Promises made promises broken dan fogelberg biography

Promises was a Canadian-based pop group which was founded 1978 in Thousand Oaks, California. The members were the siblings Leslie Maria Knauer (born August 20, 1957, Vancouver, vocals), Jed Knauer (born July 17, 1955, Toronto, guitar, piano) and Benny Knauer (born October 21, 1958, Vancouver, keyboards and vocals). Their father Peter Knauer was a German from Hamburg who moved with his children from Canada to California in the late 1960s.
The group “Promises” was formed, recorded and produced by Steve Verroca who leased it to EMI EAR Holland. The single “Baby It’s You” became a smash hit in Europe and around the world (especially in Germany where it reached number 4 in the charts) in February 1979 and Promises received a Gold album for more than 260,000 selling units.
The song was also hugely popular in Australia, largely due to weekly programming of the original film clip on Sunday evening television music show Countdown. The song was subsequently released on a highly popular compilation album in that market. It also reached number one on the New Zealand Singles Chart for five weeks. “Baby It’s You” was also a success in South Africa, also appearing on Volume 7 of that country’s long running compilation album series Pop Shop. The video received a lot of airplay on South African television too.
After the second single “Lets get back together” became much less successful (only number 18 in Germany and Leslie wanting to change the group image to a punk band the group broke up. In many Published article it says; “Promises was a flop in the States”, but due to some squabbling between EMI-EAR and Capitol Records in Los Angeles, even though the band was a huge hit around the world Capitol records refused to sign the group and Promises was never released in the U.S. But once The group was no longer signed to EMI-EAR, under new manager Toby Mamis, the group entered the studio to record a

On October 23, 1993, a Saturday, Dan Fogelberg headlined the Valley Forge Music Fair in Devon, Pa., with a second show scheduled for Sunday. Diane and I weren’t at either. Instead, on Saturday, we headed to Second Street in Philly’s Old City neighborhood, where we enjoyed a good meal at Serrano’s restaurant and then walked up a steep flight of steps to the Tin Angel, our favorite music club at the time, to see Austin singer-songwriters David Halley, Jo Carol Pierce, Michael Fracasso and Jimmy LaFave share the stage. On Sunday, we likely stuck closer to home, maybe hitting a CD- or bookstore—or both—plus the supermarket to pick up food for the week. My favorite albums that year included Maria McKee’s You Gotta Sin to Get Saved, Van Morrison’s Too Long in Exile, and Neil Young’s Unplugged, with memorable concerts including—among many others—the aforementioned Maria McKee and 10,000 Maniacs. I was 28.

I start there to remind readers of this occasional series that, as I explained in my long-ago introduction, this slalom through Fogelberg’s discography is via skis that belong to a longtime music fan who never got into his songs beyond those found on High Country Snows, which I loved from the get-go. I didn’t dislike him or disparage his art, in other words, just didn’t pay it much mind.

Back on point: the 42-year-old Fogelberg was touring in support of his recent River of Souls album, which was released on September 28. Though it barely cracked the charts, topping out at No. 164, he still filled the concert halls he played—an odd fate suffered by many veteran artists due to the niche-driven world of radio, which saw their new releases ignored by radio programmers despite their old music being celebrated. As Fogelberg joked with the Chicago Tribune’s Patrick Kampert, “There was a time when I could belch and they’d play it.” He expanded upon that thought with the Kansas City Star’s A. Scharhorst: “We certainly don’t have the acc

“It shows my search for the intricacies of the human psyche, something that is a lot tougher than writing and singing about love. I want bigger themes than love songs.” So said Dan Fogelberg to the Colorado Gazette Telegraph’s George Gladney in June 1978 when reflecting upon Nether Lands, which was released in May 1977. 

Or as he explained to Michael Barackman of the Los Angeles Times in August 1977, “This may sound pompous, but I don’t want to be a rock star. I don’t want to be Peter Frampton. I’ve lived on food stamps before and I can live on them again. All I want is respect.” He expanded upon that thought with this: “Rock ’n’ roll is terrific, but it’s confining. I think I have much more to say musically. I think classical composers have said a lot more than anybody in the last 20 years has in pop. One Tchaikovsky concerto says a lot more than Sgt. Pepper as far as I’m concerned. It’s very limiting to write lyrics and melodies and chord changes. And I’m getting real bored with that, to tell you the truth.”

Some may well hear that as pompous, as Fogelberg feared. I don’t. I hear it as him moving past the overt influences that were part and parcel of his sound up until this point of his career and establishing his own style. His first three albums, at least to my ears, mimicked Crosby, Stills & Nash and/or the Eagles, trading in harmonies and similar song constructions, with lyrics that often weren’t up to snuff. The subjects were love in all its many splendors, from unrequited to found to heartbreak.

But by age 25, which is how old he was when writing and recording Nether Lands, he’d been there, done that. The album expands upon his musical palette, adding elements of classical to his country-folk-rock hybrid. It wasn’t his first attempt at doing so, mind you; the lead-off track to his previous LP, 1975’s Captured Angel, opened with the string-heavy “Aspen,” after all, and strings accent several tracks on Souvenirs. The same holds

DJ: Dan, you have a remarkable new album out, The Innocent Age. You've gotten tremendous fan response, but it's too soon for critical response. Do you ever anticipate that (critics reviews) with one attitude or another? 
DAN: No, when it goes to number 5 in the 3rd week I couldn't really care what the critics say.

DJ: You're not really hurt then by things (the critics say)? 
DAN: Naw, we've been doing it too long. Anytime you do a project of this scope and you take this much of a risk with a project, you know you're gonna get some bad shots. We already wrote half the reviews of this while we were making it 'cause we knew what people would say. I don't care. The personal success for me comes from making the album the way I want to and making it come out the way I want it to. After that it's like one of my children. I'm not responsible for it any longer. If someone criticizes my child it's gonna hurt me a little bit, but it's my child, you know, and I love it regardless.

DJ: Every time I've spoken to you about a new record, I can see the involvement is so close to the center of the person, that you must feel open or a little naked when you put it out there. 
DAN: Oh, absolutely. That's what I do. That's my job. That's my life, my means of expression, my psychotherapy. I put everything I can into a record. That's what art is for. I take a risk every time I do one with my whole being. I went through some real hard times with this record to get it out and get it down the way I wanted to. To commit to a double project this personal was pretty strange. It was a tough, tough project, but I'm very pleased with it.

DJ: It kind of bucks the trend. With everyone leaning a little more on their harder edge, suddenly Dan Fogelberg reaches down in to find a softer edge. 
DAN: Well, I don't really pay enough attention to wha