Danny Faragher | Dancing With the Moment

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Rock: 60's Rock Pop: California Pop Moods: Type: Vocal
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Dancing With the Moment

by Danny Faragher

Danny 'the one-man-band' Faragher (The Faragher Brothers, the Peppermint Trolley Company and Bones) takes the listener on an eclectic musical adventure, bending and blending genres from E.D.M to Blues to R&B to Rock.
Genre: Rock: 60's Rock
Release Date: 

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  Song Share Time Download
1. Song in the Night
3:59 $0.99
2. Open the Door
3:49 $0.99
3. Slo Mo Struttin'
7:49 $0.99
4. The Sad Man
4:06 $0.99
5. Due South On the Blue Line
5:11 $0.99
6. Pacific Blue
4:39 $0.99
7. Crazy
4:26 $0.99
8. Fountain Cascade
1:10 $0.99
9. Fountain of Love
4:48 $0.99
10. Too Much Pressure
5:35 $0.99
11. Devil Wind Blues
6:20 $0.99
12. A Dry Spell Ends
1:20 $0.99
13. Rainbow Pier
6:53 $0.99
Downloads are available as MP3-320 files.


Album Notes

Review from 'Something Else!'
by Beverly Paterson

'Enchanting and electrifying, Dancing With The Moment is one of the greatest albums of the year, or any year for that matter.'

Danny Faragher – Dancing With The Moment (2014)

A professional musician since childhood, Danny Faragher has not only covered a lot of ground in his travels, but possesses a banner body of work to match the miles.

The Southern California-based singer, songwriter and multi-instrumentalist experienced his first taste of widespread success in the late ’60s with the Peppermint Trolley Company, whose smooth and sultry “Baby You Come Rollin’ Across My Mind” gained a good deal of airplay across the country. A self-titled album, stashed with solid psychedelic pop-rock moves, also put the band on the map. The Peppermint Trolley Company further recorded the original “Brady Bunch Theme,” and after splitting up, Danny went on to make quality music with groups like Bones and the Faragher Brothers. He has additionally performed with legendary luminaries such as Ringo Starr and Peter Criss.

Danny Faragher’s most recent album Dancing With The Moment frames his roots and talents in a highly attractive context. A vast variety of styles are presented, but a sturdy thread holds the songs together, resulting in a record embracing and expressing the joy of music. An excellent singer, Danny is just at home laying down gruff rockers as he is crooning sunny pop. He really personalizes his keenly-crafted songs, delivering them with conviction and honesty.

Channeling the era of big bands, “Due South On The Blue Line” is a jazzy instrumental swinging with energy and excitement, while a heart-thumping doo-wop number, “Fountain Of Love” is so authentic that it could truly masquerade as a long lost Platters or Penguins classic. Grunting with grit and grease, complete with bruising harmonica fills, “Devil Wind Blues” is indeed a menacing blues statement, and both “Too Much Pressure” and “Slo Mo Struttin'” stomp and swagger with hardcore funk beats and blistering guitar licks.

Atmospheric and intricately-designed, “Song In The Night” favors a frilly flower pop approach supported by the airy whistle of a flute and the brassy blow of a trombone. Nicking nuances from the Beach Boys, the breezy sway of “Pacific Blue” and the hypnotic lilt of “The Sad Man,” which inventively features the hum of a vacuum cleaner, magnify Danny Faragher’s flair for harmony and melody. The final song on the album, the spacy but shimmering “Rainbow Pier” is carved of gorgeous instrumental passages complemented by a chorus of clear and polished female vocals.

Buckled tight with enterprising ideas and arrangements, Dancing With The Moment witnesses to be a pitch-perfect potpourri of rhythm, tone and sound. Danny Faragher, assisted by an assortment of family and friends, has created an album that bravely blends poetic beauty with spontaneous rawness and experimental thrills. Enchanting and electrifying, Dancing With The Moment is one of the greatest albums of the year, or any year for that matter.

- Beverly Paterson
December 25, 2014

'Dancing with the Moment' - Track by Track
1. Song in the Night - The track sets up the LP, and provides the title line. The first song I ever wrote completely on guitar, and a rarity in that it turned out so much better than I even dared to envision. It features lots of harmonies, and a return to the kind of baroque, psychedelic sound we experimented with in the sixties. Tasty flute and trombone parts in back. Apologies to John Keats.

