Happy Holidays from David Foster

Hey everyone,

I hope the season is treating you well and that you’ve had a chance to hear my latest holiday CD “Merry And Bright“, available now at Starbucks! This year I had the opportunity to introduce you to one of my favorite new bands, Dirty Loops, and we also released great new music from Bryan Adams, Sarah McLachlan, Barry Manilow and Smokey Robinson (to name a few). I look forward to more great music in 2015 starting with Diana Krall‘s “Wallflower” due out on February 3rd, a debut release from Charles Perry, music from a sultry new artist that I’m working with, Brenna Whitaker , and an exciting Disney project featuring all of your favorite artists! Thank you for all of your support this year and stay tuned for some exciting news which I plan to share very soon…

Wishing you a Happy Holiday and a safe New Year…

David Foster

Bryan Adams Discusses New Album ‘Tracks Of My Years,’ Miley Cyrus And Two Forgotten Decades

From musictimes.com

By Alex M. Smith
Sep 30, 2014 12:01 PM EDT

Bryan Adams had such an obsessive work ethic early in his career that he’s forgotten entire stretches of the ’80s and ’90s.
“I wish I could be kidding you,” he said in a phone interview on Monday afternoon. “But I don’t actually remember a lot of my career.”
The Canadian singer, responsible for several Top 10 hits including “Summer of ’69” and “Everything I Do (I Do It For You)” blames the “volume of work” he went through for his memory loss.

He definitely remembers the ’70s, though. That’s the era from which he culled 12 cover songs for his new album, Tracks of My Years (out Tuesday). The tracklist includes re-imagined songs written by Bob Dylan, Ray Charles and The Beatles.
We caught up with the 54-year-old to talk about the new disc, the few things he can still recall from his heyday and Miley Cyrus, among other topics.
You’ve got a big day tomorrow. What’s it like to wake up on the morning of an album release?
I think it’s pretty good. I’m grateful that it’s coming out, and it should be kind of fun, I think.

I kind of remember releasing Reckless, because it was near my birthday in 1984. But I don’t remember the morning of it. I kind of remember the anticipation because I was really excited about the release of the song “Run To You.” I had a feeling that the track would really do something, and it did pretty good.
What was it like to promote a record back then? What else do you remember about that day?
I don’t actually remember a lot of my career. It’s not that I have some sort of amnesia or something, or that I’m suffering from memory loss. It’s just the volume of work that went on between 1983 and 1999 was so intense that there are great waves of my life that I just don’t remember.
Someone will say, ‘Oh, yeah! I saw you at Birmingham in 1987. Do you remember that gig?’ I’m like, ‘I know I played Birmingham sometime. But don’t ask me anything about the gig or what it was, because I don’t remember.’
I always get, ‘I saw you when you opened for Journey.’ I hardly remember that because there were so many gigs.

Did you make a conscious effort in ’99 to pull yourself away from that?
Yeah. I stopped touring like that. There’s no point. It was just work at that point. Now I work differently; I do 10 shows a month as opposed to never going home.
What can fans expect as we get into your run of fall shows? How does the structure of the show work?
In October, I’m doing some Bare Bones [Tour] shows, which is kind of like a presentation of songs from the past 30 years acoustically. Then come November, I’m gearing up the band again, and we’re gonna go out and do a 30th anniversary Reckless Tour. It should be good. I’m looking forward to it.
What are some of the pros and cons of having the band there vs. playing by yourself?

