The remixed version was a bit too much in my opinion. There were some nice additions on the keyboards and drums. My biggest critique being Terminal Frost. The drums sounded messy and out of place at many times. At 2:25, the drums sounded as if they were dubbed over the original recording with the hi-hat being the center of attention. As someone who grew up loving this album, I thought it was perfect the way it way it was originally mastered.
Remix aside, a far better album than The Final Cut or any of Waters solo stuff. It was nice to hear musicians at the fore again rather than Waters political wail. You can sing along with the songs on AMLOR, not something you can do with TFC.
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An earlier 1963 study by the poet James Radcliffe Squires spoke to the distinction of Frost as a poet whose verse soars more for the difficulty and skill by which he attains his final visions, than for the philosophical purity of the visions themselves. "He has written at a time when the choice for the poet seemed to lie among the forms of despair: Science, solipsism, or the religion of the past century ... Frost has refused all of these and in the refusal has long seemed less dramatically committed than others ... But no, he must be seen as dramatically uncommitted to the single solution ... Insofar as Frost allows to both fact and intuition a bright kingdom, he speaks for many of us. Insofar as he speaks through an amalgam of senses and sure experience so that his poetry seems a nostalgic memory with overtones touching some conceivable future, he speaks better than most of us. That is to say, as a poet must."[44]
That is the atmosphere that rapper Kwesta and producer Kabza De Small conjure up on their record Speak N Vrostaan, released on 2 December. Very few of the songs on this collaboration album are half-baked. Kabza's linear approach to song progression ensures every track has a fresh groove every few seconds. Kwesta's signature drawl pairs perfectly with Kabza's unique brand of progressive Kwaito. The two complement each other like peanut butter and jam. The extensive use of collaborations does not come between their chemistry but instead adds to it. Kabza De Small's rap alter ego, Papta Mancane, also regularly appears throughout the record, vocally accompanying Kwesta on five songs.
The songs Emathandweni and One on One both have a distinct G-funk sound mixed with Kwaito elements, transporting the listener to a space between South Africa and California. These songs prove that Kabza De Small is a highly skilled and versatile producer who can take on a range of styles and make incredible songs with them. Switching up the style past the half-way point on the album ensures the record keeps momentum and remains an engaging experience for the listener.
The disc also includes Relent by British composer Graham Fitkin, a barrage of non-stop intensity from start to finish. Works by Canadian composer Jascha Narveson and New York based Caleb Burhans round out the album.
20 & nine months: Rebellion releases their second album,Heartstrings. Catra listens to it and realizes Adora did care about her thesame way all along, but she hears the rumours Adora collapsed after apromotional performance and imagines having to go through that again, feelingthe way she does and knowing adora feels the same. She cant force herself tocontact adora.
The album Radiant City is coming along slowly but well. I love exploring the idea of a city through the abstract energy and pulse of music while sonically revisiting the cities of my past travels. The album threatens to escape the city limits though and diversify into all kinds of directions and environments.
I definitely need to spend more time listening to backup playing. So, studying Earl's backup, what would be the best album to start with? For studying his lead playing "Foggy Mountain Banjo" is probably the most popular choice, but also for backup?
Philipp,
The foggy mt banjo album is most generally everybody's first "go to" for learning Scruggs lead, but i'm a little different in that regard, I think Foggy mt banjo should be investigated after first learning one or two of Earls earlier song leads, for me, and this is just me, i consider the lead break that Earl does on No Mother or Dad, to be the foundation of the Earl roll and timing.
I don't know the album names that Songs like no mother or dad were on, but that era, when he was cutting Cabin in Caroline, the stuff in the fifties, when they did "I'll go stepping too", and " Tis Sweet to be Remembered" Blueridge Cabin Home, and Your Love is Like a Flower, all of that is the Foundation and Glory Years of Earl.
Not that Foggy Mt banjo isn't good, it's great for showcasing instrumentals but Earl's roll had already changed some, and was less perpetual by the time he cut FMB and is evidenced in the re-cut in 1967 of Foggy Mt Breakdown, the timing and speed is totally different than 1949, due to age and injury.
You can get a pretty good tutorial of earl's back up by watching some of the Martha White video's on YOUTUBE, but much of his brilliant stuff was in the radio show recordings, and material done in the late 40's and 50's!
