, they decided upon, a singer, born in Surrey, England. Reportedly, folk singer had seen Clayton-Thomas perform at a New York City club and was so taken and moved by his performance that she told Colomby and Katz about him (knowing that they were looking for a new lead singer to front the band). With her prodding, they went to see Clayton-Thomas perform and were so impressed that he was offered the role of lead singer in a re-constituted Blood Sweat & Tears. Trombonist Halligan took up the organ chores and Jerry Hyman joined to take over trombone.
With new trumpeters and Winfield the now nine-member band debuted at New York's Cafe Au Go Go on June 18, 1968, beginning a two-week residency. Eponymous 1968 albumThe group's second album, was produced by and released in late 1968.
It was more pop-oriented, featuring fewer compositions by the band. The record quickly hit the top of the charts, winning at the over ', among other nominees. Three hit singles were released from Blood, Sweat & Tears: a cover of and 's ', Clayton-Thomas' ', and a version of Nyro's '. Each of these three #2 singles was on Billboard Magazine 's Hot 100 chart for 13 weeks.The commercial and critical acclaim enjoyed by the band in 1969 culminated in an appearance at, in which the band enjoyed headliner status. The festival's film crew even caught the band's opening number, 'More and More', as they took to the stage.
But the band's manager at the time, Bennett Glotzer, ordered the movie crew to turn off the cameras and leave the stage since the band had not agreed nor been paid to be filmed.While Blood, Sweat & Tears achieved commercial success alongside similarly configured ensembles such as and the, the band had difficulty maintaining its status as a counterculture icon at a time when record company executives deemed this characteristic important as a tool to lure young consumers. This was compounded by the band going on a -sponsored tour of Eastern Europe in May/June 1970.
Any voluntary association with the government was highly unpopular at the time, and the band was ridiculed for it. It is now known that the State Department subtly requested the tour in exchange for more amicability on the issuance of a visa to Clayton-Thomas.After returning to the U.S., the group released (June 1970), produced by and drummer Colomby. The album was another popular success, spawning hit singles with a cover of 's 'Hi-De-Ho' and another Clayton-Thomas composition, 'Lucretia MacEvil'. While this was a successful attempt to re-create the amalgam of styles found on the previous album, the band again depended almost exclusively on cover material. Album reviews sometimes focused solely upon the band's willingness to work with the U.S. State Department, without bothering to discuss the actual music.
Compounding the image problems of the band was a decision to play at on the, widely seen at the time as a mainstream venue for acts that did not engage in radical politics.In late 1970, the band provided music for the soundtrack of the film comedy, which starred and, further damaging the group's underground reputation.Following this period of controversy, the group reconvened in in January 1971 with jazz writer/saxophonist Don Heckman serving as their producer. With replacing Jerry Hyman, they recorded material that would form the basis of their fourth album, (June 1971). For the first time since the first album, Blood, Sweat & Tears presented a repertoire of songs composed almost entirely from within the group. Also included on the album is a cover of former member Al Kooper's 'Holy John (John the Baptist)'. Loaded with hooks and a wide variety of moods (featuring such songs as 'Go Down Gamblin', 'Lisa, Listen to Me', 'High on a Mountain', 'Redemption'), BS&T 4 broke into the album charts, resulting in a gold record for the group.
However, none of the singles from the album managed to land in the Top 30 on any of the singles charts, and the period after the release of the fourth album began the group's commercial decline. Jerry Fisher era. This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( February 2016) After playing a final show at on December 31, 1971, Clayton-Thomas left in early January 1972 to pursue a solo career. He was briefly replaced by and then, who went on to front the next incarnation of Blood, Sweat & Tears. Left as well and was briefly replaced by, before settled into the new lineup. Another founding member, Dick Halligan, also departed, replaced by jazz pianist (from the Quintet), and guitarist, from the popular Swedish outfit, joined as lead guitarist around the same time.The new edition of Blood, Sweat & Tears released in September 1972, which found the group moving into a more overtly jazz-fusion repertoire.
The album broke through the Top 40 chart (the last BS&T LP to do so) and spawned a single ('So Long Dixie', chart peak: 44) that received some airplay. Also included on the record was a cover version of Herbie Hancock's ', featuring the voice/guitar soloing of.In January 1973, Katz left to pursue a career as a producer (for and others). Winfield departed as well, in March, and was replaced by.Blood, Sweat & Tears' next album, (June 1973), continued in a jazz-fusion vein and featured intricate horn work. Tom Malone's stay in the band was brief and he left to make way for jazz trumpeter.
