Thursday, 23 February 2017

J.J.NILES LYRICS for GO 'WAY

Lyrics for Go 'Way from My Window by John Jacob Niles

Go 'way from my window
Go 'way from my door
Go 'way, way way from my bedside
And bother me no more
And bother me no more

I'll give you back your letters
I'll give you back my ring
But I'll never forget my own true love
As long as songbirds sing
As long as songbirds sing

Go on tell all your brothers
Tell all your sisters too
That the reason why my heart is broke
Is on account of you
Is on account of you

Go on your way, be happy
Go on your way and rest
But remember dear, that you are the one
I really gave the best
I really gave the best

Go 'way from my window
Go 'way from my door
Go 'way, way way from my bedside
And bother me no more
And bother me no more
And bother me no more

Writer: J. J. Niles



JOHN JACOB NILES and GO AWAY FROM MY WINDOW

In many ways the songs on PAST LOVES are no more than remembered remnants from a past life And, with GO AWAY FROM MY WINDOW, it is difficult to know if I ever knew more than the two verses I sing on the album

However, in preparing the track for release it became necessary to locate the composers of the songs and that task brought me to the door of John Jacob Niles

I suspect he is very well known to folk singers throughout the world But as I have never really been one I knew nothing about him until now Of course I wish I had known about him sooner and I would very much have liked to know the complete lyric

GO AWAY FROM MY WINDOW has been recorded by many others but I would recommend the very real performance of this superb song by the man who wrote it


There's not much to say about my own bit performance but I will feel better about it if it becomes in any way responsible for introducing others to JOHN JACOB NILES

Below the image is more information about him and about the song It was taken from Wikipedia


Composer, collector, and balladeer John Jacob Niles, was born in Louisville, Kentucky April 28, 1892.
 Niles came from a musical family. His great-grandfather was a composer, organist, and cello manufacturer; his mother, Lula Sarah Niles, taught him music theory. In 1904, Niles's family moved to a farm in rural Jefferson County where John Jacob began collecting folk music. By 1907, Niles composed his first song, "Go 'Way from My Window," based on a line of song collected from an African American farm worker.

Concerning "Go 'Way From My Window," John Jacob Niles wrote:

"In 1908 my father had in his employ a Negro ditch-digger known as Objerall Jacket. As he dug, he sang, "Go way from my window, go way from my door" -- just those words, over and over again, on two notes. Working beside Jacket all day (I was sixteen at the time), I decided that something had to be done. The results were a four-verse song dedicated to a blue-eyes, blond girl, who didn't think much of my efforts. The song lay fallow from 1908 to 1929, when I arranged it and transposed to a higher key. "Go 'way from My Window" was first sung successfully in Berlin, Germany, in 1930. It has gone a long way since.

The lyrics for the song are on the next post and the link is 
http://sosaidthesap.blogspot.co.uk/2017/02/jjniles-lyrics-for-go-way.html



Monday, 20 February 2017

PAST LOVES - with a bit more polish

The fourth album in the series of re-issues is PAST LOVES
It will be re-appearing in a newly designed digi sleeve



The encouragement to make this the fourth in the series came again from a preferred source - unsolicited comments from strangers

It will be available as usual on BANDCAMP but this selection and the previous three re-issues will soon also be accessible on itunes and Amazon etc

The official release date will be March 7th 2017 and when it is ready the Bandcamp link will be posted here



Wednesday, 15 February 2017

IN PRAISE OF LOVE

Yesterday, late in the day, I added IN PRAISE OF LOVE to the words I had posted for St Valentine's Day They have all now gone back into hiding 
The 24 second spoken word recording on BANDCAMP has also been removed and will hopefully re-emerge another time
The image is being allowed to stay


Friday, 10 February 2017

CRYING OUT INDEED- with delight!

