Another classic from my youth... and a video you wouldn't expect for this kind of music. The pre internet / smartphone days.....
And number three for today, watch how the scenery is in sync with the music, and every sound has a corresponding asset appearing. This video was created in MSTS days... 2002.... amazing stuff.
Last one... loving the old geezer since my childhood - so much happening in this song, Chaz Jankel's funky keys, fantastic musicianship and lyrics. Outstanding clean and "spatial" production.
Had such a crush on her. Ex-Go-Go's. Here's pure late 80s bliss...positive and catchy Also a TSW related song... somehow
Let's continue with train related music... here's two very clever guys, with much knowledge of the music business, legendary Bill Drummond and Jimmy Cauty a.k.a. The KLF
Good but you have to listen to ‘This is What We Find’ from the same album Also, Frank Sidebottom was the alter ego of Chris Sievey, lead singer of Indy Pop band The Freshies (and a solo artist). Their song ‘Im in Love With The Girl on the Manchester Virgin Megastore Checkout Desk” is a classic.
When I was a kid I listened to the whole album on tape repeatedly while playing with my LEGO... Waiting For Your Taxi was my favourite
A little flashback to the days when I was young... For me, this song is a good example what was so special about the 80s. The composition, the chords and harmonies are exemplary and very complex, creating nostalgic, yet uplifting emotions. And Michael McDonalds unmistakable voice...
And I was thinking of you, theorganist My favourite organist, Barbara Dennerlein. Her bass footwork is amazing...
Thanks for that, I must confess hers is a new name to me. although haven't really got involved in the Jazz organ side of things. I have played a couple of Hammonds though, the drawbars take some getting used to. She certainly does have some impressive skills with her feet. Would love to hear her playing a pipe organ. I like to think Bach would approve of this if he was alive today.
He would. I adore Bach. (and discovered him in my twenties through reading a book called "Gödel-Escher-Bach" by Douglas Hofstaedter, which ties these three great minds together, with a common topic they were obsessed with: recursion and self-reference, which Hofstaedter sees as the source of consciousness. Seen in Bach's compositions, Gödel's maths resulting in a formal system that can talk about itself and create a paradox proving that a complex system will naturally have to contradict itself at some point, else cannot be considered "complete", and Escher's "impossible" worlds. And he continues and projects this on the human brain.)
There I am not sure, and - sadly - we will never know. Sure he was a free spirit and took pieces from other composers, twisted, modified and moduled them into what is (in my book) considered the apex of music composing: The Art of the Fugue. Would he approve the "jazzification" of his music? Hmmm, maybe, maybe not. I´m getting old anyway ... Spikee1975 I never could get warm with Barbara Dennerlein. She was/is a controverse figure in the classic organ world. She sure was in my organ class many moons ago. Technics are no issue there, that´s right. But we used to mock her: "Hey Girly, God gave you TWO feet. Use them!" Watch Ton Koopman´s dancing shoelaces and you´ll know what I´m talking about. Or Franz Liszt´s "Ad Nos Ad Salutarem Undam" (19:20 on sheds a light)
Well he was an innovator so he might have embraced more recent harmonic thinking. It ls like the argument over using 32' pedal reeds in his organ music and whether it is historically accurate, well if he was writing for a current day instrument he would have surely embraced a 32' Posaune. Or should you pedal his music with just toes rather than the "modern" method of heal and toe, something I have seen arguments over!
