Way More - Diplo - F10RIDA (Vinyl, LP)
At the centre of Zubrowka Andersons lentre-deux-guerres Alpine republic lay the Grand Budapest Hotel, a splendid dolls house of a building overseen by the prickly and imperious concierge, Gustave H Ralph Fiennes. This being Anderson, what followed involved a secret code, mysterious societies, a murder and a priceless painting, while the action skipped gamely from hotel to prison and snowy mountain peaks. Much as youd expect, all of this was presented via a series of whimsical structural flourishes different narrators, time periods, Chapter headings, each one as deliciously elaborate as the cakes served up in the hotels grand dining hall.
Indeed, The Grand Budapest Hotel became Andersons highest grossing film and also the subject of a trans-Atlantic cruise on the Queen Mary 2, attended by the director himself. But surely the ultimate accolade besides being our film of the year, of course was the construction of the Grand Hotel Budapest in over 50, Lego bricks. This wasnt simply evidence that Andersons fastidious attention to detail could be replicated in colourful interlocking plastic bricks, but a testament to the charm of Andersons marvellous film.
Terms and Conditions apply. While it also covered subsequent stints with The Raincoats, PiL and Basement 5, his long friendship with Strummer was at the heart of the book, a final reconciliation enormously touching. As their history is less well-documented than the less successful but critically adored Big Star, these were the most illuminating pages in a sometimes earnest book, Chilton in this telling remaining distant, enigmatic and unexplained.
A lot of Way More - Diplo - F10RIDA (Vinyl Is An Energy was painfully predictable. Familiar hostilities were cheerfully revived, scorn accumulating to the point of tedium. What made it worth reading, though, was a harrowing account of growing up poor in North London that was almost Dickensian in its graphic evocation of grim deprivation, disease, squalor and delinquency that seemed to belong to an even better book.
The Beatles wrote and recorded an estimated songs. Davies in his research for this book tracked down the original manuscripts of of them. Many were reproduced here, sometimes blurrily. It was amazing to see them, however, with their many revisions, ideas re-thought even before they were fully complete, as if The Beatles couldnt quite keep up with their own creative momentum.
Stubbs admirable history of the German experimental music of the lates and earlys was at its best when it set the music in the traumatic context of a post-war Germany and the radical politics of the era, with which the so-called Krautrock bands were broadly sympathetic. Their revolution sweeping, with international consequences on the shape of modern popular music was, however, cultural, a momentous if fleeting creative blossoming.
Hermes terrific history of New York music between and was packaged as if its solitary focus was the CBGB punk scene and bands like Television, Ramones, Blondie and Talking Heads, who were only part of its story.
It was most fascinating, though, when it addressed what else. JP Beans Songs From The Floor was a page oral history or as the author preferred, a printedword documentary of British folk clubs, perhaps not a subject to set the pulse racing, the wary reader possibly anticipating something dour and earnest. The book, however, was an absorbing account of the folk revival, the venues that supported it and the formidable talent it nurtured across nearly six decades.
Anyone who writes an autobiography is either a twat or broke, Viv Albertine announced, introducing her admirably refreshing memoir. LP) was only a part of the story, however. In the context of her own many personal tragedies and rebirth of her career, it had a much wider resonance. The recent announcement of his retirement coincided with this meticulously researched biography, which affectingly reminded fans of the great music Robert Wyatt has put his name to over five decades.
With valuable input from Wyatt, family, friends and collaborators, the book took us through Wyatts bohemian childhood, through the Canterbury Scene and Soft Machine to the accident that changed his life and the new one he created in its aftermath.
For Gordon, who grew up in Memphis as Stax was establishing its commercial supremacy, it remains a miracle that a label that recognised no racial boundaries, whose founders were white but whose talent pool was largely drawn from local black communities, should have flourished in a place where deep into the 20th Century plantation prejudices still prevailed.
He told its story brilliantly here. Drawing extensively on a vast archive of interviews originally conducted for a PBS documentary on the label, he allowed us to share its exciting ascendency and equally spectacular collapse amid a welter of litigation, corporate corruption, federal investigation and unpaid debts.