There is a - what will I call it -  can't find the word - review on www.folking.com
I was made aware of its existence this morning and after an unsettling read I have been wandering around, no wondering aloud - again - if it has anything to do with me! But it has and I feel very honoured to have someone write such positive things about what I do

It can be found at http://folking.com/sheila-k-cameron-alone-on-the-road-glalell-skc1703cd/

The comments in the review also fully recognize how much the tracks are indebted to GEOFF ALLAN, master sound engineer, BRIAN MCNEILL who contributed in many ways to the tracks - including the chorus of the song Alone on the Road, FRASER SPIERS the incomparable player of the blues harp and BRIAN YOUNG, owner extraordinaire of the CAVA SOUND STUDIOS GLASGOW who has patiently dealt with my often idiosyncratic requests with good grace and much expertise for several years now

The photograph below is from the home page of the Cavasound web site and the link is http://www.cavasound.com/Cavasound/Home_Page.html 



The Neve VR Legend at CavaSound

The title of this post is taken from the last paragraph of the review and I am smiling somewhat awkwardly as I reproduce it 


'Sheila K Cameron is a unique artist whose work deserves a wider audience. Her songs cry out to be heard and will no doubt be reinterpreted by singers of the future. This album is a little treasure trove for lovers of the quirky, the downbeat, the blues'.
Su O’Brien

The link to the album on Bandcamp is https://sheilakcameron.bandcamp.com/album/alone-on-the-road-2

Wednesday, 8 February 2017

THE TINKLING APPLE TREE

There have been several different versions and mixes of the song BENEATH THE APPLE TREE and the latest one has acquired the differentiating title used in this post
It is unlikely to stick but for now it suits present purposes

Also, putting it out today is another example of my 'jumping the gun' The longer term plan is to include it in a selection of the songs which were not included in the three re-issues completed so far

However, this new mix is fresh from the mastering magician and the tendency to get a newly completed track out there is not being resisted And there is another reason Since I rediscovered this version several weeks ago it has refused to leave me alone and this might rescue me from it

The link to the song on Bandcamp is https://sheilakcameron.bandcamp.com/track/beneath-the-apple-tree-2
and it will be free there for a while
 Vaguely resembling the writer and the singer of the song
The image is a mock up which has been contrived from a painting called THE BARE TREE And, in the original painting, the tree is bare 

This image has been used and altered numerous times for other purposes A print taken from the original is featured on the home page of the GLALELL site at www.glalell.com

The apple was added to this version of the image long ago
There
have been times when it did not merit a place but whenever it has made an appearance it has always been cherished - for as long as it has stayed around

Tuesday, 7 February 2017

DANGEROUS WOMEN

AMAZING! It was either in search of an image to use on BANDCAMP alongside Joan Ure's song EVERY TIME NOW* - or it was a search involving the words Dangerous Women (more about this another time) that I came across the following link

http://dangerouswomenproject.org/2016/06/24/joan-ure/

It will take you to a page entitled THE DANGEROUS WOMEN PROJECT 
The image below is also from that site




I have read only two articles about Joan Ure's work: this one and Jan McDonald's entitled ‘Is it not possible to have a Poem made out of Theatre?’ An assessment of the dramas and dramaturgy of Joan Ure 
This can be accessed using the link below

For anyone who would like to know more about Joan Ure's work I would recommend both

* A rough acoustic only version of the song Everytime Now can be heard on Bandcamp at https://sheilakcameron.bandcamp.com/track/every-time-now

Monday, 30 January 2017

NEVER HAD ONE - BUT I'VE GOT ONE NOW

CD Review  Sunday, 22 January 2017

Alone On The Road 

SHEILA K CAMERON with ALLAN, MCNEILL, SPEIRS and YOUNG

The enigmatic Sheila K Cameron has her mojo in full flow for Alone On The Road, which is the third in a series of reissues of her work. The 16 tracks which make up the album have been given more than a boost by Geoff Allan, Brian McNeillFraser Spiers and Brian Young.

Sheila K Cameron
Cameron's Cohenesque style of singing comes straight out of the speakers over the top of Spiers' blues harp which sets the tone for what is a real thumper of an album.

There's An Old Sadness in Me is a wonderfully ponderous 12-bar song on which Cameron keeps a tight rein and allows the gobiron of Spiers to have the last word.
This gives way to I Looked Alright This Morning which has a retro feel about it, with the production sounding similar to the rawness of the early days of blues recordings.
The song has more of a travelling cadence with a deep rumbling and almost menacing beat underneath her words which is once again accented by the blues harp. It's a song which almost defies you not to get into stomp mode.
The single strumming of the guitar accompanies Cameron as she sounds like she is standing too near the mic in a small and cramped studio to record Baby How Long.
Cameron's dour and understated way of singing adds a depth of character in the same way someone such as Bessie Smith did.
I'll Play You Sweetly is a great song where Cameron and co pick up the beat and it's one of those where you just can't sit still until she puts the handbrake on in the middle. Her call and refrain with the dancing sound of the harmonica is just a sheer delight to hear.
When The Sun Rose This Morning goes back to the most recognisable strain of the blues with the slow wave of the music and the repetition of the lines. Cameron's voice manages to sound both world weary and menacing at the same time.

