miércoles, 30 de septiembre de 2015

Bill Gable - "High Trapeze"

Bill Gable is an American singer-songwriter best known for his distinctive solo albums, “There Were Signs” and “This Perfect Day.”  A sophisticated and accomplished songwriter, producer, arranger and multi-instrumentalist, his projects straddle the boundaries between pop, jazz and world music, resulting in a highly personal and evocative body of work.  His newest album, “No Straight Lines,” is scheduled for release in April 2015.

Bill Gable’s music has always defied easy categorization.  He grew up studying classical piano and cello, has a degree in literature, has travelled widely, and has worked with musicians and studied music from around the world – all of which contribute to his singular style.  Singled out for his “superb lyrical imagery” (Billboard) and “exotic grasp of world music” (MAC Report), “it’s the attention to musical detail and the perfect capture of mood with music that make Gable a remarkable artist.” (Jazz Link)

Bill Gable broke onto the scene in 1989 with his album “There Were Signs,” released worldwide by Private Music/BMG (and re-released worldwide by Sony Records in 2013).  The album, co-produced with Rob Mounsey (Steely Dan, Paul Simon), blends jazz, Brazilian and Afro-Cuban influences in a colorful musical landscape.  Featuring Gable on vocals, guitars, synthesizers and sanfona, the rhythm sections include renowned pop drummers Jerry Marotta (Peter Gabriel, Crowded House) and Jeff Porcaro (Toto, Steely Dan), percussion legends Airto Moreira, Luis Conte (Madonna, Eric Clapton) and Manolo Badrena (Weather Report), with Jimmy Haslip (Yellowjackets, Bruce Hornsby), Mark Egan (Pat Metheny Group) and Octavio Bailly (Tamba Trio, Bossa Rio) on basses.  Incomparable jazz trumpeter Lew Soloff (Gil Evans, Blood, Sweat and Tears) adds his distinctive sound on several songs.  With elegant arrangements by Mounsey offset by Gable’s rawer rootsiness, the album creates a sound aptly described as “unlike anything on the radio today” (Mac Report), as true now as it was in 1989.


domingo, 27 de septiembre de 2015

The Who on The Smothers Brothers Comedy Hour 1967 (High Quality).mpg

Watch the band go berserk at 7:00!

Chris Walla – “Kanta’s Theme”


By James Rettig
Chris Walla has announced his first release since his departure from Death Cab For Cutie last year. It’s a full-length instrumental album called Tape Loops, and it’s his first solo material since his 2008 debut Field Manual. Walla’s deft touch was always a highlight on his old band’s records — not to mention all the albums he’s produced over the years — and that attention to detail carries over to the placid “Kanta’s Theme,” the opening track to the record. In a talk with Sara Quin (of Tegan And Sara fame — he produced their recordsThe Con and Sainthood) on Interview, Walla discusses his recent move to Norway with his family, putting together IKEA furniture, and the thought process behind the new album. Here’s a little bit about the last part:
After three weeks of being in the producer seat for the Death Cab for Cutie album number eight, I decided that I shouldn’t be producing that record. Right at that moment, I started working on Tape Loops. [Kintsugi] was the first record I made with that band that I hadn’t produced and that was a huge shift in my identity. It was long before I decided I was going to leave the band, but it was at this moment where I was feeling like the record wasn’t sticking and the ideas weren’t totally blooming like they should. At that moment, it wasn’t very satisfying. It was a big decision that I didn’t want that job. I sort of felt like, “Shit, if I’m not doing this then what will I do? What do I do? Who am I? What if I do something creative that’s satisfying? What is it? What comes out of me?”
I started plugging in tape machines and fiddling around with razor blades, slicing tapes, and I started making loops. When I came to the studio in the morning, instead of putting on a record to listen to when I was returning emails, I would just make a loop. Some of them were terrible—they made me angry and I took them off—but then a couple of them felt really nice and continued to feel nice after they were on for 20 minutes, or after an hour, or after couple hours. I started dumping those onto the multi-track deck and embellishing them. The fun thing was snapping into and out of a pointed, direct consciousness when I was working on it.
There’s a lot more where that came from — read their full conversation here, and listen to the new track below.

sábado, 26 de septiembre de 2015

White Market Podcast: 21 Songs for Sunderland 2021

White Market Podcast is now settled in Sunderland. As part of our mission to bring out more free music and free culture, we decided to take part on the bid forSunderland City of Culture 2021. This is a kick-off mix so that people can see White Market's work on spreading the message on free accessible music. In the future, we hope to upload more songs from artists around the area.

