Tim Young | Red

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United States - NY - New York City

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Rock: Roots Rock Rock: Americana Moods: Featuring Guitar
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by Tim Young

Red is what you want. A viewpoint. Melodies and Lyric worth your time. LIMITED SUPPLY.
Genre: Rock: Roots Rock
Release Date: 

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  Song Share Time Download
1. Work Today
3:34 $0.99
2. Renegade
4:06 $0.99
3. Unemployment Line
3:39 $0.99
4. Salvation
4:15 $0.99
5. Red
4:29 $0.99
6. The Road
2:56 $0.99
7. New Orleans
3:54 $0.99
8. With You
4:11 $0.99
9. Lonely Explanations
3:27 $0.99
10. Maybe You
4:05 $0.99
11. Lori
3:57 $0.99
12. Reason
3:15 $0.99
13. Torture
5:08 $0.99
14. Dreams
2:46 $0.99
15. Disaster
3:31 $0.99
16. Outta Here
3:07 $0.99
Downloads are available as MP3-320 files.


Album Notes

I'm doing an Andy Warhol here. I've been gettin some ideas. Yeah and it feels pretty good too. I feel like I need to give,you, the prospective buyer some real info on this record if you're gonna be laying down some hard cold cash...so here goes...(I love those three dots)...

First about the actual playing of the music. I did almost everything.
Lead vocals, backing vocals, guitars, bass and percussion. It was a major job. The stuff I did not play was because my co-producer, George Grant, was smart enough to know when I needed a different hand. The guitar solos on 'Salvation,' 'Lori,' 'Torture,' and 'Disaster,' were all played by Frank Morin who also did the slide guitar parts on 'Renegade,' and 'The Road.' There's keyboard parts on 'Red,' and 'Unemployment Line,' which were played by my good friend Neal Nelson. The other thing is a blues harp on'New Orleans' which was knocked off by Frank Vigilante. Finally George Grant did the killer bass part on 'With You.' Sweet.

Here's some insight into where some of these tunes came from...
'Lori' was a girl I met on night in a long gone bar called Tin Pan Alley on 49th street. I never even kissed her but she sure did make an impression on me. Never saw her again either.

'Work Today' is a reworking of another song I had called 'Rockaway.'
"Rockaway' was from the mid 80's somewhere. 'Work Today' uses the exact same chord progression just different timing.

'Unemployment Line' came from me being fired from my waiting tables
job at the Figaro Cafe. Jerks. But the Figaro Cafe was hip way back when. During different periods Andy Warhol, Jack Kerouac, Allen Ginsberg and many other important artists hung there.

'With You' and 'Lonely Explanations' come from two separate(and I might say) delicious affairs. The girl I wrote 'With You' about has never heard that one but the girl from 'Lonely Explanations' not only knows the song but used to sing it with me in my late 80's band. Ouch.

'New Orleans' just popped out one day when I was playing guitar at my home studio. I was shocked. I mean I really like this tune and I just don't know what brought it on.

'Red,' the title track was real inspiration from a band I saw at CBGB when they performed a version of The Beatles' 'Day Tripper.' I mean they totally deconstructed it. I don't think I even recognized it at first and then once I did the hairs on the back of my neck stood up. The next afternoon the lyric was in my book. 'Take me back, I don't care...'

The rest I'll leave for you to make up your own story. Just one suggestion, if you are visiting this page and listening to some of these tunes, try and take the time to listen more than once. I just think this might make you hungry for more and that's what I always look for in a song. Like a little kid, 'Oh, c'mon mommy, one more time, please!

My own completely biased opinion is that if you add this to your collection you will NOT be sorry...



to write a review

Kate Flavin

Greenwich Village is for many a living memorial to the artistic greats; its with an air of reverence that one walks down the street and visits the hideouts that served as home to the crop of horrendously talented youths in the 1960s. One cannot help but be inspired by this atmosphere, and Tim Young is one such man. Born in Pennsylvania, he moved to the Village in the late 1970s, where he says one ‘could still feel the cool vibes from when Dylan and company ruled on MacDougal Street.’ Further showing his admiration for his idols, he mentions time spent at the Kettle of Fish pub, an old haunt of Bob Dylan and Jack Kerouac before him.

Although he has now moved his gigging focus to Mid-town's renowned Hell’s Kitchen, Tim Young’s song writing skills clearly benefited from immersion in the Village’s musical heritage. His 2002 release, No Stranger, was a well-received instrumental but his real gift seems to be in spinning a yarn or two. And that’s what he gets to do on 2005’s Red, sixteen songs that dare the listener not to get involved. His voice is one of his strongest assets, commanding yet empathetic as he invites the listener into his world. Of course, it does not hurt that his message is backed by skilled musicianship. Highlights for me include ‘Dreams’ and the NPR featured ‘The Road.'

I won’t lie; at first I was confused that a singer-songwriter was calling himself the Hell’s Kitchen Rock ‘n’ Roll Legend. But I was forgetting one of rock’s fundamental elements: honesty. After all, it’s all about laying out your heart and soul and Young clearly does this in every song. It does not matter how hard you bang the drums, if your hearts not in it, the audience will know. In this way, Tim Young truly is a rock ‘n’ roll star.

Jon Sobel

...there's a full hour of meaningful music...
INDIE ROUND-UP for April 7 2005

CD: Tim Young, Red

If you pine for the time when people could simply write songs and sing them, not caring whether someone called them rock, pop, folk, blues, country, or psychedelic - if you miss, I suppose, the late 60s and early 70s - you'll particularly appreciate this batch of heartfelt songs from New York City troubador Tim Young. Young's unschooled, urgent vocal delivery and lo-fi aesthetic combined with his solid and energetic guitar playing and fertile creativity places his music at the intersection between urban folk, heartland rock and outsider music.

I mention outsider music because Young's vocals sometimes get so enthusiastic they become what one might call unmusical. But even with his flaws Tim Young is impossible not to like. Many of the songs are well-crafted; all illustrate the human condition in its complicated glory and shame. The title track, for example, uses nearly surrealistic lyrics to say something that seems both unclear and deeply important:

One time I wanted red hair
I wanted it black I wanted it red
I'm alive I'm not dead
Go on get lost see if I care...
I live in the clouds under the cemetery
So dark in here I can hardly see

"Disaster" sums up this dark take on life in more straightforward fashion: "I've done drugs I've gone straight/nothin' ever eased the wait." But in contrast, another track I really like is the love song "Reason."

In his wide thematic variety, Young doesn't always hit the mark; "Torture" sort of is. (Well, it's not a pleasant listen anyway.) But the unlikeable moments on this long, sixteen-song collection are few. If you like this music at all, you won't mind listening to a long CD of it. If you need a sonic reference point, think Eric Burdon or Them, but with a softer, more lyrical side and a touch of country. Really, Tim Young mixes genres until there is no genre, just songs. And while there may not be anything on this disc as catchy as "Gloria" or "We Gotta Get Out of This Place," there's a full hour of meaningful music.