2. Open the Door - After I recorded 'Song..' I became a little freaked out, reluctant to begin writing something for fear it would be pedestrian.I was in the act of doing my morning pull-ups when the melody to the pre-chorus came to me in a flash. I'd been listening a lot to Pet Sounds, and the soaring quality of the line reflects that. It features sweet lyrics about being in the here and now, and engaging life. 'There's such a world to share..'

3. Slo Mo Struttin' - A lascivious shuffling funk. Feet do some walkin' and libido does some talkin'. Here's a tune in the tradition of 'girl watching' songs. Just pure fun! Lots of B3, harp, and bone over a killer drum track by Bryan Faragher. Great scratch guitar work by Craig Copeland.

4. The Sad Man - Experimental. Three part harmony chant with falsetto lead. I actually wrote it on an Easter Day while vacuuming the living room to prepare for my son coming over with his girlfriend. The hum of the machine morphed into this song. By the time my chore was finished I'd pretty much completed the piece, including the lyrics. Do you think it might be wise to share some writer's credit with the machine?

5. Due South on the Blue Line - This is an instrumental I wrote in October of 1963. I was sixteen and Kennedy was still President! I was listening to a lot of jazz at the time and was drawn to the idiom's almost hypnotic groove and sense of motion. I had also just gotten my driver's license and was enjoying the new found freedom of breezing down the highway. Writing the song was a means of expressing these feeling in music. Used to perform this with my high school combo, the Mark V. Simeon Pillich on Bass, and Chris Blondale on drums lay down a solid rhythm asas trombone and amped chromatic harp double on the lead line. Memorable piano solo by Jane Getz.

6.- Pacific Blue - A fond reminiscence of a day at the beach. The goal was to create such a strong atmosphere through the words and music that the listener feels they're right there. The Bryan Wilson influence is obvious but I believe it stands on its own. Harmonies, B3, jazzy chromatic harp solo on bridge. Great guitar work by Bob Gothar.

7. Crazy - A hard rocker. Originally recorded in 1989, but Bryan and I tweaked it, adding electronic drums, synth, and a red hot amped harmonica. My famous bass playing brother, Davey Faragher (Elvis Costello), plays on this, while brother, Jimmy, and sister, Pammy, sing the background parts.

8. - Fountain Cascade - An ambient piece which sonically weaves from the open air and into AM Radio -land.

9. - Fountain of Love - I look back on the doo wop era with real affection. I was very young fan, and my age group is probably the last to have identified the genre as 'our music'. To me it was beautiful music, created by talented artists (Mostly African -American and Italian). Yes, it's a form that wears its heart on its sleeve - no whispered monotones of ironic angst to be found here - but oh can it ever deliver the goods emotionally. Fountain of Love stays true to the form, with lyrics built around a romantic metaphor. Vocal responses from the cool female trio (Karen Whipple Schnurr, Donna Deussen, and Jody Mortara) enter to complement the lead. Intentionally wanting the instrumental section to sound like a prom dance, I played the sax solo myself (No chance of my showing off on that axe), and backed it with a dreamy lap steel guitar.

10. - Too Much Pressure - A collaboration with Bryan and Alec Echevaria, a student of mine. Fast, J.B. funk tune. One can take in the lyric message or just move to the groove. A one-man- band routine with my son, Bryan, adding the poppin' drum layers. An exciting video of this is nearing completion, and will be out soon.

11. -The Devil Wind Blues. A world weary soul faces his own mortality in the midst of a Santa Ana windstorm. The amped harmonica evokes smoke and flame, and the stinging guitar solo by Craig Copeland tells nothin' but the truth. Fine backing from Pillich and Blondale on bass and drums.

12. - A Dry Spell Ends - Harmonica sends a plea to the sky, and muted cornets return a desolate answer as a dry wind blows in the background. Then - 'Ah!' - The heavens bestow rain.

12 - Rainbow Pier - A kind of tone poem. Inspired by a dreamlike memory from childhood. Shades of Debussy, Ellington, and Stevie Wonder. Lovely siren voices supplied by Karen, Donna, and Jody sing their seductive call.



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