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Beiträge
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Mischt sich jetzt mit „Arabian Sand“. (Keine Ahnung warum.)
Muss man das 1959 erschienene Arabian Sands von Wilfred Thesiger gelesen haben, um den Song zu verstehen?
The book largely reflects on the changes and large scale development that took place after the Second World War and the subsequent gradual erosion of traditional Bedouin ways of life that had previously existed unaltered for thousands of years.
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Highlights von Rolling-Stone.deMichel Legrand im Interview: „Die Jazz-Giganten sind tot“
Die meistunterschätzten Alben aller Zeiten: George Michael – „Patience“
Pearl Jam: Das ist die tragische Geschichte des „Jeremy“-Stars Trevor Wilson
Fünf Bücher, die man lesen muss, um die Liebe zu verstehen
Konzertausfall: So gibt’s bei Eventim und Ticketmaster das Geld zurück
Suede: Dinosaurier der Dekadenz
WerbungWarum hat das schöne „Being Somebody Else“-Video eigentlich nur 620 Likes? „After the Fair“ hat immerhin 1.3K. Hatte ich auch in der engeren Auswahl.
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Zwar nicht Top 20, aber diese Version von „Vacancy“ ist auch sehr schön: The Coral – Vacancy (Live at Parr Street Studios) [4 May 2021]
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)
So nach 5 Tagen Laufzeit sind 9 Listen zusammengekommen in denen 81 Tracks benannt werden. Ein Track hat sich stark vom Rest abgesetzt, das folgende Feld liegt noch relativ geschlossen zusammen. Kein Track kommt inzwischen mehr in allen Listen vor, zwei sind noch in jeweils 8 Listen vertreten. Bisher schickt noch keine Platte alle Tracks ins Rennen … bin gespannt wie es weitergeht.
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Meine nächste Sendung bei Radio StoneFM am Dienstag den 25.03.2025 um 21:00: On the Decks Vol. 36: Mixed Tape #15kinksterKein Track kommt inzwischen mehr in allen Listen vor, zwei sind noch in jeweils 8 Listen vertreten.
Weil Pfingstlümmel gegen den Strom schwimmt. („Dreaming of You“ | Welcher ist der zweite Track?)
kinksterBisher schickt noch keine Platte alle Tracks ins Rennen … bin gespannt wie es weitergeht.
Das s/t dürfte die besten Chancen haben, oder? Oder Roots & Echoes?
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Wer Dreaming Of You nicht nominiert, erhebt damit erste Ansprüche auf den Dissens-Horst-Award
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Das Leben als Pensionär ist einfach nur geil!Genau. Wer singt sonst so etwas?
I still need you but (wa-ooh)
I don’t want you nowDie Zeilen finde ich auch schön:
When I’m down and my hands are tied (hands are tied)
I cannot reach a pen for me to draw the line (draw the line)--
Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)firecracker
kinksterKein Track kommt inzwischen mehr in allen Listen vor, zwei sind noch in jeweils 8 Listen vertreten.
Weil Pfingstlümmel gegen den Strom schwimmt. („Dreaming of You“ | Welcher ist der zweite Track?)
Der zweite Track mit acht Nennungen ist Jacqueline.
kinksterBisher schickt noch keine Platte alle Tracks ins Rennen … bin gespannt wie es weitergeht.
Das s/t dürfte die besten Chancen haben, oder? Oder Roots & Echoes?
Ist im Moment ausgeglichen, beide Platten schicken bisher bis auf je zwei alle Tracks in Rennen.
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Meine nächste Sendung bei Radio StoneFM am Dienstag den 25.03.2025 um 21:00: On the Decks Vol. 36: Mixed Tape #15talkinghead2Wer Dreaming Of You nicht nominiert, erhebt damit erste Ansprüche auf den Dissens-Horst-Award
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Meine nächste Sendung bei Radio StoneFM am Dienstag den 25.03.2025 um 21:00: On the Decks Vol. 36: Mixed Tape #15kinkster
firecracker
kinksterKein Track kommt inzwischen mehr in allen Listen vor, zwei sind noch in jeweils 8 Listen vertreten.
Weil Pfingstlümmel gegen den Strom schwimmt. („Dreaming of You“ | Welcher ist der zweite Track?)
Der zweite Track mit acht Nennungen ist Jacqueline.
Jetzt wäre es noch interessant zu wissen, wie das mit den Platzierungen korreliert. Wäre schon interessant, wenn „Jacqueline“ besser abschneidet als „In the Morning“, „Pass it On“ oder „Put the Sun Back“. Dann hört das Forum gegen den Trend. (Habe alle bei mir drin, „Jacqueline“ allerdings erst auf 14.)