Please note this is a mix with free songs uploaded by White Market podcast to showcase our work. The artists represented are not affiliated with Sunderland City of Culture 2021 bid in any way.

Darlingside "Harrison Ford"


The music Darlingside plays is serious, cinematic, and deeply moving.

On Birds Say, the Massachusetts-based quartet’s wide-open arrangements are marked by the skillful vocal interplay of the four singers. When bassist Dave Senft, guitarist and banjo player Don Mitchell, classical violinist and folk mandolinist Auyon Mukharji, and cellist and guitar picker Harris Paseltiner gather around a single microphone and let their richly-textured voices loose, they splash their melodies with a sunny melancholy that brings their lyrics to vibrant life. Subtle musical shadings take cues from 60s folk, chamber pop, bluegrass, classical music, and modern indie rock, while aching harmonies are complemented by tones from the harmonium, frailing banjo, 12-string electric guitar, Wurlitzer, auto-chord organ, and grand piano. The result is a collection of quietly passionate songs that defy easy categorization.

“Each song and set of lyrics are created by all of us together, a sort of ‘group stream-of consciousness,’” Harris says. “So we moved away from a single lead vocalist and started gravitating towards singing in unison, passing the melody around, or harmonizing in four parts through an entire song.” Live and on record, they present a unified voice by clustering around a single condenser microphone and blending their voices in the room before they hit the mic.

jueves, 24 de septiembre de 2015

Real Scenes: Mexico City

Sep 16, 2015
Life in the Mexican capital throws up many obstacles, but as we found out in the return of our long-running film series, a small number of dedicated people are trying to build an electronic music scene in one of the world's most chaotic cities.

Mexico City is one of the largest and most vibrant metropolises in the world, but its electronic music scene has yet to truly flourish. It's a city where vast inequality, crime and widespread corruption are everyday realities, and where nightclubs are largely reserved for the moneyed elites. For those who put music first, there are many obstacles—a lack of venues, a limited audience, very little financial gain. Whether you're putting on parties, releasing music or hustling for gigs, making ends meet is a constant struggle.

But the issue also runs deeper. Malinchismo, which means a preference for the foreign over the local, is a term you hear a lot in Mexico City, and it spills over into all aspects of life. In dance music, Mexican fans and DJs will avidly follow artists from Berlin or London but pay little attention to national talent. The domestic scene therefore suffers, unable to develop an identity of its own.

In our latest Real Scenes film we travelled to the colourful, chaotic capital to meet the people who are trying to make dance music work in Mexico City. We found a core community as dedicated, talented and passionate as any in the world.

Visit the RA feature page: http://www.residentadvisor.net/featur...

Subscribe to the RA YouTube channel: http://bit.ly/1x7PeGy

Earth, Wind & Fire - September

"September" is a song by Earth, Wind & Fire written by Maurice WhiteAl McKay, and Allee Willis. It was recorded during the I Am sessions and released as a single in 1978. Featured on the band's album The Best of Earth, Wind & Fire, Vol. 1, "September" reached number one on the US R&B chart, number eight on the Billboard Hot 100,[1] and number three on the UK singles chart.[2]

Earth, Wind & Fire is an American band that has spanned the musical genres of R&BsoulfunkjazzdiscopoprockLatin and African. They are one of the most successful and critically acclaimed bands of the 20th century.[1][2] Rolling Stone Magazine has described them as "innovative, precise yet sensual, calculated yet galvanizing" and has also declared that the band "changed the sound of black pop".[3]

- Wikipedia

Joni Mitchell - Paprika Plains

Most experimental of all (in Don Juan's Reckless Daughter) is “Paprika Plains,” a 16-minute song played on improvised piano and arranged with a full orchestra; it takes up all of Side 2. In it, Mitchell narrates a first-person description of a late-night gathering in a bar frequented by Indigenous peoples of Canada, touching on themes of hopelessness and alcoholism. At one point in the narrative, the narrator leaves the setting to watch the rain and enters into a dreamstate, and the lyrics – printed in the liner notes but not sung – become a mixture of references to innocent childhood memories, anuclear explosion and an expressionless tribe gazing upon the dreamer. The narrator returns inside after the rain passes. In speaking to Anthony Fawcett about working on “Paprika Plains,” Mitchell said:
“The Improvisational, the spontaneous aspect of this creative process – still as a poet – is to set words to the music, which is a hammer and chisel process. Sometimes it flows, but a lot of times it’s blocked by concept. And if you’re writing free consciousness – which I do once in a while just to remind myself that I can, you know, because I’m fitting little pieces of this puzzle together – the end result must flow as if it was spoken for the first time.”[8]
- Wikipedia

