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The M/F Thread 2009: The Quickening
valley_parade:
--- Quote from: ADRIAN WOODHOUSE on 19 Oct 2009, 04:54 ---ON THE MIGHT OF PRINCES - sirens (2003)
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Really digging this.
minus_the_david:
--- Quote from: E. Spaceman on 18 Oct 2009, 22:12 ---
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Everyone should download that! it's so bad that it's GREAT!!!!!!!!!!
ALoveSupreme:
literally just downloaded that a week ago today from another mediafire link. Pretty solid.
gospel:
--- Quote from: E. Spaceman on 18 Oct 2009, 22:12 ---
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This is actually pretty interesting.
EDIT: Love Language is great too. Makes me want to break out the GBV.
gospel:
Jay Farrar & Benjamin Gibbard - One Fast Move Or I'm Gone: Kerouac's Big Sur
Documentery trailer - YouTube
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--- Quote from: NPR ---Jack Kerouac's 1962 novel Big Sur.
gibbardfarrar main
Autumn de Wilde/Shore Fire Media
Benjamin Gibbard and Jay Farrar's collaboration is based on Jack Kerouac's 1962 novel Big Sur.
October 13, 2009 - They'd never met until they discovered their mutual admiration for writer Jack Kerouac. Jay Farrar of Son Volt and Benjamin Gibbard of Death Cab for Cutie were both at a San Francisco recording session in 2007, working on music for a Jim Sampas documentary about Jack Kerouac. After completing that project, Farrar and Gibbard decided to work on some music based on words by Kerouac. They would choose Big Sur, Kerouac's 1962 novel, and write 12 songs. Together, they comprise One Fast Move or I'm Gone: Kerouac's Big Sur, available here in its entirety for the week leading up to its Oct. 20 release.
The bulk of the songwriting took place during a five-day burst by Farrar. Though Farrar has a library of Kerouac books, he'd never read Big Sur — a novel about an alcoholic who retreats to a cabin in Big Sur to dry out, only to find that he drinks because he has to.
After hearing the demos Farrar had written, Sampas looked for others to work on the musical project. Gibbard heard what Farrar was doing — taking Kerouac's words and putting them to song — and found himself more involved. Over the course of the next year or so, he'd contribute his voice to nearly half the songs on One Fast Move.
The sessions would take place at four different studios, including ones in San Francisco, St. Louis and Los Angeles. The result is a dark, slow-burning record — but, true to the spirit of the novel, bits of light shine through.
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Seasick Steve - Man From Another Time (Live) - YouTube
--- Quote from: allmusic ---Like T-Model Ford, Seasick Steve (aka Steve Wold) began recording his own music much later in his life than other musicians. A storytelling singer reviving traditional country-blues, Wold spent his childhood in California but left home at 14. As a hobo, he traveled for several years, jumping trains and working odd jobs. After drifting around the U.S. and Europe, he finally ended up in Norway. Aside from his respectable musical background (which includes recording early Modest Mouse, appearing on BBC television and playing with John Lee Hooker), Wold is also noted for his unusual custom-made stringed instruments. By the time he was in his sixties, he finally released some official material. His first solo album was Doghouse Music, out in late 2006, which was performed almost entirely by Wold. Another record, Cheap, was recorded with the Swedish rhythm section the Level Devils.
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Seasick Steve - Man From Another Time
Seasick Steve - MySpace
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--- Quote ---Produced, written, recorded and engineered by Seasick Steve (with the assistance of engineer Roy Williams), ‘Man From Another Time’ is a resolutely organic album that eschews modern studio trickery in favour of the warm style of ‘live’ analogue recording. Everything on the album was performed by Seasick Steve, aside from drums which are credited to his longstanding Swedish sticksman Dan Magnusson.
Seasick Steve utilised a variety of favourite guitars on the album including a one-string Didley-bo (a 2×4 with a string nailed to it), a guitar made out of an old cigar box (with four strings), his famous 3-string Trance Wonder guitar and an old beat-up acoustic guitar. His array of guitars were complimented by a tattered Fifties Fender Tweed Deluxe amp, old Forties ribbon mics and other weird and wonderful vintage microphones. The natural sounds and echoes of the recording rooms were used for reverb and any delays were done with tape.
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Seasick Steve - Dog House Music
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--- Quote from: allmusic ---Yes, they really do still make albums like this in the 21st century. Steve Wold, otherwise known as Seasick Steve, released his second album, Dog House Music in 2007, his first purely solo effort; he had previously released an album entitled Cheap several years earlier for which he shared the credit with Swedish band the Level Devils. Dog House Music is like a really old John Lee Hooker or Muddy Waters album, or maybe something even less commercial as Steve strums his guitar and sings along, his voice sounding drowned in bourbon, and occasionally a song such as "Fallen off a Rock" crashes to life, literally, with the guitar no longer picking out a sorrowful blues lick but strumming wildly and the drums smashing away in the foreground played by two members of his family, HJ Wold and PM Wold. Apart from that however, the entire album is played by Steve, recorded in what sounded like one take, when he might have been sitting in a leaky shack by the Mississippi, almost every track given a short introduction almost as if to explain to a personal audience what the forthcoming song is about and why it is important. The album begins with the very short (just over one minute) track, "Yellow Dog" which sounds like it was been recorded at the bottom of a well, the acoustics are so terrible. When the final track, "I'm Gone," finishes, there is a small gap which is followed by Steve reciting a real shaggy dog story, over five minutes long, no music, just Steve rambling about being arrested and after spending six months in jail, looking for his runaway dog; this eventually runs into another sad blues song (about a dog). Not sure why anybody would want to listen to this story more than once. Even the album cover looks like it was designed and drawn by a six-year-old, but that simply adds to the unpolished and underproduced nature of the work, which is a credit, not a fault.
