What are you listening to? Part III

[IronWaffle]

Yesterday was a supergroup listening day.

Regarding that video, I've always been moved by the empty chair presence of Orbison (he died not long before the video shoot).

As a devout fan of Dylan & Harrison, I love that album. It's breezy tone makes for fun driving. I credit this album with revitalizing Dylan. He'd been in a significant artistic slump for years and this material hinted at the renaissance of Oh Mercy the next year. Bringing Dylan into the fray may have been longtime friend George Harrison's kindest gift to his longtime friend, idol and we in the cheap seats. Eighteen years earlier, Harrison wrote "Behind That Locked Door," a sort of empathetic beseeching of his friend to re-engage. While this album is arguably "slight," there's a profundity to it as a testament to friends. It also allowed Harrison to be "part of a band" as an equal. By all reports he was always collaborative and deferential during the two Wilburys albums in ways that he wasn't treated in The Beatles. After so many years, it must have been pure joy to experience this creative environment -- and it shows. There are countless albums about "love;" this strikes me as the rare album about "like." Simple congeniality and fraternity.

Among my prized possessions is a vintage Traveling Wilburys poster in my home office.

The follow-up (cheekily titled Vol. 3) may have the same effortless feel, but it's well worth buying the 2CD+DVD re-release. My only qualms with the set are that the modern, de-80s'd remix of "Not Alone Anymore" was exclusive to the vinyl set and that their cover of Del Shannon's "Runaway" is a different mix than what I'm used to on my bootleg. Also, this set's official version features a keyboard during the instrumental break that's meant to approximate the original recording's; the bootleg has a Dylan harmonica solo. Would've been nice to have the European extended versions of "Handle with Care" and "End of the Line" but they're no great shakes.

Aside from the two obvious singles ("Handle with Care" and the one you posted), this may be my favorite on the album (and my favorite Harrison composition of the 1980s), followed closely by "Not Alone Anymore," "Tweeter and the Monkeyman," "Last Night" and "Congratulations":

Also, for fans of more stripped-down, "Americana" music, it takes a little to adjust to the faster tempo but Jenny Lewis' cover (featuring Conor "Bright Eyes" Oberst in the Dylan/Orbison/Lynne bits) is well worth a listen.

 

[Scepticalscribe]

A few CDs from Café Anatolia, modern Turkish music that I encountered in Istanbul some years ago when I asked for recommendations as to what was an example of good modern Turkish music.

 

[IronWaffle]

East meets west on the long road.

 

[mobilehaathi]

How is the bonus disc? And how is the sound quality on the reissue? Too often re-releases are "brickwalled" -- audio levels maxed out such that foreground and background elements are presented at such a similar volume level. It can ruin the balance and nuance of the original mix.

While I'm at it, this isn't the same performance, but this artist's -- Brad Mehldau -- cover of "Exit Music" was my entry point to OK Computer.

I've also enjoyed the recent Westworld Radiohead covers.

What can I say... I'm a sucker for melancholically tentative piano performances.

I'll have to listen to the original and new side by side, but it seems fairly good. On the other hand, after getting my hands on the Sgt Pepper's remaster, I didn't even need to relisten to immediately notice the difference. The second disk is good; but I'll have to give it some more listens to further refine my opinion.

 

[hawkeye_a]

More of an autumn/fall album...

 

[hawkeye_a]

 

[RootBeerMan]

Today was a day to revisit my youth with some smooth AM gold. Spent many a quarter in the juke boxes on this one. Slow dance heaven.

 

[Scepticalscribe]

How is the bonus disc? And how is the sound quality on the reissue? Too often re-releases are "brickwalled" -- audio levels maxed out such that foreground and background elements are presented at such a similar volume level. It can ruin the balance and nuance of the original mix.

While I'm at it, this isn't the same performance, but this artist's -- Brad Mehldau -- cover of "Exit Music" was my entry point to OK Computer.

I've also enjoyed the recent Westworld Radiohead covers.

What can I say... I'm a sucker for melancholically tentative piano performances.

Then, I would imagine that you may also probably like the music of Erik Satie.
[doublepost=1498589662][/doublepost]

A superb album - actually, a timeless classic.

 

[Scepticalscribe]

Some timeless Steeleye Span. I love this stuff.

 

[Scepticalscribe]

Bedřich Smetana with his masterpiece, "Má Vlast".

 

[AustinIllini]

 

[Scepticalscribe]

Does this striking image have a name? I must confess that I do not recognise it.

 

[AustinIllini]

Does this striking image have a name? I must confess that I do not recognise it.

Sorry, it's Run the Jewels 3 by Run the Jewels

 

[RootBeerMan]

Does this striking image have a name? I must confess that I do not recognise it.

Looking at the info on the image leads to info that it's from a hip hop supergroup called Run The Jewels. Beyond that I know nothing.

 

[Scepticalscribe]

Sorry, it's Run the Jewels 3 by Run the Jewels

Looking at the info on the image leads to info that it's from a hip hop supergroup called Run The Jewels. Beyond that I know nothing.

Thanks guys; much appreciated.

I had never seen the album cover (and it is most impressive, rather attractive and very striking) and, naturally enough, wondered who might have made this album.

 

[IronWaffle]

Bedřich Smetana with his masterpiece, "Má Vlast".

What a fantastic piece.