It takes a little more courage. It’s not easy just to walk up there and do it. But I’ve gotten pretty good at it now. I’ve done six years of it. I think I’ve got it kind of figured out now.
Tracks of My Years seems like a fun project; you got to go back and try out a bunch of old songs you love. But how hard was it to make some of these choices?
It was a hard record to make because it’s really hard to choose songs. In my humble opinion, a lot of songs are so sacrosanct they’re untouchable. Especially the songs that really were the influences in my career. I just chose stuff that was sort of around the same time when I first decided music was what I wanted to do. I chose songs that were on the radio at the same time.
Instead of doing “Whole Lotta Love” by Led Zeppelin, I would do something else. It’d be silly of me to do that song. How can you beat that? You can’t. I just chose songs that were great songs; not necessarily songs that I would’ve bought, even, but they stuck in my memory.
Back in the day in the ’70s, radio didn’t really play songs based on categories. They’d play songs if it was a great song. So you get a mix of country and rock and R&B. It was a good time for music, really — certainly inspiring for me.
So when it came time to choose the songs, it was just a matter of going through all those amazing songs and seeing which ones sounded right. They sort of had to sound like me.

Obviously, you’re not writing the lyrics, but you had to rewrite a little bit of the music. How does that process work as opposed to new material you create?
Well, you just give it your best shot. Sometimes I get to the end of recording a song, and say, ‘You know what? This is just sounding too much like the original. There’s no point in doing that. Let’s go back and do something else.’ A lot of time in the studio was kind of wasted because we were just trying stuff all the time.
Verve Records’ criteria was that the songs had to be Top 10 hits on Billboard, otherwise we’re not recording them. So at least for the first 11 songs on the record, I had to do familiar songs. At the end of the day before the album came out, I snuck a few other ones in there. “C’mon Everybody” by Eddie Cochran. I don’t know if that was Top 10. “You Shook Me” by Muddy Waters. I put some other stuff in there to rock up the album a little bit.

There were two different producers on the record besides myself, Bob Rock and David Foster. This is really David’s thing. He likes making records like this. He can just buzz through a bunch of songs that are hits and he makes people enjoy it. He says, “Just give it a try and see what happens.” A couple years later we finished the album.

When it came time to choose an album cover, I decided I wanted to have a photo of me when I was a youngster. I wanted to put a picture on there that was indicative of the time when I figured out music was what I wanted to do. As you can tell from that picture, I was kind of into hard rock. And I never looked back.
The only thing about having hair that long was, it was hard to get a job. So eventually I had to get it cut, which was a drag.
Looking back to that era: Do you think kids are still saving up money for guitars and playing in the basement?
No. I think people are saving up for iPhones. I don’t think the drive to be a musician is anywhere near what it used to be. But I could be wrong, because, apparently, people are making more music now than they ever have. But I don’t hear it in the same way.
Are there any younger artists that have caught your eye?

I hear songs once in a while that stand out. I heard a song the other day… [singing] “I’m all about that bass / About that bass.” That kind of reminds me of something The Shirelles would’ve done, you know?
Actually, you know what, I really like that song by Miley Cyrus, too. “Wrecking Ball.” I love that song. It’s amazing. I wish I’d written that song.
What about “Wrecking Ball” struck you?
I just thought it was a good chorus. She’s hot too, man. She’s so hot. Give me a break. For an old soldier like me. It’s pretty amazing. [Geezer voice] ‘Wouldn’t have done that in my day, let me tell you.’

More info

Source: Bryan Adams Discusses New Album ‘Tracks Of My Years,’ Miley Cyrus And Two Forgotten Decades : Genres : Music Times.

Bryan Adams goes down memory lane with ‘Tracks of My Years’

From jam.canoe.ca

Sep 25, 2014

Bryan Adams’ image is that of a denim-clad hard rocker from Canada with massive mainstream appeal.

His 65 million in album sales worldwide over the last three-and-a-half decades speaks to that.

So some of the ’50s, ’60s and ’70s covers the Kingston, Ont.,-born-North Vancouver-raised musician chose for his new disc Tracks of My Years, out Tuesday, might surprise his hardcore fans. Think the sunny pop of The Association’s Never My Love or the R&B soul of The Manhattans’ Kiss and Say Goodbye.

“I hope there are good surprises,” said the 54-year-old singer-songwriter-guitarist in Toronto recently.