miércoles, 23 de septiembre de 2015

KC and The Sunshine Band Please Don't Go

"Please Don't Go" is a song recorded and released in 1979 on the KC and the Sunshine Band album Do You Wanna Go Party. The song was the band's first love ballad, in which the subject pleads for a second chance. Shortly after the song's one-week run at number one, the group broke up and Harry Wayne Casey went solo. The song was a number-one hit on the Australian ARIA Charts, the band's fifth and final number-one hit on Billboard Hot 100charts, and the first number-one hit of the 1980s.[1]

KC and the Sunshine Band is an American musical group. Founded in 1973 in HialeahFlorida, its style has included funkR&B, and disco.[1] Their best-known songs include the disco hits "That's the Way (I Like It)", "(Shake, Shake, Shake) Shake Your Booty", "I'm Your Boogie Man", "Keep It Comin' Love", "Get Down Tonight", "Boogie Shoes", "Please Don't Go" and "Give It Up". The band took its name from lead vocalist Harry Wayne Casey's last name ("KC") and the "Sunshine Band" from KC's home state of Florida, the Sunshine State.


One Week - Barenaked Ladies (ORIGINAL MUSIC VIDEO)(CC)

"One Week" is a 1998 single by Barenaked Ladies, the first single from their 1998 album, Stunt. It was written by Ed Robertson, who is featured on the lead vocal of the rapped verses. Steven Page sings lead on the song's chorus, while the two co-lead the prechoruses in harmony. The song is notable for its significant number of pop culturereferences, and remains the band's best known song in the United States. The song hit #1 on the Billboard Hot 100chart and, fittingly, spent one week at the top.

Barenaked Ladies (often abbreviated BNL or occasionally BnL) is a Canadian rock band. The band is currently composed of Jim CreegganKevin HearnEd Robertson, and Tyler Stewart. Barenaked Ladies formed in 1988 in Scarborough, Ontario (now incorporated into the City of Toronto) as a duo of Robertson and Steven Page.[1]
The band's style has evolved greatly throughout its career, and its music which began as exclusively acoustic quickly grew to encompass a mixture of a wide array of styles including pop, rock, hip hop, rap, etc. They are most commonly billed as an "alt rock" band. The band's cult following translated into immediate success with Gordon in Canada with a number of popular singles including "If I Had $1000000" and "Brian Wilson", but it was not until the band's 1996 live album, Rock Spectacle with its singles, live versions of "The Old Apartment" and "Brian Wilson", and its 1998 fourth studio album, Stunt that the band finally found success in the United States. The lead single from Stunt, "One Week" remains the band's most successful single. Other well-known singles include Stunt's second, "It's All Been Done", and the lead single from the follow-up album Maroon, "Pinch Me". These and other singles remain in radio rotation in both Canada and the United States. In 2007, Robertson wrote and the band recorded a theme song for the sitcom The Big Bang Theory for which the band has also become well-known.

- Wikipedia

martes, 22 de septiembre de 2015

Michael Jackson - Off The Wall - Rock With You

"Rock with You" is a song written by British songwriter Rod Temperton and recorded by American recording artist Michael Jackson. It was released on November 3, 1979, as the second single from Michael Jackson's fifth album, Off the Wall. Temperton, formerly of the group Heatwave, also wrote Jackson's 1982 song "Thriller".
It reached number one on both the pop and R&B singles charts. According to Billboard, the song was the fourth biggest single of 1980.[1] It is also considered one of the last hits of the disco era.
Off the Wall is the fifth studio album by American recording artist Michael Jackson. It was released on August 10, 1979 by Epic Records following Jackson's critically well-received film performance in the The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album. Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of other writers and performers such as Paul McCartneyStevie Wonder and Rod Temperton. Five singles were released from the album. Three of the singles had music videos released. Jackson wrote three of the songs himself, including the number-one Grammy-winning single "Don't Stop 'Til You Get Enough". It was his first solo release under Epic Records, the label he would record on until his death roughly 30 years later.
The record was a departure from Jackson's previous work for Motown. The lyrical themes on the record relate to escapismliberationlonelinesshedonism and romance. Several critics observed that Off the Wall was crafted from funkdiscosoft rockjazz and pop ballads. Jackson received positive reviews for his vocal performance on the record. The record gained critical acclaim and recognition and won the singer his first Grammy Award. With Off the Wall, Jackson became the first solo artist to have four singles from the same album peak inside the top 10 of the Billboard Hot 100. The album was an enormous commercial success; as of 2014 it is certified eight times platinum in the United States and has reportedly sold more than 20 million copies worldwide, making it one of the best selling albums of all time.