How the year-old Cathy, inspired by Emily Bront, recorded her epic debut single, and fought EMI to score a monumental No 1: The unusualness was key, this strange girl. Haunted by the image of Catherine Earnshaws ghostly hand outside the window Let me in!
Let me in! Bush wrote the song aged 18, shortly before beginning work on debut album The Kick Inside. I was in my flat, sitting at the upright piano at about midnight, she told her fan club in There was a full moon, the curtains were open, and it came quite easily. The fact that Bush shared her childhood name Cathy with Earnshaw, and a birthday July 30 with Bront, fostered a sense of cosmic kinship with the subject of Wuthering Heights, a bond acted out when she recorded the song with members of the Alan Parsons Project.
She seemed to adopt different personas when she was singing, recalls guitarist Ian Bairnson. Suddenly there was another person there. Aided by a wildly eccentric video and some revealing publicity photos, Wuthering Heights was instantly impactful, and later spoofed by everyone from Pamela Stephenson to Alan Partridge. These days, Bush may regard its unbridled romanticism with mixed feelings it was nowhere to be heard in the Before The Dawn showsbut it remains one of musics boldest opening statements of artistic intent, and an unforgettable exploration of obsessive love, supernatural imagining and powerful femininity.
This was substantially prior to Kate signing to EMI. Initially he said he was going to produce her, but in the end Dave put up money for some sessions. A couple of years later I went in to do the album. She had so many songs. Ive still got some of the cassettes. I must have songs here, still, written pre-The Kick Inside. At the time [their relationship] was all a bit hush-hush, a bit keep it careful. I think it was only a few days before. Kate came around to where I was living and said, What about this one?
She sat down at my piano and out it came. It was obvious to me immediately that it was something extraordinary. He said, Shes very young but EMI are really excited about her, shes really special. I remember him saying the music was a bit wild, a bit wacky even. We arrived at the studio, Kate introduced herself, and Andrew said, Sit down and play them the song, and thats how it was done. She sat down at the piano, said, It goes like this, and just played. We were all gathered around the piano with our jaws dropped, because it was a stunning performance.
Faultless, absolutely faultless, and she could do that time and time again. It sounded fantastic, there was just a great vibe in the studio. We wrapped ourselves around her, looking for ways to embellish it or give it direction.
For us it was a very refreshing thing, because it was wide open. I didnt like to ask her, Whats this song really. That book must have had a huge impact on her to influence her in that way, but she kept her vision to herself. A lot of artists you work with, you usually find that theyre besotted with themselves like Freddie Mercury, all he could do was talk about himself all the time.
She wasnt like that at all. She didnt say, I want to do this and that, me, me, me, me. She wasnt that kind of person at all and that in itself was very refreshing. It was only about a year ago when I read the lyrics and appreciated them so much more.
And that high-pitched voice. It wasnt until I was listening to Wuthering Heights on the radio that I really realised, Woah, thats really high-pitched! When she sat and sang live for us I didnt really notice anything unusual about it, I just felt her style was very unique.
She was doing some very interesting things with her voice. She was experimenting more and more in all sorts of directions vocally, lyrically and musically. That is what made her stand apart. The fact that her talent had so many facets to it and each one was so believable. I know singers who do, but shed just stand there and sing and concentrate on what she was doing.
She wasnt one for doing the dance of the seven veils while she was doing her vocals. On Wuthering Heights I built a solo and endeavoured to make it part of the song. That was at Andrews insistence! He was a bass player in his youth and he plays OK hes a bit busy and as a consolation prize he said, Davie, you can play string. I must say hes a very accomplished musician all round.
Partly because I had a good idea for a part, and also because Ian had sprained his wrist or something. She was experimenting more and more in all kinds of directions Kate Bush in It w her choice, done with was h full participation and her k knowledge. She was very c comfortable with her body. T pictures were a huge The co commercial success and I thin they had a great deal to think do w with putting Kate on the map.
I said that to her after the first week of She certainly recording, though she wouldnt have believed it.
As soon as she did Wuthering Mankowitz, Heights on Top Of The Tops, that made a difference, too, because it wasnt a conventional performance. Unfortunately its not a great performance. It wasnt Written by: Kate Bush ideal. We guitarIan Bairnson lead were all upset not to be included, guitarStuart Elliott drumsand so was she. But she something like that, and played Engineer: Jon Kelly was very nervous.