Worth noting is its relationship to Hatikva, Israel's National Anthem (the lilting melody of which I immediately noticed sprinkled throughout when I first heard this piece several years ago in the trailer for Terrence Malick's Tree of Life). Of these two pieces' shared ancestry:

The melody for Hatikvah derives from La Mantovana, a 16th-century Italian song, composed by Giuseppe Cenci (Giuseppino del Biado) ca. 1600 with the text "Fuggi, fuggi, fuggi da questo cielo". Its earliest known appearance in print was in the del Biado's collection of madrigals. It was later known in early 17th-century Italy as Ballo di Mantova. This melody gained wide currency in Renaissance Europe, under various titles, such as the Pod Krakowem (in Polish), Cucuruz cu frunza-n sus [Maize with up-standing leaves] (in Romanian) and the Kateryna Kucheryava (in Ukrainian).[7] The melody was used by the Czech composer Bedřich Smetana in his set of six symphonic poems celebrating Bohemia, Má vlast ("My homeland"), namely in the second poem named after the river which flows through Prague, Vltava; the piece is also known under its German title as Die Moldau.​

The adaptation of the music for Hatikvah was set by Samuel Cohen in 1888. Cohen himself recalled many years later that he had hummed Hatikvah based on the melody from the song he had heard in Romania, Carul cu boi [The Ox-Driven Cart].​

The harmony of Hatikvah follows a minor scale, which is often perceived as mournful in tone and is uncommon in national anthems. As the title "The Hope" and the words suggest, the import of the song is optimistic and the overall spirit uplifting.

Source​

 

[Scepticalscribe]

What a fantastic piece.

Worth noting is its relationship to Hatikva, Israel's National Anthem (the melody of which I immediately noticed when I first heard this piece several years ago in the trailer for Terrence Malick's Tree of Life). Of these two pieces' shared ancestry:

The melody for Hatikvah derives from La Mantovana, a 16th-century Italian song, composed by Giuseppe Cenci (Giuseppino del Biado) ca. 1600 with the text "Fuggi, fuggi, fuggi da questo cielo". Its earliest known appearance in print was in the del Biado's collection of madrigals. It was later known in early 17th-century Italy as Ballo di Mantova. This melody gained wide currency in Renaissance Europe, under various titles, such as the Pod Krakowem (in Polish), Cucuruz cu frunza-n sus [Maize with up-standing leaves] (in Romanian) and the Kateryna Kucheryava (in Ukrainian).[7] The melody was used by the Czech composer Bedřich Smetana in his set of six symphonic poems celebrating Bohemia, Má vlast ("My homeland"), namely in the second poem named after the river which flows through Prague, Vltava; the piece is also known under its German title as Die Moldau.​

The adaptation of the music for Hatikvah was set by Samuel Cohen in 1888. Cohen himself recalled many years later that he had hummed Hatikvah based on the melody from the song he had heard in Romania, Carul cu boi [The Ox-Driven Cart].​

The harmony of Hatikvah follows a minor scale, which is often perceived as mournful in tone and is uncommon in national anthems. As the title "The Hope" and the words suggest, the import of the song is optimistic and the overall spirit uplifting.

Source​

It is, isn't it? I think it's brilliant.

That you for sharing that detailed forensic musical ancestry of Má Vlast; as it happens, I love Renaissance music - especially Italian, Flemish and English Renaissance and late medieval music.

 

[IronWaffle]

It is, isn't it? I think it's brilliant.

That you for sharing that detailed forensic musical ancestry of Má Vlast; as it happens, I love Renaissance music - especially Italian, Flemish and English Renaissance and late medieval music.

I wish I knew what periods drew me in, but I'm too much of an undisciplined dilettante. What I do know is that I'm drawn to minor progressions, waltzes, counter-harmonies, arpeggios, glissandos, and simple melodies re-cast by tempo, key and rhythm to articulate various moods. "The Blue Danube" may fit that overall list the best.Across genres, I also have high tolerance for judiciously broken rhythms and emotively off-key moments. Where all those places may converge is in some classical pieces which themselves draw from folk melodies, thus mixing the grandeur of an orchestra with troubadour melodies that criss-crossed Europe and Russia. While not as artful as Smetana's "The Vitava," Tchaikovsky's "Marche Slave," itself built around folk melodies, ably represents that strain of my taste. It does an tasteful job of alternating its strident movements with the more delicate melodic sections (for lack of more articulate terminology).

Erik Satie

Added to my "to buy/borrow/stream" list.

 

[mobilehaathi]

Added to my "to buy/borrow/stream" list.

 

[IronWaffle]

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Thanks! I've added that to my cart (as well as the 10-CD set which includes this). There's also a six-disc set. Before I deep dive into multiple purchases blindly, I've checked my library and they have this release. I've already requested it and will use it to get a taste of his work. From there I'll dig in further in search of better performances.

So glad for this new discovery. To bastardize a favorite lyric by another, very different artist: "my ignorance amazes me."

I'm spending half of July overseas with people who, on the rare occasion they listen to music, listen to classical. That'll be a good opportunity (along with the 14-hour flight) to sample away.

That said, I think I'm gonna have to indulge in the Yann Tiersen recommendation. I've enjoyed the full album on YouTube. Time to pay the artist his few shekels.

 

[Scepticalscribe]

View attachment 706128

@IronWaffle: You will most certainly like Erik Satie. There is a certain timeless elegiac elegance to his music, and yes, it is slightly melancholic, but exquisitely so; there are evenings when you want to listen to nothing else.

Personally, I find Yann Tiersen to be somewhat uneven, but - at his best - he is superb, and Amélie is brilliant.

 

[Scepticalscribe]

On the topic of Yann Tiersen, have just prepared a playlist of Amélie (and some from Air, and Gitano Family, and Lucho Bermúdez) for a friend.

 

[kazmac]

 

[hawkeye_a]

Scenes From An Italian Restaurant

 

[rhett7660]

Going a little old school. Haven't heard this band in ages.

One of my favorite songs from them.

Of course I love the Obituary version also: