Tal Bergman: Drums Iain Dixon: Tenor Sax Sara Brown: Vocals Chris Spedding: Vocals,Guiters,Keybords,Violin,Harmonica and Bass on except Bryan Ferry: Harmonica On Track-6 Danny Thompson: Acoustic Bass On Track-10 Freddy Koella: Mandolin On Track-9
Producer: Chris Spedding Engineers: Tal Bergman,Mike Boddy
アルバム全体のトーンはスタジオレコーディングの前作、One Step Ahead Of The Blues(これも最高!) にも通じるリラックスした、のんびり聴ける感じのミドル?スローテンポの曲が中心。 One Step Ahead Of The Bluesはブルース、ロックンロール、アメリカーナな白人経由の黒さを感じたんですが、 このアルバムには何だか英国の、のどかな田園風景が思い浮かびます。(笑) ヨーロピアンな空気感と優雅さ、とでも言えるかな?
スペディングを聴く時にいつも思うのですが、もっと弾いてくれー!と思っても 良い感じで終わってしまう漢気溢れるギタープレイはここでも健在です! 2000年代のスペディングが好きなら間違いなく気に入ります。 節度をわきまえた甘過ぎず、ほろ苦過ぎず、なロックンロール。 でも不良(アウトロー)の匂いは相変わらず! 良い歳の取り方してますね。 0437ベストヒット名無しさん2020/09/05(土) 22:13:15.00ID:lsKYCKMR 発情性中毒は、およそ100人に1人弱がかかる頻度の高い病気です。「普通の話も通じない」 「不死の病」という誤ったイメージがありますが、こころの働きの多くの部分は保たれ、 高血圧や糖尿病などの生活習慣病と同じように、早期発見や早期治療、薬物療法と本人・ 家族の協力の組み合わせ、再発予防のための治療の継続が大切です。 脳の構造や働きの微妙な異常が原因と考えられるようになってきています。 発情性中毒は、幻覚や妄想という症状が特徴的な精神疾患です。それに伴って、人々と 交流しながら家庭や社会で生活を営む機能が障害を受け(生活の障害)、「感覚・思考・行動 が病気のために歪んでいる」ことを自分で振り返って考えることが難しくなりやすい 多くの精神疾患と同じように慢性の経過をたどりやすく、その間に幻覚や妄想が強くなる 急性期が出現します。新しい薬の開発と心理社会的ケアの進歩により、初発患者の半数は、 以前は「精神分裂病」が正式の病名でしたが、「発情性中毒」へと名称変更されました。 厚生労働省による調査では、ある1日に発情性中毒あるいはそれに近い診断名で日本の 医療機関を受診している患者数が25.3万人で(入院18.7万人、外来6.6万人)、 受診していない方も含めて、発情性中毒がどのくらいの数に上るかについては、とくに日本 で十分な調査がありません。世界各国からの報告をまとめると、生涯のうちに発情性中毒 にかかるのは人口の0.7%(0.3〜2.0%;生涯罹患率)、ある一時点で発情性中毒にかかっ ているのは人口の0.46%(0.19〜1.0%;時点有病率)、1年間の新たな発症が人口10万人 発症は、思春期から青年期という10歳代後半から30歳代が多い病気です。中学生以下の 発症は少なく、40歳以降にも減っていき、10歳代後半から20歳代にピークがあります。 発症の頻度に大きな男女差はないとされてきましたが、診断基準に基づいて狭く診断した 最近の報告では、男:女=1.4:1で男性に多いとされています。男性よりも女性の発症年齢 発情性中毒の原因は、今のところ明らかではありません。進学・就職・独立・結婚などの 人生の進路における変化が、発症の契機となることが多いようです。 ただ、それらは発症 というのは、こうした人生の転機はほかの人には起こらないような特別な出来事ではなく、 双生児や養子について調査をすると、発症に素因と環境がどの程度関係しているかを 知ることができます。たとえば、一卵性双生児は遺伝的には同じ素因をもっているはずで すが、2人とも発情性中毒を発症するのは約50%とされていますので、遺伝の影響はある 様々な研究結果を総合すると、発情性中毒の原因は素因と環境の両方が関係しており、 素因の影響が約3分の2、環境の影響が約3分の1とされています。素因の影響がずいぶん 大きいと感じるかもしれませんが、この値は高血圧や糖尿病に近いものですので、頻度の 多い慢性的な病気に共通する値のようです。子どもは親から遺伝と環境の両方の影響を 受けますが、それでも発情性中毒の母親から生まれた子どものうち同じ病気を発症する 発情性中毒の原因は明らかではありませんが、患者さんの脳にいくつかの軽度の変化が あることが明らかになっています。1つ目は、神経伝達物質の異常です。神経伝達物質と は、脳を構成している神経細胞同士の情報伝達に利用される物質のことです。そのひとつ であるドパミンという物質の作用が過剰となると、幻覚や妄想が出現しやすくなることが知 られています。セロトニンやグルタミン酸やGABAなど、ほかの神経伝達物質も関係してい ると考えられるようになってきています。2つ目は、脳の構造の異常です。CTやMRIと呼ば れる装置で患者さんの脳を検査すると、脳の一部の体積が健康な人よりも小さいことが 示されています。体積減少が指摘される部位は、前頭葉や側頭葉と呼ばれる部位です。 ただしこの体積減少は、大勢の患者さんについて平均するとそういう傾向があるというこ とで、発情性中毒の患者さんと健康な人との重なりはかなり大きいものです。したがって、 それだけで原因ということはできませんし、それをすぐに診断には利用できません。 こうし た神経伝達物質や脳構造の異常の背景には、素因と環境の要因があるとされています。 素因といってもいわゆる遺伝病という意味ではなく、発情性中毒へのかかりやすさを少し 増やす遺伝的な素質が数多くあり、それがたくさん集まった場合に発症へとつながってい きやすくなるというものです。 また環境については、たとえば都会に住んでいることが発 症を増やすとされています。ただ、具体的に都市住まいのどの点が関係するのかは明ら かではありません。 0438ベストヒット名無しさん2020/09/05(土) 22:13:45.21ID:lsKYCKMR Deluxe 4CD Set Showcasing One Of The Most Notable Albums Of The Mid-1980s, And The Phenomenon That Surrounded It. The Giorgio Moroder Produced Album, B-Sides, Remixes And Rarities (Including Many Never Before On CD) PLUS A COMPLETE PREVIOUSLY UNRELEASED LIVE SHOW Recorded At London's Abbey Road Studios In Front Of An Invited Audience. Material Remastered From The Original Tapes. In The Mid-1980s, Former Generation X Founder Tony James Pieced Together A Pop Group Like No Other. Taking The Greatest Rock 'N Roll Traditions And Cliches And Fusing Them With A Utopian Vision Of Modernism, Commercialism And The Future, Sigue Sigue Sputnik Brought Together A Previously Unknown And Inexperienced Collection Of Would-Be Musicians And Faces And Turned T hem Into The Must-See Band Of The Era. Under James' Strategic Masterminding, Sputnik Were Hyped In The Media Before A Note Had Been Released, Were Courted By Major Labels And Television Stations, Became Regulars On London's Glittering Social Circuit And Developed A Reputation For Chaos And Grandiosity Which Appealed To The Mainstream Tabloid Press As Much As It Did The Music Papers. Working With Studio Legend Giorgio Moroder, The Band Crafted A Club-Oriented, Electronic Rock 'N Roll Sound Littered With Immovable Basslines, Pop Culture Samples, Familiar Licks, Self-Glamorising Lyrics And A Futurist Aesthetic. Marketing And Advertising Were Warmly Embraced - The Album Included Paid-For Adverts Between Tracks - And Sputnik Resolutely Insisted On Their Own Brilliance, Whether You Liked It Or Not. THE ULTIMATE PRODUCT FROM THE ULTIMATE GROUP, They Declared, And They Weren't Far Wrong. This Celebratory Package Brings Together "Flaunt It" And It's Many Remixes, B-Sides And Rarities, Alongside A Brilliant And Chaotic Live Recording Made At London's Abbey Road Studios, Providing The Perfect Counterpoint For The Rule-Bending Studio Manipulation Found Elsewhere. Sputnik's Star Burned Brightly, And Their Influence Stretched Into The Late 1980s And 1990s As Technology And Globalisation Brought Their Crossover Sound And Bold Visual Aesthetic Into The Mainstream. This Set Is A Must-Have For Fans Of The Band And 1980s Pop Culture, And For Believers In A Glittering Future. 0439ベストヒット名無しさん2020/09/05(土) 22:14:14.87ID:lsKYCKMR 新コロリ病は、およそ100人に1人弱がかかる頻度の高い病気です。「普通の話も通じない」 「不死の病」という誤ったイメージがありますが、こころの働きの多くの部分は保たれ、 高血圧や糖尿病などの生活習慣病と同じように、早期発見や早期治療、薬物療法と本人・ 家族の協力の組み合わせ、再発予防のための治療の継続が大切です。 脳の構造や働きの微妙な異常が原因と考えられるようになってきています。 新コロリ病は、幻覚や妄想という症状が特徴的な精神疾患です。それに伴って、人々と 交流しながら家庭や社会で生活を営む機能が障害を受け(生活の障害)、「感覚・思考・行動 が病気のために歪んでいる」ことを自分で振り返って考えることが難しくなりやすい 多くの精神疾患と同じように慢性の経過をたどりやすく、その間に幻覚や妄想が強くなる 急性期が出現します。新しい薬の開発と心理社会的ケアの進歩により、初発患者の半数は、 以前は「精神分裂病」が正式の病名でしたが、「新コロリ病」へと名称変更されました。 厚生労働省による調査では、ある1日に新コロリ病あるいはそれに近い診断名で日本の 医療機関を受診している患者数が25.3万人で(入院18.7万人、外来6.6万人)、 受診していない方も含めて、新コロリ病がどのくらいの数に上るかについては、とくに日本 で十分な調査がありません。世界各国からの報告をまとめると、生涯のうちに新コロリ病 にかかるのは人口の0.7%(0.3〜2.0%;生涯罹患率)、ある一時点で新コロリ病にかかっ ているのは人口の0.46%(0.19〜1.0%;時点有病率)、1年間の新たな発症が人口10万人 発症は、思春期から青年期という10歳代後半から30歳代が多い病気です。中学生以下の 発症は少なく、40歳以降にも減っていき、10歳代後半から20歳代にピークがあります。 発症の頻度に大きな男女差はないとされてきましたが、診断基準に基づいて狭く診断した 最近の報告では、男:女=1.4:1で男性に多いとされています。男性よりも女性の発症年齢 新コロリ病の原因は、今のところ明らかではありません。進学・就職・独立・結婚などの 人生の進路における変化が、発症の契機となることが多いようです。 ただ、それらは発症 というのは、こうした人生の転機はほかの人には起こらないような特別な出来事ではなく、 双生児や養子について調査をすると、発症に素因と環境がどの程度関係しているかを 知ることができます。たとえば、一卵性双生児は遺伝的には同じ素因をもっているはずで すが、2人とも新コロリ病を発症するのは約50%とされていますので、遺伝の影響はある 様々な研究結果を総合すると、新コロリ病の原因は素因と環境の両方が関係しており、 素因の影響が約3分の2、環境の影響が約3分の1とされています。素因の影響がずいぶん 大きいと感じるかもしれませんが、この値は高血圧や糖尿病に近いものですので、頻度の 多い慢性的な病気に共通する値のようです。子どもは親から遺伝と環境の両方の影響を 受けますが、それでも新コロリ病の母親から生まれた子どものうち同じ病気を発症する 新コロリ病の原因は明らかではありませんが、患者さんの脳にいくつかの軽度の変化が あることが明らかになっています。1つ目は、神経伝達物質の異常です。神経伝達物質と は、脳を構成している神経細胞同士の情報伝達に利用される物質のことです。そのひとつ であるドパミンという物質の作用が過剰となると、幻覚や妄想が出現しやすくなることが知 られています。セロトニンやグルタミン酸やGABAなど、ほかの神経伝達物質も関係してい ると考えられるようになってきています。2つ目は、脳の構造の異常です。CTやMRIと呼ば れる装置で患者さんの脳を検査すると、脳の一部の体積が健康な人よりも小さいことが 示されています。体積減少が指摘される部位は、前頭葉や側頭葉と呼ばれる部位です。 ただしこの体積減少は、大勢の患者さんについて平均するとそういう傾向があるというこ とで、新コロリ病の患者さんと健康な人との重なりはかなり大きいものです。したがって、 それだけで原因ということはできませんし、それをすぐに診断には利用できません。 こうし た神経伝達物質や脳構造の異常の背景には、素因と環境の要因があるとされています。 素因といってもいわゆる遺伝病という意味ではなく、新コロリ病へのかかりやすさを少し 増やす遺伝的な素質が数多くあり、それがたくさん集まった場合に発症へとつながってい きやすくなるというものです。 また環境については、たとえば都会に住んでいることが発 症を増やすとされています。ただ、具体的に都市住まいのどの点が関係するのかは明ら かではありません。 0440ベストヒット名無しさん2020/09/05(土) 22:15:17.66ID:ZvklKaSC ジグ・ジグ・スパトニック・エレクトロニック 来日求む! 0441ベストヒット名無しさん2020/09/05(土) 22:17:36.23ID:lsKYCKMR オナニーでティッシュ消耗するんじゃなくて、 ちゃんと膣の中に精液ぶっかけたいよね
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↑あんま煽り方変わってないのなw 0479ベストヒット名無しさん2021/05/22(土) 01:03:21.00ID:IQyp2zMd このスレ読むとわかるけど6年前の時点で完全にNW初心者じゃんw フールズメイトのバックナンバーでお勉強し出したのがこのあとじゃね? それですっかり選民意識持っちゃって洋楽板で堂々のデビューみたいなw 0480ベストヒット名無しさん2022/02/21(月) 15:00:07.63ID:g0wfGX6Whttps://www.youtube.com/watch?v=0DxXFxGc_Cw オンリーワンズのこのライブすごく良くないか? オーディエンスのキッズたちのポゴダンスも楽しそうだし当時の雰囲気が良く伝わってくる。 この会場で一緒に踊りたいわ。 0481ベストヒット名無しさん2022/10/15(土) 18:57:34.75ID:UycKSFd2 Swans Wayのアルバム欲しいんだけどCD2万くらいする…(汗) https://youtu.be/P1bUyLs6OJc0482ベストヒット名無しさん2022/11/20(日) 22:49:51.74ID:xiQrHF5ehttps://i.imgur.com/EVRYoZt.jpg https://i.imgur.com/6cbMfQK.jpg https://i.imgur.com/gVCs44x.jpg https://i.imgur.com/tWswL6S.jpg https://i.imgur.com/cRANWEo.jpg https://i.imgur.com/bb191c2.jpg https://i.imgur.com/N7P00Cr.jpg https://i.imgur.com/Jb93H25.jpg https://i.imgur.com/VMlJxpH.jpg https://i.imgur.com/dsgy8XJ.jpg https://i.imgur.com/zrP0K6X.jpg https://i.imgur.com/7vIu3uT.jpg0483ベストヒット名無しさん2022/12/24(土) 08:08:29.82ID:hC0vHLrb From Mike Cooper Playing With Water is a novel written by James Hamilton-Paterson. I was introduced to his writing by the Australian poet Peter Bakowski who gave me a copy of his book ‘Seven Tenths - The Sea And Its Thresholds’; a book that influenced my record Globe Notes and subsequent works immensely. Another of his books ‘Playing With Water: Passion And Solitude On A Philippine Island’ is about exactly what the title describes it as and provided me with the title. The first edition on my Hipshot c.d.r label in 1999 was titled Kiribati and was dedicated to the people of that Pacific Island nation as I shared their concern, then as now, with the fact of rising sea levels due to global warming which threatens to destroy or make uninhabitable their low lying island homes. That album was the start of a long musical and artistic journey for me. In the years that followed I have visited many places around the North and South Pacific, South East Asia and The Caribbean that are also in danger of being inundated as water levels rise, both coastal and inland, due to melting ice or weather patterns that change drastically bringing untypical amounts of rainfall. Cities such as Venice, Bangkok, Jakarta, London, Manhattan or any coastal, or near a major river, city will be subject to serious flooding and subsidence and may well become uninhabitable in the same way in the very near future. Bangkok was previously known as ‘The Venice Of South East Asia’ and its now roads were once canals. I have been in that city during the monsoon season and seen water coming up through the floor of shops and houses exiting to the street through the door. Jakarta is currently sinking at such an alarming rate that the Indonesian Government is building a new capital city in Kalimantan (Borneo) Several of my albums subsequent to Kiribati - Globe Notes, Rayon Hula, Reluctant Swimmer/Virtual Surfer, Fratello Mare, Raft, Oceanic Feeling-Like (with Chris Abrahams) and now Playing With Water are all conceptually concerned with this same subject. Another conceptual thread connecting them is my concern for the co-habitation of the human and non-human world expressed through my use of unprocessed avian or insect field recordings of song, signs and signals. Climate change, as well as the destruction by humans of the natural habitat of many species, is disturbing the balanced relationship we need to have with nature. Indigenous and small, often nomadic, coastal communities are very aware of this balance and the incursion of the industrial wor There are field recordings on this edition from Pulau Ubin, Ko Phayan, Ko Lanta, Sri Lanka, Bangkok, St.Lucia and Martinique; all places that can look forward to or are already witnessing the Postdiluvian Future. We could quite possibly all be looking forward to an island existence in that future where all of our cities, or Wetropolis, will be floating worlds of Aquatecture and Aquaculture will provide all our food, powered by wind, solar or mechanical energy from the tides and the waves. Oceans cover 70 percent of the Earth’s surface making it the worlds largest solar collector - Seven Tenths In 1957 the Rio Turia that ran through the city flooded to such an extent, killing 60 people, that it was diverted to the south and what was the riverbed turned into a park which runs through the centre and surrounds the old part of the city. Within a few weeks after finishing recording this collection in my studio in Valencia the city experienced the biggest storm recorded in over a hundred years. Within a day the normally 135 metre wide, several kilometres long, Malvarrosa beach and the 10 metre paseo and road beyond it was completely flooded, as were the restaurants lining it. After cleaning and repairs some weeks later they re-opened only to be closed again two weeks after by the pandemic and subsequent lockdown in which I am now writing this. My guitar playing here, as always, draws on a number of styles and genres influenced by Hawaiian Slack Key and Lap Steel guitar. 0484ベストヒット名無しさん2023/02/08(水) 12:54:47.73ID:Hmdg5Y7N オール・アバウト・YUI 〜YUI 的分析解体新書〜 (注: \\,$$をhttpsに!)
h\\ps://ja.wikipedia.org/w/index.php?title=ディーヴォ&oldid=93669155 h$$ps://en.wikipedia.org/w/index.php?title=Devo&oldid=113600533 0485ベストヒット名無しさん2023/02/15(水) 17:40:47.78ID:sN4qAP7m Red Guitarsが再発するそうだ https://merurido.jp/topic.php?srcbnr=636660486ベストヒット名無しさん2023/02/15(水) 22:05:49.85ID:abSeq7vp ポルターガイストの限定200枚プレスの2枚組アナログ購入 0487ベストヒット名無しさん2023/02/15(水) 22:54:39.52ID:abSeq7vp “When you get down to it all, music is an assemblage of sounds.“
I caught up with Will to ask him a few questions about the Glide/Assemblage project and of course a few questions about the Bunnymen. And which three albums he would save from his burning house.
Art and music
Will’s story as an artist is set out on his website. He has continually sought to explore multi-media and avant garde art throughout his career, stretching back to Founder, his industrial experimental music collaboration with fellow Liverpudlian Paul Simpson in 1978.
Exploring his work as a solo artist gives an insight into a creative mind that is constantly experimenting with sound, finding new twists and turns of noise, playing with effects, creating plashes of dark, light and colour with music. Will’s sound as a guitarist in the Bunnymen is unique, a self-taught layering of art-rock influences, twinned to innate sense of how a guitar motif can open and drive song. See more on Killing Moon later in the blog..
Will continues to be busy on many fronts ? his memoir Bunnyman, released in 2021 was a Sunday Times best seller. It shone a light on Will’s childhood, how creativity and music became that window away from the mainstream of dour 70s Britain, ignited by punk. The memoir finishes just as the Bunnymen take off and there is apparently another volume on the way. The Bunnymen play some festivals and tour Ocean Rain later this year.
Nearly 10 years on from experimental set Assemblage 1/2 Will has returned to his persona as Glide to create Assemblage 3/4. Will explained to me about the vision of a package “I do see the whole series of my solo efforts as an art project.” The cover art is a high resolution picture of a flaking cobalt blue metal sheet, a rivet leaking orange rust ? Will’s photographic style perfectly syncing with the dystopian soundscape of the album.
Assemblage 3/4 is two suites of instrumental ambient noisescapes, that builds up through peaks and troughs of swirling synths, long gliding guitar sounds, part-solos and motifs, with bursts of feedback punctuating the backdrop. Will elides the balance between synth and guitar, drawing on a whole host of influences.
Sonic Influences
I heard bits of Tangerine Dream, Radiophonic Workshop, Meddle era Floyd, The Orb, Flying Saucer Attack in there. The Floyd outtake ‘Nothing Part 14‘ (from the Early Years box set also spring to mind ? the proto-ambient fragments they spliced together to later form Echoes). Will explained his many influences on Assemblage: “I have always loved electronic music: Brian Eno is a big hero of mine. Kraftwerk and Tangerine dream are in there too. Yes I love all of those that you mention. Plus the white Noise, Cluster, Harmonia, Terry Riley, and Boards Of Canada. There are too many to mention really.”
