Singer/songwriter Richard Swift's lo-fi. Before the full-length Atlantic Ocean. Free digital download. Swift's own seven-track Walt Wolfman arrived in. Watch the video for The Atlantic Ocean from Richard Swift's The Atlantic Ocean for free, and see the artwork, lyrics and similar artists.
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Richard Swift (March 16, 1977 – July 3, 2018) was an American singer, songwriter, multi-instrumentalist, producer and short-film maker. He was the founder, owner, and recording engineer of National Freedom, a recording studio located in Oregon,[1] and worked as producer, collaborator, muse and influencer for acts including The Shins, Damien Jurado, David Bazan (of Pedro the Lion), Foxygen, Jessie Baylin, Nathaniel Rateliff, Lucius, Lonnie Holley, The Mynabirds, Wake Owl, Laetitia Sadier of Stereolab, Gardens & Villa, Cayucas, and Guster.[2][3][4] Swift was a former member of indie rock band The Shins and The Arcs.[5] He was also a part of The Black Keys' live band during their 2014–2015 tour, performing as their touring bassist and backing singer.
![]() Early life[edit]
Born in California[6] on March 16, 1977 with the name Ricardo Ochoa, into a musical Quaker family, Swift started performing and singing in churches at an early age.[7] In his youth, his family moved frequently, spending time in rural locations in Minnesota,[8]Utah, and Oregon.[6] As a teenager, he worked at a farm near International Falls, Minnesota.[9]
Career[edit]Solo[edit]
Ricardo “Dicky” Ochoa released his first solo album under the name Dicky Ochoa on Metro One Recordings in 2000. While in 2002 released an album called Company with Frank Lenz and Elijah Thomson. Also in 2002 he was a musician on the Promise Keepers Live Worship album. In 2001, Swift moved to Southern California to pursue his solo recording career.[7] That same year, he recorded Walking Without Effort, an initially unreleased album with drummer and producer Frank Lenz.[10][11] He recorded much of his early music on a four-track cassette recorder.[1] From 2002 to 2005, he released four small pressings of 'properly manufactured' 7' vinyl singles via Velvet Blue Music.[12] Swift also released The Novelist in 2003 and Walking Without Effort (recorded in 2001) in 2005[13] and combined the two albums to create the double-disc The Richard Swift Collection Vol. 1 released by Leftwing Recordings in August 2004.[10][11] He signed to indie label Secretly Canadian, who then re-released the Collection in 2005.[14] In 2007, Secretly Canadian and Polydor issued Swift's proper follow-up album, Dressed Up For the Letdown.[15][16][17][18] Later in the year Swift met Wilco frontman Jeff Tweedy during a taping of the BBC program Later..with Jools Holland.[19] Tweedy asked Swift to support Wilco on their Sky Blue Sky US tour.[20] During the tour Tweedy invited Swift to record at their Loft studios in Chicago.[21]
In October 2007, Swift started his fourth album at the Wilco Loft studios.[22] In April 2008, Secretly Canadian released a double EP named Richard Swift As Onasis.[23] In August 2008, Swift released an EP entitled Ground Trouble Jaw as a free digital download.[24] In April 2009, Secretly Canadian released The Atlantic Ocean.[7] Co-produced by Mark Ronson, the album featured special guests such as Pat Sansone, Casey Foubert (Sufjan Stevens), Sean Lennon, and Ryan Adams.[22][25] In 2011, he released another solo EP entitled Walt Wolfman.[26]
Producer and back-up artist[edit]![]()
In addition to the music recorded under his own name and producing work, he was also briefly a keyboardist in the band Starflyer 59 in 2002 and 2003,[27] playing live shows and contributing to their 2003 album Old.[28] He also fronted his own electronic music side-project, Instruments of Science and Technology.[29][30]
Swift performing with The Shins in December 2012
Swift also played on multiple Michael Knott albums, CUSH, Kat Jones, Pony Express, Damien Jurado, and worked with Frank Lenz on Frank’s solo material.
