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You can buy many of these titles from
the paintbox. Just click here. CHAD STUART & JEREMY CLYDE 2007
CHAD STUART & JEREMY CLYDE 2006
THE ARK
The Emancipation of Mr. X/Sunstroke/The Ark/The Raven/Imagination/Painted Dayglow Smile/Pipe Dream /Transatlantic Trauma 1966/Sidewalk Requiem, Los Angeles, June 5th and 6th/Pantheistic Study for Guitar and Large Bird /Paxton Quigley’s had the Course/You Need Feet/Song of the Love Child (Tobey’s Song)/Letter to a London Girl (Transatlantic Trauma 1966)*/Pipe Dream* {*previously unreleased} I DON'T WANT TO LOSE YOU BABY
I Don’t Wanna Lose You Baby /Should I /The Girl Who Sang the Blues /Funny How Love Can Be /The Woman in You /Mr. Tambourine Man /I Have Dreamed /Don’t Think Twice, It’s All Right /Baby Don’t Go /There But for Fortune /These Things You Don’t Forget /I Don't Want to Lose You Baby* {*previously unreleased} THE ACOUSTIC SET - SUMMER 2005
Another year, another tour CD, again available exclusively at C&J shows and featuring a similar mix of old favorites and brand new tracks. THE ACOUSTIC SET - SUMMER 2004
Chad & Jeremy's 2004 tour was a great success, and available exclusively at the shows was this Electric Paintbox CD, packaged in a slimline case, featuring several old favorites, and several brand new tracks. CHAD STUART & JEREMY CLYDE (1983)
Chad & Jeremy's most recent studio album to date, a rarity when released, finally makes it's CD debut. INCLUDES BUCKETS OF BONUS TRACKS FROM THE 1980s IN CONCERT
Chad & Jeremy's final recorded concert, at Harrah's, Tahoe on March 8th 1987. Our band from British Invasion II stayed with us for the Tahoe gig, which was just as well; I don't know what we'd have done without them. Britt Bacon, my old friend and recording engineer, played keyboards and brought some of his mates along for the ride. Alan "Lightning Fingers" Morse on guitar, Michael Hodge on bass, a truly gifted musician if ever there was one, and the irrepressibly entertaining Teddy Zambetti on drums. My appreciation for their collective contribution knows no bounds. One important ingredient was that they were all in their twenties at the time and had no previous experience of the music from our era. This turned out to be a good thing, since they approached the material with a completely new attitude which I can only describe as irreverent but enthusiastic - a winning combination. You can learn a lot more about the band in the CD booklet. INCLUDES THE FIRST NEW C&J TRACK IN 15 YEARS BEFORE AND AFTER
Before and After/Why Should I Care/For Lovin' Me/I'm In Love Again/Little Does She Know/Tell Me Baby/ What Do You Want With Me?/Say It Isn't True/Fare Thee Well (I Must Be Gone) [ed. note: actually, "Marianne"]/ Evil-Hearted Me/Can't Get Used To Losing You/[BONUS TRACKS] Pennies/Don't Get Around Much Anymore/Sometimes/Fare Thee Well (alt vers.)/ Adesso Si/Nessuno Pui Di Me/What Do You Want With Me? (alt. vers.)/Evil-Hearted Me (alt. vers.)/Before and After (alt. vers.)/ The Cruel War/I Can't Talk To YouThis was our first album for Columbia. It's an ironic coincidence that "Before And After" should be the title of our first single after escaping from the slavery of Ember Records. Musically, it makes sense, I suppose. Thanks to "Summer Song", we had unwittingly carved a niche for ourselves as balladeers. I would characterize "Before and After" as the Americanization of Chad & Jeremy - slick production, ace session men and a sense of everyone pulling together for the greater glory of Columbia Records and the evolution of C & J into a more Vegas-style act. Things turned out differently of course; we were marching to a different drummer. DISTANT SHORES
Distant Shores/Ain't it Nice (UNEDITED)/Homeward Bound/The Way You Look Tonight/When Your Love Has Gone/Morning/You are She/Everyone's Gone to the Moon/I Won't Cry/Early Mornin' Rain/Don't Make Me Do It/[BONUS TRACKS]Last Night/Teenage Failure/Anytime/Your Mother's Out Of Town/You've Got Your Troubles/Wonderful Land/Sticks And Stones/Sixpence/Love Is Strange/If You Need Somebody/When Your Love Has Gone (May 1965)/Distant Shores (French)/You Are She (French)This album is a bit of a mixture: part old-school New York (recorded in London, actually) and part West Coast. The transition is very obvious when you contrast "Distant Shores" with "Everyone's Gone To The Moon". By the time we moved out to Los Angeles and hooked up with Larry Marks, the London sessions seemed light years away. Larry Marks was by far and away our favorite producer; he was a musician and a song writer who was on our wavelength. He gave us more creative freedom than we'd ever known before and it was the first time we were able to track the songs layer by layer, instead of the old method of hiring a bunch of session guys to bang out the songs in the shortest time possible. It's ironic that Larry only produced three sides with us ("Distant Shores", "Ain't It Nice" and "You Are She"). We were very sorry to learn that he was leaving Columbia to join A&M Records. Having sung Larry's praises, it's only fair that I give credit to Lor Crane for producing two of our biggest albums and two of our most successful singles. He was obviously doing something right. In retrospect, we switched producers not because of Lor personally, but because we needed a different modus operandi. The old Tin Pan Alley assembly line school of record production was rapidly becoming counter productive and passe. So here it is, a pivotal album in C & J's history, marking a sea-change from the old to the new, paving the way to "Cabbages and Kings" and "The Ark". OF CABBAGES AND KINGS
Rest In Peace/The Gentle Cold of Dawn/Busman's Holiday/Can I See You/The Family Way/I'll Get Around To It When and If I Can/The Progress Suite: Prologue/Decline/Editorial/Fall/Epilogue/[BONUS TRACKS] Manners Maketh Man/The Gentle Cold of Dawn (instrumental)/Cautionary Tale/Rest In Peace (single version)/Painted Dayglow Smile (single version)/Sister Marie (single version)This was a seminal album for us. (We woke up and smelled the coffee after Sergeant Pepper) To his everlasting credit, Gary Usher gave us some elbow room on this album. Our imaginations were free to push the boundaries a bit more. I don't think this thrilled the Columbia executives very much, though. I'll never forget the look on the face of one vice president as he entered the washroom to find me recording a toilet flushing! The Firesign Theater troupe helped out on side two which was a lot of fun to record. However, in retrospect, it now seems a tad pretentious. If I had my druthers, I'd make some ruthless edits in the Progress Suite but my webmaster (who is also a hopeless record-collecting junkie) won't let me. Never mind. Here it is again in all its tarnished glory.
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