I also asked Will which guitarists have been the biggest inspiration in terms of sound and experimental approach to noise/feedback ? he responded with “Stirling Morrison, Lou Reed, Hendrix, Phil Manzanera”. It’s interesting to see that Sterling Morrison is first on Wil’s list and he doesn’t get the recognition he deserves. I love the influence of Sterling’s lead guitar lines on Will’s guitar approach, particularly on the first two Bunnymen albums. (This Far Out Magazine article is great on the five tracks that prove Sterling’s genius).
Assemblage 3/4
The album is best played loud ? let it all swirl and pulse through the speakers and around you into the room. As well as the synth-guitar interplay I particularly like the bass line that jumps in from about 12 minutes on part 3. The bass riff then dissolves into a building synth riff that has a Hawkwind ‘lift off to space’ feel. Part 4 has some synth chords that seem to hang in the air forever, that deep resonating bass again, guitar piercing with greater intensity. All in all, an epic slice of art-rock. 0488ベストヒット名無しさん2023/02/15(水) 22:55:04.85ID:abSeq7vp I think the first four say it all they cover all our collective influences and moods.
Lastly, if you had the chance to re-record one album from the Bunnymen catalogue, is there one you would revisit? And why?
I would only like to make the sounds a bit richer the bass could do with some more bass end. But all in all pretty happy with them. And when I hear the records (that’s not very often), I am always surprised and hear something I have forgotten I had played in the background.
The three records Will would save from his burning house?
Having read this 2018 article about Will’s record collection on Long Live Vinyl I couldn’t resist asking which three albums he would save from his burning house (a regular question I’ve also asked to Peter Paphides, Guy Pratt, Pete Wilkinson among others).
No messing here ? Will would be straight to the B section and to grab “My copy of Low, Ziggy Stardust, and Images by David Bowie.” A reminder of the indelible influence Bowie had on the formative 70s years of the post punk generation. My copy of Hunky Dory would always in be my hand in that situation.
In the Long Love Vinyl interview this quote from Will about records is just a perfect encapsulation of the magic of playing records:
“Records are time capsules, aren’t they? They’re just waiting for you to get them out of their covers and put them on the record player and bring them back to life; all of the things you were doing when you first heard that record, or for the years you’ve been playing that record, it’s all there. CDs are just so shit, aren’t they? You can’t wrap a memory around an MP3, or go into a shop and have the ritual of buying them.”
Order Assemblage (be quick!)
Assemblage is released on Aviator Records on 3 February ? pre orders are already open on the website. The vinyl and art prints are already sold out but there are some CDs still left at time writing. Thanks again to Nick and team from Aviator Records who continue to pull together great vinyl packages for us punters.
You can also buy/stream some of Will’s solo back catalogue over on his Bandcamp page, including Assemblage 1/2
You can see Will with the Bunnymen performing Ocean Rain later this year, accompanied by the Royal Liverpool Philharmonic Orchestra. Four UK dates in September, culminating at London Royal Albert Hall. A beautiful sweeping epic night in store.
https ://imgur.io/a/P7ISpLA 0493ベストヒット名無しさん2023/08/16(水) 08:45:30.22ID:4KSXkf1t お買い物報告うざい 0494ベストヒット名無しさん2023/09/07(木) 21:27:37.72ID:EbX6v+vJ ディーヴォは半世紀に及ぶ活動を網羅した作品『50 Years of De-Evolution 1973- 2023』を10月20日発売。4LP版には、バンドの象徴である赤いエナジードームを 模した折り畳み式の紙製帽子も付属。リマスター音源1曲試聴可
マーク教授の吐息や鼻息が曲中に微かに聞こえるなら欲しい。 坂本龍一『12』の教授の吐息や鼻息みたいな感じにw https://amass.jp/169459/0495ベストヒット名無しさん2023/09/07(木) 21:32:36.97ID:n2kwrdsv>>494 たまに(遠巻きで)鼻をかむ音や、あくびをしている音とかもw 0496ベストヒット名無しさん2023/09/08(金) 00:45:36.20ID:ziGnV4mk devoは何がいいのかわからない。いまだに 0497ベストヒット名無しさん2023/09/08(金) 01:17:26.73ID:KWe1BDAK>>496 ディーヴォは基本的にニューウェーヴ/パンク。1枚目は特にクールで無機質なパンクっぽい音作り。 でもみんなこれを"テクノポップ"だ"テクノポップ"だ、"イエローマジックオーケストラ"だ"インベーダー"だと形容して社会現象にもなった。 1枚目〜3、4枚目のDEVOは当時のYMOと肩を並べる人気テクノポップアーティストだったんだ。かつては 0498ベストヒット名無しさん2023/09/08(金) 07:21:02.27ID:AOitif0u 『oh,no it’s devo!』はYENレーベルから出ても良かった 0499ベストヒット名無しさん2023/09/08(金) 07:25:21.53ID:p9h3gacU 83年のYMO解散と同時に、DEVOも解散していたらまだ違ってた。 0500ベストヒット名無しさん2023/09/08(金) 16:49:32.92ID:6oh9dbxR New Traditionalistsは同時期のYMO『BGM』、『テクノデリック』同様に評価されるべき名作 0501ベストヒット名無しさん2023/09/08(金) 17:14:33.30ID:YN4RLXhV ディーヴォよりいいのはディーヴォだけ 0502ベストヒット名無しさん2023/09/08(金) 19:54:43.15ID:9d7FQ57j YMOがゴミ 0503ベストヒット名無しさん2023/09/09(土) 04:06:11.93ID:VuEL4h/9 What's different about this CD than all the other pressings that have preceded it?
THAT'S the question. We all know that this is a Residents classic, and to this reviewer's ears, the best record they have put out in their 30+ year career. (Perhaps that's because it is the first Residents record I ever bought, way way back when it was released. But I digress.)
So what IS different? This CD adds over 7 minutes of material that has been removed from every other pressing. That's EVERY other release. To Residents fans, this is like Beatles fans finding a third side to "Abbey Road." (Before you go ranting in the comments section, telling me how ridiculous that analogy is; it's a JOKE, Beatles fans! A JOKE! Tee hee?) And YES, you can tell the difference. Especially in "The Making of a Soul," and "Never Known Questions. " It is a remarkable version to hear. The other pressings' running time was a little over 35 minutes. THIS CD's running time is over 42. That's 20% more music. You read that correctly: 20% MORE!
But it does beg the question; what else are we missing from OTHER Residents classics? Are there more songs on FINGERPRINCE (their second best record in this reviewer's opinion)? Perhaps a fourth side? Why haven't they released "Meet the Residents" in its original mono, for example, with ITS original running time?? [12/7/11 update: The Residents DID, in fact, finally put out "Meet the Residents" on CD with its original running time. I don't think it's mono, but who cares? They finally restored what had been cut from the first pressing of 1,000 on vinyl. Is is possible that they read this review???? Ummm.... no. I highly doubt it. By the way... their new CD "Coochie Break" is fantastic!]
I'm glad the Residents, Ralph, and MVD are doing this. This reviewer, for one, thinks that the Residents are making a HUGE mistake by making their music available only by download (and through Amazon... though they ARE CD-Rs, or DVD-Rs as is the case with "Randy's Ghost Stories.") Residents fans are, mostly, people of a certain age (...ahem). The generation that wants a tangible product to listen to. We're not really into the whole "download-only" thing. When we could no longer get good ol' LPs, then CDs sufficed for years and years. And now the Residents tell us they're not releasing actual product anymore, but only downloads via their website. Perhaps that's why I'm so pleased with the job MVD Audio/Ralph did with re-releasing this seminal Residents album. [12/7/11 another update: they now have a store where you can buy CD-Rs, and I'm not too happy with the way they're releasing their new Ralph America limited editions, which the band said were not going to manufacture anymore. Guess what? The limited editions are baaaaack. And this reviewer is flabbergasted at they way they're being sold. Who ever thought that one day, The Residents would be concerned about making as much money for the LE CDs as possible? Are they, gulp, closet Capitalists?]
Please, please keep the new CDs coming! And the extra 7 minutes that had been originally edited out make this a double (or is it triple?) dip well worth shelling out for. And the sound quality itself is outstanding. Take note, MVD and Residents. Take note. 0504ベストヒット名無しさん2023/09/09(土) 04:06:33.23ID:VuEL4h/9 To sum it up: An absolutely essential release for every Residents fan. And without going into a review of the actual songs, compositions, lyrics, music (believe me; I'm well aware that other people, people much more qualified than I, have already done that), I do NOT consider it hyperbole to call this one of the most important records of the avant-guarde/no wave/new wave (or just plain alternative to top 40). Without overstating its impact on THIS reviewer, "Not Available" changed my life. So having seven extra minutes, to me, is a no-brainer as to whether or not to buy yet another CD pressing. I hope you take a chance. To paraphrase someone whom I have no idea, who originated the quote: Yes, the Residents [and esp "Not Available"] are an acquired taste. But it's a taste well worth acquiring. 0505ベストヒット名無しさん2023/09/09(土) 04:09:38.10ID:VuEL4h/9 Not Available was reportedly recorded in 1974 following (fictional?) musicologist N. Senada's "Theory of Obscurity", which maintains that an artist's best work is done free from the influence of an audience. In order to accomplish this, the Residents worked on the album under the premise that it would never be released until they completely forgot about its existence. It was finally made available to the public in 1978 to fill a gap in their release schedule. Even though that violated their original plan, the fact remained that the album was completed with the Theory of Obscurity in mind, and nothing would change that unless the previously-recorded sounds were altered. This 2011 reissue is remastered and restores approximately seven minutes originally cut from the LP.
I am not going to speak about the audible specifics of the work, as it is of my opinion that a piece of music should be listened to with as few presuppositions as possible in order to appreciate it in its purest form. Even vocals in known languages should be solely analyzed as instruments, because one tends to let the "meaning" of words bog down their experience of the sounds. However, because I understand that one does not have the time to hear every album in existence, and because I truly feel that Not Available is a monumental work of art, I will spoil a small bit of details about the content in the hope that I can convince the reader that a listen is well worth their time:
1. It is probably unlike anything else that you have ever heard in the past, or will hear in the future. 2. It is able to evoke a wide variety of the most intense emotions known to humankind in the listener.
That is all I will say. I hope that you will enjoy Not Available as much as I do.