It cannot be overstated how much the superb blues harp underneath so many of the tracks add such colour and character to her songs.
She Put My Baby In The Draw is one of those blues songs which is bordering on the nonsense rhyme, where the story is just a simple tale and never intended to be taken seriously. Cameron uses a stripped-back version with just the simple strumming of the guitar to accompany her repetitive verses.
Stay With It Baby runs more like a poem and, once again, that world weary sound Cameron does so well seems to be almost reluctant to move along to the sound of the harmonica.
Fraser Speirs.
Pic Glasgow Herald
Like the previous track, When I Say You Owe Me Nothing is from poet Joan Ure, which was the pen name of Elizabeth Thoms Clark.
Cameron puts some real grit into the song and the way she crams the words to fit in with the rhythm moves close towards rap. It's the type of song which you could easily see Seasick Steve hammering out on his three-string guitar.
Things lighten up slightly for Bluebird Outside My Window which has more of a New Orleans' club feel to it. You can easily imagine a band passing under the balconies through the streets of The Big Easy.
I Don't Believe You Care brings back the world weary sounding Cameron with the blues beat once again lit up with the occasional incidental from the bone playing.
There is a softer and sadder tone to Cameron for Goodbye Baby Blues where she moves into speech and sounds more like a beat poet of the fifties than a blues singer.
Fortunately the blues harp brings her back into the mojo where she adopts an almost lazy and reluctant style of singing.
Motherless has more of an ethnic beat to it and feels like it wouldn't be out of place in Buffy Saint Marie's repertoire. The echoed blues harp underneath gives it the character of a film noir soundtrack. This gives way to the slightly out of sync Mr Moon: I'm Working Against Time which comes across as more of a doo wop than anything.
It's probably the most luxurious track on the album and Cameron gives it the feel of a torch song. This carries on with You Don't Know My Mind, where you can almost see Cameron behind a big lozenge-style microphone in a smoky night club where the customers are hidden in the half shade of small table lights. The slightly lazy sound of the blues harp is almost hypnotic behind her voice which has shades of the legend Billie Holiday.
Sounding more contemporary and carrying the electric sound of the Chicago blues makes When I Was Bad Girl stand out from the other tracks.
The third of the reissues
The combination of the faster pace, the electric guitar and driving percussion makes it feel like is has moved over into rock 'n' roll.
The final and title track keeps that more modern feel which tones down the blues elements.
You can still feel the 12-bar beat but the use of electronics muddies the waters so you are never such which camp the song is supposed to be in.

Cameron has been hidden away for too long and albums such as this one where she puts her own stamp on the blues style deserve to be listened to by a wider audience.
Anyone who has even a passing interest in the genre should listen to it and if you can keep your feet, hands and head still all the way through the album then your probably don't like the blues anyway.

Alone On The Road is available now online and through bandcamp





C

BACK ON THE ROAD - THANKS TO DANNY FARRAGHER












Danny also uses the following image on his site 


His detailed comments about the album can be found on the next post entitled Never Had a Mojo 

A hint of what you'll find there can be found in the paragraph below

'The enigmatic Sheila K Cameron has her mojo in full flow for Alone On The Road, which is the third in a series of reissues of her work. The 16 tracks which make up the album have been given more than a boost by Geoff Allan, Brian McNeillFraser Spiers and Brian Young'

Wednesday, 28 December 2016

IT FELL OFF THE ROAD

A FRASER SPIER'S version of the song I'VE WAITED A LONG TIME has been added to ALONE ON THE ROAD as a BONUS track

It should have been included in the original selection and if anyone who has purchased the album would like a copy it can be freely provided via Dropbox = or in some other way?