“Instead of doing the songs that were the ones that really changed things for me, I decided I would do songs that were also around at the time that I remembered … I used to listen to all the songs (in my little transistor radio) … I used to have one little earplug — you didn’t get two, you got one — so that transistor radio was it for me; it was my connection to the outside world. So I remember all this music.

“And radio didn’t discriminate, it played everything. If it was a hit song, it got played no matter (what); whether it was country, R&B or rock. And so, as a result, you’d have Bridge Over Troubled Water into Mississippi Queen.”

The covers album idea was co-producers David Foster and Bob Rock’s idea and choosing the songs was the most difficult part.

Over a two-year period, Adams ended up recording about 40 tunes, but only 16 made the final deluxe edition track listing including The Beatles’ Any Time At All, Bob Dylan’s Lay Lady Lay, and a drastically reworked version of The Beach Boys’ God Only Knows.

“It drove David out of his mind,” said Adams, a long-time London, England, resident, who gets back to Vancouver a couple of times a year and still owns The Warehouse studio there.

“First of all, I wasn’t sure about making a record like this. It wasn’t something I really wanted to do. It wasn’t on my list of priorities. I had to be sort of talked into it. But once I got into it and decided, ‘Yes, I was going to do it,’ I gave it a 100%.

“I don’t do anything in halves. And I wasn’t going to settle for just, ‘Oh, that’s good enough.’ ‘That’s good enough’ is a phrase that doesn’t exist in my vocabulary.

“The challenge of a good cover is to do it in a way that makes it yours,” he continued. “And, I think, I did it.”

But given Adams knows, and has played with, a lot of the artists whose work he covers on Tracks of My Years, did he have to tiptoe around his treatment of these songs?

“I always do what I want to do,” said the musician. “I mean, I hope, at the end of the day, the other artists will like it. These days (in the music business) I guess it’s OK if someone else records your song, you gotta be happy.”

Also, the cover for Tracks of My Years flips Adams’ image on its ear. The album art is a black-and-white 1975 photo of a REALLY long-haired and smiling Adams at 15. He has his arms crossed over his chest, one hand holding a cigarette, and his stance is defiant.

“I’m at school in North Van, and it was the year I dropped out,” said Adams, whose photography career has grown alongside his music over the years. “And we were in art photography class and we had a little Zenith camera … my friend and I would just take pictures of each other, just goofing off.”

Still, Adams did choose it to be on the cover of Tracks of My Years in all its glory.

“The symbolism of that photograph is it’s the time I was sure that music was going to be what I was going to do. And I mean I had no idea where it was going to take me. Even if I was the roadie for a band, I would have been happy.

“But it was definitely music, somehow or another, (maybe) work in a record shop. I tried that, my hair was too long. I tried to get into A&B Sound at Park Royal (a mall in West Vancouver) and they wouldn’t hire me ’cause my hair was too long and I was too young.”

Turns out Adams wasn’t cool enough.

“You have to be a little bit hipper than that. I wasn’t that hip. I was a serious hippie and I was into heavy rock.”

Speaking of rock, Adams’ most recent photography assignment was shooting the new Status Quo album cover for Aquostic (Stripped Bare) in which the veteran British rockers appear naked behind acoustic guitars.

“It was five guys walking around with their balls hanging out the whole time in my studio,” said Adams with a grin. “It was their idea! I’m a big fan of the band anyway so that was great fun to do.

“I wish I had taken (photography) way more seriously, way earlier,” he added. “But I just didn’t really think it was possible to do two things at once; plus I was super focused on the music so there was no way I could have fit anything (else in).

“I don’t even remember the ’90s. That’s because I was working so hard. It’s like that thing in Star Trek, they go, ‘OK, we’re off.’ ”

You mean warp speed?

“Yeah, warp speed, yeah. That’s what I think of when I think of the ’90s … The gigs are just a blur.”

Still, Adams, who became a parent later in life (to three-year-old Mirabella and one-year-old Lula) with his partner Alicia Grimaldi, said he isn’t necessarily slowing down.