Well, I guess we can argue over this forever. We´ll never know for sure. But some historical context can shed a light: Bach was indeed the innovator who embraced new harmonic thinking. BWV 542 - The Chromatic Fantasy - would be the classic here. And already mentioned the "Art of the Fugue" which goes through all the available 24 keys. A first by the time (and SOME endeavour on the untempered baroque organ tunes - the howling "organ woolf" as-es is famous enough). Bach DID have full 32´ Prinzipals and Posaune available (Arp Schnitker at St. Jacobi Hamburg, where he applied for titular organist in 1720). Apart from the usual Quinta 10 2/3´ + Untersatz 16´ which gives you the accoustical 32´, These stops were available on most major organs from that era. But would you use a 32´ as a voice fundament in a delicate and complicated pedal part of a 4-5 voice fugue? I don´t think so. You´d just generate a cloudy sound pudding, especially in big churches with longer reverbs where you´d find the bigger organs. Your pedal voice won´t be followable anymore. It´s all a question of demand: My teachers would´ve killed me if I´d used a 32´ in a filigran organ fugue or Trio Sonata. And so would have the Master, I presume. They would demand it however as basso continuo in the great Oratorium or Easter Masses. But there the organ plays just a supporting part of sound fundaments. Right, demand: That should answer also the question whether you should use just toes or both toes and heal. If you want to have a baroque staccato interpretation, you´d keep it on your toes only. If you want more legato to attend the Zeitgeist interpretation, you´d have to use both. But you´d anyway use your two feet. Additionally you´d have to adapt to the organ. An ancient baroque organ with straight and short pedal keys will make the use of the heal quite difficult. There´s a facsimily of BWV 552 (the score intro to the Great Organ Mass) where he gives more specific instruction when and how to use toes and heals. But such instructions from his hand were extremely rare (that we know of, many papers have been lost over the centuries). Which is exactly the reason why we are arguing here forever. Later composers like Liszt or Reger, or the french elite like Franck, Dupré, Guilmant don´t ask the question for toe-heal. You have no choice since some wacko scores - specially from Reger - demand double octav trillers in their pedal parts and worse. Obviously I don´t have the ultimate answers or the last wisdom, but I can contribute with some historical and musical knowledge. That´s all. At the end of the day you deal with your organ in whatever way you want. But still, organists like Barbara Denninger or that Camaron Carpenter guy are - well at least in my book - a bit too much of comercial show offs. They seem to seek new effects just for the sake of shock and awe. But again: I´m gettin´ old. One of most beautiful Bach pedal parts, and one of the most difficult - played staccato - the organist visibly enjoys it - Trompete 8" in Main - Posaune 16" in Pedal - lovely interpetation EDITed for typos
I forgot some of the organs Bach would have known had 32' stops. A pedal department was still quite a novelty on English organs back then. Of course a 32' reed would be used sparingly, I have heard it used in the closing couple of bars of the Eb major Fugue for example. I have only ever attempted the more simple Reger pieces, the pedal parts are scary in most of his works. I agree that some of the "superstar" organists are very talented and play all the notes, but they don't always play the music.
Currently on my 80s music trip to Scotland. Anyone remember this one from Glaswegian band Love and Money? How come Scotland has produced so many fine songwriters and bands? Another scottish band, Hue and Cry with their biggest hit. Of course not forgetting Midge "Urrrh"
How could I forget this one... became one of my favourite bands. PORCUPINE TREE "TRAINS" But in the end - these guys are on top of my list. If you ever experienced them live, they send you on a journey. Pure bliss and musicianship. Norway's Motorpsycho. Ever digging up undiscovered melodies and beautiful themes.
Bring it on, sort of what this thread is about 34 Million views - see one of the most amazing drummers, Danny Carey (62) from Tool, at work. Mindblowing! This precision and the rythmic complexity are supernatural. Not your everyday 4/4 or 3/4 measure. Also always puts a smile on my face, seeing good old Nicko jamming with Maiden tribute bands in pubs - hasn't lost it! Check the ease and enjoyment when he's performing. Effortless. Ultra precise. One of the most likable characters in the music biz. And he's a super entertaining storyteller...
The 80s were probably the most interesting decade - starting out with the 70's disco elements, then the "New Romantic" poetic and emotional songwriting, then the Italo Dance dominated mid-80s and then in 1986 production suddenly made a huge step forward with highly polished sounds (for me each year in the eighties has a specific sound and I'm usually pretty good at telling which year a song is from) - probably the time of the most bombastic and perfect music production (which met its counterpart with Nirvana in the 90s where people were sick of the cold and artificial sounds and there was this back to the roots attitude). And then Samplers and Sequencers were affordable - and all hell broke loose when the Rave culture started in Detroit and London in the late 80s... Everything was new- sounds unheard of before. I feel while there's good music out there today, it's lacking invention. The last really new style was probably Drum'n'Bass. A whole genre based on three or four 60/70s drum samples, this one being the most used in music history probably (at 01:25) - with the most important records being LTJ Bukem's Logical Progression and Goldie's Timeless. This is heavy - a Drum'n'Bass masterpiece... fasten your seat belts (remix by Underworld which I'm going to see live in Frankfurt in a few days ) And to finish my association chain - Underworld's Born Slippy (not the "Lager Lager" radio version) - a rollercoaster with a beautiful buildup and sound layering. Pure Adrenaline. This fits surprisingly well to the Scotsman 100 mph ride!