To hear it and decide if it is worth the bother please visit the link at https://sheilakcameron.bandcamp.com/album/alone-on-the-road-2 and let me know at glalell@aol.com 

Tuesday, 13 December 2016

BETTY IN THE BRACKEN

Yesterday an old recording of a Joan Ure lyric appeared from within the mass of unsorted Dropbox files As I say elsewhere, the lyric is one of several which Betty (the name she used when I knew her) gave me to work on - at a time when I was beginning to write my own songs 

Entitled EVERY TIME NOW it has now been professionally mastered to remove extraneous sounds and scratches and has been uploaded as a small single acoustic track on Bandcamp 

The link is https://sheilakcameron.bandcamp.com/track/every-time-now

It will be there because, having been rediscovered, I know how much Joan Ure would like it to be there


Owner unknown - used without permission

Joan Ure was the pen name of Elizabeth Thoms Clark (22 June 1918 – 1978), a Scottish poet and playwright. She was born Elizabeth (Betty) Thoms Carswell on 22 June 1918 in Wallsend, Tyneside, of Scottish parents who moved to Glasgow. Her sister Joan provided the first half of her pen-name. The pen-name Ure was chosen because it sounded more Scottish to her.

ALONE - BUT ON THE ROAD

The release of ALONE ON THE ROAD was unavoidably delayed until December 14th It can now be found on Bandcamp at https://sheilakcameron.bandcamp.com/album/alone-on-the-road-2

The response to MORE LIKE A RIVER has been reassuring (see below)


PS The above review was sent to me some time ago 
It appeared this morning in amongst some previously uploaded images and is being posted while still warm

Sunday, 11 December 2016

EARL GREY WITH A TWIST OF LEMON

Anyone familiar with the comments on this blog will know of my delight when an 'inadvertent stranger' hears one (or more) of my songs and has a positive response


And of all the various possible responses this kind takes the biscuit - which reminds me that the song which brought this particular stranger to my door was arranged by 'the biscuits' (aka Mags Russell and John Saich of www.wildbiscuit.com) The song is THE HOUSE WITH THE WINDOWS

Also from 'the stranger' came the title for this post: well not directly from him but from a pal he had invited (not sure if it would be his cup of tea) to have a listen to some of my material And it was the pal who had described it as 'Earl Grey with a twist of lemon'

But that is not all: the stranger (who is becoming less of one every day) first heard the song on the Iain Anderson Show and followed up by contacting the program and saying so And the song may be played again next week 

The link to the show is http://www.bbc.co.uk/programmes/b0074hkv

The song, which belongs on the small CD MORE LIKE A RIVER THAN A ROAD can be heard on Bandcamp at https://sheilakcameron.bandcamp.com/album/more-like-a-river-than-a-road

Wednesday, 16 November 2016

AN IMAGE AND A COUPLE OF PUDDLES

The album ALONE ON THE ROAD is being prepared for release later this year 
It will be the third in the series of re-issues which are intended to illustrate something of the range of material which has been produced since I began trying to write songs - several decades ago

In deciding what images to use on the Digi Sleeve the one below was a candidate It has much in it that I like: not least the puddles. And this has prompted the question - at what age do we decide to avoid rather than explore them? 

And in finding a place for this left out image (it was the fifth in line for inclusion in the graphics for the album) a couple of puddles can also make an appearance

And not to be missed: on the telegraph pole a bald headed eagle can be seen watching over the scene.  It is looking across the water towards a shore line I remember well and which evokes fond and powerful memories of this very special place in my life


The approach to Masset Dock from Masset Main Street 
News of the album will be posted here as soon as I have any

Saturday, 12 November 2016

LOVE IN THE BACK SEAT

A few tracks have been hanging around for weeks waiting for me to do something constructive about them Two of them were chucked on to Bandcamp as singles a while ago but they should probably be on there as part of an album - along with a few other tracks of a similar kind 

And I think I do have some others of a similar kind

The two that have been out there as singles are LET'S PUT LOVE IN THE BACK SEAT - FOR A WHILE and DEEP IN THE HEART OF TEXAN ME (The first of these has recently been played over twenty times on Radio Six International at www.radiosix.com) 

Of the others ANOTHER DREAM has been arranged by Wild Biscuit Music And because the chorus is about a train pulling out of the station just before you get there - it is one of two OH NO tracks


The second OH NO track, called ALL THE WORDS OF LOVE, actually uses the words several times in the song. I may have spoiled the track by using a drum machine when it was recorded but sometimes I need a beat to keep going when I get weary trying to get a reasonable take Unfortunately the track then becomes less workable with by others


The four above mentioned tracks are npw on Bandcamp and the link is https://sheilakcameron.bandcamp.com/album/love-in-the-back-seat 
The intention is to add more until it becomes a full album

A long time ago I found an image for Love in the back seat and I have used it today on Bandcamp The ice skating rink is referenced in the first track 