I think if we it. We couldnt believe it was Recorded at: AIR, London had been onstage it would have coming out of the radio.
And Released: January 20, been better, but it didnt matter. I think the video helped. I was round at her parents farm pretty much video for Wuthering Heights but EMI asked every day, there was always something to do, and Keith MacMillan to shoot another, which I worked Kates mum would say, Have you phoned Capitol on.
We did it really quickly, through the middle of radio yet? Use the phone! Do it now! It kept the night at Ewart studios in Wandsworth. We got getting played and all of a sudden it just exploded. We got an idea from leotard photo in my Great Windmill Street studio some Canadian movie Keith had seen, shot it on in Soho in early I was doing a lot of work for video and went down a load of generations to get EMI, and they called me and said, Weve got this that ghostly, mirrored effect.
It was quite striking. I Oh, OK, this is going to be an interesting always found the clothes that dancers used during development! By that point it was clear that there rehearsals a very attractive look, and I thought it was a whole lot of layers to what she was doing.
I suggested we got leotards and woollen working socks and all that gear, and she seemed to like the idea. When the pictures WOW! She certainly wasnt uncomfortable with iis published by Ormond Yard it.
She was perfectly aware of how she looked, P Press and is available from because she had spent two hours in the dressing w www. Heights, being in F m, its all barre chords so David ended up playing guitar.
Rather than having to double-track his own performance, I just had an idea and thought, Hang on a minute, can I have your bass? Actually, I think I used my own in the end because I re-did it.
All the parts were written out and hed hand them to the rhythm section, they had chord charts and a brief outline of what he wanted. Hed worked with Kate on the arrangement beforehand and how he wanted it to turn out.
It was an absolutely brilliant job, a first-class record. It was the most obvious song on the record, and it would have been one of the worst choices. I mean, it was a fun thing to have on there, and it was one of the few songs of hers shed already played live with the KT Bush Band, but she stuck to her guns on Wuthering Heights and she was absolutely right.
Quite right. It was fabulous. It was going to be all or nothing. You can never pre-judge the great British record buying public. Kate said, Oh, theyre playing my song tonight. We were all sitting round there and the DJ said hed found this really odd song, or. She records it during sessions for The Kick. She later describes the experience as like watching myself die March 11, Bush. Wuthering Heights remains at the top for four weeks.
Prices shown are per person per break based on 4 adults sharing a Silver self-catering apartment and include all discounts and s off. Price correct at time of print on Prices are valid for new bookings only when booked by 31 December Less than 4 of you? For full terms and conditions please visit butlins. The maximum call charge is 2p per minute from a BT landline. Calls from other networks may vary. Registered in England No. Two intense and personal albums. A possibly valedictory tour with Crazy Horse.
Revelatory solo shows. A new book, a new sound system, a new political engagement and a new relationship I dont think its a musical decade coming up, as much as it is one of ghting for mankind The venue was a familiar hangout the Mountain House, a homely weatherboard cantina in the hills south of San Francisco, just a minute ride from Youngs Broken Arrow ranch. Pulling the old Jeepster up in front of that place, Young writes, with the heater blasting welcomed warmth, I felt the passage of life and how fleeting it really is.
In a silent prayer to the Great Spirit, I asked to be worthy of more time. There was still so much to do. Based on the evidence of the past 12 months, perhaps not even Young himself realised quite how hectic his would be. Next year, Young turns 70; an age when many people would be looking forward to scaling back their commitments in favour of a gentler pace; not adding to them.
But why slow down? Its no fun to slow down. Neils very creative, and we know now that our remaining lifetime is getting pretty short. We dont know about tomorrow, so why not go for it? Be in the now, enjoy yourself, thats what Neils doing. Certainly, this year, Young has had two brushes with mortality: Crazy Horses Billy Talbot suffered a mild stroke in June, while another long-serving. Youngs many endeavours biofuel cars, revolutionary new audio systems, albums, tours, art exhibitions, environmental activism, vinyl boxsets, books and films seem inextricably tied together.