Back to the 80s - the Profumo Scandal spawned this great song. I came to appreciate music like this much later in life... "House of Resignation" And this one still has the potential of making me cry... much to relate to.... haunting and beautiful The Eagles' Don Henley with an iconic classic... "the sun goes down alone", what a line! Last one for today.. a song that is very emotional and beautiful in its sadness... (Jefferson) Starship - Sara It was actually written by an austrian couple. Love those songs you'll always recognize by the first chords
Stumbled, (albeit drunkenly, but hey good tunes) on the Logical Progression reference, which I happened to listen too on my drive home. Fantastic piece of work, no more need be said. Prefer listening to my own music while driving/flying/battling and that's favourite! One good turn as they say!
these guys do some quality parody stuff, and this one is one of their best to date ... would also do as a theme song for future Hotel Transylvania sequel lol
not too much into Bollywood stuff, but I have seen like ONE Bollywood movie in my life and it was the RIGHT one lol... there is a lot of weird, silly, goofy stuff in Baahubali 1 and 2, but it has a lot of charm ... and great songs... great in all of listed Indian languages (Telugu being the original, then Tamil and Hindu I believe), but best in the original one here is one of them, I encourage you guys to check both movies
To preserve the motorist gems which I had posted in, well, "another thread", here they are again. Two hommage songs from the great Richard Thompson OBE about the MG B GT and the 1952 Vincent Black Lightning.
This song were the song that got interested in music back when I were just a young lad. I remember that one evening I were not allowed out as the day before I had 'accidentally' flung a rock through the the window of someone in the village who were know to be a right grumpy sod(Us youngsters in the village had a nickname for him, but I am not sure I should post it on here!) with my catapult, but I were caught. Anyway I were upstairs 'doing school work' as my dad usually would switch the tele off and read the newspaper, rather than listen to Top of the Pops. But this one evening I remember going downstairs to get some water and I could hear music and I went into the living room and there it were (for the first and the last time) TOTPs on our tele, with Tiger feet by Mud! This song just brings back all those memories when I hear it. Then this is a song which I really like and must admit has nearly got me done for speeding multiple times when it comes on the radio in the car!
Toto's Steve Lukather is imho one of the greatest living guitarists, a master of precision, harmonical and technical knowledge and he's contributed to so many other songs, you'll often hear him playing on other artists' songs without realizing it's him. Check this, a very young Lukather displays and explains his "tricks" and famous licks.... brilliant...
The 1980's rule forever. End of discussion. But, Despite a classical music formation, I like to keep my options open and zapp myself throughout the genres. This thread is GREAT for that matter, BTW. Thanks to everyone for bringing a lot of different styles to the table. So, not all is lost. These days I stumbled over this by chance, and - hey - I quite like it: Royksopp - "Monument" The best sound version (imho) of this is a Coachella Live Performance. Really cool ... Same performance with video, but bad sound mixing: Love these as well. That's what I call a female voice. Minimalism as a style. Very good! And this power house. Duuuuuhhh ... Have fun!
Celebrating the 30th anniversary of Pink Floyd's "The Division Bell", supposed to be their farewell album then, here's a song that combined with the visuals gives me the goosebumps. A timeless masterpiece.
You can't go wrong with Blue Collar Brothers. Best 1980s remixes on the internet imo. Strange Advance - We Run Desireless - Voyage, Voyage Valerie Dore - The Night Blancmange - Don't Tell Me
Lately, I've been really into the Hard Rico - Brick Na Brick instrumental. It helps me relax and focus.
One of the most influential (and humble) guitarists ever - Smiths' Johnny Marr. In an interview he explained his love for different tunings, to get rid of "learned" fingerings and discover new harmonies. ("Don't know what chord this is but I like it") and a fantastic live version of Barbarism... what a bass line!
That was exactly what made them distinctive. The clean ringing guitar. They were not your typical rockband (and didn't want to be).