About the words OH NO: as I was recording the track - and I did enjoy the experience which is rare for me - I became aware of how often I say them in my everyday life And they are uttered most often a few seconds after settling down to read or write at night on finding I don't have my reading glasses with me

Wednesday, 14 September 2016

TIREE: A PERFECT LANDING

The official release date for the second in the series of re-issues is September 21st
Entitled A PERFECT LANDING it can be pre-ordered at https://sheilakcameron.bandcamp.com/album/a-perfect-landing-2

It is a selection of fifteen old love songs which includes acoustic only, spoken word with music and professionally arranged tracks They were chosen for this album during a stay on the island of Tiree 

With the exception of THE WATER IS DEEP most of the songs were written, and all were recorded, in Glasgow, Scotland

As previously mentioned, the overall aim of the series is to present something of the range of songs which have been produced over several decades and to have them better dressed for the occasion The images which are being used to achieve this - for this album - are from photographs taken recently on Tiree in Scotland


Front cover image 
For those who are familiar with the material they will not find anything new in the selection although it has been remastered and the order of the tracks will hopefully add to the listening experience The title A PERFECT LANDING has also been used before but using it again was unavoidable 

A list of the songs on the album can be seen on the back cover below 



More information on the song The Water is Deep can be found at https://en.m.wikipedia.org/wiki/The_Water_Is_Wide_(song)

Friday, 2 September 2016

TO MAKE NICE - NOT MONEY

The selection of songs entitled OUT THERE SOMEWHERE originally consisted of three tracks The revised selection has ten

The opening and closing tracks are the previously released singles GO ON THEN CONVINCE ME and ON THE ROAD TO HAID GWAII And in-between are eight spoken word tracks Some of these have not previously been 'out there' - although I cannot be completely sure about that 

What I can say - with certainly - is that the above selection and the planned series of re-issues of my material - is not motivated by a wish to make money 

It is, as the title of the post implies, a desire to present it in a more pleasing way - and this includes dressing it up in some professionally designed attire

I would also like to alert those who are interested in the material on Bandcamp that OUT THERE SOMEWHERE has been revised There were two equally demanding ways to achieve this and the one I have chosen requires me to reload the tracks And in consideration of those who purchased the original three track version the ten track selection is free to download 

For anyone interested; below is a link to a wikipedia article on the subject of re-issues https://en.wikipedia.org/wiki/Reissue

Monday, 29 August 2016

TOPPED UP WITH SAD STUFF

Well it has to go somewhere and this morning it has 

The selection entitled OUT THERE SOMEWHERE, which has been on Bandcamp since last year, has taken on a few more of the 'unruly' words which I had lying around And having them on there is another part of the consolidation process

The words are either tenuously or directly associated with HAIDA GWAII 

Also, in the text alongside the tracks, on Bandcamp, I have said that they are about loss - and they most certainly are! What I initially forgot to mention there and here is that the selection consists of two songs (the first and the last tracks) and in between them are eight of spoken words

The link to the revised and topped up version of the selection is https://sheilakcameron.bandcamp.com/album/out-there-somewhere



There is mention in the words of 'the roads you walked' and below is one of the roads



There is a sign nailed to a tree on the right of the road It has the word bread written on it and it lets you know that you are about to reach a cafe called MOON OVER NAIKOON

And ending this post with something happier; here is Wendy Bread (as I refer to her) making pizza alongside some of the bread you will find there



PS There was a problem with the tagging on the selection which meant that no one was told of the re-issue This has I think been rememdied

Saturday, 27 August 2016

CON SOLLY DATING

This selection of nineteen spoken word tracks entitled IF IT HAD NOT BEEN SO DARK has been on Bandcamp since 2013 They have recently been improved and provided with a new image - see below The link to the words is the same

The title of this post is a reminder to me that I am presently consolidating as much as possible of my accumulated and somewhat unruly material i.e. both songs and words


The proposed next consolidation involving the re-issue of fifteen love songs was overtaken by a revised and topped up version of OUT THERE SOMEWHERE 


Sunday, 21 August 2016

THE POETIC STRANGER

Fulfilling the oft mentioned desire to discover that some of my songs had been heard and liked by a complete stranger -  along came Ian D Hall - and this is surely the best liking I could have hoped for!

