LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT goodish
RATING
Forty-five seconds of whiney White Stripe voice and drums. No guitar. Leave it alone.
Saturday, August 12, 2006
The White Stripes - Little Room
ORIGINATION White Blood Cells
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT goodish
RATING
Forty-five seconds of whiney White Stripe voice and drums. No guitar. Leave it alone.
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT goodish
RATING
Forty-five seconds of whiney White Stripe voice and drums. No guitar. Leave it alone.
Friday, August 11, 2006
Babe Ruth - The Mexican
ORIGINATION Funkrock: Rock Breaks And Guitars For Funky People
LAST LISTENED TO May
CHANCE OF WAKING TO IT lowish, although there's been a lot of Morricone action since seeing the Spaghetti Western Orchestra
RATING
It's one of those tunes that turns up regularly on breaks compilations. The reason for this, however, is nothing to do with any break in this tune. It doesn't really have one. Instead it's all about its the second part.
The first part of the tune starts out with a little Spanish guitar, before things heat up in a Santana-y way, albeit with less percussion but with heaped tablespoons of funky, distorted guitar and electric piano. Has it something to do the the Mexico-US was? Hard to say and, frankly, who cares: once the second part gets going, you'll forget all about it. That's because the whole second part is, basically, a funk rock version of the Theme For A Few Dollars More.
It's every bit as good as can be hoped for. That funky, distorted guitar and electric piano play the main theme in tandem, with one the left channel and one in the right. The funky beats from the first part keep on rolling and, to top it off, there is even some wah-wah guitar down in the mix.
That's why it's always turning up on breaks comps. It's not because of any incredible break - there is none here. It's because if you were at a block party, who wouldn't want to dance to funky Morricone?
LAST LISTENED TO May
CHANCE OF WAKING TO IT lowish, although there's been a lot of Morricone action since seeing the Spaghetti Western Orchestra
RATING
It's one of those tunes that turns up regularly on breaks compilations. The reason for this, however, is nothing to do with any break in this tune. It doesn't really have one. Instead it's all about its the second part.
The first part of the tune starts out with a little Spanish guitar, before things heat up in a Santana-y way, albeit with less percussion but with heaped tablespoons of funky, distorted guitar and electric piano. Has it something to do the the Mexico-US was? Hard to say and, frankly, who cares: once the second part gets going, you'll forget all about it. That's because the whole second part is, basically, a funk rock version of the Theme For A Few Dollars More.
It's every bit as good as can be hoped for. That funky, distorted guitar and electric piano play the main theme in tandem, with one the left channel and one in the right. The funky beats from the first part keep on rolling and, to top it off, there is even some wah-wah guitar down in the mix.
That's why it's always turning up on breaks comps. It's not because of any incredible break - there is none here. It's because if you were at a block party, who wouldn't want to dance to funky Morricone?
Thursday, August 10, 2006
Paul Bloody Weller
This morning's song was by Paul Bloody Weller. I neither know nor care one jot what it was because it was by Paul Bloody Weller, a man in whose work i have no interest. Sod 'im and his 'Modfather' nonesense and ludicrous sideys.
Wednesday, August 09, 2006
Neil - A Hole In My Shoe
ORIGINATION who gives a
LAST LISTENED TO can't say i have
CHANCE OF WAKING TO IT bugger all
RATING
No, no, no, no. No. Really. No. I have nothing to say about this. Nothing at all. Seriously.
LAST LISTENED TO can't say i have
CHANCE OF WAKING TO IT bugger all
RATING
No, no, no, no. No. Really. No. I have nothing to say about this. Nothing at all. Seriously.
Tuesday, August 08, 2006
(radio silence)
Ah now. This is getting silly. Seriously. What do you think you're doing Mr. Brain?
To be fair, i was in a bit of a hurry this morning and it was early, so i didn't really give my head a chance to come on-line before it was being pumped with walking music.
With luck normal service will be resumed shortly…
To be fair, i was in a bit of a hurry this morning and it was early, so i didn't really give my head a chance to come on-line before it was being pumped with walking music.
With luck normal service will be resumed shortly…
Monday, August 07, 2006
Sunday, August 06, 2006
Harlem River Drive - Harlem River Drive
ORIGINATION Harlem River Drive
LAST LISTENED TO october
CHANCE OF WAKING TO IT duh, no much
RATING
A nice, laid back latin soul number. More laid back soul than latin, but none the less it's latin. Lovely organ. Nice sax. Too busy to be this relaxed today. Terribly sorry.