“I try to fill my life with lots of interesting things and family is obviously one of them and it’s probably the most important. But, I think, going away and having a diverse career where I can do both things benefits (everybody) because I’m happy,” he said.

Otherwise, Adams — whose last release was 2013’s Live at the Sydney Opera House — is currently making an original record with producer Jeff Lynne (ELO). Moreover, there’s also the Nov. 24 re-release of his monster album Reckless, celebrating its 30th anniversary this year with previously unreleased bonus tracks, and a January-February 2015 tour of Canada to follow.

“It’s such a good record and it’s so different to this (covers record),” he said of his Lynne collaboration.

“It’s going to be one of my best albums, for sure. Jeff’s done an incredible job with the production. It’s just so great. It’s a really rocking (album), really up; you can definitely hear Jeff’s sounds on it. It’s so distinctive; it’s really a fun record. It’s killer.”

Are there any songs that were influenced by fatherhood?

“It’s not going to be about nursery rhymes,” said Adams cheekily. “No, I don’t think so. I have definitely written songs for them, but they’re just sweet little ditties. I think it’s all about the overall happiness factor, about what family brings you. (Fatherhood) doesn’t surprise me because it’s such big love.”

And, now, when he travels the world, does he just have to pack more suitcases?

“Sometimes. It’s tough now that there are two, but I’m looking forward to them coming on the road,” Adams said of his daughters.

“I want them to experience the world. I think it’s a really good thing to be able to see different parts of the world in life ’cause that’s how I travelled as a child (as the son of a British-Canadian army officer-turned-diplomat).

“That was my life. Seeing the world and being in other places … (is) important.”


Bryan Adams covers other people’s songs on his new album, Tracks of My Years, but here are his five best tunes worthy of coverage by others.

1. Cuts Like a Knife (1983) – From Adams’ third album of the same name, this was the first of the great stadium rockers co-written by Adams and his writing partner Jim Vallance. And it perfectly captured the exquisite torture of being in love: “It cuts like a knife and it feels so right.” The Na-Na-Na chorus was inspired by everything from Hey Jude by The Beatles to Na Na Hey Hey Kiss Him Goodbye by Steam.

2. Run to You (1984) – From his huge album Reckless – whose 30th anniversary is being celebrated on Nov. 24 with a re-release followed by a tour of Canada in January-February – this first single about a philanderer – “ I know her love is true But it’s so damn easy makin’ love to you,” was originally pitched to Blue Oyster Cult. It has since been covered by everyone from Lou Barlow to Bananarama.

3. Summer of ‘69 (1984) – The fourth single from Reckless was completely concerned with sex, nostalgia and rock ‘n’ roll: “I got my first real six-string Bought it at the five-and-dime, Played it ‘til my fingers bled It was the summer of ‘69.” Nuff said.

4. It’s Only Love (feat. Tina Turner) (1984) – One of the great rock duets of all time, Adams was a mere 24 years old when he tapped soul-rock queen Tina Turner to sing on this winning sixth single from Reckless.

5. Can’t Stop This Thing We Started (1991) – Yes, Everything I Do (I Do It For You) was the monster hit from Waking Up the Neighbours, but this uber-confident feel-good track co-written by Robert John “Mutt” Lange is the one that blows the roof off the arenas.

Twitter: @JaneCStevenson


Source: Bryan Adams goes down memory lane with ‘Tracks of My Years’.

Bryan Adams talks about his new album, Tracks Of My Years

From musicradar.com

“What unified everything was my voice and the way I produced it”
Joe BossoSeptember 22, 2014, 14:20 GMT

1. “You can’t do that” originally recorded by The Beatles

“It’s really hard to do a Beatles song without fucking it up. [Laughs] I have a song called Back To You on my MTV album [Unplugged], and I thought that Any Time At All could work the same way – very strummy. And it did. It worked out beautifully.

