Songs in the Key of X: Music from and Inspired by the X-Files is a 1996 compilation album released in association with the American science fiction television series The X-Files. The album contained a mixture of songs that were either featured in the series, or shared thematic elements with it. Songs in the Key of X peaked at No. 47 on the Billboard 200 album sales chart after its release. The album's title is a play on the title of Stevie Wonder's 1976 album Songs in the Key of Life.
The album has received positive reviews from critics, with one review describing it as "easily the most ambitious record ever assembled for a TV soundtrack". The song "Hands of Death (Burn Baby Burn)" received a nomination for the Grammy Award for Best Metal Performance in 1997, losing to Rage Against the Machine. The album also features two songs hidden in the pregap before the start of the first track, both recorded by Nick Cave and The Dirty Three.
Songs In The Key Of Life Rar
A review for the album in The Independent noted that none of the songs "can really hold a candle to Cave's "Red Right Hand" in capturing the show's sense of fatalistic futility", adding that there seemed to be "a shared soul thing" between Cave and Carter.[19] Ted Cox, writing for the Daily Herald, described the album as "a who's who of modern rock". Cox rated the album three stars out of five, noting that "most of the material hits the fair-to-middling quality level of a neglected album cut or a good B-side"; adding, however, that the album's overall "atmosphere of paranoia and alienation" helped to tie it together.[13] Writing for The Buffalo News, Anthony Violanti rated the album four stars out of five, calling it "a strange, delightful trip". Violanti felt that "Star Me Kitten" was the album's best song, and that Danzig's "Deep" was its "weakest cut".[14] Writing for the Los Angeles Daily News, Fred Shuster felt that compared to other television tie-ins that "aren't worth the aluminum they're recorded on", Songs in the Key of X "is a rare exception because of the unusual quality and rarity of the tracks". Shuster rated the album three stars out of five, describing it as "more imaginative than the show that inspired it".[15]
Another type of music therapy example of relevance is Therapeutic Songwriting. Therapeutic Songwriting is a music therapy intervention where participants compose new music as a means of tackling health-related problems (Baker & Ballantyne, 2012). Central to this approach is a creative collaboration between the client and therapist within the context supportive therapeutic relationship (Wigram & Baker, 2005). There is growing evidence to suggest that this type of work leads to positive therapeutic outcomes across a range of diagnoses (Baker et al., 2008). Therapeutic Songwriting creates opportunities for people to develop, negotiate, and maintain many different types of identities. Moreover, participants are able to construct life narratives through song and this can facilitate personal reflections on key aspects on life; relationships, beliefs, qualities and attributes, and so on (Baker & Ballentyne, 2012; McFerran, Baker, Patton, & Sawyer, 2006). Group identities can also be explored through these types of compositional activities (McFerran et al., 2006; McFerran & Teggelove, 2011).
AirPods (3rd generation) offer an extra hour of battery life over the previous generations, with up to six hours of listening time and up to four hours of talk time. Just five minutes of charging provides about an hour of battery life, and with four additional charges in the case, users can get up to 30 hours of total listening time.3 AirPods are now also part of the MagSafe ecosystem for convenient wireless charging.
Today, Apple is carbon neutral for global corporate operations, and by 2030, plans to have net-zero climate impact across the entire business, which includes manufacturing supply chains and all product life cycles. This means that every Apple device sold, from component manufacturing, assembly, transport, customer use, charging, all the way through recycling and material recovery, will be 100 percent carbon neutral.
You can piece together the life of William Fitzsimmons with the songs he chose to record for Covers, Vol. 1 & 2. For the Illinois-based singer, songwriter, and producer, some tunes recollect joyful moments at home as a kid, and others recall his high school days. A handful of tracks address heartbreak head-on without apology, while a few reflect his inclination to embrace youthful wonder and creativity. No matter what, his voice carries these words straight from the heart.
Music has played an essential role in the Starbucks experience for over 40 years. We handpick the artists and songs that are played around the world. From new music features to special guest DJ pop-ups, you can find all of our playlists on Spotify. Visit our profile on Spotify.