LAST LISTENED TO october
CHANCE OF WAKING TO IT duh, no much
RATING
A nice, laid back latin soul number. More laid back soul than latin, but none the less it's latin. Lovely organ. Nice sax. Too busy to be this relaxed today. Terribly sorry.
Saturday, August 05, 2006
No comment
Today was one of my own songs and here is neither the time nor the place to go into that. And i'm not really the best person to do it. So, until tomorrow…
Friday, August 04, 2006
Nick Ingman - Down Home
ORIGINATION Sound Book Part Two - De Wolfe Music Library & Background Sound
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT quite good
RATING
After yesterday's reminder of the joy of library grooves, it took over a large part of the day's playlist And so having another today comes as little surprise. This British one is just as funky as yesterday's and, as the title suggests, lurks in nearly the same area. I'm getting hints of pimps strutting and a very strong flavour of cop shows.
It begins with a lovely big of synth and brass action, before the drums kick in with a perfect dum-bum-dadum roll. Much like yesterday's wah guitar, the synth runs through the whole song providing some lovely texture, whilst over there is a mountain of brass, organ and, yes, more wah wah. The drummer's also having a great day and his funky beats are high in the mix. And to top things off, someone has got their hands on one of those percussion instruments beloved of all cop show themes, the name of which i have never discovered. It's the one that goes cr-r-r-r-r-r-r. You know it.
This really is just brilliant. Everything works exactly how you'd want it too. The synth is gritty and burbling. The drummer is hitting hard and groovy. The big brass comes in on long, slow building notes, but also has some great, hard hits. There's even more low-down brass playing along with the synth deep in the mix. The organ is blue and funky and the guitar that backs it up is wah wah'd to perfection. And the bass player, he's so far in the pocket, he's practically out the other side.
The whole tune just keep building layer on layer, each successive one adding more instruments to the mix and moving up a key. After three all-too-short minutes it stops dead on a snare. You can't ask for better funk than this.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT quite good
RATING
After yesterday's reminder of the joy of library grooves, it took over a large part of the day's playlist And so having another today comes as little surprise. This British one is just as funky as yesterday's and, as the title suggests, lurks in nearly the same area. I'm getting hints of pimps strutting and a very strong flavour of cop shows.
It begins with a lovely big of synth and brass action, before the drums kick in with a perfect dum-bum-dadum roll. Much like yesterday's wah guitar, the synth runs through the whole song providing some lovely texture, whilst over there is a mountain of brass, organ and, yes, more wah wah. The drummer's also having a great day and his funky beats are high in the mix. And to top things off, someone has got their hands on one of those percussion instruments beloved of all cop show themes, the name of which i have never discovered. It's the one that goes cr-r-r-r-r-r-r. You know it.
This really is just brilliant. Everything works exactly how you'd want it too. The synth is gritty and burbling. The drummer is hitting hard and groovy. The big brass comes in on long, slow building notes, but also has some great, hard hits. There's even more low-down brass playing along with the synth deep in the mix. The organ is blue and funky and the guitar that backs it up is wah wah'd to perfection. And the bass player, he's so far in the pocket, he's practically out the other side.
The whole tune just keep building layer on layer, each successive one adding more instruments to the mix and moving up a key. After three all-too-short minutes it stops dead on a snare. You can't ask for better funk than this.
Thursday, August 03, 2006
P. Cannizzo - Black California
ORIGINATION Vroommm: Funk Cinematique - High Performace 70s Turbo Sounds For Sprint-Exotic Movie Scenes
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT reasonable
RATING
Ah, back to funky library music. That's much better.
This one, about which i know so little, i don't even know the composer's first name, is another favourite. Little surprise that it's partly due, once again, to some hefty wah wah guitar. Here it runs the entire length of the tune and in so doing becomes part of the rhythm section, that comprises bass, drums and piano. The piano is notable, being proper left-hand style and real low-down. It is therefore perfectly suited to the down and groovy, make a funky ah-yes face mood of the track. It's got a kinda pimp strutting vibe.
The song opens with a fabulous combination of the wah guitar and funky bass, before being quickly joined by the drums. The piano comes in soon after, at the same time as a tenor sax, together playing some nice counter melodies.
Having established the opening melody, the sax takes off on a solo, taking up some way over half of the tune. The solo has a blues-based structure, which again is in keeping with the overall flavour and it's played with a very straight forward tone, that is both clean and punchy. It's a real archetypal bluesy tenor sax solo.
An electric piano takes over from the sax and keeps to the same formula. However, due to the nature of the instrument's sound, it has a lighter feel and is consequently less effective in this setting.
In the final moments the sax returns, bringing its main melody and the song sadly fades.
