At the moment I've cranked up the 2011 album Hysterical (Clap Your Hands Say Yeah). There are a few tracks on there seem right for the week before the US elections, 'nuf said 'bout politics...
The Canon by Johann Pachelbel.
A piece that brings to mind some rather special memories.
Dare I say "I had no idea....!!" Anyway, thank God Pachelbel's Canon was not among the pieces of music that the football team was supposed to learn how to recognize in their Music Appreciation 101 the year that one of my part time jobs at the music library was to help those guys pass the course. I taught them nonsense rhymes for the front end of each track the professor had assigned. You know stuff like "The moon has no tune but we'll make it to June" and so forth. To this day I can't listen to that little collection of assignments, and furthermore have embarrassed myself by bursting out laughing in someone else's kitchen or car if a radio station happens to play one.
How is it?A new CD, by Danger Mouse & Sparkle Horse, called "Dark Night Of The Soul".
How is it?
I'll keep it in mind for future purchase, thanks.Unusual and interesting, - I liked it - and, I suspect that it is the sort of album that grows on you and improves considerably upon further listening.
I daresay that it is the sort of album that, when I have played it for a second time, I will enjoy it an awful lot more.
I'll keep it in mind for future purchase, thanks.
I'll keep it in mind for future purchase, thanks.
Good to know! Sounds like it is worth a shot.On a third listen, yes, there are some excellent tracks.
So, yes, recommended, but not everything resonates equally. well, as is inevitable..........
(Heavens; I don't even like everything the Beatles produced!)
The shows followed a standard format: an acoustic set, then an intermission followed by an electric set. Dylan worked from a thick songbook that included material from the just-completed Blonde On Blonde, the third landmark studio work to come from an 18-month fever burst of creativity. The acoustic sets mix older songs with pieces, like Blonde On Blonde's "Visions of Johanna," that had not yet become standards; Dylan varies the phrasing and emphasis of these newer, word-drunk gems, in search of subtle (and not-so subtle) ways to amplify their meanings. To hear him developing alternate pathways for his songs, working in real time to adjust shading and mood, check out the version of "Desolation Row" from Liverpool.
The full-band sets are more unhinged, notable for the contrast between Dylan's impulsive wildness and the low-key poise of the accompaniment. Backed by the Canadian band The Hawks (later The Band), Dylan charges right at those who wanted him to remain a folk singer. He shouts. He rips into some of his pretty melodies as though determined to destroy their contours — from one perspective, the tour registers as his long experiment in how far he can push tunes like "Ballad Of A Thin Man." He leans into some phrases until they become outrageously exaggerated, sings others with the leering, barely concealed delight of an antagonist.
Quite good, in fact. I've read a few places that Aldo Ciccolini's are some of the best performances of Satie's works. I've only listened to a handful of other performances, but these are quite nice...Are these a particularly good set of recordings? I have quite a bit of his work on CDs (and on my computer's music library).
Actually, I am very partial to the music of Erik Satie; he has been one of my favourite composers since I was an undergrad.
Listening to Queen's 'A Night at the Opera'.
Music for the change of seasons instead of jazz tonight...
Some of the late Mozart string quartets, the three "Prussian" ones. I have them by the Emerson Quartet and also by Quartetto Italiano, tonight listening to the latter.