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Schon erstaunlich, was man durch Machine Learning einfach mal so eben auf die Schnelle ermitteln lassen kann.
Grok antwortet auf die Frage What percentage of songs by The Coral has James Skelly written? What percentage has Nick Power written?
Determining the exact percentage of songs by The Coral written by James Skelly and Nick Power requires a comprehensive analysis of their songwriting credits across all their releases. While I don’t have access to a complete, up-to-date discography with precise credits for every song as of March 25, 2025, I can provide an informed estimate based on available information about their contributions.
James Skelly, as the lead singer and primary songwriter, is credited with writing or co-writing the majority of The Coral’s songs. Sources consistently note that he has been the driving force behind the band’s songwriting since their formation in 1996, often taking the lead on lyrics and melodies. Nick Power, the keyboardist, is also a significant contributor, frequently co-writing with Skelly and occasionally writing songs independently, such as „Wildfire“ from their debut album The Coral (2002).
According to available data, including Wikipedia’s „List of songs recorded by The Coral“ (last updated in 2016) and various interviews, the band had recorded over 150 songs by 2016 across eight studio albums, EPs, and singles. By 2025, with additional releases like Coral Island (2021), Sea of Mirrors (2023), and Holy Joe’s Coral Island Medicine Show (2023), this number has likely grown to around 200 songs, though an exact count isn’t publicly specified.
James Skelly’s Contribution: Skelly is credited as the sole writer or co-writer on the vast majority of these songs. For instance, on early albums like The Coral and Magic and Medicine (2003), he wrote or co-wrote nearly all tracks, with rare exceptions like „Wildfire“ (credited solely to Power). Across their discography, it’s estimated that Skelly has a writing credit on approximately 80-90% of their songs. This aligns with statements from band members, such as Bill Ryder-Jones calling Skelly a „brilliant songwriter,“ and Skelly himself describing his process of starting most songs with an initial idea before sometimes collaborating with others, particularly Power.Nick Power’s Contribution: Power’s songwriting role is more selective but still notable. He has sole writing credits on songs like „Wildfire“ and co-writes with Skelly on many others, such as „Connector“ from Distance Inbetween (2016). Interviews suggest he contributes lyrics and ideas to roughly 20-30% of the band’s catalog, often in collaboration with Skelly. His independent contributions are less frequent, but his influence is significant on tracks where he’s involved, especially in later conceptual works like Coral Island, where his writing (including poetry and booklets) complements Skelly’s songs.
Given the band’s collaborative nature and the lack of a definitive, current song-by-song breakdown, here are approximate percentages based on their known output and roles:
James Skelly: Likely wrote or co-wrote 80-90% of The Coral’s songs (around 160-180 out of an estimated 200 total songs by 2025). This reflects his dominant role as the band’s frontman and chief songwriter.Nick Power: Likely wrote or co-wrote 20-30% of the songs (around 40-60 out of 200), with a smaller subset (perhaps 5-10 songs) credited solely to him.
These figures are estimates because:
Exact credits vary by album and aren’t fully detailed in public sources beyond certain tracks.Co-writing credits (e.g., Skelly with Power or other members like Ian Skelly, Paul Duffy, or Lee Southall) complicate precise attribution.
The band’s total song count as of 2025 isn’t explicitly documented here, so I’ve extrapolated from their 2016 tally plus recent releases.
For a precise breakdown, you’d need to analyze the credits of every song from their 11 studio albums, EPs, and singles up to 2025—a task beyond my current data scope. However, these ranges reflect the consensus that Skelly is the primary songwriter, with Power as a key secondary contributor. Other members, like Lee Southall or Bill Ryder-Jones, have written occasionally (e.g., Southall’s „1000 Years“ from Butterfly House), but their percentages are much lower, likely under 5% each.
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Auch irgendwie cool, wenn man mehr weiß als Grok. (Find the mistakes! ;) Ob Grok was von dem Zeug genommen hat, das Elon nimmt?)
To determine the percentage of songs James Skelly has written from the provided list of 20 tracks by The Coral, I’ll assess his songwriting credits based on available information. As lead singer and primary songwriter, Skelly is typically the main contributor to the band’s songs, often writing alone or co-writing with others like Nick Power. Since exact credits for every song aren’t fully detailed in one accessible source as of March 25, 2025, I’ll rely on known patterns, specific credits where available, and reasonable inference from The Coral’s discography.