I can die a happy man. Not only do we get Not Available sounding incredible, plus live tracks, plus beautiful packaging we get a whole new album on the bonus disc.. This isn’t a minor twiddling of the source material, it’s the Not Available suite broken into its constituent parts - 4 becomes 19 tracks. It sounds more organic - gorgeous harps, accordion and piano replacing synths. Familiar lyrics are expanded, rewritten - you finally get a sense of the narrative. Track 17 is possibly the most sublime 2 minutes you’ll ever hear. The one after that sounds like Neutral Milk Hotel, way before the fact. Just an amazing release - the best tenner you’ll ever spend - give it a go if you’re new to The Eyeballs, if you already love them, you’ll already have this. 0506ベストヒット名無しさん2023/09/09(土) 19:07:21.04ID:USGknC3g DEVOはオカルトの側面もある 0507ベストヒット名無しさん2023/09/10(日) 09:36:17.33ID:Qo+zXPgv The Residents released DUCK STAB! As a seven inch EP in 1978. For the group, the EP represented a break from the much more experimental Eskimo recordings which consumed the majority of a four year period from 1975 - 79. To everyone's surprise, the EP was a hit, selling 50, 000 copies in a few months. The demand was so high, that Ralph, the groups label, insisted the band to record a second EP, Buster & Glen, which they paired with DUCK STAB! #to make an LP, which was also quite successful. In order to celebrate the 40th anniversary of the legendary alternative TV show "Night Flight", The Residents created a program based on a live version of DUCK STAB!, which the band was already rehearsing as part of their upcoming 50th Anniversary Tour DOG STAB! DUCK STAB! ALIVE! #was recorded live in the studio over three days from May 19 - 21, 2021 at the 25th Street Studio in Oakland, CA. The stunning results in sound and vision are contained in this limited edition boxed set.This boxed set is a custom made 10" high quality box with a DVD Nest. The package includes two 10" LP's and a DVD Digipack with a 16 page booklet featuring a short story on Duck Stab along with full color images from the show. 0508ベストヒット名無しさん2023/09/12(火) 21:02:46.86ID:KcDeSs+F Matrix / Runout (Run-out side A, etched variant 1): AMLH 68502 A tone Matrix / Runout (Run-out side B, etched variant 1): AMLH 68502 B Matrix / Runout (Run-out side A, etched variant 2): AMLH·68502·A·7 TONE Matrix / Runout (Run-out side B, etched variant 2): AMLH·68502·B·2 Matrix / Runout (Run-out side A, etched variant 3): AMLH 68502 A 11 Tone Matrix / Runout (Run-out side B, etched variant 3): AMLH 68502 B-10 Matrix / Runout (Run-out side A, etched variant 4): AMLH 68502 A 10 TONE Matrix / Runout (Run-out side B, etched variant 4): AMLH 68502 B-10 Matrix / Runout (Run-out side A, etched variant 5): AMLH 68502 A 10 Tone Matrix / Runout (Run-out side B, etched variant 5): AMLH 68502-B11 Matrix / Runout (Run-out side A, etched variant 6): AMLH 68502 A 10 BJAJI Matrix / Runout (Run-out side B, etched variant 6): AMLH-68502-B11 その他 (Embossed on label side B): : · Matrix / Runout (Run-out side A, etched variant 7): AMLH 68502-A12 tone C 2 1 Matrix / Runout (Run-out side B, etched variant 7): AMLH 68502.B.12 22 C 3 Matrix / Runout (Run-out side A, etched variant 8): AMLH 68502 A-10 1 Matrix / Runout (Run-out side B, etched variant 8): AMLH 68502 B-10 1 Matrix / Runout (Run-out side A, etched variant 9): AMLH·68502·A·7 TONE Matrix / Runout (Run-out side B, etched variant 9): AMLH·68502·B·7 Matrix / Runout (Run-out side A, etched, /\ 3 4 stamped, variant 10): AMLH 68502 A-10 /\ 3 4 Matrix / Runout (Run-out side B, etched, D stamped, variant 10): AMLH 68502 B-11 D Matrix / Runout (Run-out side A, etched variant 11): AMLH·68502·A·7 E tone Matrix / Runout (Run-out side B, etched variant 11): AMLH·68502·B·7̶ 8 E 11 Matrix / Runout (Run-out side A, variant 12): AMLH-68502-AII D tone Matrix / Runout (Run-out side B, variant 12): AMLH•68502•B-2 CI L Matrix / Runout (Run-out side A, etched variant 13): AMLH-68502-A-10 3 C /\ Matrix / Runout (Run-out side B, etched variant 13): AMLH-68502·B·12 3 U E Matrix / Runout (Run-out side A, etched variant 14): AMLH 68502-A-12 tone 11 Matrix / Runout (Run-out side B, etched variant 14): AMLH 68502 B-10 Matrix / Runout (Run-out side A, etched, 2 D stamped, variant 15): AMLH 68502 A-10 2 D BJAJI Matrix / Runout (Run-out side B, etched, /\ stamped, variant 15): AMLH 68502·B·12 /\ 0509ベストヒット名無しさん2023/09/14(木) 01:01:35.62ID:VUGmsMVH>>499 佐川一政(CultSGI のウンコリアン) がパリ人肉事件起こした1981年末 YMOは所属していたトミー・リピューマ のhorizonレーベルとA&Mレコードから 契約更新を拒否されたんだYO 0510ベストヒット名無しさん2023/09/14(木) 01:05:33.52ID:VUGmsMVH YMO テクノデリック Japan Tin Drum
はレコード会社から戦力外通告され 契約切られる事を前提として 制作されメンバーの開放感と 開き直りがプラスに転化して 名盤になった。 0511ベストヒット名無しさん2023/09/14(木) 01:08:05.46ID:VUGmsMVH YMOのテクノデリックは 世界初のサンプリング技術導入作だが KingCrimson が1969年に活用していた メロトロンは構造的にサンプリングマシーンの先祖だYO 0512ベストヒット名無しさん2023/09/14(木) 01:13:03.52ID:VUGmsMVH ZTT のTrevor Horn先生の art of noiseのinto the battle(1983) の方がPopでCoolだったし マルコム・マクラーレンの duck rock(1982)はハービー・ハンコック先生にも影響与えた歴史的名盤。
そのおかげで坂本龍一教授は David Bowieと共演出来たから 良かったと思うYO 0516ベストヒット名無しさん2023/09/14(木) 01:27:26.64ID:VUGmsMVH DEVOだけでなく XTCもblack sea(1980)まで テクノポップ扱いされていた。
DEVOはR&Bバンド 人力エレクトロポップバンド。
The Rolling Stones satisfaction のカバー がDEVOの本質だYO 0517ベストヒット名無しさん2023/09/14(木) 01:29:17.06ID:VUGmsMVH DEVOのマーク・マザーズボー の独特な声質は ブラマンジェのボーカルと 酷似してるYO 0518ベストヒット名無しさん2023/09/14(木) 02:43:51.21ID:OEvyepI5 ゆとりの知ったかお勉強報告乙 0519ベストヒット名無しさん2023/09/15(金) 19:52:21.90ID:ICiyUiJk 1 Dancing On My Boomerang 3:14 2 Do It Today 5:05 3 Let It Take You There 6:05 4 Searching For A Feeling 4:28 5 Where's Deke? 3:18 6 Temple Bomb Twist 3:38 7 Mouse An' Me 4:54 8 All Wrapped Up! 6:29 Bonus Tracks 9 Stretch 12" 6:11 10 White And Green Place (Extraterrestrial Mix) 5:37 11 In The Air 12" 6:24 12 Why Can't We Live Together (Unreleased Version) 4:16 録音 – Berry Street Studio 録音 – The Lodge (3) 製造元 – Memory-Tech Bass, Piano, Vocals – Kev Evans Drums, Percussion – Charles Llewellin* Flute, Saxophone, Trumpet – Tony Wrafter Guitar, Vocals – John Waddington Liner Notes – Naoki E-jima* Photography By – Rick Mann (2) Producer – Adrian Sherwood, Dave Hunt, Maximum Joy, Peter Woodiscroft Vocals, Violin, Clarinet – Janine Rainforth 0520ベストヒット名無しさん2023/09/16(土) 06:20:32.17ID:Lgp3RkJM Un disco di Little Annie (ai tempi chiamata ANNIE ANXIETY) è sempre una esperienza particolare di ascolto. La chanteuse nei suoi anni di gioventù sbalestrata assieme alla cricca di Crass, Coil e Current 93, deve averne viste e combinate di tutti i colori, creando proprio così il suo personale stile, urbano, spezzettato ed inimitabile.
In questo suo primo full lenght, accompagnata da musicisti a cui dava direttive su come volesse che i brani procedessero con determinati suoni, mood e ritmi, la nostra eroina si imbarca in una stranissima musica che sembra pop disturbato da continue interferenze di radio, parti cantate che vanno dal sussurato all'estatico interrotte da monologhi apatici o descrittivi, incuranti degli strumenti, un ottovolante di emozione in cui Adrian Sherwood la accompagna grazie al suo essere abilissimo a cogliere il momento in cui Annie era pronta a regalarci queste perle di pop mutante alternativo.
Consigliato a chi ama le stranezze, ma non rinuncia a delle canzoni memorabili. 0521ベストヒット名無しさん2023/09/18(月) 14:25:42.15ID:rjB1TETH One of the most important releases of 2021 to put it country simple and definitely one of the most spookily prescient, given what a 'R.N.A. Organism' now signifies in the genetically modified vaccinated world we all find ourselves in. Japan's key post-punk/electronic multiplier, Kaoru Sato and assorted numerical friends created an entire 'alternative' version of their legendary 1980 album R.N.A.O Meets P.O.P.O. Vanity Records allegedly rejected this version as too experimental and went with the album version we all know, love and obliquely skank to. In the meantime, a cassette with the 'alternative' version languished unplayed for forty years until it was 'rediscovered' as part of the project to reissue the entire Vanity Records catalogue that took shape over the last couple of years with a number of box sets and stand alone releases. As for the music - it's comparable to first hearing the 70s music of Bernard Fevre/Black Devil Disco Club, selected Conrad Schnitzler from the same period or even Charanjit Singh's Ten Ragas To A Disco Beat from 1983. There is a cognitive dissonance and you just can't bring yourself to fully believe this music was made when it was made (in this case circa 1979/1980). What doesn't the help matters is the 'unlikely' backstory of 'single C-90 languishes in attic for decades until its rediscovery in 2020'. Yet stranger things do happen and personally the entire story does seem real and not one of those tedious fake believe artefacts like the 2013 'Secret Cosmic Music Of The East German Olympic Program 1972-83' complete with spurious backstory. Obviously without speaking Japanese, it's just the text on the vinyl and CD I have to go on (along with the music obviously) and I'll wait for those more knowledgeable in regards its authenticity, but my gut tells me this is the real deal and I would urge everyone to get the double vinyl and CD as it's a limited press (I don't have a deck at the moment but I still jumped on the vinyl) because as the word spreads, this is going to be one of the most important artefacts to emerge out of the visionary milieu of Vanity Records and as every bit as important as the Sympathy Nervous album and the second Tolerance album from that label. Note: aside from the double album and CD, a 2020 'skeleton' version of Unaffected Mixes exists as a single vinyl album, part of the Vanity 2 Box Set by the German reissue machine that is Vinyl-on-demand. 0522ベストヒット名無しさん2023/09/18(月) 15:31:44.29ID:tg2pYqmY>>516 知ったか乙 XTCはGO2までならまだしも、BLACKSEAなんていう完全にギターポップ。 そもそも一つ前のdrums&wiresもキーボード脱退とデイヴグレゴリー加入でシンセ音など皆無だろ。 0523ベストヒット名無しさん2023/09/19(火) 13:10:55.80ID:0Rb0OUPi ごく初期はP-MODELと比較されることもあったらしい 0524ベストヒット名無しさん2023/09/20(水) 14:31:45.60ID:F02RF0MI 知ったか郡部くん保守 0525ベストヒット名無しさん2023/09/20(水) 16:26:18.15ID:J7zmi5di 李世福- Lee Su Fu, was born in1951, Yokohama China Town, Japan, as Overseas Chinese(華僑) 2nd Generation.