But instead of complaining, he's used the setbacks to his advantage. He changed direction in his music - going back to blues roots - and insists that facing his own mortality has made him appreciate life.
"I gave up, years ago, trying to predict hits. My career is like a mountain range - up and down, without time for the occasional plateau. I must have written thousands of songs. But I don't want to fall in to the trap of thinking that it proves anything. I remember Ronnie Scott once joking: 'Our trombonist has written 500 songs...and they are all rubbish.'
"With all my own songs, I can remember exactly where I've written them. So that is how I remember words. When I am on stage, in my head I am always where I wrote the song. I close my eyes and imagine, so never forget.
"For Still So Far To Go, I was on the M4 on the way from home to a meeting in London, and there were the usual traffic problems. Someone called on the phone and said: 'Chris - why do you still bother?' I suppose what he meant is that I could afford to be sitting at home, without working. So Still So Far To Go is exactly how I feel about life.
"The original illness hit me hard. I almost had a nervous breakdown, with the shock of it. That was the Mount Everest to climb. Everything was going well in life. Then, suddenly, I didn't feel too good after eating certain spicy foods, like curry. I began to feel tired. But when they said it was pancreatic cancer, I could not believe it. It seemed that if your DNA says you are going to have cancer, then you can. They did not think I would recover from the first operation, but I was determined to do so for my wife and the girls."
It is an understandable and in hindsight wise decision for her, as she still gets to make music and play live when she chooses without having every part of her life dissected. That admitted choice to keep fame away is also the only logical explanation for why Maria McKee isn't a music icon.
Before you dismiss that as the hyperbole of an admitted life-long fan look at the facts. Really all that needs to be said is Dolly Parton, who was an early supporter of her brilliant band Lone Justice, called McKee, "The greatest girl singer any band could have." The endorsement of Parton should be enough, but there's more.
They delivered on that promise with two superb albums with several standout songs including the gorgeous "Dixie Storms" and "Wheels," off Shelter. Then McKee followed that in 1989 with her eponymous solo debut, a stunning singer/songwriter collection with such gems as "Panic Beach," "To Miss Someone" and "Nobody's Child" (which was co-written with Robertson). That was followed in 1992 by the Americana-sounding You Gotta Sin To Get Saved and the superb "My Girlhood Among The Outlaws."
It was the total upheaval in her life that led to her writing again. "The only way that I could save my life was to write songs. And I hadn't done that in so long cause I just had sublimated that part of me to live according to what I felt was the safest way to live for me," she says. "I was obsessed with finding the answer on how to live because I knew I wasn't happy. And the only way I knew how to do that was to write."
Maria McKee: They all came at once, interestingly enough. I had an experience that reminded me of my youth and it started to snowball. It also created extraordinary heartbreak for me because I felt this sense of regret and longing. I think it was a combination of living this lifestyle which was not me I was realizing. And also in a partnership that I value and am still a member of, but was platonic and mostly a best friendship . So when I started writing it came from this longing for the memory of desire. It was sort of a memorial to desire and longing. I was excavating and while I was doing that I was like building a map to how I wanted to live. And it wasn't until the album was completed that I realized it. And the week the album was finished I met a woman who became my first girlfriend.
McKee: Absolutely shocked because I had gotten to the point where I was sort of thinking I would sell my guitars and I sort of considered myself very retired. My husband is an independent filmmaker and he is extraordinarily gifted. I was really in awe of the art he was making and how he managed to self start this entire new career at his age and become this filmmaker that was receiving accolades. So I was really committed to being a part of that journey. I started out as an actor when I was a kid. I had an agent and I was in theater school and all this stuff. So I had assumed I would go to New York and become a musical theater actor. That's why my music has always had echoes of [Stephen] Sondheim. There's this foundation I am working from, which is the first 15 years of my life. I grew up thinking I would be Bernadette Peters (laughs). So when he started writing roles for me in his films it was really interesting for me to go back to acting again and to be really involved in co-producing these films with him and being a part of the casting process and the production process and the soundtracks. 2ff7e9595c
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