Below is his photograph and below that is a link to a review for Ian Hall's recently published book Black Book: An Anthology, 2003-2015 




And then there is what Ian D Hall said about MORE LIKE A RIVER THAN A ROAD 

And as it provided so much pleasure I hesitated for only for a few moments before deciding to print it in full 

'It is the voice, the spoken word narrative that entwines itself between the songs on the More Like A River Than A Road mini album by Sheila K. Cameron, that brings out the sparkle in the recording. The pleasure of the songs is enormous but there is something about the spoken word employed to very decent effect by Ms. Cameron that suggests the music is only half the tale, that the grip on the attention of the listener is enhanced by the monologue that weaves like a stream through fields and pastures in the ceaseless search for the ocean.
The road is one that comes from a human desire to shorten the distance between two points, it is efficient, practical, engineered so the flow of the country can be seen as perfect; yet somehow, like a well performed song, the real beauty resides in the course of the river, the turns, the twists and the sense of inner hidden beauty that runs underneath. It is a beauty that Ms. Cameron exploits and develops in this, the first in a series of re-issues of her work.
More Like A River Than A Road sparkles with the light touch, the smallest pebble found on the banks and yet thrown with dramatic force plumb centre into the onward current, it is the shock wave of the pebble that makes the music spread out, the wave spreading outwards and increasing the range in which it is heard and felt. The river is ongoing, it is natural and so is the appeal of Sheila K. Cameron, the resonance in the voice, the authority of her delivery and the songs in which tales she weaves, never once disappoint.
In the passages and songs, Where The Pebbles Grind And ScrapeSomehow (Everything From My Suitcase Has Got Scattered On The Road) and the wonderfully thought out but also daring, The House With The Windows, the feeling of innocence and warmth parade in view but there is also the undercurrent, the pull of the undertow which threatens to take the listener down into the murky depths to see what truly stirs beneath.
More Like A River Than A Road is a release of great emotion, one that cannot be avoided in life, Sheila K. Cameron bridges the gap between vocal and spoken word superbly.'
PS About reviews On receiving several of them for my book BALANCING THE REQUEST TO BE GOOD I realised that they said much more about the reviewer than the book (and by the way that book is probably more worthy of interest than any of the songs and words that I write) And surely this one from Ian D Hall is an example

Monday, 1 August 2016

SONG DONG AND THE SON OF THE MAN IN THE TRAM

In May 2015 I posted some comments which can be read using the link below
The title of the post was JONI, THE SAP, THE MAN AND THE TRAM
http://sosaidthesap.blogspot.co.uk/2015/05/the-sap-man-joni-and-tram.html

And recently as I was walking down Huntly Gardens in Glasgow I remembered holding the hand of a small boy aged about three who pointed out to me that the word Grosvenor in one of the street signs was the same as in Grosvenor pie 

I knew nothing of the pies then and I knew nothing of SONG DONG until this morning, but they both now belong for me with the son of the man in the tram And if you follow the link below you might work out why

The image belongs with a Grosvenor pie 


And as i was looking around for other connections I came across the following comment 
'I have always wondered how Grosvenor pie is made. Can anyone explain how the egg goes all the way along?"

If I were the head of the Department of Philosophy at a leading university I would insist that the above was a compulsory question on the final examination paper. I would also award first class honours to anyone brave enough to answer it'.

As for a connection with songs it belongs with one word only and working that out should be easier

Sunday, 31 July 2016

WHY DO I DO WHAT I DO?

And sometimes I have the answer

For a very long time I had a white painted piano in my apartment and I played it occasionally On one of those occasions I was in the company of Joan Ure 
I had been working on a song called LIKE A SWEET WARM LIGHT and we sang it together, over and over until it had become the song it is now - and until we could sing it no more But we did enjoy the experience and it did provide us both with a feeling of relief And we were both in need of something of the sort at the time There are better words for what the song provided but relief will do for now

Then, this morning, I happened upon the song and decided to test it out with a Crowd Review on Reverbnation Now I know before I receive the comments which will arrive in about five days time that it is likely to achieve a low score This is not difficult to predict Most of what I have put on there (with the exception of Where the Last Tide Runs - for reasons I still don't fully understand) get a low score

So why, knowing this, did I choose to spend US$9.95 on the review? Well, in some ways the review is incidental Having sung along with it myself this morning, and recalling how much pleasure it provided at the time it was taking shape I thought- even if I was paying to get it heard, why not! 

