Off Topic Foredeckdave's Music Thread!
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I like a bit of electronica try this..........
[video=youtube;glkyKgqHL6c]http://www.youtube.com/watch?v=glkyKgqHL6c[/video]
Not so relaxing
[video=youtube_share;egk5UCThPw0]http://youtu.be/egk5UCThPw0[/video]
I used to love Slayer when I was younger, not so much anymore.
I'm a big fan of The Wire Magazine, it's a great way to find new and interesting music. Just been reading this thought it was good and worth sharing.
From newly independent nations of Africa to locations in the Far East and remote cosmos, jazz from the mid-1950s onwards imagined liberation through distant places and spaces. In a new series, Derek Walmsley journeys through the sketches of these new worlds. First call: Lee Morgan's "Search For The New Land"
“There are other worlds (they have not told you of)” – Sun Ra
Before free jazz broke through in the 1960s, you could read a desire for liberation unfolding in the titles jazz musicians gave their compositions from the mid-1950s onwards. In previous years, players might have dedicated a piece to a woman or a passed colleague. Now, they were naming them after newly independent nations of Africa, to underline their Afrocentric solidarity; after locations in the Far East, to flaunt a growing interest in Eastern philosophical systems; or after cities in the Middle East from before Western countries changed the history of that region. From bebop to hard bop to modal jazz, many albums of the era had a blues, a ballad, a swinging workout, and another piece, sometimes a mere afterthought, namechecking a far-off land.
Often these were places the musicians had never been, and might never go: “Angola”, “Basra”, “Isle Of Java”, “Saturn”, “Utopia”. But the locations themselves are less important than the ideas they stood for in the minds of the players. These titles are social manifestos, polemical provocations and utopian hypotheses all rolled into one. A complete index of the freedoms which jazz musicians desired – political, spiritual and aesthetic – can be read through these geographic fascinations and the music that they inspired.
Lee Morgan’s 1964 piece “Search For The New Land” might be read as an unofficial anthem for this mode of jazz. Its title makes explicit the subtexts of liberation and movement already present in John Coltrane’s “India” and “Africa”, and its open-ended structure attempts to reboot the vocabulary of jazz in a manner as radical as Coltrane’s Ascension or Ornette Coleman’s Free Jazz.
“Search For The New Land” wasn’t released the year it was recorded; Blue Note had their own search to worry about. Distributors and record shops were demanding a follow-up to Morgan’s 1963 jukebox smash “The Sidewinder” causing his album Search For The New Land to be delayed until 1966. Blue Note had spent the years in between trying, and failing, to replicate the hit formula Morgan established on “The Sidewinder” with mediocre jams like “The Rumproller” and “Cornbread”.
Full article on the link.
http://www.thewire.co.uk/in-writing/essays/derek-walmsley_jazz-searches-for-the-new-land
From newly independent nations of Africa to locations in the Far East and remote cosmos, jazz from the mid-1950s onwards imagined liberation through distant places and spaces. In a new series, Derek Walmsley journeys through the sketches of these new worlds. First call: Lee Morgan's "Search For The New Land"
“There are other worlds (they have not told you of)” – Sun Ra
Before free jazz broke through in the 1960s, you could read a desire for liberation unfolding in the titles jazz musicians gave their compositions from the mid-1950s onwards. In previous years, players might have dedicated a piece to a woman or a passed colleague. Now, they were naming them after newly independent nations of Africa, to underline their Afrocentric solidarity; after locations in the Far East, to flaunt a growing interest in Eastern philosophical systems; or after cities in the Middle East from before Western countries changed the history of that region. From bebop to hard bop to modal jazz, many albums of the era had a blues, a ballad, a swinging workout, and another piece, sometimes a mere afterthought, namechecking a far-off land.
Often these were places the musicians had never been, and might never go: “Angola”, “Basra”, “Isle Of Java”, “Saturn”, “Utopia”. But the locations themselves are less important than the ideas they stood for in the minds of the players. These titles are social manifestos, polemical provocations and utopian hypotheses all rolled into one. A complete index of the freedoms which jazz musicians desired – political, spiritual and aesthetic – can be read through these geographic fascinations and the music that they inspired.
Lee Morgan’s 1964 piece “Search For The New Land” might be read as an unofficial anthem for this mode of jazz. Its title makes explicit the subtexts of liberation and movement already present in John Coltrane’s “India” and “Africa”, and its open-ended structure attempts to reboot the vocabulary of jazz in a manner as radical as Coltrane’s Ascension or Ornette Coleman’s Free Jazz.