Italy's library music scene was not only one of the most vibrant in the world, but it also produced one of the most well known composers ever to have worked in the genre, in Ennio Morricone. So, whom ever Sig. Cannizzo is, he was in good company and he was also damned funky. It would do you no harm to spend a little time investigating the myriad sounds of him and his brethren from in the Italian library scene.
There's plenty more library music in the song for the day vaults, but you'll need to use search engine to get to it. I've got better things to do today than do it for you.
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT reasonable
RATING
Ah, back to funky library music. That's much better.
This one, about which i know so little, i don't even know the composer's first name, is another favourite. Little surprise that it's partly due, once again, to some hefty wah wah guitar. Here it runs the entire length of the tune and in so doing becomes part of the rhythm section, that comprises bass, drums and piano. The piano is notable, being proper left-hand style and real low-down. It is therefore perfectly suited to the down and groovy, make a funky ah-yes face mood of the track. It's got a kinda pimp strutting vibe.
The song opens with a fabulous combination of the wah guitar and funky bass, before being quickly joined by the drums. The piano comes in soon after, at the same time as a tenor sax, together playing some nice counter melodies.
Having established the opening melody, the sax takes off on a solo, taking up some way over half of the tune. The solo has a blues-based structure, which again is in keeping with the overall flavour and it's played with a very straight forward tone, that is both clean and punchy. It's a real archetypal bluesy tenor sax solo.
An electric piano takes over from the sax and keeps to the same formula. However, due to the nature of the instrument's sound, it has a lighter feel and is consequently less effective in this setting.
In the final moments the sax returns, bringing its main melody and the song sadly fades.
Italy's library music scene was not only one of the most vibrant in the world, but it also produced one of the most well known composers ever to have worked in the genre, in Ennio Morricone. So, whom ever Sig. Cannizzo is, he was in good company and he was also damned funky. It would do you no harm to spend a little time investigating the myriad sounds of him and his brethren from in the Italian library scene.
There's plenty more library music in the song for the day vaults, but you'll need to use search engine to get to it. I've got better things to do today than do it for you.
Wednesday, August 02, 2006
Three for the price of two (or how i learned to loathe indie pop)
A quick 1-2-3, bash, bash, bash to shake me from my slumber this morning. Luckily, it's a far less bizarre combination than other multi-song days. To begin with it was
The White Stripes - I Think I Smell A Rat
ORIGINATION White Blood Cells
LAST LISTENED TO a fraction last week sometime
CHANCE OF WAKING TO IT not much
RATING
It begins with a slight Spanish guitar flavour, before moving into the stark loud guitar and drum sound that brought the Stripes fame and fortune. This pattern is repeated several times and constitutes what is a pretty basic song.
Lyrically, it feels just a tad self-righteous, having a go at many kinds of disrespectful youth. Not that that is a bad thing. It just feels a bit wrong.
Next up is
The Levellers - Plastic Jesus
ORIGINATION Five Years After (single)
LAST LISTENED TO kee-ryst knows
CHANCE OF WAKING TO IT bugger all
RATING
Not quite as serious this one and consequently a lot more fun. In fact, it's one of the few moments of levity that i am aware of in the terribly right-on (yes, yes, pot kettle black) career of these yoghurt weavers. I'm all for music with a message, but it needn't always be so damned blatant. Although to be fair it has been a long time since i last bothered to listen to the Levellers' music and when i did last i was pretty naïve myself. So maybe i should give them the benefit of the doubt. Hmm…
Anyway, Plastic Jesus is a ramshackle cover on the b side of a single put out when the Leverllers were at the height of their popularity. It's in much more of a country & western style than anything they had recorded up to that point and thus stands out. Perhaps that's why i have a small degree of fondness for it.
'Plastic Jesus riding on the dashboard of my car.' You know, i kinda want one. Possibly one that lights up. Of course, i'd have to get a car first. And learn to drive. But enough of that, now it's on to… oh no
James - Come Home
ORIGINATION neither know nor care
LAST LISTENED TO pass
CHANCE OF WAKING TO IT if only it had been nil
RATING
Come home? No. Bugger off! We don't want your sort round here.
Regular readers (if there are any) will have noticed that i have a slight soft spot for the Wonder Stuff. Which might lead them to naturally conclude that i'd like James as well. Wrong!
I realise that it's a little like splitting hairs, but i just can't stand James. The Stuffies always had a playful feel and a certain sense of humour. James, on the other hand, didn't. And they recorded (urgh) Sit Down, which is simply unforgivable. I recall to this very day tramping on the hands of fey indie-loving students, as they sat on the dancefloors of dingy clubs. How i loathed them.
