A music that was born with a certain anti-commercial defiance, stretching out over long tracks which would rarely make it anywhere near mainstream radio, ironically ended up the music of commercials.
Labradford Mi Media Naranja Kranky, Founded inLabradford were key players in the post-rock movement even if they remain somewhat unsung heroes of the genre. Nothing sounds dated or overdone almost two Album) later. Godspeed You Black Emperor! F A Infinity Constellation, A little like drowning euphoria, probably. Mogwai Young Team Chemikal Underground, Certainly the fingerprints of their influences were visible on their early material, but with their debut album Young Team they forged their own unique identity, helping create a fresh blueprint for post-rock and sparking two decades of experimentation.
Young Team holds up too, sounding as enjoyable, weighty and as crushingly dense as it did back in What set Mogwai apart from their peers was their charm and humour — the young team were growing up on record, wearing their hearts on their sleeves and sprinkling their distinctly Scottish identities over a sound with its roots on both sides of the Atlantic. Rodan Rusty Quarterstick Records, The album was titled after his nickname as well.
Rusty deals largely with the void — the quiet beauty of languishing in the calm and the emotional density of throwing all of that away. Their riffs may have sounded disparate, but paired together, they made sense out of chaos. And yet so much of Rusty is uninhabited. It just fucking stops. And what math-rock, post-rock and other sound-building genres sort of have the responsibility to do is coax its listener out of the wall of din without making her heart stop with abrupt finishes.
If the blueprint for math-rock had already been laid out, Rusty was an exercise in erasing some of its buttresses. Frontman and artistic dictator Mark Hollis pushed his vision to the absolute limit on its follow-up, which proved to be their swansong as a group.
Most of the music they recorded was binned as Hollis pieced together his magnum opus from hours of improvisation, attempting to capture the spontaneity of his jazz heroes. In a certain light, Laughing Stock is obviously the odd one out in a list of post-rock albums.
Talk Talk come from a very different world to that of Mogwai, Labradford or Stars of the Lid, with synths rather than rock guitars defining their early pop sound.
Song structures are loose and unpredictable, with organ drones, echoing guitar and murmured vocals following their own meandering trails, congealing into epic climaxes and falling away to reveal huge chasms of silence.
With seven albums recorded over a year career, Tortoise are practically establishment figures. Prior to the Slint and GY! BE reunions, Tortoise were the tentpole band for early attendees of ATP festival RIPand they continued to fly the flag for the Madness - Absolutely (Vinyl through the s. Tortoise never had the mystique of a band like Talk Talk or the sonic power of an outfit like Mogwai, but no band operating in the post-rock sphere stretched the boundaries of the genre in quite the same way.
Recorded two years before Jeff Parker brought a strong jazz influence to the band on TNTit catches Tortoise as they start to expand on the scale of their self-titled debut, but before they get stuck into the looser, more improvisational structures of their later albums.
Their sharp guitar lines hit you with velocity rather than brute force, despite the relaxed, almost languid mood their music evokes.
Slint Spiderland Touch And Go, Slint released the now-iconic Spiderland in while still a bunch of Kentucky nobodies. And so four young scrappers in baggy shorts from Louisville, Kentucky became for a period the most mythical band in America. The cloud of mystery that surrounded them as Spiderland became a word-of-mouth monster, paired with the dark, obtuse intensity of their music, meant that all kinds of rumours sprung up about them: band members living in psychiatric wards; recording sessions that drove them to the brink of destruction.
Slint and Spiderland were products of their time in this way. The guitarist is thankfully now on the mend, despite having suffered a motorcycle accident earlier this year. And what a record it would be to no longer endure listening to.
Although Slint were only accidentally post-rock, in a lot of ways Spiderland is the definitive post-rock album. It was the perfect metaphor — an invitation.
A: Under the name Pat Francis. And then I form a group called Meditators. A: I was about Madness - Absolutely (Vinyl 16, We used to sing and practice with the guitar lots of nights before we could go to studio. They used to have audition on Saturday where lot of artists come, then they pick the best from a lot of them. Out of a hundred they might pick 20, or 10 from that.
At the same session I do two for Upsetter label. Q: Back up for a minute. A: Yes. And I find that my voice could able to deejay. A: Jah Scuff. He just do that one song. He was never interested to do more. So I produce songs for a lot of artists like Heptones, Mighty Diamonds. A: Yeah it was my song. Produced by me. North Parade Street. A: No. Douglas Boothe. He always say he was his brother, but then I find out it was not his real brother.
Know ye that the Lord is God, cause He made us and not we ourself. We are His people and the sheep of His pasture. So we take that song from there. And whosever believeth in Him shall never perish but ever live in light. With spiritual rhymes. Of Rastafari. Which we intend might be God or Jesus. But his version was very good. I still admire the way he do it. Shenley Duffus first did that as adapted song, a do-over song, on Upsetter label. I used to sell it in the shop.
So we do that piece from that version. That mean a certain amount of respect due to your mother and father and elders. It was a musical fight. So each time a artist come with a hit, you find something to answer back. But with love in our heart, we can show the world that there is no war. People who is not righteous do not bear much fruit, or good fruit.
Bitter fruit them bear. So, they are not governed by the spirit of God, or Jah. Q: When you did these great lyrics, did you sit down and work them out or…. A: That song came very quick, usually in those days songs came very quick to me, just like you hear the riddim, listen the riddim, and then [snaps his fingers] the inspiration just come. A: Yeah [pants several times]! And Scratch laugh and say he running from something, police want him or something.