Brandi Carlile - The Eye


Brandi M. Carlile (born June 1, 1981) is an American alternative country and folk rock singer-songwriter.[1] She has released six albums including The StoryGive Up the Ghost and Live at Benaroya Hall with the Seattle Symphony, the last reaching number 14 on the Top Rock Albums chart.[2] Her first commercial album, Brandi Carlile, was released to critical acclaim and limited commercial success. Her 2007 single The Story, from the album of the same name, was a greater commercial success, and was featured in an episode of the TV drama Grey's Anatomy, as well as a General Motors commercial.[3]
Carlile’s music through the years has been categorized in several genres, including poprock,alternative country, and folk. Carlile once quoted, "I've gone through all sorts of vocal phases, from pop to blues to R&B, but no matter what I do, I just can't get the country and western out of my voice". After being introduced to the music of Elton John, Carlile taught herself to playpiano, and at 17 learned to play the guitar.[3]
- Wikipedia

lunes, 21 de septiembre de 2015

The Bee Gees - Love You inside Out

"Love You Inside Out" is a 1979 hit single for the Bee Gees, from their album Spirits Having Flown. It reached number one on the Billboard Hot 100 for one week in June 1979, interrupting Donna Summer's "Hot Stuff". It was the ninth and final number-one hit for the Bee Gees in the US. In the UK, the single peaked at no.13 for two weeks.
Spirits Having Flown is the fifteenth album released by the Bee Gees. It was the group's first album after their collaboration on the Saturday Night Fever soundtrack. The album's first three tracks were released as singles and all reached No. 1 in the US, giving the Bee Gees an unbroken run of six US chart-toppers and tying a record set by The Beatles. It was the first Bee Gees album to make the UK top 40 in ten years (not counting the soundtrack for Saturday Night Fever), as well as being their first and only UK No. 1 album. It has sold 20 million copies worldwide.
Spirits Having Flown marked the tail end of the band's most successful era, prior to a severe downturn in the early 1980s when they would endure a near-total radio blackout (particularly in America) that Robin Gibb would refer to as "censorship" and "evil" in interviews.
The Bee Gees were a pop music group formed in 1958. The group's line-up consisted of brothers BarryRobin, and Maurice Gibb. The trio were successful for most of their decades of recording music, but they had two distinct periods of exceptional success: as a popular music act in the late 1960s and early 1970s, and as prominent performers of the disco music era in the late 1970s. The group sang recognisable three-part tight harmonies; Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the late 1970s and 1980s. They wrote all of their own hits, as well as writing and producing several major hits for other artists.

domingo, 20 de septiembre de 2015

All Songs Considered at the Nashville Americana Fest

http://www.npr.org/sections/allsongs/2015/09/15/439253392/americanafest-preview-lucette-whitey-morgan-oh-pep-and-moreAmericanaFest Preview: Lucette, Whitey Morgan, Oh Pep! And MoreNPR Music is in Nashville all this week for the 16th annual AmericanaFest. So the newest episode of All Songs Considered offers a big bundle of music from some of the acts who are playing the festival that the team is most excited to see. Before leaving D.C., Bob called up NPR Music’s Ann Powers and NPR Music contributor Jewly Hight in Music City to talk about what Americana means, and who its newest and most promising voices are. The playlist they ended up with has grit, rock, folk, pop, fiddle, honky-tonk and everything in between: the perfect primer to an eclectic, evolving genre and the festival celebrating it.View high resolution 

AmericanaFest Preview: Lucette, Whitey Morgan, Oh Pep! And More

NPR Music is in Nashville all this week for the 16th annual AmericanaFest. So the newest episode of All Songs Considered offers a big bundle of music from some of the acts who are playing the festival that the team is most excited to see. Before leaving D.C., Bob called up NPR Music’s Ann Powers and NPR Music contributor Jewly Hight in Music City to talk about what Americana means, and who its newest and most promising voices are. The playlist they ended up with has grit, rock, folk, pop, fiddle, honky-tonk and everything in between: the perfect primer to an eclectic, evolving genre and the festival celebrating it.

