Ian Matthews -Some Days You Eat the Bear and Some Days the Bear Eats YouRemastered[MP3!]

专辑中文名: Some Days You Eat the Bear and Some Days the Bear Eats You
歌手: Ian Matthews
资源格式: MP3
版本: Remastered
发行时间: 1979年
地区: 英国
语言: 英语
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概述:

专辑介绍：
Ian Matthews的名氣不算很大，倒算的上是一位流竄型的長壽歌手了，說他流竄乃因到處穿梭在不同的搖滾樂團裏，從草創的Fairport Convention中的Founding Member，再往外發展自己的一片天Matthews Southern Comfort（1970）及Plainsong（1972），爾後即是他二十多年的個人創作生涯，歌路歷經了Folk—Country Folk—New Age三部曲，這條創作心路即反映出一位藝人面臨不同年代所做的風格改變。
Ian Matthews（全名Ian Matthew McDonald）1946年6月16日生於英國爾開夏。過去曾做過足球員，還參加一個合唱團Pyramid,1967年11月Ian離開 Pyramid，與幾位志同道合共組Fairport Convention，其中一位是Richard Thompson，Ian與Judy Dyble分任男女主唱。Ian為了避免與King Crimson，也是後來Foreigner的鍵琴手Ian McDonald名字重覆，於是採用Middle Name而為Ian Matthews。
Judy Dyble是Fairport第一位女主唱，但她只待了半年就跑了，1968年5月新加入的Sandy Denny與Ian Matthews一起演唱的「What We Did On Our Holidays」非常受人矚目，下一張專輯「Unhalfbricking」錄製了一半，Ian Matthews就開溜了，自組鄉村風味很重的Matthews Southern Comfort，Ian請的五位成員中Carl Barnwell則來自美國鄉村樂界，代表作有”Even As”和”Sylvie”；另外還請到彈奏Pedal Steel及Steel Guitar非常出名的老前輩Gordon Huntley，在這麼幾位好手襄助下，再加上以前老夥伴Richard Thompson及Ashley Hutchings從旁協助，因此光在1970年Matthews就推出了三張LP「Matthews Southern Comfort」、「Second Spring」及「Later That Same Year」。
曾經由CSN&Y唱紅的 Woodstock”（US#11），幾個月後Ian Matthews改換鄉村民謠風味，再重新詮釋此曲，1970年10月31日居然蟬聯英排行三週冠軍。另外他選唱Neil Young的歌曲”Tell Me Why”及James Taylor的代表作”Something in the Way She Moves”都相當悅耳，亦頗有他自個兒獨特風味。倒特別的是以兩部合聲清唱了一段老歌謠”Blood Red Roses”，感覺非常的不錯。
Ian Matthews離開了艱辛創造的Southern Comfort，而剩下的5人獨撐Southern Comfort到1972年底才告解散。很快的Matthews於1971年l月推出個人首張專輯「If You Saw Thru My Eyes」。不甘寂寞的Ian Matthews再於72年另組四人樂團「Plainsong」，發行的專輯叫做「In Search of Amelia Earheart」，可惜未打進排行。
During his stylistically diverse and often convoluted career, Iain Matthews (born Ian Matthews MacDonald — he changed his last name in 1968 and then the spelling of his first name in 1989 to reflect his Celtic roots) has seen commercial success, major-label deals, and numerous bands come and go, and then come and go again, while always bouncing back in one way or another.