But Madrid's tenure was likewise short-lived and he never recorded with the band. Both Madrid and left in late 1973, making way for new horn player/arranger Tony Klatka on their next release, (July 1974), which also saw the addition of vocalist/saxophonist Jerry LaCroix (formerly of 's White Trash), sax player Bill Tillman, bassist and the exodus of original bass player. This recording features the adoption of a sound pitched between and the mid-1970s albums by 's, along with aspirations to 's jazz-fusion group.Jerry LaCroix left BS&T to join after playing his final show with them at in New York's on July 27, 1974., a blues singer from, was recruited to replace LaCroix.Reformations. This section needs additional citations for. Unsourced material may be challenged and removed.Find sources: – ( October 2017) By the close of 1974, Jerry Fisher decided that he was tired by BS&T's heavy touring schedule, so Bobby Colomby, together with the band's manager Fred Heller, engineered the return of David Clayton-Thomas in the hope of restoring the band to its former level of success. Clayton-Thomas agreed and met the current group at a concert in while Jerry Fisher and Luther Kent were still with the band.
All three singers ended up on stage together before a wildly enthusiastic crowd.The next album, in April 1975, featured Clayton-Thomas back fronting the band and contained half cover tunes (, ) and half original material. New horn player Joe Giorgianni joined for, which charted higher (#47) than any of their previous albums since New Blood. This was chiefly the result of an entry in the singles charts with a cover of the Beatles' ', which peaked at #62. But it still did not sell as well as albums from the group's 1969–71 commercial peak period. Bassist, with (rear, left) performing in the Lone Star, New York CityIn the summer of 1975, BS&T recorded a live album that was released in and the following year as.
Single Collection Crazy Ken Band Rare Cars
This very same album was later released in the US as in May 1991. The album featured different guitarists on different nights: Georg Wadenius, and, the latter who took over permanently for a time (Jeff Richman filled in for Stern in mid-1976).
Jazz percussionist was also present for the live album. After its recording, Joe Giorgianni left and was replaced by Forrest Buchtel (formerly of 's band).Around the same time, Bobby Colomby discovered a talented bass player by the name of in.
He produced Jaco's first solo album in the autumn of 1975, which was released in the spring of 1976. In late 1975, Jaco toured with BS&T subbing for Ron McClure and when McClure left in early 1976, Colomby arranged for Jaco to join the band, though he stayed for only about three months. On April 1, 1976 Jaco officially joined where he became world-famous. When Jaco left BS&T, he was briefly succeeded by Keith Jones, before Danny Trifan stepped in.In 1975, Blood, Sweat & Tears was offered a slot at a Jazz concert to be held in. The city government viewed the band as a 'rock' band and was concerned that it would attract a rowdy audience; it threatened to revoke the concert permit if Blood, Sweat & Tears was not removed from the program.
Ultimately, concert organizers were only able to force the event forward via judicial injunction. The ensuing litigation reached the United States Supreme Court.In July 1976, produced by and featuring guest vocals by and appearances by a host of NYC session players, including pianist, guitarists and, trumpeter and (banjo, dobro), was released but sold disappointingly. After it stalled at US #165, Columbia Records dropped the band. At this time Bobby Colomby, BS&T’s sole remaining original member, stopped touring with the group and Don Alias assumed sole percussion duties before leaving as well to make way for Roy McCurdy.In 1977, BS&T was signed to and they began working on their next release, (November 1977). The album was co-produced by Bobby Colomby. But Colomby's direct involvement with the group ceased after its release, although he continued on as sole owner of the Blood Sweat and Tears trademark.
Brand New Day garnered positive reviews but was not a major seller. At this same time BS&T were said to be recording tracks for an instrumental album with a personnel of Tony Klatka, Forrest Buchtel, Dave Bargeron, Bill Tillman, Larry Willis, Danny Trifan, Roy McCurdy and Mike Stern, but this album never materialized.During 1977, the BS&T lineup continued to be ever fluctuating. Stern, Trifan, McCurdy, Buchtel and Tillman all departed to be succeeded respectively by, Michael Lawrence.
Then took over guitar and Chris Albert trumpet when Bernsen and Lawrence left at the close of '77.In January 1978, the group undertook a European tour that ended abruptly after 31-year-old saxophonist died of a drug overdose in on January 31, 1978. ^, ed. (Concise ed.). P. 149. ^ Eder, Bruce (2007).
Retrieved 2012-08-17. Retrieved 24 December 2013.
Retrieved 24 December 2013. Jovanovic, Rob. Big Star: The Story of Rock's Forgotten Band. London: Fourth Estate, 2004. Retrieved 24 December 2013., Inc., 453 U.S.
Replay Records. Archived from on 2007-12-29. Retrieved 2007-12-26. Blood, Sweat & Tears. Archived from on 2007-12-27. Retrieved 2007-12-26.
interviewed on the (1970). Archived from on 2013-02-02.
Retrieved 2013-01-24. CS1 maint: archived copy as title. Retrieved 24 December 2013. ^.
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Retrieved 2019-01-20. ^. Retrieved 24 December 2013.External links. 1967–2000.