sábado, 19 de septiembre de 2015

Vladimir en mí, película mexicana

Vladimir no sabe quién es, tiene el dinero que quiere, teme volverse esquizofrénico, es un vampiro, un extraterrestre, un millonario excéntrico, o las tres cosas a la vez. No nos cabe duda de que es un seductor que juega perfectamente al futbol, que estudia los movimientos de un taxista y que enamora a la mujer más bella e inteligente que se cruza en su camino.

viernes, 18 de septiembre de 2015

Silent Running - Trailer

Silent Running is a 1972 environmentally-themed American post-apocalyptic science fiction filmstarring Bruce Dern, featuring Cliff PottsRon Rifkin and Jesse Vint. It was directed by Douglas Trumbull, who had previously worked as a special effects supervisor on science fiction films, including 2001: A Space Odyssey and The Andromeda Strain.

Silent running.jpg

jueves, 17 de septiembre de 2015

Guy Fox - San Francisco

Marcos Valle

Valle’s fourth original recording for Far Out – features standout compositions including the instant classic ‘Vamos Sambar’, the infectious jazz of ‘Baião Maracatú’, and the stunning duets and brass of ‘Papo De Maluco’. Valle’s soft scatting on the floaty ‘Arranca Toco’; cinematic orchestral ‘Novo Acorde’; and rich psych incidentals show that Valle is as creatively inspired – by Rio, music, and a lifetime of travel touring the globe – as he ever was as the original Ipanema beach poet. Produced by Daniel Maunick (son of Bluey, Incognito); recorded, mixed, and co- produced by David Brinkworth (Harmonic 33); and with Marcos’ unparalleled arrangements, aided by horn and string arrangements by Jesse Sedoc Vocals, Valle is brought back with a widescreen bang. 

One of the second-wave of early bossa nova composers, following in the footsteps of Gilberto and Jobim, he is “the man who punched Marlon Brando and made millions”. Responsible for the bossa classic ‘Summer Samba (So Nice)’, written by the 21-year-old Valle as a tribute to the joys of life as a Rio surfer, it is the one bossa nova tune apart from "The Girl from Ipanema" that everyone knows. Made into a hit by Walter Wanderley in 1967, the song has been covered by hundreds of artists. Born in Rio de Janeiro in 1943, Marcos began writing songs with his brother Paulo Sergio (who wrote lyrics to two tracks on ‘Estática’). As his reputation grew, he released his debut album 'Samba Demais' for EMI Brazil. It was his first release on Verve however that brought him well-deserved fame, 'Samba '68' becoming a Brazilian musical landmark thanks to tracks such as 'Batucada' and 'Crickets Sing for Anamaria'. The early-seventies spawned two Valle masterpiece’s, ‘Garra’ and ‘Vento’, which combined the “cosmic expansion of Pink Floyd with the orchestral sweep of Ennio Morricone” MOJO. From there Valle has written brilliant album after another and was even commissioned to provide the equivalent of the USA Moss/OZ magic for the Brazilian edition of Sesame Street. 

Space 1999 Intro Episode 1 Breakaway

April 30 2014

Intro for the first Space 1999 episode. I couldn't get enough of this series when I was in elementary.

Ah, the Wikipedia always knows best:

Space: 1999 is a British science-fiction television series that ran for two seasons and originally aired from 1975 to 1977.[1] In the opening episode, set on 13 September 1999, nuclear waste stored on theMoon's far side explodes, knocking the Moon out of orbit and sending it, as well as the 311 inhabitants of Moonbase Alpha, hurtling uncontrollably into space. The series was the last production by the partnership of Gerry and Sylvia Anderson and was the most expensive series produced for British television up to that time.

The premise of Space: 1999 centres on the plight of the inhabitants of Moonbase Alpha, Earth's Space Research Centre on the Moon, following a scientific cataclysm. Humanity had been storing its nuclear waste in vast disposal sites on the far side of the Moon. Prefaced by wild emissions of an unknown form of electromagnetic radiation, the accumulated waste reaches critical mass and, on 13 September 1999, detonates in a massive thermonuclear explosion. The force of the blast propels the Moon like an enormous booster rocket, hurling it out of Earth orbit and into deep space at colossal speed, thus stranding the 311 personnel stationed on Alpha.[2] The runaway Moon, in effect, becomes the "spacecraft" on which the protagonists travel, searching for a new home. During their interstellar journey, the Alphans encounter an array of alien civilizations, dystopian societies, and mind-bending phenomena previously unseen by humanity. Several episodes of the first series hinted that the Moon's journey was influenced (and perhaps initiated) by a "mysterious unknown force", which was guiding the Alphans toward an ultimate destiny.