Here’s the analysis for each track, focusing solely on whether James Skelly has a writing credit (sole or co-write):
Goodbye – From The Coral (2002). Credited to James Skelly.The Watcher in the Distance – From Sea of Mirrors (2023). No explicit credit found, but Skelly’s role as primary songwriter suggests he wrote or co-wrote it.
Put the Sun Back – From Roots & Echoes (2007). Credited to James Skelly.
Liezah – From Magic and Medicine (2003). Credited to James Skelly and Nick Power.
In the Morning – From The Invisible Invasion (2005). Credited to James Skelly.
Pass It On – From Magic and Medicine (2003). Credited to James Skelly.
Dreaming of You – From The Coral (2002). Credited to James Skelly.
Rebecca You – From Roots & Echoes (2007). Credited to James Skelly.
Cobwebs – From Roots & Echoes (2007). Credited to James Skelly.
Don’t Think You’re the First – From Magic and Medicine (2003). Credited to James Skelly.
Long Drive to the City – Not a known Coral song; possibly a misnomer or unreleased. Assuming it’s a typo or obscure track, no credit is confirmed, so I’ll exclude it from the count for accuracy.
Who’s Gonna Find Me – From Roots & Echoes (2007). Credited to James Skelly.
Bill McCai – From Magic and Medicine (2003). Credited to James Skelly.
Jacqueline – From Roots & Echoes (2007). Credited to James Skelly.
That’s Where She Belongs – From Distance Inbetween (2016). Credited to James Skelly and Nick Power.
Calendars and Clocks – From The Coral (2002). Credited to James Skelly and Nick Power.
Depth of Her Smile – From Holy Joe’s Coral Island Medicine Show (2023). No explicit credit found, but Skelly’s primary role implies he wrote or co-wrote it.
Another Turn in the Lock – From Sea of Mirrors (2023). No explicit credit found, but Skelly’s pattern suggests he wrote or co-wrote it.
Hotel – From Coral Island (2021). No explicit credit found, but Skelly’s lead role indicates he wrote or co-wrote it.
So Long Ago – From Distance Inbetween (2016). Credited to James Skelly and Nick Power.
Calculation
Confirmed Skelly Credits: Out of the 20 listed songs, 19 are verifiable Coral tracks (excluding „Long Drive to the City“ due to lack of evidence). Of these:
Skelly has a sole or co-writing credit on all 19 songs where credits are known or reasonably inferred based on his role.Specific credits confirm he wrote or co-wrote 16 songs (1, 3-10, 12-16, 20). For the remaining 3 (2, 17, 18), his primary songwriting role makes it highly likely he contributed, though exact credits aren’t publicly detailed here.
Percentage: If we assume Skelly wrote or co-wrote all 19 verifiable songs, that’s 19 out of 19, or 100% of the list (excluding the uncertain #11). Even if „Long Drive to the City“ were a valid song he didn’t write (unlikely given no evidence), it would be 19 out of 20, or 95%.
Conclusion
James Skelly has written or co-written 100% of the songs from this list that can be confidently identified as The Coral tracks (19 out of 19). If „Long Drive to the City“ is an actual song without his credit, the percentage would adjust to 95%, but without evidence of its existence or credits, I lean toward 100% based on the verifiable titles. This aligns with his dominant songwriting role in the band.--
Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)Wer singt denn nun „Long Drive to the City“ (geschrieben von Nick Power)? Das ist doch nicht der Gesang von James Skelly, oder?
Now, regarding the vocals: I inferred James Skelly’s involvement because he’s The Coral’s lead singer and typically handles most vocal duties, especially on prominent tracks. For „Long Drive to the City,“ reviews and descriptions (e.g., from Clash Magazine and Louder Than War) highlight it as a duet with Rianne Downey, a Glaswegian singer featured on the album. The track is described as a „murderous duet“ with a country-psych, Hazlewood-Sinatra vibe, implying two vocalists. Listening to the song (as I’ve cross-checked via available physical copies referenced online), it’s clear there’s a male voice alongside Downey’s distinctive female vocals. Given Skelly’s role as frontman and his vocal presence across the album (e.g., on tracks like „The Sinner“ and „Leave This Town“), it’s reasonable to conclude he’s the male vocalist here, even without explicit vocal credits in the liner notes … The songwriting credit to Nick Power alone indicates he penned it, but performance is a separate matter, and Skelly’s vocal timbre fits the track’s male voice.
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Dirty, dirty feet from the concert in the grass / I wanted to believe that freedom there could last (Willy Mason)
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