SKU: 55299409157

Nelson, Tami - Chickaboom

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Nelson, Tami - ChickaboomNew Vinyl Record Nelson, Tami Chickaboom No one forgets the first time they saw Tami Neilson. She can hush a room with an original song that channels the hurting spirit of Patsy Cline or the sensuality of Peggy Lee, or bring the audience to it's feet on a rockabilly raver. She's an artist with real range, whose powerful voice can take on big ballads, golden age country, heartfelt Gospel, soul infused R&B, Western swing, even old style rock 'n' roll.

New Vinyl Record - Nelson, Tami - Chickaboom

No one forgets the first time they saw Tami Neilson. She can hush a room with an original song that channels the hurting spirit of Patsy Cline or the sensuality of Peggy Lee, or bring the audience to it's feet on a rockabilly raver. She's an artist with real range, whose powerful voice can take on big ballads, golden-age country, heartfelt Gospel, soul-infused R&B, Western swing, even old-style rock 'n' roll. Tami encompasses them all and is a personality-powered cyclonic force of nature in stylishly retro attire, long lashes and a stacked-high beehive. Of her new album's title, CHICKABOOM!, Tami explains, 'I wanted to write an album of punchy little songs, popping firecrackers that, when stripped back to nothing but a guitar, percussion and two voices, would still go boom!' The new collection brings much personal and family history to the table. Tami grew up performing across North America with the Neilson Family Band, working alongside greats such as Johnny Cash, Tanya Tucker, and Kitty Wells. Subsequently, Tami fell in love with a New Zealander, moved to the bottom of the world and began her solo career without the support of the family. Her early records saw her in a self-created territory between mainstream country and alternative country, with awards in New Zealand for albums that added breadth to her 'country singer' label: Best Female Artist, Best Country Album, Best Country Song, an APRA Silver Scroll (songwriting) award and Album of the Year nominations. Her Dynamite! Album of 2014 received rave reviews in Britain's MOJO and the Guardian named it a Top 10 Best Country Music Album. Tami's songs appeared on the Netflix series Wanted and the terrestrial TV series Nashville. Tami Neilson's singing and writing is too big to contain, as HMV Canada noted: 'There are singers and then there is Tami Neilson, for whom the word singer just isn't big enough.' The road has now led to CHICKABOOM!, which is something different again, and even more personal. 'In the past year, I started to notice something,' she says. 'The artists I would spend time with backstage at festivals, the ones I gravitated to the most and followed on social media... artists like the Secret Sisters, Shovels & Rope, Kasey Chambers, Brandi Carlile... they all had family performing with them. When you tour away from loved ones, it makes a world of difference to have part of your village with you on the road. Not to mention, nothing can come close to that special blend of blood harmonies and silent communication that only comes from being onstage with a person for over 30 years. Family has always been a huge part my music-writing, recording and creating with me, but I wanted family on this project and on the road with me again.' Brother Jay flew to Auckland, New Zealand from Toronto to record a selection of new songs that have unmistakable sibling magic and harmonies. 'I don't think he quite understands what he's gotten himself into but now the album's coming out it's a bit too late. Sucker,' she laughs. And if you've missed Tami before ' on record or in concert ' then you are in for a treat... and you might not quite understand what you've gotten yourself into either. As we say: you'll never forget the first time you saw Tami.

  • 1 Call Your Mama
  • 2 Hey, Bus Driver!
  • 3 Ten Tonne Truck
  • 4 Queenie, Queenie
  • 5 You Were Mine
  • 6 16 Miles of Chain
  • 7 Tell Me That You Love Me
  • 8 Any Fool with a Heart
  • 9 Sister Mavis
  • 10 Sleep
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SKU: 55299409157