“Search For The New Land” wasn’t released the year it was recorded; Blue Note had their own search to worry about. Distributors and record shops were demanding a follow-up to Morgan’s 1963 jukebox smash “The Sidewinder” causing his album Search For The New Land to be delayed until 1966. Blue Note had spent the years in between trying, and failing, to replicate the hit formula Morgan established on “The Sidewinder” with mediocre jams like “The Rumproller” and “Cornbread”.
Full article on the link.
http://www.thewire.co.uk/in-writing/essays/derek-walmsley_jazz-searches-for-the-new-land
Frank Sidebottom and the man behind the mask
Cult comic character Frank Sidebottom has inspired a film starring Michael Fassbender, while a documentary and biography are also in the works. Four years after his creator Chris Sievey died, why is Frank's legend growing and who was the man behind the mask?
The giant home-made head. The ridiculously nasal Mancunian voice. The anarchic and absurd humour. The deliberately naff pop songs.
That was Frank Sidebottom.
He was an unmistakable and irrepressible creation who found a following in the 1980s and '90s on late-night student telly and Saturday morning children's shows, as well as on the comedy circuit.
He was a strange mixture of eccentric comedy creation, surreal performance artist and cartoon character come to life. While he attracted a devoted following, he was destined to remain a cult concern.
So it is stranger still that he should have inspired a film featuring Hollywood stars Michael Fassbender and Maggie Gyllenhaal, which gets its UK premiere at the Sundance London film festival on Friday.
The film, titled Frank, was co-written by journalist and broadcaster Jon Ronson, who spent three years playing keyboards in Sidebottom's Oh Blimey Big Band in the late 1980s.
In his movie, Fassbender plays a musician called Frank who wears an oversized comic-book head.
That, however, is where the similarities with the original Frank Sidebottom end. In the film, the title character is a misunderstood musical genius as opposed to a purveyor of Bontempi-swing novelty pop songs.
The Frank of the film hails from Bluff, Kansas, rather than Sidebottom's native Timperley, Greater Manchester. He also has a disconcertingly deep voice.
Ronson changed the character because he did not want to make a straightforward biopic of Sidebottom and his creator. Chris Sievey, who was consulted before his death in 2010, did not want that either.
Sievey guarded his true identity and was worried that, in a straight biopic, "the reality of Chris would somehow undermine the mystery of Frank", Ronson says. So the writer kept the name and the head but fictionalised the rest.
However, Sievey's real story is arguably more interesting than the version that is about to hit the big screen.
Before Frank Sidebottom was born, Sievey was desperate to make it as a musician.
Cult comic character Frank Sidebottom has inspired a film starring Michael Fassbender, while a documentary and biography are also in the works. Four years after his creator Chris Sievey died, why is Frank's legend growing and who was the man behind the mask?
The giant home-made head. The ridiculously nasal Mancunian voice. The anarchic and absurd humour. The deliberately naff pop songs.
That was Frank Sidebottom.
He was an unmistakable and irrepressible creation who found a following in the 1980s and '90s on late-night student telly and Saturday morning children's shows, as well as on the comedy circuit.
He was a strange mixture of eccentric comedy creation, surreal performance artist and cartoon character come to life. While he attracted a devoted following, he was destined to remain a cult concern.
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So it is stranger still that he should have inspired a film featuring Hollywood stars Michael Fassbender and Maggie Gyllenhaal, which gets its UK premiere at the Sundance London film festival on Friday.
The film, titled Frank, was co-written by journalist and broadcaster Jon Ronson, who spent three years playing keyboards in Sidebottom's Oh Blimey Big Band in the late 1980s.
In his movie, Fassbender plays a musician called Frank who wears an oversized comic-book head.
That, however, is where the similarities with the original Frank Sidebottom end. In the film, the title character is a misunderstood musical genius as opposed to a purveyor of Bontempi-swing novelty pop songs.
The Frank of the film hails from Bluff, Kansas, rather than Sidebottom's native Timperley, Greater Manchester. He also has a disconcertingly deep voice.
You must log in or register to see images
Ronson changed the character because he did not want to make a straightforward biopic of Sidebottom and his creator. Chris Sievey, who was consulted before his death in 2010, did not want that either.
Sievey guarded his true identity and was worried that, in a straight biopic, "the reality of Chris would somehow undermine the mystery of Frank", Ronson says. So the writer kept the name and the head but fictionalised the rest.
However, Sievey's real story is arguably more interesting than the version that is about to hit the big screen.
Before Frank Sidebottom was born, Sievey was desperate to make it as a musician.
You must log in or register to see images