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Chris Smither - Time Stand Stills
Chris Smither - MySpace
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--- Quote ---Chris Smither has spent the past four decades writing songs and crafting albums that, by all rights, should make him a household name. Instead, he continues to reside just below the public’s radar, garnering high praise from well-known contemporaries like Bonnie Raitt and Emmylou Harris, and earning flattering distinctions like "blues/folk master," "songwriter’s songwriter," and "musician’s musician." On his eleventh proper studio album, Time Stands Still, due out September 29 on the Signature Sounds/Mighty Albert label, Smither captures the immediacy and intimacy of his must-see live shows while reinforcing his stature as a songwriter and interpreter of the highest order.
Teaming with producer/guitarist David "Goody" Goodrich and drummer Zak Trojano, Smither recorded the eleven tracks for Time Stands Still in a marathon three day period. The sessions yielded stripped-down arrangements of eight originals and three well-chosen covers, including Bob Dylan’s "It Takes A lot to Laugh, It Takes a Train to Cry," Mark Knopfler’s "Madame Geneva’s," and early twentieth-century bluesman Frank Hutchison’s "Miner’s Blues."
At the heart of Time Stands Still lie Smither’s stylized finger-picked guitar lines and smoky vocal turns. He imbues each of his songs with a timeless quality that make an original track like "I Don’t Know," a contemporary look at parenthood, fit right at home beside Hutchison’s "Miner’s Blues," a song that dates back to the nineteen twenties.
Essential cuts include the bouncy title track, delivered with a soulful intensity befitting the subject matter of falling in love, and "Don’t Call Me Stranger," on which the song’s narrator slyly assumes the role of seducer. Smither’s rendition of Dylan’s "It Takes A lot to Laugh…" is a refreshing take on the oft-covered Highway 61 Revisited classic.
While Time Stands Still may not catapult Chris Smither into the mainstream, it should do just that. Time Stands Still emphasizes the best qualities of one of today’s most under-appreciated singer/songwriter/guitarists and stands as a worthy addition to a back catalog of topnotch albums. Listening to Time Stands Still may just encourage listeners to further explore the discography of Chris Smither, and KindWeb highly recommends this worthy endeavor.
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Jimi Tenor & Tony Allen - Inspiration Information 4
Jimi Tenor / Tony Allen Inspiration Information 4 Interview - YouTube
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--- Quote from: BBC ---he most engaging and fully realised album in the series.
Inspiration Information is an ongoing experimental project that mixes and matches artists from quite different backgrounds – but with certain things in common – for a limited amount of studio time to see what they can come up with. This fourth offering is perhaps the most unlikely pairing yet, but one of the most engaging and fully realised albums in the series so far.
Tony Allen is among the world’s most acclaimed kit drummers, famed for having co-created afrobeat with Nigerian bandleader Fela Kuti during the 1970s and currently enjoying a late-flowering renaissance in his seventh decade. Although he knew nothing of Jimi Tenor beforehand, Allen was one of five artists Tenor told Strut he would most like to work with when they approached him.
Tenor is best known for his 1994 electro hit Take Me Baby, but has lately been increasingly drawn to 60s and 70s jazz, psychedelic soul and African funk. So the idea of underpinning these styles with afrobeat (which recombines many of the same African-American sources with their African roots) makes sense.
Tenor plays most of the melodic instruments (including tenor sax, keyboards, bass, kalimba, zither, koto and marimba) and sings on Selfish Gene and Darker Side of Night in a strangulated falsetto, vaguely suggestive of Sly Stone. His Berlin-based band Kabu Kabu includes Cuban trumpeter Daniel Allen Ortiz and percussionists Ekow Alabi Savage and Akinola Famson, from Ghana and Nigeria respectively. Their broken English banter on Mama England satirises the problems non-EU musicians face when trying to get into the UK, drawing on their own bitter experience.
Path to Wisdom features MC Allonymous, whose coolly intoned performance poetry recalls Gil Scott-Heron at his least angry. Other highlights include the jazzy, dream-like instrumental Cella’s Walk, which hints at various TV theme tunes, and the epic Three Continents, a long humid jam that gets wiggier as it progresses.
Sinuhe and Got My Egusi are the most obviously afrobeat-based pieces, but Allen’s trademark double kick (‘B-boom’) on the bass drum is ubiquitous, as are his subtle interlocking polyrhythms – never obvious, but as indispensable as salt in cooking.
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