After time spent with a couple of local bands (the Classics and the Rebels) in his hometown of Scunthorpe, he moved to London where he began his recording career in 1966 with the surf group Pyramid. The band recorded one single for Deram Records, but never really went any further and Matthews (then still known as Ian MacDonald) left after he was brought to the attention of Ashley Hutchings, who happened to be looking for a male singer for his new band Fairport Convention. He remained with Fairport for two albums, including the folk-rock classic What We Did on Our Holidays, before leaving during the recording of 1969’s Unhalfbricking (his backing vocal can be heard on “Percy’s Song”) due to creative differences. By the time of his second and last record with the band, he became known as Ian Matthews, changing his name to avoid confusion with King Crimson’s Ian MacDonald. Matthews soon signed with MCA Records for his first solo effort, Matthews Southern Comfort (1970), which featured former Fairport bandmates Richard Thompson and Simon Nicol. He eventually formed a band of the same name, recording two albums for MCA and scoring a number one U.K. hit with their version of Joni Mitchell’s “Woodstock.” In November of 1970, at the height of the band’s popularity, Matthews left, abruptly walking off-stage during a show in Oxford. Shortly thereafter, a deal with Mercury Records subsidiary Vertigo resulted in two of his best albums, If You Saw Thro’ My Eyes (January 1971) and Tigers Will Survive (November 1971).
Artistically restless, Matthews formed another band, Plainsong, with Dave Richards, Andy Roberts, and Bob Ronga. Both Roberts and Ronga had appeared on Tigers Will Survive. A contractual obligation with Vertigo for one more record led to the recording of Journeys From Gospel Oak. The finished product, which was completed in just five days, remained in the can until 1974, after being sold to Mooncrest Records. Free from his contract with Vertigo, Matthews and his new band recorded the loosely conceptual In Search of Amelia Earhart in 1972 for Elektra Records, before disbanding when the label refused to release the follow-up.
Matthews then relocated to California, recording two more albums for Elektra, the Michael Nesmith-produced Valley Hi (November 1973) and Some Days You Eat the Bear and Some Days the Bear Eats You (July 1974). While both received their fair share of critical praise, neither did all that well commercially, and he was dropped from the label. Following a brief stint with Columbia, which yielded what may be his two weakest records (Go for Broke [1975] and Hit and Run [1976]), he reunited with Sandy Roberton, who had produced both Journeys From Gospel Oak and In Search of Amelia Earhart, for his next venture, 1978’s Stealin’ Home. Produced by Roberton on his own Rockburgh label, Stealin’ Home surprisingly spawned Matthews’ biggest U.S. hit, the Terence Boylan penned “Shake It” (number 13). Subsequent LPs failed to match the success of Stealin’ Home and when Rockburgh went bankrupt, he was once again without a label.
From the mid-’70s on into the ’80s, Matthews dabbled in a number of different styles, from jazz-inflected pop to new wave, with varied results. Living in Seattle (he moved there in the late ’70s), led to the formation of yet another band, Hi-Fi, who released two records to relative public indifference before splitting up. Once again solo, Matthews returned with the techno-pop Shook (1984), which was released only in Germany following PolyGram’s decision to not market the album in Britain or the U.S. Frustrated by the decision, Matthews decided to call it quits after 18 years as a recording artist. This consequently led to work as an A&R man for Island Music and then Windham Hill Records, but a 1986 appearance at Fairport Convention’s annual reunion festival rekindled Matthews’ interest in performing. His retirement turned into merely a five-year hiatus, culminating with Walking a Changing Line (1988), an album dedicated solely to the songs of singer/songwriter Jules Shear.
The late ’80s saw another move for Matthews, this time to Austin, TX, where he worked on and off with Walking a Changing Line co-producer Mark Hallman. The next decade would be Matthews’ most productive stretch since the late ’60s/early ’70s, with the release of five solo studio albums, as well as three with the reformed Plainsong, one with the band Hamilton Pool, and a handful of live recordings. It also proved to be his most fruitful period as a writer. The ’90s also saw the release of various collections of odds and ends, including three volumes of rarities and unreleased material entitled Orphans and Outcasts.
As the ’90s came to an end, Matthews continued to stay busy, floating from project to project, recording on his own, as well as with others. Tiniest Wham was issued in early 2000, as was the Sandy Denny tribute Secrets All Told with the one-off band No Grey Faith. A collaboration with singer/songwriter Elliott Murphy (La Terre Commune) followed in 2001.
专辑曲目:
01. Ol’ 55
02. I Don’t Wanna Talk About It
03. Wailing Goodbye
04. Keep on Sailing
05. Tried So Hard
06. Dirty Work
07. Do I Still Figure in Your Life
08. Home
09. Biloxi
10. Fault
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