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4.6 ★★★★★
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David R. Papke
Houston, US
★★★★★ 5
Recommended for All Lawyers
Format: Paperback
Meyer proves his initial point that much of what lawyers do is storytelling, and he achieves his goal of providing a primer on narrative theory for lawyer-storytellers. The book is sophisticated but written in an engaging way using non-technical language. Examples from legal and literary works abound, and they range from courtroom arguments and appellate briefs on the one hand to an essay by Joan Didion and Vonnegut's "Slaughterhouse Five" on the other. Meyer's favorite stories are found in Hollywood movies, and although he seems unaware of the accomplishment,Meyer provides fresh interpretations of such movies as "HIgh Noon" and"Jaws." I strongly recommend "Storytelling for Lawyers" for all law students, lawyers, and judges.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 7, 2014
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DoubtfulReader
Massapequa, US
★★★★★ 3
Notes on Legal Style by a Law Professor and Experienced Lawyer.
Format: Kindle
BOOK REVIEW: MEYER, Philip N., Storytelling for Lawyers ISBN: 978-0-19-5396638 Read June, 13th-27th, 2017. This book discusses storytelling tools by presenting a series of examples of good storytelling, both in legal settings and in literary works and movies. If theoretical explanations are sometimes a bit dry, the frequent quoting of practical examples conveys fluidity and speed to the book. After an introduction presenting lawyers as storytellers, it deals with the roles played in storytelling by Plots (chapters 2 and 3); Character (4 and 5); Voice, Perspective, Details and Images, and Rhytm and Speed (which relate to Scene and Summary) (chapter 6); Place or Story Environment (chapter 7) and Narrative Time. Focusing maybe too narrowly on legal storytelling before American juries, plot is almost equated with melodrama. Films like Jaws and High Noon are extensively discussed, as Gerry Spence’s Closing Argument on Behalf of Karen Silkwood. The chapters on character offer interesting insights on character classification (“round” characters, with psychological depth, prone to suffer transformation as the story evolves, vs. “flat” ones), while discussing the tools for telling how a character is, as opposed to simply showing the psychological nature of each character’s character through dialogue or the actions the character performs. Examples include Tobias Wolff’s This Boy’s Life and Jeremiah Donovan’s Closing Arguments on Behalf of Louis Failla, in a 13-week trial the Author could scrupulously attend in person. Discussions on Voice, Perspective, Details and Images, Scene and Summary, criticize the basic assumptions of the neutrality of lawyers’ voices, exemplifies how to manage details to suggest ideas and emotions, draw on the distinction between showing and telling, and offers interesting insights into the narrative theory’s concept of stretch (the slowing of the narrative rhythm in relation to the narrated story’s). Environment depiction storytelling tools deals with Joan Didion’s The White Album and the Judicial Opinion in a Rape Case, quoting also from W. G. Sebald’s The Emigrants and the Petition Briefs in Reck v. Ragen and Miranda v. Arizona. Further examples are Kathryn Harrison’s While They Slept and the Petitioner’s Brief in Eddings v. Oklahoma. Finally, the chapter on Narrative Time draws on Kurt Vonnegut’s Slaughterhouse Five and explores time, rhythm or speed, discussing more deeply stretch and the relation of time of the narrative itself with the time of the facts dealt with in the narrative. Chronology is discussed and criticized; Analepsis or Flashback is didactically explained and exemplified, both in general storytelling theory and in its legal use; the same holds for Prolepsis (Flash-forward) and Ellipsis (the intentional omission of a part of the narrative, often with the purpose of emphasizing the omitted event. Pacing and Rhythm are discussed in more lenght, with the caveat - repeated somewhat throughout the book - that legal stories are often left unfinished by the lawyer, in order to allow the jurors or judges fill the end with their decision. The Author remarks his purpose was to suggest possible tools and ways of dealing with problems which arise in legal storytelling, and he delivers what he promises.
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Reviewed in the United States on June 27, 2017
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Matt M.
Belleville, US
★★★★★ 5
Great book and great professor
Format: Paperback
Professor Meyer is a great writer. I had took his death penalty case at Vermont Law School. He writes for numerous magazines including the ABA. I would highly recommend this book and all of his writings.
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Reviewed in the United States on January 19, 2021
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J. Christian
Chelsea, US
★★★★★ 4
Interesting book
Format: Paperback
I am not a lawyer, nor a writer, but rather a reader. I found the correlation of legal storytelling with sceenplay, literary narrative quite interesting. Legal trials are theater.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on March 20, 2014
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Classics professor
Whiting, US
★★★★★ 5
Highly recommended -- not just for lawyers!
Format: Paperback
I'm not a lawyer but a Classics professor looking for modern parallels to (and contrasts with) Cicero's persuasive strategies in Roman courts. This book was just what I was looking for: lucid, informative, smart, and as a bonus, well versed in narrative theory, which Meyer handles as an experienced teacher -- avoiding jargon and needless complication, illustrating the key ideas with well-known cinematic examples.
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Reviewed in the United States on April 20, 2017

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