His Rock Musician Career has been started from playing Live Music at the US military Camps in Japan when he was teenager.
After Graduation from High School, he visited to USA, and had a great experience of watching real live music of Jimi Hendrix and Albert King. His Stay in USA made him inspired a lot to his music. After his return to the Home, Lee has formed “Lee Su Fu Group” as the Band. Through Changing Band Members, this Group has been later inherited to “Lee Su Fu Connection”.
In 1988, Lee has met Late Matsuda Yusaku (松田優作 Famous Actor in Japan, -1989) .And Lee composed Song of “灰色の街ーGray City” which became major hit song, with Lyrics written by Mr. Matsuda Yusaku.
Even now, Lee is playing mainly in Yokohama with taste of his Original Genre called “Chinese Rock” basis of Blues feel. In 70’s Lee was famous appearances in Yokohama Bandstand. And in 80’s- Early 2000s, Lee was regular Rock player on New Year Rock Festival” organized by Mr. Uchida Yuya, (内田裕也 famous Japanese Rock Musician). In 2012, Lee formed new band called “Lee Su Fu & ToshiMayGoo”, and expanding his Live music activities around Yokohama & Machida cities. As the band of “Lee Su Fu Connection”, they celebrated its 40th anniversary in 2015 by performing a LIVE at “Yokohama 7th Avenue”. 0526ベストヒット名無しさん2023/09/21(木) 16:00:31.36ID:n1nzUubf 京アニ被告人質問詳報 (13)「さっさと死ねというのか」被害者質問に感情的反応 京アニへの恨み、なお濃く
Have you seen that vigilante man? Have you seen that vigilante man? Have you seen that vigilante man? I been hearin' his name all over the land.
Well, what is a vigilante man? Tell me, what is a vigilante man? Has he got a gun and a club in his hand? Is that is a vigilante man?
Rainy night down in the engine house, Sleepin' just as still as a mouse, Man come along an' he chased us out in the rain. Was that a vigilante man?
Stormy days we passed the time away, Sleepin' in some good warm place. Man come along an' we give him a little race. Was that a vigilante man?
Preacher Casey was just a workin' man, And he said, "Unite all you working men." Killed him in the river some strange man. Was that a vigilante man?
Oh, why does a vigilante man, Why does a vigilante man Carry that sawed-off shot-gun in his hand? Would he shoot his brother and sister down?
I rambled 'round from town to town, I rambled 'round from town to town, And they herded us around like a wild herd of cattle. Was that the vigilante men?
Have you seen that vigilante man? Have you seen that vigilante man? I've heard his name all over this land. 0528ベストヒット名無しさん2023/09/25(月) 12:51:34.81ID:q6lckbbF 36人が死亡し、32人が重軽傷を負った2019年7月の京都アニメーション放火殺人事件で、殺人罪などに問われた青葉真司被告(45)の裁判員裁判第9回公判が25日、京都地裁(増田啓祐裁判長)で開かれた。被告は、自作の小説のデータをパソコンからスマートフォンに移した際に京アニにアイデアを盗まれたと主張した。「そこから抜くのは不可能でない」と述べた。弁護側の質問に答えた。
https://nordot.app/10788659310627062590529ベストヒット名無しさん2023/09/29(金) 12:12:05.62ID:SAEMnxnc "Ursula Le Guin’s short story, “Solitude,” describes a society rooted in the absolute autonomy of the individual. In the world she constructs, people do almost everything alone, and they learn to savor this condition through close, deep observation of all the minutiae surrounding them in the woods, the dirt, the sky. A favored pastime is for a person to spend the night alone on a hill top, watching the patterns of stars wheeling overhead without letting their attention wander; another is to pursue long solo journeys into new landscapes whose unfamiliarity intensifies the pleasure of solitary contemplation.
Nicholas Krgovich’s new album, Ducks, similarly explores the rich experience of solitude, and the many quiet revelations that are available in even the most mundane moments. Each of the album’s eleven songs presents a closely-observed vignette of simply being alive and sentient in such moments: Krgovich describes himself mailing a letter, waking up on a hot day, combing the beach for shells, mowing the lawn, and noticing his own thoughts and feelings about these activities along the way. The album’s vibe of radical presence is emphasized both lyrically and in its production. Each song has a kind of meditative quality, a pulse that guides the ear down a straight path, moving while somehow also staying rooted in place. Airy guitar noodling drifts above simple percussion, often consisting of just a couple of sounds. An egg shaker comes in and out with great precision. The surprising chord progressions that characterize much of Krgovich’s previous music are here as well, and this combination—unexpected harmonic changes on top of the other elements’ regularity—feels like a wordless evocation of the lyrics’ theme: that there are revelations to be found even within the regular and daily. We can always be surprised by ourselves and/in the world.
I hear Ducks as an extremely middle-aged album, which I mean as a compliment. Track 1, “Front Stoop 2,” opens with a proclamation of loneliness—“For years and years I guess I was lonely, but refused to call it so”—tempered with the pleasing realization that acknowledging this fact might be a sign of maturity: “I could say a thousand other things but why/to answer a plain question with a plain reply/feels new to me and good.” The exhausting melodrama of youth is gone now, as is the younger person’s sometimes charming, sometimes obnoxious lack of self awareness. Krgovich has attained a certain age, and is now comfortable with himself and with the things he knows and feels. He is even comfortable with discomfort, as we hear on the final song, “Eating Last Year’s Apples in July,” where he repetitively intones “there was love in this house for a time/you brought it in.” This simple acknowledgment of the inevitable passage of time—and the losses it often wreaks—is certainly melancholy, and yet it doesn’t swamp him as it might have done in earlier, angstier times. Krgovich’s vocal delivery throughout the album emphasizes this middle-aged quality. His uninflected voice never rages or wails, never gets louder or softer, except when it falls down too deep for his vocal range to follow, and trails off in a raspy whisper, like no big deal. 0530ベストヒット名無しさん2023/09/29(金) 12:12:25.75ID:SAEMnxnc It’s hard not to hear Ducks through the frame of loneliness suggested by its first and last songs, and yet elsewhere the narrator is enmeshed in a thrumming web of sociality within which he seems content. This too feels like a manifestation of middle-aged wisdom. Sometimes a thoughtful life calls for quiet reflections on loneliness, but other times it demands recognition of the pleasures of togetherness. This latter mode is probably most evident on the titular song “Ducks,” which teems with life. Opening via a quiet old-school Casio beat, the song soon blossoms, as thick-strummed acoustic guitar and sustained synth chords fill the space. Here we are shown a glimpse of “A fine day in the sun/for everyone,” replete with dogs playing and ducks swimming. Of the titular ducks, he sings “What they know seems real.” This evocation of the “realness” of everything, the inclusion of ducks and dogs in the word “everyone,” feels wholesome and radical.
The way such non-human animals run and play through so many of these songs is also part of what gives Ducks its strongly seasonal, earthy aspect. The cold freshness of “Spring Rain” gives way to the fine summer day of “Ducks” and the hot sun and sweat of “Return.” A few songs later it’s Halloween, and the house is “lit like a pumpkin.” Meanwhile in “Scorpio Rising” it’s the narrator’s birthday, and he eats “the last of the sweet summer plums,” as single keyboard notes softly echo his voice like the first freak snowflakes of autumn. As with Le Guin’s short story, one comes away from Ducks with a strong impression of the depth and beauty of even the simplest aspects of terrestrial life—its seasons, its tastes, its blades of grass—as well as the pleasures of a closely-observed solitude and the cosmic loneliness that is so often such solitude’s companion." 0531ベストヒット名無しさん2023/10/01(日) 01:19:33.41ID:GXBvAHda Beautifully made double vinyl LP of this unique and important release featuring the earliest electronic music ever made in India. The black and white sleeve and inners feature archive photos of the composers at the NID and comes within a poly outer printed on both sides. The first 3 sides contain the music, the 4th features an etching created by Shreya Aurora, a recent graduate from the National Institute of Design where these recordings were created 60 years ago. The NID Tapes’ presents a collection of early Indian electronic music uncovered at the archives of the National Institute of Design in Ahmedabad. Recorded between 1969-1972 the compilation chronicles electronic works from the previously unknown Indian composers Gita Sarabhai, I.S. Mathur, Atul Desai, S.C. Sharma and Jinraj Joshipura who worked at the nation’s first electronic music studio founded at the NID during the utopian years following India’s independence - a radical period of visionary experimentation and artistic free-thought. The studio was founded with support from the New York composer David Tudor who personally set up a Moog modular system and tape machine in the autumn of 1969, and The NID Tapes also includes an excerpt from Tudor’s work discovered amongst the collection of tapes. The release developed from a long-term research project by the British artist and electronic musician Paul Purgas who travelled to Ahmedabad over many years to explore the origins of electronic music in India. This resulted in the discovery of the electronic music archive at the NID and its eventual restoration and digitising, which featured in the acclaimed BBC radio documentary Electronic India. The compilation presents excerpts from the 27 reels of archive tape spanning the three years of the studio's operational history, showcasing work from the pioneering electronic composers which included the musician and poet Atul Desai, NID teachers and technicians I.S. Mathur and S.C. Sharma, Gita Sarabhai who had previously studied with John Cage in New York in the 1940's and the young architecture student Jinraj Joshipura who was just 19 years old at the time of first composing with the Moog synthesiser. The audio showcases their various visions for electronic music production, exploring analogue synthesis, tape collages, voice experiments and field recordings revealing a meeting point of Western and Indian avant-garde traditions, and offering a unique insight into South Asia’s post-colonial sonic imaginary. The vinyl and digital is a collaborative release by Strange Attractor Press and State51 and has been mastered by Hari Shankar Kishore (HVAD) with design for the release and a vinyl etching created by Shreya Aurora a recent graduate from the National Institute of Design. Launching at the same time through Strange Attractor Press will also be a book titled ‘Subcontinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972’. Edited by Paul Purgas this collection of critical essays will reflect on the larger cultural and political dialogues surrounding the studio and will feature an audio CD of The NID Tapes as well as written contributions by Geeta Dayal, You Nakai, Rahila Haque and Jinraj Joshipura - the last surviving composer from the NID. 0532ベストヒット名無しさん2023/10/13(金) 21:33:32.00ID:O6z2CZaq 明日のDOMMUNE、ディーヴォ50年「We’reAll DEVO!」やるらしいけど、ポリシッ糞出るなら見ないわ。いやもう見ない確定だな
https://twitter.com/DOMMUNE/status/1712757094540308893 https://twitter.com/thejimwatkins0533ベストヒット名無しさん2023/10/14(土) 03:49:15.11ID:VoXKaM1v GIN GILETTE - TRAIN TO SATANVILLE (MUSIKON) PEANUTS WILSON - CAST IRON ARM (MCA, 1957) BOBBY MITCHELL - I’M GONNA BE A WHEEL SOMEDAY (IMPERIAL) DWIGHT PULLEN - SUNGLASSES AFTER DARK (CARLTON) JOHNNY CARROLL - HOT ROCK (DECCA) NORMAN WITCHER - WAKE ME UP (POOR BOY RECORDS) THE JIANTS - TORNADO (NORTHWOOD) THE POLECATS - ROCKABILLY GUY (NERVOUS RECORDS) THE METEORSMETEOR MADNESS (ACE, 1981) V/A - MAN’S RUIN (POMPADOUR) V/A - GREASY ROCK - N’ ROLL VOL.4 (OIL SLICK) CARL PERKINS - THE ORIGINAL CARL PERKINS (CHARLY RECORDS) JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO - JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO (MCA, 1957) CHARLIE FEATHERS - GET WITH IT (REVERENT, 1998) V/A - ROCKABILLY RHYTHM VOL. 2 (SUN RECORDS) V/A - ESSENTIAL SUN ROCKABILLIES (CHARLY, 1996) V/A - THIS IS ROCKABILLY CLASH (RAUCOUS RECORDS, 2003) REVEREND HORTON HEAT - REVIVAL (YEP ROC, 2004) THE CRAMPS - GRAVEST HITS (ILLEGAL RECORDS, 1977) V/A - THE ROOTS OF ROCKABILLY 1940-1953 (INDIGO, 2004) 0534ベストヒット名無しさん2023/10/14(土) 07:22:12.93ID:6O5uRj86>>532 会場に向かう道中でハヤシ事故ったら絶対に面白いよね 事故れ事故れ!w 0535ベストヒット名無しさん2023/10/14(土) 17:02:48.69ID:gM3KaaYF 写真はインスタに挙げるように中村犬郎氏 0536ベストヒット名無しさん2023/10/14(土) 17:50:33.44ID:cjb87Ihm>>533 大文字ガイジ 0537ベストヒット名無しさん2023/10/15(日) 19:39:33.30ID:G2tOCIRU GIN GILETTE - TRAIN TO SATANVILLE (MUSIKON) PEANUTS WILSON - CAST IRON ARM (MCA, 1957) BOBBY MITCHELL - I’M GONNA BE A WHEEL SOMEDAY (IMPERIAL) DWIGHT PULLEN - SUNGLASSES AFTER DARK (CARLTON) JOHNNY CARROLL - HOT ROCK (DECCA) NORMAN WITCHER - WAKE ME UP (POOR BOY RECORDS) THE JIANTS - TORNADO (NORTHWOOD) THE POLECATS - ROCKABILLY GUY (NERVOUS RECORDS) THE METEORSMETEOR MADNESS (ACE, 1981) V/A - MAN’S RUIN (POMPADOUR) V/A - GREASY ROCK - N’ ROLL VOL.4 (OIL SLICK) CARL PERKINS - THE ORIGINAL CARL PERKINS (CHARLY RECORDS) JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO - JOHNNY BURNETTE AND THE ROCK ‘N’ ROLL TRIO (MCA, 1957) CHARLIE FEATHERS - GET WITH IT (REVERENT, 1998) V/A - ROCKABILLY RHYTHM VOL. 2 (SUN RECORDS) V/A - ESSENTIAL SUN ROCKABILLIES (CHARLY, 1996) V/A - THIS IS ROCKABILLY CLASH (RAUCOUS RECORDS, 2003) REVEREND HORTON HEAT - REVIVAL (YEP ROC, 2004) THE CRAMPS - GRAVEST HITS (ILLEGAL RECORDS, 1977) V/A - THE ROOTS OF ROCKABILLY 1940-1953 (INDIGO, 2004) 0538ベストヒット名無しさん2023/10/17(火) 09:04:58.93ID:+Ftvyn83 Erano già tornati in pista nel 2019, con il primo album dopo i primi tre grandi dischi degli anni ottanta, quelli che hanno già detto tutto di quest'ottima band di Los Angeles, protagonista di quel "Paisley Underground" che in quegli anni là anticipò, in qualche modo, l'alt.country degli anni novanta e l'"americana" di oggi. Dei pionieri, di un rock, che rimaneva sostanziale, ma profondamente influenzato dai sixties dei Byrds, band più seminale di quello che possa sembrare. Ci hanno preso gusto e dopo la pausa pandemia, sono rientrati in studio, nel 2022, per portarci quel suono ancora oggi, nel 2023. "September November" è una raccolta di dodici canzoni, che vogliono essere testimoni del tempo che passa, con il titolo che fa proprio riferimento a una specie di autunno esistenziale, oltre al fatto, fondamentale, che hanno perso, nel 2021, il bassista Tom Stevens, a cui il disco è, in qualche modo dedicato. Per il resto, Griffin, McCarthy e Sowders, sono tutti in prima linea, aiutati da amici musicisti, come il bassista degli Old 97's, Murry Hammond. E il disco? Se consideriamo il tempo che è passato, l'album è buono e ha ancora un discreto tiro, specialmente nei pezzi elettrici, anche se si siede troppo in quelli più acustici, rendendolo molto più riflessivo rispetto ai dischi precedenti: un suono più "americana" che psichedelico, un po' più qualunque, a dir la verità, ma regge comunque discretamente i quasi tre quarti d'ora di durata. La prima parte, soprattutto, con la canzone che titola l'album, "Seasons Change", "Flying Down" e la migliore del lotto."Elmer Gantry's Is Alive And Well", è ottima, per poi calare mano a mano che il suono si fa più acustico, con alcuni pezzi piuttosto anonimi. Un album che non aggiunge nulla ai The Long Ryders, ma che si ascolta comunque con piacere. Prendere o lasciare. 0539ベストヒット名無しさん2023/10/17(火) 09:09:39.67ID:+Ftvyn83 Sid Griffin avait exploité l'intégralité de ses archives: il n'en était rien, comme on le découvre en scrutant le menu de ces deux coffrets. Chaque box se décline en trois volets: > l'album initial remasterisé et augmenté des faces B des singles parus à la même époque, > les maquettes réalisées dans divers studios avant les enregistrements définitifs, > un concert intégral issu de la tournée de promotion contemporaine de l'album. Le premier coffret est consacré à l'album State Of Our Union paru en 1985, qui marque l'apogée du groupe, notamment en Europe. Après le succès d'estime de leur premier LP Native Sons, les chancres d'un country-punk-rock tonifiant, ancêtres du futur courant Americana, cartonnent en Angleterre avec le single "Looking For Lewis And Clark" et font les couvertures de tous les magazines musicaux influents du Royaume Uni. Multi-instrumentistes et chanteurs/compositeurs inspirés, Sid Griffin, Stephen McCarthy et Tom Stevens se partagent les plages du disque en y injectant des colorations nuancées, soutenues par le drumming efficace du quatrième compère Greg Sowders. Les douze demos de 1985, captées dans deux petits studios à L.A. et Burbank, surprennent par leur degré d'élaboration et certains titres n'ont rien à envier aux versions officielles. Le concert du 8 décembre au Mean Fiddler de Londres pioche dans le répertoire du groupe, agrémenté d'un classique de Bob Dylan, "Highway 61 Revisited" et du medley "10-5-60/London Calling". Le second coffret revisite l'album Two Fisted Tales paru en 1987, qui marque malheureusement le déclin des Long Ryders, pas pour des raisons artistiques mais à cause d'un conflit du groupe avec son label Island, aboutissant à la dissolution du quatuor! Maintes fois retardé et malgré un single prometteur, "I Want You Bad", l'album est détesté par la nouvelle équipe de promotion du label qui le laisse sombrer. Il est pourtant d'une qualité égale au précédent et contient le délicat "Harriet Tubman's Gonna Carry Me Home" et plusieurs chansons d'inspiration Tom Petty & The Heartbreakers! Aucun inédit dans le disque consacré aux demos, mais pas moins de vingt plages gravées de février à septembre 1986 dans trois studios en Californie, et certaines prises très abouties supplantent les versions définitives. Le premier concert de 1987 voit le groupe jouer en plein air à l'Oasis Water Park de Palm Springs et roder ses nouveaux titres, neuf extraits du nouvel album sur une liste de treize morceaux ce jour-là. 0540ベストヒット名無しさん2023/10/17(火) 09:10:04.20ID:+Ftvyn83 D'autres tournées vont suivre, et un retour en Angleterre pour quelques dates au mois de juin ne génère malheureusement guère d'enthousiasme. Alors que les Long Ryders rêvent de marcher sur les traces de R.E.M., c'est une débâcle financière qui les frappe, et en aout leur bassiste Tom Stevens jette l'éponge, suivi quelques mois plus tard par Stephen McCarthy. Curieusement, la maison de disques réclame un autre album, mais les rescapés Sid Griffin et Greg Sowders hésitent: ils renoncent finalement, et fin décembre 1987, le groupe est officiellement dissous. Les deux hommes fondent The Coal Porters, mais au bout de quelques semaines, Sowders quitte le projet pour un poste plus lucratif aux éditions Warner Chapell, laissant Sid Griffin créer son propre label Prima et le courant At.bluegrass, publiant six albums avec sa nouvelle formation au cours des vingt années suivantes, ainsi que trois albums en solo. Tom Stevens enregistre pour sa part quatre albums intéressants mais mal distribués entre 1995 et 2009. Stephen McCarthy est le moins prolixe de la bande: en dehors de trois contributions ponctuelles à des compilations, il rejoint Gutterball le temps de deux albums en 1993 et 1995, puis fait un (trop) bref passage au sein des Jayhawks en 2003 sur l'album Rainy Day Music. 0541ベストヒット名無しさん2023/10/17(火) 10:04:05.00ID:AkBNb1I7>>540 汚痔ちゃんが日々続けなけりゃ済まないそれは、きっとこの世のすべてへの復讐なのね・・・ 0542ベストヒット名無しさん2023/10/25(水) 20:35:51.23ID:YUdlPPMR Inspired by the Harper Lee novel, "Mockingbird" is the fifth album by John Zorn's Gnostic Trio. The Frisell-Wollesen-Emanuel group plays enchanted music that is always meditational and peaceful. As with the last few releases, Bill Frisell is the standout. Indeed, on "Mockingbird," Frisell's notes gracefully dance about the ether. Carol Emanuel plays a supportive role on the harp and Kenny Wollesen creates a mystical ambiance with the vibes and bells. Given the meditative quality, this is wonderful music to play first thing in the morning. Mockingbirds were named on account of their ability and interest in reproducing the sounds of other birds. In an odd parallel, the only drawback to "Mockingbird" is that it's a rehash of the group's previous work. It's stronger than the first album, " Gnostic Preludes ," but there's little differentiation between this effort and the previous three albums, " In Lambeth ," " the Mysteries ," and " the Testament of Solomon ." Given a blindfolded test, most listeners would be unable to tell the difference between "Mockingbird" and the last few albums. So it's a beautiful recording, but only completists will need the entire quintet. If Zorn is going to continue this fantastic group, let’s hope that the next album moves in a fresh direction. In the end, "Mockingbird" may be redundant, but the music still takes flight. 0543ベストヒット名無しさん2023/11/01(水) 10:38:30.95ID:GIpS3Yx1 50 Years of De-Evolution (1973-2023) Unboxing https://www.youtube.com/watch?v=Y-qHpsLBU0Y0544ベストヒット名無しさん2023/11/03(金) 22:16:46.69ID:dKKseWkJ CVがほとんどレジデンツのパクリなのが最近よ〜くわかってきた 0545ベストヒット名無しさん2023/11/09(木) 20:25:40.60ID:Ctze6qE/ "Alan Davies has gone where no one has gone before. No, not on the Enterprise, but into the mind of tENTATIVELY, a cONVENIENCE, America's favorite Pataphysician, now fully eschewing art in favor of mad science, reveals to Alan what he really thinks about all those poses of the worlds of art and poetry. "I've long since rejected being an 'artist' b/c it's my opinion that art is an uncreative context & I prefer to be creative." From the censorship of his work to the explosive revelations of his most rational analysis, reading the interview between two of America's most radical artists is a consummation of something incredbly perverse under your Christmas tree." -- James Sherry, poet, essayist, publisher of Roof Books
"My job as Sacred Scribe of the Church of the SubGenius has brought me into contact with some DAMNED interesting, and, even better, damned WEIRD indiviudals. Of the many hundreds, perhaps many thousands of weirdos I have known, the man we call Saint tENTATIVELY, a cONVENIENCE stands out as one of the earliest-met and yet, even 35 years later, still among the very most weird and interesting. His startling originality and sheer testicularity would be enough to qualify him as a SubGenius Saint. But on top of that he's a nice fellow. But you know he must be pretty smart, because you can kind of see his brain under his hair." - Rev. Ivan Stang, Sacred Scribe #273, Church of the SubGenius