Come Home is a lot better than Sit Down. However, it still sounds a bit like it BECAUSE IT WAS RECORDED BY THE SAME PEOPLE (who shall never be forgiven). So, it's not awful, but it reminds me of awfulness. Make it stop.
The White Stripes - I Think I Smell A Rat
ORIGINATION White Blood Cells
LAST LISTENED TO a fraction last week sometime
CHANCE OF WAKING TO IT not much
RATING
It begins with a slight Spanish guitar flavour, before moving into the stark loud guitar and drum sound that brought the Stripes fame and fortune. This pattern is repeated several times and constitutes what is a pretty basic song.
Lyrically, it feels just a tad self-righteous, having a go at many kinds of disrespectful youth. Not that that is a bad thing. It just feels a bit wrong.
Next up is
The Levellers - Plastic Jesus
ORIGINATION Five Years After (single)
LAST LISTENED TO kee-ryst knows
CHANCE OF WAKING TO IT bugger all
RATING
Not quite as serious this one and consequently a lot more fun. In fact, it's one of the few moments of levity that i am aware of in the terribly right-on (yes, yes, pot kettle black) career of these yoghurt weavers. I'm all for music with a message, but it needn't always be so damned blatant. Although to be fair it has been a long time since i last bothered to listen to the Levellers' music and when i did last i was pretty naïve myself. So maybe i should give them the benefit of the doubt. Hmm…
Anyway, Plastic Jesus is a ramshackle cover on the b side of a single put out when the Leverllers were at the height of their popularity. It's in much more of a country & western style than anything they had recorded up to that point and thus stands out. Perhaps that's why i have a small degree of fondness for it.
'Plastic Jesus riding on the dashboard of my car.' You know, i kinda want one. Possibly one that lights up. Of course, i'd have to get a car first. And learn to drive. But enough of that, now it's on to… oh no
James - Come Home
ORIGINATION neither know nor care
LAST LISTENED TO pass
CHANCE OF WAKING TO IT if only it had been nil
RATING
Come home? No. Bugger off! We don't want your sort round here.
Regular readers (if there are any) will have noticed that i have a slight soft spot for the Wonder Stuff. Which might lead them to naturally conclude that i'd like James as well. Wrong!
I realise that it's a little like splitting hairs, but i just can't stand James. The Stuffies always had a playful feel and a certain sense of humour. James, on the other hand, didn't. And they recorded (urgh) Sit Down, which is simply unforgivable. I recall to this very day tramping on the hands of fey indie-loving students, as they sat on the dancefloors of dingy clubs. How i loathed them.
Come Home is a lot better than Sit Down. However, it still sounds a bit like it BECAUSE IT WAS RECORDED BY THE SAME PEOPLE (who shall never be forgiven). So, it's not awful, but it reminds me of awfulness. Make it stop.
Tuesday, August 01, 2006
The Puppini Sister - Heart Of Glass
ORIGINATION Betcha Bottom Dollar
LAST LISTENED TO in bed last night
CHANCE OF WAKING TO IT plenty high
RATING
These three lovely ladies seem to be making a bit of a name for themselves right now. Their album which has been out for a few weeks now revisits the swinging '40s and with nice close harmony vocals. Benôit Charest of Belleville Rendezvous is along for the ride in part, which you just know can only be a good thing.
Heart Of Glass is, of course, the Blondie number. Here it's given quite an uptempo treatment in a kinda French jazzy acoustic guitary kinda way, with some double bass and rattly percussion moving it along. Over it Marcella, Kate and Stephanie's vocals glide along deliciously. Part close harmony and part solo singing, it brings to centre stage the vocal of the tune, which was always the best part or the original. They also ad-lib many scat parts, many of which are harmonised.
Oh, and there is a musical saw. There just aren't enough of those in the world today.
Joy.
LAST LISTENED TO in bed last night
CHANCE OF WAKING TO IT plenty high
RATING
These three lovely ladies seem to be making a bit of a name for themselves right now. Their album which has been out for a few weeks now revisits the swinging '40s and with nice close harmony vocals. Benôit Charest of Belleville Rendezvous is along for the ride in part, which you just know can only be a good thing.
Heart Of Glass is, of course, the Blondie number. Here it's given quite an uptempo treatment in a kinda French jazzy acoustic guitary kinda way, with some double bass and rattly percussion moving it along. Over it Marcella, Kate and Stephanie's vocals glide along deliciously. Part close harmony and part solo singing, it brings to centre stage the vocal of the tune, which was always the best part or the original. They also ad-lib many scat parts, many of which are harmonised.
Oh, and there is a musical saw. There just aren't enough of those in the world today.
Joy.
Subscribe to:
Posts (Atom)