I only reference these things, in this manner, because later on in my life, when i was really wanting to learn Earl, this was passed on to me in a manner by someone of legend in banjo all his own, and it wasn't just a suggestion, but a requirement!
warp!
Transitioning over to Lesters vocals and the new bands arraignments helped Earl to leave more spaces and to apply licks as filler between vocal phrases. He also used dynamics to a much greater extent. Regardless of the player, youth usually means playing everything, all the time,generally speaking. Of course young Earl was still Earl, but not as mature a player as the Earl of 1960.
I like the " FM Jamboree" album more than "FM Banjo", although the latter being more of an "Earl" album. Somebody posted a while ago that "Groundspeed" was likely the first recording with a plastic head.
I figure with Lester ,after the Mercury days, things settled down a bit as for frantic speed, and thus his backup took on a different attack - more space, as already mentioned. Then things got busier with Josh's dobro, so less was more for Earl.
Tim,
Even though it is 70 years later, those things we are speaking of, in regards to Earls picking and especially his back up are "very relevant today" so much, that you can tell by listening to some of today's younger , up and comers, have not listened enough to how relevant and "required" the study of Earl should be!
Just my opinion,as always!
Warp!
January 19 - 1967 The Beatles began recording the song "A Day in the Life", with a working title "In the Life of...", on 19 January 1967. The total duration of time spent recording "A Day in the Life" was 34 hours. In contrast, the Beatles' earliest work, their first album "Please Please Me," was recorded in its entirety in only 10 hours. - Wikipedia
February 4 - 1968 "Across the Universe" was recorded on February 4, 1968 at Abbey Road Studios. Written by John Lennon, and credited to Lennon/McCartney, the song first appeared on the various artists charity compilation album No One's Gonna Change Our World in December 1969, and later, in modified form, on their final album to be released, Let It Be.
March 22 - 1963 The Beatles release their debut album "Please Please Me" in the United Kingdom to capitalise on the success of singles "Please Please Me" (number 1 on most lists and "Love Me Do".
April 15 - 1966 "Taxman" is a song written by George Harrison and released as the opening track on The Beatles' 1966 album Revolver. Its lyrics attack the high levels of progressive tax taken by the government."
April 24 - 1941 "Penny Serenade", starring Irene Dunne and Gary Grant, released on this date. Listening to songs on their record player marks episodes of their life -- the title refers to a song of the same name. Watch movie credits and the scene featuring the 78 RPM record album labeled "The Story of a Happy Marriage" for the Movie Phonographia.
April 26 - 1966 "And Your Bird Can Sing" is a song by The Beatles that was recorded on April 26, 1966 and released on their 1966 album Revolver in the UK and on Yesterday...and Today in the U.S. The songwriting credit is Lennon/McCartney, though the song was written solely by John Lennon.
July 10 - 1964 A Hard Day's Night is the third studio album by The Beatles, released on 10 July 1964 as the soundtrack to their film A Hard Day's Night. A Hard Day's Night became their first album to consist solely of original material, and was The Beatles only release to consist solely of songs written by Lennon-McCartney. (Courtesy of the Beatles Bible)
December 6 - 1877 Birthday of the Phonograph as Edison speaks "Mary had a Little Lamb" in a successful demonstration of the Phonograph. "Kruesi finished the phonograph today," (Charles Batchelor's Day Book) (Courtesy of The Edison Cylinder Phonographs 1877-1929, Frow & Sefl)
December 6 - 1966 Recording of Sgt. Pepper's Lonely Hearts Club Band began at Abbey Road Studios by The Beatles. Known for its creative album cover it has been called one of the most influential rock albums of all-time.
Last year, another judge, Victoria Rossetti, ruled against motions to change the venue of the trial to a different county and to put a gag order on investigators from speaking publicly about the case.
My first introduction to Pink Floyd and probably their most famous album. It's a concept album and many of the songs flow seamlesly into each other. Definitely one of my favorite albums. My favorite songs are "Time," "The Great Gig in the Sky," "Money," and "Us and Them."
Us and Them: The organ provides a calming effect after the jarring sounds of "Money," and introduces one of the most famous tracks from this album. It's mostly chill, but the bridge is wake-up call. I like the vocal part where he (supposedly) says "short, sharp, shock" but I honestly think he's just mumbling. 2351a5e196