In a 2007 interview, Swift commented on his techniques as a producer and engineer, stating 'Most of my recording techniques come from looking at photos on the inside of Sly & The Family Stone or Beatles LPs, or from watching Sympathy for the Devil and thinking, 'Oh! Lucidchart torrent. That's where they put the mic!'[31] Swift is known to often provide hefty contributions as a multi-instrumentalist to the albums he produces.[13] In 2009, he began spending more time working with other artists as producer and band member. May 2010 saw the release of fellow Secretly Canadian recording artist Damien Jurado's record Saint Bartlett.[32][33] In 2010, Swift also produced The Mynabirds' What We Lose in the Fire We Gain in the Flood and co-produced Laetitia Sadier's album The Trip.[13] He joined The Shins in 2011[34] and began touring with The Black Keys as their bassist in 2014.[6] In 2015, he produced the self-titled album for Nathaniel Rateliff & the Night Sweats.[8]
Personal life and death[edit]
Swift lived in Cottage Grove, Oregon, where he met his wife, Shealynn.[35] They had three children.[9][36]
On June 19, 2018, Pitchfork reported that Swift had been hospitalized in Tacoma, Washington, recovering from an undisclosed 'life-threatening condition' and that a GoFundMe had been set up to help cover his medical expenses.[37] He died on July 3, 2018 in Tacoma.[6][38][39] Six days later, Swift's family released a statement confirming that he had suffered from alcohol addiction throughout his life, and that his death was ultimately caused by related 'complications from hepatitis, as well as liver and kidney distress.'[40]
Discography[edit]Rar Download Free XpAs a solo artist[edit]Albums[edit]Rar File Download
EPs and singles[edit]
Free Rar ExtractorBox-sets[edit]
As producer[edit]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Richard_Swift_(singer-songwriter)&oldid=910651818'
Next Tuesday (February 24), as I’ve probably mentioned before, we have Richard Swift playing Club Uncut, so it strikes me as professionally exigent to get to grips today with his new album, “The Atlantic Ocean”.
It’s very good, actually. Last summer, I blogged about Swift’s free download EP, “Ground Trouble Jaw”, which marked something of a return towards his wry piano balladeering after a bunch of crotchety experiments in the wake of his magnificently doomed major label album, “Dressed Up For The Letdown”. “The Atlantic Ocean” finds Swift back in the comforting hands of Secretly Canadian, and very much back on track. Three tracks from “Ground Trouble Jaw” fetch up here: two that I particularly drew attention to last time, “The Original Thought” and “A Song For Milton Feher”, plus the sweet Motown pastiche, “Lady Luck”. The squitting old synth that runs through “The Original Thought” is a recurring texture here, spraying around the olde-time rinky-dink of Swift’s piano playing. Initially, it’s a bit jarring, but gradually the sound starts to make sense, as a characteristically perverse twist on his early ‘70s Nilsson schtick. The title track (which I referred to last time as “I Am The Ocean”, from a live gig three years ago) is a pulsating show of Swift’s skill, a surging, beaty, artful piece that’s as catchy as anything he’s yet written. Mostly, the album seems to have been recorded in Wilco’s loft by Swift with the assistance of one of Sufjan Stevens’ myriad multi-instrumental underlings, Casey Foubert. The big exception is what we might tentatively call an all-star jam, “Ballad Of Old What’s His Name”, with Wilco’s Pat Sansone on bass, Sean Lennon channelling George Harrison, amusingly, on lead guitar, and a usefully unrecognisable Ryan Adams on backing vocals. That this shipload of supporting players – and the guest production of Mark Ronson, of all people – doesn’t change Swift’s vibe at all is quite an achievement. It’s testament, I guess, to the strength of Swift’s immensely strong musical character, a bleary-eyed gentleman of the piano, marooned halfway between Tin Pan Alley and the Lost Weekend. Like its predecessors, “The Atlantic Ocean” is a compact, beautifully-realised collection of finely-wrought songs. Everything is just-so, evidently the work of a craftsman with a vivid and satisfying idea of how his records should sound. If there’s a caveat, though, it’s that I can’t help feeling he has the capacity to make a genuinely extraordinary record, and consequently, the arrival of another one which is merely very good seems, weirdly, like something of an anti-climax. As it plays now, with “The First Time”, a driving mix of banjo, Bollywoodish strings and sleek glam guitar (or now, as I edit, with the swaying elegy of “The End Of An Age”), it seems churlish to criticise such a fine album. But Swift remains teetering on the edge of real greatness; hopefully next time he’ll entirely fulfil his promise. Comments are closed.
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