Its possible to divine a path, for instance, Way More - Diplo - F10RIDA (Vinyl his electro-hybrid car venture, LincVolt, and his audio project, Pono. Both are about resurrecting and refining the past: whether it be updating beautiful vintage gas-guzzlers for an eco-future or restoring some of the denuded audio quality to music. But with all these various undertakings, the suspicion exists that Young currently has too many priorities on the go. While Bruce Botnick thinks itll all even out, at least one old accomplice thinks Young has risked stretching himself too far this year.
Crazy Horse guitarist Poncho Sampedro reveals, Honestly, some of my last conversations with Neil, when we were just talking like guys, I cant help but look him in the face and say, Neil youre a great musician. I think you should kee writing songs and stay out of business. Thats from my keep heart. He puts so much energy and passion and love into the Pono project, into the LincVolt project and writing books, all these other things.
But I think it takes a little away from his music. Thats really what his calling is. A the same time, if he can make a difference, if he really At d change something, more power to him. The guitarist recalls an incident t took place earlier this year, on the last day of rehearsals that f Crazy Horses European summer dates.
As we were for fi finishing, we played a version of Tumbleweed, Sampedro sa identifying a song that eventually appeared on says, Yo Youngs Storytone album in November. At the time, we di didnt know it was called Tumbleweed.
We played it at low. But much of what followed was y recondite and wilfully contrarian. What was r he h doing? Was there a plan? Reflecting on Youngs working practices during his glorious 70s era, Poncho Sampedro d says, sa I remember we would go to Neils ranch Young with Jack White, to record. Wed stay there for a summer, maybe at Third Man ev nine months, just recording, coming up even Records, Nashville w songs and partying, then Neil would come with in and go, Oh, shit, you guys.
Youre not going to be believe it, Warner Brothers called. We got to turn in a record. What do you think we should put on it? We never had the concept that we were making a record. However, Joshua V Smith can offer a first-hand account of Youngs recent methods. Smith recalls a week of preparation adapting the booth to Whites specifications, including adding a video screen so Young could watch himself work. Jack and Neil were pitching ideas to each other, explains Smith.
They both are very strong-minded, opinionated people. They want what they want, but they also worked really well together. Jack would say, What if you do this song? He had an assortment of guitars, including his Martin D, one of Hank Williams guitars. He and Jack were like, Hey, try this one for this song.
So it seemed like they were deciding on things together. Smith estimates that together Young and White recorded close to 20 songs during the three days, with Young working 8 to 10 hours when he was there.
Smith was also on hand level, all le when Young recorded the spoken-word intro, a message to hu huddled in his late mother, Rassy, where Young reiterated his mission fro of the front statement for I still really have a lot of work to do here. Neil At first we had no idea he was gonna do it, reveals Smith.
He arrived iP iPhone and on the second day and went in the booth. I was expecting a hit record, then threw it on the floor in between us. We were song and all of a sudden he just starts talking. We clicked. I dont know if they went into the project knowing stayed on one chord and played it every way we knew how. But it just made it into When we finished, a lot of the crew came out and asked what a real album. It gave it so much purpose.
Mindy Watts, who was that. They said it sounded spooky and really good. So, was assisting on the record, got a little teary-eyed. At one point his The recording was not without its difficulties, as Smith engineer, Mark Humphreys, came out and tried to pick up explains.
When it came to record the piano, we put Neil in the phone but Neil blocked him! Later, on the road, Neil the booth on a stool and pushed the piano up against the spoke to Ralph [Molina, drums] about going into the studio door.
His back was facing the mic. It wasnt the best place and overdubbing the drums so it could be used on the to fit. We just had to do whatever we could to get the piano record. I dont know what happened to that. You know, recorded on there. At first, we tried where hes kind of sitting most people turn a corner. Neil ricochets. So we just ended up rolling it up against him pretty much and up against the booth. The old accomplices who resurface Perhaps the biggest revelation about A Letter Home was the Crazy Horse, producer Niko Bolas, or Bruce Botnick, who original distribution method they had in mind.
They were now works for Young at Pono and even the beloved songs he gonna try to release it Way More - Diplo - F10RIDA (Vinyl month after and not announce at all, revisits.