And when the twenty strangers have listened and commented I will post the worst and the best comments here - maybe

Also it was once available on Bandcamp and will be again It was hidden away in a compilation entitled THE BAD GIRL and other disparates which is no longer available on that site So, it has been reloaded with a slightly refreshed image and the link is below

https://sheilakcameron.bandcamp.com/track/like-a-sweet-warm-light-2

Sunday, 24 July 2016

THAT IS MORE LIKE IT

Working out how to sell physical CDs on Bandcamp was not as difficult as I had anticipated And there is a lesson for me there What exactly it is will require more consideration than I intend to give it here

My present thoughts are that it was a good idea to get the songs out there properly Properly? Is that the right word? Well it does feel like a proper thing to be doing and my previous haphazard attempts - if not improper - were certainly lacking in the same purpose and intent 

So what was this post supposed to be about? The answer is a simple one 

In doing this I have been taking on myself and taking on the songs And by giving them the best opportunity I can to be heard - perhaps for the first time I am giving them the attention they may deserve

Also I have moved from inserting very small SKC initials in the images which usually accompany the tracks, to allowing the guy who designed the digi-sleeve (thanks Mike), to put my name out there in large easily read letters The image below is on the cover



About my expectations 
Well, I am assuming at least one or two of those who receive the CDs sent out by the PR company will listen to the songs And I am assuming that one or two of those who do listen will like what they hear - or not 

But whatever their response my own position is clear: in getting the songs out there in this more professional way I am doing what I needed to do

These comments will be posted shortly before the re-issue becomes available for download (as it was previously) or to be purchased as a physical CD 
And I am looking forward to that happening with few reservations and some unreserved delight 

A direct link to the album on Bandcamp will be posted on Monday July 25th

And here it is
https://sheilakcameron.bandcamp.com/album/more-like-a-river-than-a-road

Tuesday, 19 July 2016

MONEY MOUTH and MUSIC

The date for the re-issue of MORE LIKE A RIVER THAN A ROAD - as a professionally manufactured CD - will be July 25th 2016 

The image on the cover of the digi-sleeve will replace the old one on Bandcamp and I am hoping to find out how to sell physical CDs from that site

It will not be surprising if I fail to do so because after a quick glance it looks rather complicated for my kind of brain

The CD has been priced by those assisting me with this release at £5.99 but my own feeling is that it should be sold for no more than a fiver  That however does not solve the problem of how to sell it And when I have wised up a bit I will come back here to share my new found wisdom with anyone who reads these posts 
And by the way to anyone who does - I really appreciate it

Well, after several hours of seeking to understand more about the direct selling of CDs - and this has included making an unsuccessful attempt to set up a new web site solely for that purpose, I made a weary return to Bandcamp 

What I was eventually able to manage when I got there will be apparent on Monday 25th 

Saturday, 16 July 2016

BLUES BUNNY BOOSTER

Whoever writes the music reviews on Bluesbunny http://www.bluesbunny.com/ - and make sure you visit this excellent site - has been very positive in the their comments about some of my material 
And in another possible defensive move should the re-issue of MORE LIKE A RIVER THAN A ROAD pass by unnoticed or be found wanting I am posting their review of the album

Title: More Like A River Than a Road
Catalogue Number: Glalell Music
Review Format: CD
Release Year: 2010


Having only recently become a convert to the musical charms of Sheila K Cameron, it was a surprise to find out how prolific she has been for barely had the ink dried on our review of her "Cut Feet and Empty Shoes" album when her EP "More Like A River Than A Road" popped through the letterbox.
This EP is a subtle thing. Seven songs in less than fourteen minutes would suggest a Ramones style urgency in getting her point across but Ms Cameron instead turns towards poetic elegance with each song seeming a fragment of the whole. Not that all these fragments add up to the whole, of course, for that would be too straightforward, more that she gives just enough in each song to draw you towards the next one. I'm not sure I even get the meaning of a song like "Last Night I Dreamed About Doris Lessing" yet it still exerts something akin to a hypnotic effect. As for "The House With The Windows", you could get a movie script out of that one with all the sentimentality that you would need compressed with economical lyrical beauty into a mere two minutes and fifty seconds.
I know I keep harping on about time. There's a reason. When I thought about it, these seven songs convey the passing of time in concise poetry with the music, and Ms Cameron's voice, being the glue that holds it all together.
Available from CD Baby.


Rating: 4 carrots
Website: www.sheilakcameron.com
Reviewer: Bluesbunny
Review Date: 
November 5, 2011