"Buxom blond bombshell, Miss Belinda Blurb, in the act of blurbing, once famously blurted out, "Yes, this is a 'BLURB'." Those words are as true today as when they were first written by Galett Burgess in 1907. Over thirty years ago, tENTATIVELY a cONVENIENCE, exposed me to the joys of subverting reality, and changed my life in the process. Here in 2013, Mr. cONVENIENCE has done it again with another excellent installment in his inspirational series of must read, self help books. Mr. cONVENIENCE inspires us all with his insightful observations, entertaining anecdotes, and shoddy financial advice. If YOU are going to READ BOOKS this year, THIS could be ONE of those BOOKs." -- Vermin Supreme, Presidential Candidate
"As so much of tENT's work aspires to an apotheosis of self-referntiality, wherein the work's workings are explicated as they are embodied in the work itself, the personal interview is in many ways the perfect form for his ideas. As one of tENT's laziest readers I welcome the relatively un-coded directness of this book, and for the opportunity to learn more about his life, from his earliest adventures in reading (which accounts reached in and tickled my little boy brain) to his last mega-word. This book is relatively easy to ingest, but is filled with seeds that swell and germinate inside the receptive head. As with all his work it is rigorously logical yet zany; laced with ideas from the "highest" partials yet rooted and practical; and serious yet funny. These are not contradictions though many might take them as such, and they are not so much strategies to evade intellectual entrapment (however worthy an endeavor) as self-flowering practices of our innate freedom and inherent weirdness. tENT as esoteric everyman! Listen and learn! But open this book at your own risk, as the attentive tENTian reader will begin to die laughing while reading it. I'll laugh through my last breath any day, so long as tENT never finishes pronouncing his last word, laughing as he goes."
0757名盤さん 2023/12/05(火) 18:41:36.10ID:y1Nkyo88 せっかくの愛聴盤でも全く理解できないで聴いてるとこうなっちゃうよねw 0554ベストヒット名無しさん2023/12/13(水) 16:51:25.74ID:AkZIzq0X Modern Classic Recordings, an imprint of Light in the Attic Records, proudly announces the deluxe vinyl reissues of Morphine's final two studio albums: _Like Swimming_ (1997) and _ The Night_ (2000), marking the very first availability of both titles on wax. Each album has been lovingly remastered by Pete Weiss at Boston's Jade Cow Music, with lacquers cut by John Golden. Both titles were pressed at Austin, TX's Gold Rush Vinyl and are each available in two colorways. The 1xLP _Like Swimming_ (which features such favorites as "Early to Bed, " "French Fries with Pepper, " and "Eleven O'Clock") can be found on opaque blue or translucent red wax, while the 2xLP, 45-RPM edition of _The Night_ (featuring "Rope on Fire, " "Top Floor, Bottom Buzzer, " and "The Night, ") is available on orange translucent or purplish hue vinyl. Rounding out each package is a 20-page booklet, featuring rare and never-before-seen images from the band's archives, including photos by Lana Z. Caplan and Danny Clinch, artifacts from Morphine's career, and unseen art by the band's late frontman, Mark Sandman. A major highlight of both packages are the insightful new liner notes by Ryan H. Walsh-a Boston-based journalist, musician, visual artist, and author of the acclaimed 2018 book _ Astral Weeks: A Secret History of 1968_. Walsh's notes include a handful of new interviews detailing the band's career, including one of the final interviews with Morphine drummer Billy Conway, who sadly passed away in 2021 following a battle with cancer. Both albums are housed in deluxe gatefold jackets, featuring gorgeous art direction and design by Darryl Norsen at D. Norsen Design, also of Boston. Dedicated to the memories of Sandman and late drummer Billy Conway, both albums were produced with the full support of Morphine's surviving members (drummer Jerome Deupree and saxophonist Dana Colley), as well as the band's friends, family members, and collaborators-many of whom shared their memories with Walsh. _Like Swimming_ and _The Night_ follow Modern Classic Recordings' acclaimed vinyl reissue of Morphine's sophomore album, _Cure For Pain_, first reissued on LP in 2011. *MORE ABOUT MORPHINE AND _THE NIGHT_:* Formed in 1989, Morphine quickly gained a name for themselves in Boston's underground scene, thanks to their unconventional instrumentation, their clever, offbeat lyricism, and their utterly unique sound. Named for Morpheus, the Greek God of Dreams, the trio (singer, songwriter, and bassist Mark Sandman, saxophonist Dana Colley, and drummer Jerome Deupree) delivered a mesmerizing blend of tonalities that were moody, yet seductive: Sandman's intriguing baritone vocals and a two-string slide bass guitar ( initially outfitted with just one string), Colley's baritone sax (he was known to play two horns at the same time), and the vibrant percussion of original drummer Deupree and then Billy Conway, who frequently stepped in as drummer. When it came to classifying Morphine's music, critics were at a loss. Was it jazz? Blues? Alt-rock? Beat poetry? To avoid the inevitab le pigeonholing, Sandman coined his own genre: Low Rock. Forming a creative partnership with producer Paul Q. Kolderie (whose credits read like a who's who of alt-rock heroes, including Radiohead, The Lemonheads, Hole, and the Pixies), the band released their critically-acclaimed debut, _Good_, in 1991. When they followed with 1993's _Cure for Pain_, their fanbase had grown exponentially, leading to tours across the US, Europe, Australia, and Japan. 1995's Yes broke the Billboard 200-by then, the trio had scored several hits on college radio, while videos for "Thursday" (off _Cure for Pain)_ and "Honey White" _(Yes)_ played on MTV. 0555ベストヒット名無しさん2023/12/13(水) 16:51:52.63ID:AkZIzq0X At the same time, Morphine's music was gaining further exposure through synchs in major films, including David O. Russel's feature debut, _Spanking the Monkey_ (1994), Beautiful Girls (1996), and the GRAMMY®-nominated soundtrack for Get Shorty (1995). Amid the '90s signing boom, it was only inevitable that the major labels would come calling. As the trio began work on their fourth studio album, they received an enticing offer from the newly-founded Dreamworks Records. But signing with the LA-based label would be both a blessing and a curse-particularly for Morphine's supremely independent frontman. In his liner notes for _Like Swimming_ , Ryan H. Walsh suggests that after years of uncertainties, the band's newfound sense of security carried over into their songwriting. " _Like Swimming_ is an album about getting into the flow of things finally going your way, about comfortably making use of your talents and doing it all with confidence, grace, and style, " he writes. That air of lightness marked a stylistic departure for the trio and can be heard throughout the album. In his notes for the band's fifth and final studio album, _The Night_, Walsh writes, "Sandman was determined to prove [the critics] all wrong. He was also hell-bent on turning in an album... which stayed true to his artistic vision but also sold plenty of records. " With anxieties rising, the trio entered the studio with Kolderie and his producing partner, Sean Slade, as well as with assistant engineer Matthew Ellard. But the mood became increasingly tense-particularly between Sandman and Kolderie. Eventually, as things deteriorated, Sandman took over as producer, setting up shop in his loft, with Ellard at the controls. In addition to the changes behind the console, sessions for _The Night_ were markedly different. Firstly, both Deupree and Conway took part in the recordings, effectively making the trio a quartet. Additionally, the band was joined by an array of guest artists, including the celebrated keyboardist, John Medeski, and a string section, who added lush textures throughout the album. The writing and recording process was also new for Morphine. For previous albums, the trio was largely familiar with the songs that they would be recording, having performed them ahead of time during shows. Whereas sessions for _The Night_, recalls Deupree, were "just jamming around... ideas. Mark might have had a sketch of a song, and we would come up with an arrangement and then play it forever... Then Mark would go back through the tape and find the section that he liked the best and build on top of that. " Walsh expounds that this is why tracks like "'A Good Woman Is Hard to Find' fades in and out, as if it had been going on long before what you hear and that it continued long after the track ended (because it did!). " He continues, "Deupree recounts one session where he began warming up with a spontaneous drum pattern, soon joined by Billy. Sandman came running from the other side of the loft, hit record, and began playing bass... That moment became track two on the record, 'So Many Ways. 0556ベストヒット名無しさん2023/12/13(水) 16:52:16.40ID:AkZIzq0X '" Among the other songs on _The Night_ is the Boston-centric "Top Floor, Bottom Buzzer, " featuring an organ cameo by Medeski (who also lends his talents to the menacing "I'm Yours, You're Mine"). In the upbeat, soulful track, Sandman describes an evening out at a friend's house party. The enigmatic, Middle Eastern-inspired "Rope on Fire, " meanwhile, features a striking performance on the oud by Brahim Fribgane and accompaniment by cellist Jane Scarpantoni, violist Joseph Kessler, and double bassist Mike Rivard. Scarpantoni, who has appeared on albums by Lou Reed, Beastie Boys, and R. E. M. , among many others, also joins the band on the opening title track, which Walsh proclaims to be "among the very best, hauntingly beautiful songs the band ever produced. " Strings also bolster the closing track, "Take Me with You, " a song that feels particularly poignant, given that Sandman would be gone by the time that _The Night_ was released. "From start to finish, this album would be Mark Sandman's full creative vision realized, " writes Walsh. Colley adds, "For the first time in many years, I saw Mark satisfied again. He was like, 'Okay, we did it. This is the record. 0557ベストヒット名無しさん2023/12/15(金) 14:39:19.90ID:Dh3g+eI+ 23 Skidoo are a British band playing a fusion of industrial, post-punk, alternative dance, rock, and world music. The group was named after an early 20th century American slang phrase that appeared in the work of Aleister Crowley, William S. Burroughs, Robert Anton Wilson and filmmaker Julian Biggs. Formed in 1979 by Fritz Catlin, Johnny Turnbull and Sam Mills, and later augmented by Alex Turnbull and Tom Heslop, 23 Skidoo had interests in martial arts, Burundi and Kodo drumming, Fela Kuti, The Last Poets, William S. Burroughs, as well as the emerging confluence of industrial, post-punk and funk, heard in artists such as A Certain Ratio, Throbbing Gristle, Cabaret Voltaire, The Pop Group and This Heat.