Youngs first album this year, A Letter Home, felt like explains Smith. One idea was to plant some records in a historical adventure as he covered songs by contemporaries random record stores around the country, maybe even in the including Dylan, Willie Nelson and Tim Hardin; many of Used section, and just let somebody find something and which hed played at Farm Aid A solo acoustic tour think What is this?
I never heard of this! It is an odd though poignant addition to his Hollywood, Dallas, Chicago, Boston and Philadelphia, as canon. There are clues, though, to its purpose. Ahead of its. Speaking to Uncut, Young even called it an historic art project.
To add to its peculiarities, it arrived while much of Youngs energy was otherwise engaged with Pono. The Crazy Horse guitarist remembers his first exposure to the system one day at his home in Hawaii.
Neil has a place not that far from me here, he begins. I was into this whole natural farming thing, this natural farmer guru was coming by my house and I was really nervous. I called Neil up and I said, Neil, would you come over here and give me a little support? So he hung with me while this guy, Master Cho, was here. His whole family came and they checked it out and it was a big deal, then they all left. We sat on the couch, Neil and I, talking. Thats when he first started to sell me Pono.
He got up and started going, So I walked into Warner Bros, heres the sales pitch I gave them He pretended he had a blackboard and everything, and I said, Neil, man, that sounds great. But I havent listened to a record in probably 20 years. After that, he never really talked to me about it again.
Bruce Botnick, meanwhile, has an understandably different perspective on Youngs high-resolution audio service. We stayed in touch, he explains. Id go to some of his concerts. Wed hang, and wed catch up. Three years ago, when he took the Buffalo Springfield reunion on the road, he played a concert near us in Santa Barbara. I went to the show, and Neil said, Can you come backstage after? He wanted to show me the prototype for Pono. At that time, it was in LincVolt, his Lincoln convertible, but it was an astonishingly great speaker system and amplifiers, and he had a prototype not the one we hold in our hands today, but electronically, the concept in place, and he was able to demonstrate it.
Botnick recalls Young playing him Aretha Franklin on his new system. We never t, from the start, and Neils concept, rumental. I hate Way More - Diplo - F10RIDA (Vinyl very instrumental. And Neil, in his own way, is a o. As persuasive as Botnick sounds, Pono is still an unknown quantity; albeit one with significant support. Essentially, Pono will give you the opportunity to buy better versions of the music you have probably bought several times over in other formats.
Botnick explains that both Archives Vol 1 and eventually Vol 2 will arrive on Pono: Well be doing enhanced metadata in the store, reveals Botnick.
So you will be able to click on that album, and download an extremely large PDF with all the news thats fit to print about when it was recorded, who recorded it, who produced it, who were the musicians, what hours of the day, what studio, all that kind of good stuff who was having a baby that day, what kind of food they were eating!
Being careful and controlled with your movements is key. Also, I initially cleaned it with my VPI which did nothing. Search form Search. Analog Corner. News News Analog Gear News. Review Explosion. Malachi Lui Jul 12, Review Explosion is a recurring AnalogPlanet feature covering recent releases for which we either don't have sufficient time to fully explore, or that are not worthy of it.
Curated by AnalogPlanet contributing editor Malachi Lui, Review Explosion focuses on the previous few months' new releases. Log in or register to post comments. Four prime examples of why, after nearly Oh jeez Submitted by pthomas92 on Tue, Reassessed and reconfirmed, based upon Submitted by Ortofan on Tue, Thanks you. Submitted by Glotz on Wed, Old, new and in-between Submitted by Blaspheme on Mon, This seems like a good place Submitted by rich d on Tue, Submitted by avanti on Tue, Your lead in to this column makes no sense… Submitted by Jazz listener on Tue, What a misanthropic, deluded piece of crap You are.
Perhaps, but… Submitted by Jazz listener on Wed, Something worthwhile but not worthy of a full review. You can say that again. Submitted by Anton D on Thu, The Strokes Submitted by xtcfan80 on Wed, Brown's Boys: Complete Series. Nicktoons - Halloween - Tales of Fright. Animal Friends 8-Movie Collection. Dead Poets Society Bilingual. Impractical Jokers Season Wizard of Oz: 75th Anniversary Edition. Star Trek: Discovery - Season Three. Back to top.
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