“Everybody knows the song, but it’s not like one of the Beatles songs that gets played all the time. Because it was a little more off the radar, that’s why I was interested in it. I wanted it to rock out a bit more. One of the things about this record that I wanted to do was not do a pastiche of the original track; I wanted to do my own thing as best I could. I think I accomplished that.”

2. “She knows me”

“Jim Vallance and I didn’t work together for a while, but we started again in the 2000s. We would bounce things off of each other through e-mails. That’s how this song came about: ‘I’ve got this chorus…’ ‘Really? Well, I’ve got this verse.’ It was just like that.

“We stuck two things together, and then I sent Jim some lyric ideas. He’d either improve upon them or tell me they were crap. [Laughs] We did that until we got it finished, and then I did a really loose demo. After that, it kind of got forgotten in the computer files of my archives.

“David asked me to give him an original song, so I played him a few things, and with this one he went, ‘That’s it! I want that one.’ I’ve gotta give him a lot of credit; he took this song and really did a job on it. He’s a master producer, just amazing.”

3. “I can’t stop loving you” originally recorded by Ray Charles

“You can’t try and do Ray Charles, so you have to be yourself. On the original, there’s that top line – ‘I can’t stop loving you’ – and that was a choir singing that part. I felt like my version was different enough from what Ray did.

“Like with so many of them, you can’t do these things ‘on the nose.’ You can’t do them like the original. You have to take it somewhere else, and that’s what we did here.”

4. “lay lady lay” originally recorded by Bob Dylan

“A great song, a sexy song. It’s funny, though: If I sing any Dylan song, I start to sound like Bob in about two phrases. It just happens, and that’s the problem – he’s so identifiable. The minute I sing, ‘The answer, my friend, is blowin’ in the wind,’ it’s like, ‘OK, you sound like Bob.’ [Laughs]

“Singing this song an octave higher than Bob sort of puts it in a new place. I hope he likes it. It’s me and Keith Scott on guitars, along with a guy named Michael Thompson. Keith kind of does an E-Bow guitar line in the background. I love that.”

5. “Never my love” originally recorded by The Association

“I heard this one on the radio as a kid, for sure. Jim Vallance reminded me of it. When we tried it, it came together pretty quickly. There were two songs that were sort of benchmarks in terms of production, this one and Kiss And Say Goodbye, which might be my favorite track on the record.

“I did this one sort of the same way I did God Only Knows – there’s no harmonies. There’s maybe a third here and there for a couple of lines, but generally speaking, I just let the voice be the glue. I just didn’t want to cloud up the voice with echo and reverb and all kinds of stuff. And that’s Michael Thompson doing the guitar solo. He’s a great guitar player.”

6. “God only knows”

“I wanted to do this song, but when I mentioned it to Foster he said, ‘No, no, no.’ But then I said, ‘Well, what if we did it like Bill Evans and Tony Bennett?’ He looked at me and he literally jumped off the sofa. He went to the piano and shouted to his assistant, ‘Get me the chart!’ [Laughs] We did a few takes of it, and that was that.’

“There’s such a great vibe on those records Bill Evans did with Tony Bennett, and that stayed with me. Because you can’t do God Only Knows like the Beach Boys; again, it would have been a pastiche, and that wouldn’t have worked. So we took it somewhere else. It’s a beautiful song, very moving, but it can be a little hard to sing. I’m happy with what we did with it.”

Source: Bryan Adams talks about his new album, Tracks Of My Years | Bryan Adams talks about his new album, Tracks Of My Years | MusicRadar.

Bryan Adams – “She Knows Me” Lyric Video

Bryan Adams has revealed new music from his upcoming album “Tracks Of My Years” produced by David Foster and available Sept. 30.

Check out the world premiere to the Official lyric video for Bryan Adams’ brand NEW song “She Knows Me” from his forthcoming album.
Available in the US and Canada Sept 30th & Oct 6th in Europe and other territories. Pre-order now on iTunes! http://smarturl.it/TracksMyYearsDlx.

More info