A: Yeah. I think it was Horsemouth [Leroy Wallace] playing a little melody. You mean the world to me. It never press a lot but it a good song. It sound good. It could have sold a lot if I had press more. That was a nice one too. DJ version. A: [laughing] Jim Screechy mean when a man coming up on you dodging. Hide and seeking. Not coming up full to you. Chat behind your back. So me say never do them thing deh. A righteous Rasta man never deal with that. Me and Scratch mostly used to put things together by-clipping through things that happening and take things from it.
We do Colombia Colly and then we do a lot more songs, which is where I gone and do my thing from then. And just hang on until now. He lift up my eyes onto the hills from whence come my help. I have come from Jah which made heaven on earth. By his protection the sun shall not smite me by day nor the moon by night. My group. And later for Rupie Edwards me and Joe Higgs sing it and he say him write it. I saw a canoe passing, which him row with two stick.
The old-time canoe, they row them with stick. Me used to love the sea Sunday morning time. Where it come from. They only Madness - Absolutely (Vinyl it. And gone home.
And the Congoes record it and say it is them write it. I have a lot of songs that I write which I never get credit for because I never know much about performing rights. But the rights of them, the original work, is mine. But we do some great works at Upsetter studio. Nuff songs. Nuff song that people create them not even know where it come from. Scratch always had enough words. He called me Jah Lion. But he called me Jah Lion different from Jah Lloyd…. This interview was first published in The Beat in DanceCrasher would like to thank Mike Turner for giving us the opportunity to reproduce it.
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The Songcatcher. Issued on Rhino Records init consists of concert material recorded in on the band's tour during the summer of that year. It was issued in several formats: a standard compact disc box set consisting of three audio discs and a standard DVD; as one pure audio LP disc and a Blu-ray DVD; and a more expensively packaged limited deluxe edition consisting of the material on six vinyl records along with the Blu-ray discs and a coffee table book. Two single disc samplers were also issued, one of the acoustic material exclusively available at Starbucks in the United States and Canada, and another at normal retail outlets.
Each of the non-sampler sets also contained a page booklet, and all formats were released the same day. The three-disc and DVD package peaked at No. All were gold recordsas were the three issued in early by the quartet: Harvest ; Graham Nash David Crosby ; and Manassas ; proving the group to be appealing commercially apart as well as together.
Young toured solo in late and earlyStills undertook his first solo headlining tour with a new band in the summer ofabout the same time that Crosby and Nash toured 'unplugged'for the first time as a duo. Intheir individual fortunes began to falter.
Stills toured again with Manassas, but their second album did not do as well in the marketplace. Young undertook two tours colored by the death of Crazy Horse guitarist Danny Whitten ; the album from the first tour with Crosby and Nash on a couple of tracks Time Fades Away falling well short of the previous year's Harvest sales-wise. Crosby's reunion with the Byrds and Nash's second solo album also did not do very well critically or commercially. Crosby and Nash put together their first electric band tour in lateand Stills continued to tour with Manassas late intobut the seed had been planted.
Manager Roberts proposed to CSNY something more ambitious: a summer tour of baseball and football stadiums. Besides the four principals on guitars and keyboards, supporting musicians had previously worked with different members. The tour commenced on July 9 at the Seattle Center Coliseum. Attendees were treated to a concert of exceptional length: the band was still playing past am. Following performances included 30 dates in 23 locations, ending the North American tour proper at the Roosevelt Raceway in Westbury, New York on September 8.
Cass Elliot died in London during the tour on July Nash relayed the news to Kunkel, who was married to her sister Leah. Kunkel said, "She had a big role in their lives. She introduced Graham to Stephen. It was a very difficult day for us when she died.
The show that night is probably what got us all through it. Although large multiple-bill festivals such as Miami PopWoodstockand Watkins Glen had taken place, and CSNY, the Rolling Stonesand others had played infrequent stadium shows, no band except for the Beatles had ever attempted a tour of this magnitude.
Paul Civic Center. Nash and Joel Bernsteinwho had assembled the three individual box sets VoyageReflectionsand Carry On for Crosby, Nash, and Stills respectively, collaborated again to produce this set. Nash stated that he became the group's archivist both because of his interest in preserving their history  and because "I just think I'm the only one with the patience for it.
Nash and Bernstein selected the best take for each song from the dozen or so performances available. Nash claimed there were absolutely no overdubs: "If something was out of tune, I would either tune or I'd find it Album) another show — I'd find something at roughly the same tempo and I'd put it on. While the set list consisted of material taken from both group and solo projects, many songs performed on the tour and included in the box set had not been issued before the tour.
CSN's cover of " Blackbird " had been recorded in the studio in earlybut would not be issued until the box set. The box set presents an idealized concert from the template of the shows themselves: discs one and three are full-band electric sets flanking a middle second set of acoustic songs in solo, duo, trio, and quartet configurations.
The page booklet contains photographs, an essay, quotes, and song information compiled by Bernstein, including which instruments were used on each song. Crosby dubbed this "the Doom Tour," in reference to both the difficulties in playing such large venues and the collateral excesses. Nash found this absurd; nevertheless the album topped the Billboardand its cover drawing by Joni Mitchell would appear on everything from dinner plates to pillowcases as part of the group's travel accessories.
The first stadium tour, CSNY in set the precedent for every similar outing to follow. As lucrative stadium tours with their large attendances became more feasible during the s, so documents of the tour such as Frampton Comes Alive! The promotion business of rock and popular music has not looked back since.
In the autumn after the tour, another attempt to record a new CSNY studio album in Sausalito came to naught. Audience noise was trimmed from tracks to ensure that they all fit on a single compact disc.
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