Lou Ann Barton | pt
Eileen Barton (November 24, 1924 – June 27, 2006) was an American singer best known for her apostrophic 1950 hit song, "If I Knew You Were Comin' I'd've Baked a Cake."
She was born in Brooklyn, New York. Her birthdate is often given as 1929, but a certified copy of her birth certificate shows that she was born in 1924. This was done commonly, to shave a few years from a performer's age.
Eileen's parents, Benny and Elsie Barton, were vaudeville performers. She first appeared in her parents' act at age 2-1/2, singing "Ain't Misbehavin'," on a dare to her...
Although she doesn't tour nearly as much as she probably could, Austin-based vocalist Lou Ann Barton is one of the finest purveyors of raw, unadulterated roadhouse blues from the female gender that you'll ever hear. Like Delbert McClinton, she can belt out a lyric so that she can be heard over a two-guitar band with horns. Born February 17, 1954, in Fort Worth, she's a veteran of thousands of dance hall and club shows all over Texas. Barton moved to Austin in the 1970s and later performed with the Fabulous Thunderbirds and Stevie Ray Vaughan and Double Trouble.
Although she...
Brian Manuel LeBarton (born July 11, 1979) is a keyboardist, composer, and electronic musician from Los Angeles, California.
Brian LeBarton is the keyboardist and musical director for Beck. He joined the band in 2004 for Beck's Guero tour and has toured and played on every release since, including The Information album/tour of 2006 and the Modern Guilt album/tour of 2008–9.
He played guitar, keyboards, and drum programming and sang background vocals on Beck's Grammy-nominated 2007 single "Timebomb" and worked with Beck on the soundtrack and score for the film Nacho Libre, starring Jack Black, and also on the soundtrack for...
"Let’s Get On with The Illusion," sings Barton Carroll on his fourth album, Together You and I on Skybucket Records, out January 19, 2009. It’s a song about love – but a shoulder-shrug type of love that resigns itself to "I guess this is good enough." A cynical narrative runs through the album for sure, but Carroll’s sardonic wit is coupled with lightly shuffling horns, making for happy sounding songs instead of a somber ones. His tone and sleight-of-hand songwriting skill gained him critical acclaim for his previous release, The Lost One from Pitchfork, Harp, American Songwriter and more. Is...
