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Post by aubrey on Nov 16, 2016 18:25:38 GMT
Peter Hammill "Pno, Gtr, Vox Box", a set of live cds of imaginary solo concerts, under headings like "What if there were no piano?", "What If I Knew This Was The Last Show I'd Ever Do?", "What If I Played Only VDGG/VDG Songs?", etc; the one I'm on now is, "What if I forgot my guitar?", and so is just piano and vocals. They were recorded in 2010: his voice is a bit rough in places, and he makes more mistakes than he used to; but it is still good stuff. He's only relatively recently started releasing unadorned solo live recordings, and I wish he'd done it 30 years ago: the bootleg tapes I have are ok, but not ideal.
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Post by aubrey on Nov 22, 2016 17:44:11 GMT
More Hammill, recorded in Hammill with his "Beat Group" (Van Der Graaf's drummer and bassist, and The Vibrators' guitarist) in 1981, released as a dvd (now available as a bootleg and on Youtube for years) and as a double cd). They're playing The Sphinx in the Face now; this is one that Hammill buggers up, ending before the rest of them are ready for it. The whole thing is fairly scrappy, and gorgeous.
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Post by althea on Dec 7, 2016 20:22:28 GMT
Tom Lehrer,"Poisoning Pigeons in the Park."
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Post by ARENA on Dec 7, 2016 21:29:54 GMT
Tom Lehrer,"Poisoning Pigeons in the Park." I simple love it......such wonderful black humour.
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Post by aubrey on Dec 14, 2016 16:44:22 GMT
"Blood Bitch" by Jenny Hval.
I know very little about her, but I saw this in a list of the top 50 best records of 2016 and as I had heard and enjoyed another song of hers on a blind mix from someone on The Fall site. I read some things baout and discovered that it is inspired by menstruation and - more to the point - 70s exploitation horror films: and at least two of the titles come from Jess Franco films (Female Wampire and Lorna, so I got in there.
It's ok. This is the second time I've played it, and I think I will get to like it a lot.
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Post by aubrey on Dec 15, 2016 17:44:55 GMT
Still one of my favourite LPs - the way it plays all the way through, drifting in and out of spoken pieces, synth interludes, and long, repetitive songs, all done without a break, still gets me: it really does seem more like a ritual than a collection of separate pieces.
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Post by althea on Dec 15, 2016 19:57:47 GMT
The Shoop Shoop song.-Betty Everett.
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Post by aubrey on Dec 21, 2016 16:45:56 GMT
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Post by marispiper on Jan 7, 2017 13:41:31 GMT
Listening to R2, Paul Gambo playing the chart from 1974. Mott the Hoople, Roll away the Stone...daft lyrics.. Sha-la-la-la push, push... So poetic 😊
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Post by althea on Jan 8, 2017 17:21:21 GMT
Hangin on the telephone - Blondie.
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Post by aubrey on Jan 8, 2017 18:01:06 GMT
Listening to R2, Paul Gambo playing the chart from 1974. Mott the Hoople, Roll away the Stone...daft lyrics.. Sha-la-la-la push, push... So poetic 😊 Are you going to be there? -I've got the invite...
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Post by aubrey on Jan 13, 2017 17:47:56 GMT
An afternoon of Sparks, and just now, for the second time: I really wish I'd had the nerve to buy it when it came out; but the risk of it being one of my 2-3 lps a year and turning out crap was too great. I would have loved it though. I also found out today that the woman on the right does the female vocals (or vocalising) on this:
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Post by marispiper on Jan 14, 2017 9:33:51 GMT
Who is she?
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Post by aubrey on Jan 14, 2017 12:15:09 GMT
Sorry, I forgot: Michi Hirota. The first voice on the track is the Japanese actress Michi Hirota (she’s on the cover of Sparks’ Kimono My House), snapping “Shirueto ya kagega!” (“silhouettes and shadows,” full translation here). Hirota originally was to coach Bowie in voicing the Japanese translation (by the professor Hisahi Miura). But as the translation was literal, it was hard for Hirota to make the lines fit the vocal melody—there were just too many syllables. The obstacle became an inspiration: Bowie asked Hirota to recite the lyric herself, but in an aggressive “masculine” manner, shouting and barking out the words.
The Japanese language has a sharply defined gender separation, with men and women (and older men/younger men, etc.) using different words, tenses and phrasings. If a woman was to speak the way Hirota does on “Game,” it would still be startling in today’s Japan; more than that, it just wouldn’t be done. For example, Hirota says “ore,” the pronoun for “I” which only an older Japanese man would use; she also uses more direct verb endings than a woman typically would. Her whole delivery is an aggressive, exaggerated masculine tone (it’s basically how a Japanese teenage boy would speak).(I didn't know any of this either, but I knew it sounded good.) Also: "It's No Game (Part 1)" features a shouted Japanese female lyric, interspersed with Bowie singing the translation. The female Japanese singer is Michi Hirota, who was at the time a member of Japan's Red Buddha Theatre, who were performing in London.( from here)
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Post by aubrey on Mar 28, 2017 16:57:20 GMT
Bowie live in LA 1974. (Though I'm on pt 2) I did not know about this until a few days ago - it was a record store day release of a bootleg that I found when looking for something else. Astonishingly good sound: obviously a bootleg, but someone's done some proper work on it and it's come up really well. It captures a moment when Bowie was in the process of changing from the rock of Diamond Dogs (as shown on David Live) to the soul of Young Americans - like he got bored halfway through the tour and decided to change - maybe he could see another (getting on for) two years of playing the same material every night (as he did with Ziggy) and couldn't stand it. Bloody good decision, it turned out to be.
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