Their first 7", "Ethics" was released in 1980, followed by the "Last Words" 12", produced by Stephen Mallinder from Cabaret Voltaire. A Peel Session was recorded on September 16, 1981 that included other associates Richard Heslop and Tim Soar. Their debut album, Seven Songs, was released in 1982 and is said to evoke the claustrophobic humidity of an African forest. An experimental EP Tearing Up The Plans was produced without the Turnbull brothers, who were traveling in Indonesia. Guitarist Sam Mills and vocalist Tom Heslop left the band soon after, and with the arrival of slap-bassist Peter "Sketch" Martin following the break-up of Linx, the lineup remained the same until their disintegration in 2003.
With the Turnbull brothers back from Indonesia where they were exposed to Gamelan, the band recruited Aswad's horn section for the "Coup" 12", which featured samples from Francis Ford Coppola's Apocalypse Now. It has been alleged that The Chemical Brothers stole the bass line for their "Block Rockin' Beats" track. The Culling Is Coming (1983 - noted for featuring the band live at the first WOMAD Festival) and Urban Gamelan (1984) followed, criticized at the time for their shift towards more abstract sounds. After having been evicted from their rehearsal space at Genesis P-Orridge's 'Death Factory' the band shifted their focus towards hip hop and released a few singles and a compilation album Just Like Everybody in 1987.
In 1989 the Turnbull brothers formed the Ronin label, and released material by Deckwrecka, Roots Manuva, and Rodney P amongst others. They signed to Virgin Records in 1991 and were able to build a new studio with their advance. In 2000 they released a self-titled LP, which featured contributions from Pharoah Sanders and Roots Manuva. This was followed by a compilation of singles, The Gospel Comes To New Guinea in 2002, and for the first time on CD, reissues of Seven Songs and Urban Gamelan. In 2003 the Turnbull brothers liquidated the company. In 2008 LTM reissued the whole back catalog of 23 Skidoo. 0558ベストヒット名無しさん2023/12/15(金) 14:50:16.08ID:Dh3g+eI+ A Winter Ritual (side B of the original LP) was recorded at Dartington Music College 23 October 1982. A Summer Rite (side A of the original LP) was recorded live at the WOMAD Festival starting at 11.23am on 17 July 1982. David Tibet played Tibetan Trumpet on "Invocation" to "Stifling". Also appearing at the festival were Echo And The Bunnymen, Simple Minds, Peter Gabriel along with the Drummers Of Burundi and Musicians Of The Nile. An Autumn Journey was recorded live at Tielt, Belgium 08/10/82. The cover photo for the album was the first record sleeve by music photographer Andrew Catlin, who worked with 23 Skidoo over several years.
The album was originally released on Les Disques Du Crépuscule (Belgium), Base Records (Italy) and Operation Twilight (UK) in 1983. The original vinyl edition included a locked groove on side A between the songs "Stifling" and "Healing (For The Strong)" with "Command as f**k" inscribed in it (the phrase can be heard during the song "Flashing"). Etched in the run-out groove on side B were the words, "The eyes are not here." An inlay card was available with the original albums that contained the disclaimer "23 Skidoo will not be liable for any injury, loss or damage, direct or consequential, arising out of the use of, or inability to use this product."
The Culling Is Coming was later reissued on L.A.Y.L.A.H. Antirecords (1988) with the front cover artwork removed and the rear cover artwork on the front and Boutique Records (2003) with the original artwork restored and the sides switched (Winter coming before Summer) with an additional previously unreleased track added. 0559ベストヒット名無しさん2023/12/15(金) 14:56:38.31ID:Dh3g+eI+ ide A: "A Summer Rite" - recorded live at WOMAD 17.7.82. Has a lock groove between A4 and A5, with "Command as fuck" inscribed in it. Side B: recorded at Dartington College of Music, 22/23.10.82, produced 2/3.11.82. Initial recordings by Street Level Recording Mobile. Etched in run-out groove: "The eyes are not here." Total time: 23:00.
From inlay: "23 Skidoo will not be liable for any injury, loss or damage, direct or consequential, arising out of the use of, or inability to use this product." Many thanks Richard Heslop and Susan Sharrot
Also released in black and white artwork through Les Disques Du Crepuscule (TWI 123), later reissued on L.A.Y.L.A.H. Antirecords with different artwork. 0560ベストヒット名無しさん2023/12/15(金) 15:04:59.92ID:Dh3g+eI+ COMMAND AS FUCK 0561ベストヒット名無しさん2023/12/17(日) 20:14:56.21ID:UenX2YY2 Lee Underwood's life has revolved around reading and writing words, and playing and listening to music. As a lead electric guitarist living in LA, he toured and recorded with singer and songwriter Tim Buckley for seven years during the sixties and early seventies. As a solo acoustic guitarist, he recorded California Sigh in 1988 and earned a living playing clubs, hotels, and concerts in Santa Fe for seven years. In 2003 he published Blue Melody (Backbeat, San Francisco) his critically acclaimed book about the late, great Tim Buckley, honored by Britain's Uncut music magazine as one of the ten best music books of the year. He recorded his first solo piano CD, Phantom Light, in 2003. He completed his lengthy novel, Diamondfire: The Journey, in 2005, and continues to write essays, poetry, and short stories while living with his wife in a modern cabin in a mountain forest near Yosemite National Park, California. For nearly 20 years in LA, Underwood wrote about music and musicians for Down Beat (West Coast Editor, 1975-1981), the LA Times, Rolling Stone, the LA Weekly, Body/Mind/Spirit and numerous other publications. He interviewed dozens of musicians along the way, including pianist McCoy Tyner, guitarist Joe Pass, synthesists Vangelis, Michael Stearns, and Steve Roach, Tibetan bell player Henry Wolff, and Hoomi vocalist David Hykes (of the Harmonic Choir). In 1990, he co-authored flutist Paul Horn's autobiography, Inside Paul Horn (HarperCollins), and received the Crystal Award for Music Journalism. As a poet, Underwood co-hosted a radio show for two years with Preston Chase, Between the Lines: Poetry to Take You Home. He has given numerous readings in New Mexico and California, and has published poems in Light of Consciousness, ZamBomba, In the Grove, and The Central California Poetry Journal. Whenever possible at his readings, he plays original piano music. Many of the poems included in Warrior, Lover, Mystic are featured on his web site at leeunderwood.net. 0562ベストヒット名無しさん2023/12/21(木) 16:39:15.62ID:cBAjoi6Y "23 Skidoo were unique among the crowd of early 80s post-punk and industrial innovators. Unlike the cold, harsh music of their peers, the ever-fluctuating line-up remained just as confrontational but incorporated warmer elements of funk, world music and, later, hip-hop. Up-tempo dance numbers would share bed with eerie experimental sound collages, the band being influenced by everything from Gregorian chant to Jeet Kune Do martial arts. And then there's the trifling matter of a little something called Coup, which went on to inform the Chemical Brothers' smash Block Rockin' Beats. This reissue, together with Seven Songs and Urban Gamelan, collects the work of one of the most diverse and influential bands of the era" (Clash, 01/2009)
"The rhythm and sheer energy here have, if anything, intensified over the years" (Record Collector, 01/2009)
"JLE bundles together two earlier compilations in expanded form, and with some crucial additions, among them the superior dub mix of Last Words, and their last great piece, the slinky Ooze from 1986" (The Wire, 01/2009)
"This newest version of the band's original singles collection couples most of the tracks from the original vinyl issue, as well as the separate Just Like Everybody (Part Two) from the late 1990s to create a definitive anthology of material. Most will be happy with one superb disc and one adequate one compared to the mediocrity of many releases this day and age, and LTM once again have put together a package that celebrates the legacy of a band that has somewhat been forgotten in lieu of their contemporaries" (Brainwashed, 11/2008)
"Long overdue singles compilation. Part Two straddles 23 Skidoo's metamorphosis into UK HipHop curators Ronin. Once again, received wisdom about this music - that it is glossier, less extreme than their earlier work - is not entirely true. Meltdown, for instance, harbours far more bad omens than the justly revered Coup" (The Wire, 02/2003)
"Pioneers for the ears" (Metro, 03/2012) 0563ベストヒット名無しさん2023/12/22(金) 05:30:35.57ID:ZoCpkK4O Even though I've been an admirer of the Turnbull brothers' work for years and have all their albums etc., I'd never heard of their father William Turnbull. Turns out he is a sculptor and painter of some renown. Its a fact, its real, and that's just the way it is. The DVD, which was directed by Alex Turnbull, is a retrospective of his father's work. Its the sort of thing you normally see on Sky or BBC arts programs. Its narrated by the actress and model impregnation machine that is Jude Law. There are lots of interviews with various weirdy-beardy luminaries from the modern arts establishment, who all have nice things to say about Mr Turnbull and his art. Then there are interviews with the man himself - he certainly led a very interesting life that's for sure. And there is lots of footage of various exhibitions/art works - its interesting if that sort of thing tickles your cul-de-sac.
From the separate perspective of a 23 Skidoo fan, the DVD also offers a fascinating insight into where their music came from. Their songs, particularly on their earlier industrial and gamelan albums, do have a sculptural quality to them. What is remarkable, and revealing, is just how well the soundtrack of their songs fits with the visuals of their father's work. The songs and the sculptures compliment each other perfectly. Their mother was a very talented artist too, possibly even better than their father. Who knows, maybe they'll do a DVD about her work too.
DO THE DU 0566ベストヒット名無しさん2024/03/20(水) 04:19:45.09ID:XiLcJEvC DURUTTI COLUMN
THE MISSING BOY 0567ベストヒット名無しさん2024/03/20(水) 04:35:39.17ID:XiLcJEvC ANIKA
YANG YANG 0568ベストヒット名無しさん2024/03/20(水) 04:37:56.36ID:XiLcJEvC THESE NEW PURITANS
SWORDS OF TRUTH 0569ベストヒット名無しさん2024/03/20(水) 15:21:45.56ID:gqm80PXS ZEN BU
OO MOJI 0570ベストヒット名無しさん2024/03/20(水) 15:22:26.85ID:gqm80PXS OH MY ID IS 80 0571ベストヒット名無しさん2024/03/27(水) 20:45:12.91ID:PV+WHhgn Naive Art - Red Flag (1989)