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Madness - Our House. On their Ultimate Collection.

I think Madness just made it to tomorrows playlist. Nice reminder.

Love, love, love - Madness.

And love "Our House".

The first track of theirs that I ever heard (gobsmacked and utterly entranced) - which I am listening to just this very minute - was Night Boat to Cairo.
 
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Philip Glass: In The Upper Room, Dances I-VIII.
I-VIII?

Dance IX is one of my all time favourite pieces of music. Like a Strauss waltz, there is an undercurrent of melancholy within the joy.

It is hard to sit still… makes me want to jump for joy and flail my arms about wildly.

When I'm alone of course! :)
[doublepost=1536930174][/doublepost]
Pulp and Blur are two favourites of mine.

Must line them up tomorrow evening.....
We were listening to Different Class the other night driving home late from the airport… it is an album for the ages.
[doublepost=1536930274][/doublepost]
The soundtrack to Wolf Hall by Debbie Wiseman.
I'll have to track it down — I actually don't recall it at all. Probably because the dialogue and acting (and lighting and and and… :)) got my full attention.
[doublepost=1536930307][/doublepost]
Pulp, Blur, Alanis Morrisete, Robbie Williams.
Nice line up there.
 
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I-VIII?

Dance IX is one of my all time favourite pieces of music. Like a Strauss waltz, there is an undercurrent of melancholy within the joy.

It is hard to sit still… makes me want to jump for joy and flail my arms about wildly.

When I'm alone of course! :)
[doublepost=1536930174][/doublepost]
We were listening to Different Class the other night driving home late from the airport… it is an album for the ages.
[doublepost=1536930274][/doublepost]
I'll have to track it down — I actually don't recall it at all. Probably because the dialogue and acting (and lighting and and and… :)) got my full attention.
[doublepost=1536930307][/doublepost]
Nice line up there.

I watched an interview with Debbie Wiseman (a special report on Newsnight with Kirsty Wark, I think), where she and the director, Peter Kosminsky - who had worked closely together on other projects earlier - were interviewed along with Hilary Mantel.

Anyway, precisely because Wiseman and Kosminksy had worked closely and well together on previous occasions, she was brought onboard at a far earlier stage than is normal with the musical score or soundtrack, which - she explained - is often put together in haste - over a period of a few weeks - during the post-production period.

This was not the case with Wolf Hall; because she was asked to join the production far earlier than usual, she was able to compose as the series was being shot, and offer background scores to scenes, get feedback, tweak, modulate and and adapt and so on. Wiseman and Kosminsky both said it was a brilliant way to work.

Personally, I love Renaissance music, and the music of Thomas Morley (half a century later than Cronwell), and David Munrow; Wiseman did a brilliant job, composing original music in a sensibility that was both authentically of its time (in terms of rhythm, tone and instrumentation) yet also curiously modern in spirit.
 
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I-VIII?

Dance IX is one of my all time favourite pieces of music. Like a Strauss waltz, there is an undercurrent of melancholy within the joy.

It is hard to sit still… makes me want to jump for joy and flail my arms about wildly.

When I'm alone of course! :)
[doublepost=1536930174][/doublepost]
We were listening to Different Class the other night driving home late from the airport… it is an album for the ages.
[doublepost=1536930274][/doublepost]
I'll have to track it down — I actually don't recall it at all. Probably because the dialogue and acting (and lighting and and and… :)) got my full attention.
[doublepost=1536930307][/doublepost]
Nice line up there.
Thanks. Different class is a great album. Always takes me back to being a certain age.
 
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I watched an interview with Debbie Wiseman (a special report on Newsnight with Kirsty Wark, I think), where she and the director, Peter Kosminsky - who had worked closely together on other projects earlier - were interviewed along with Hilary Mantel.

Anyway, precisely because Wiseman and Kosminksy had worked closely and well together on previous occasions, she was brought onboard at a far earlier stage than is normal with the musical score or soundtrack, which - she explained - is often put together in haste - over a period of a few weeks - during the post-production period.

This was not the case with Wolf Hall; because she was asked to join the production far earlier than usual, she was able to compose as the series was being shot, and offer background scores to scenes, get feedback, tweak, modulate and and adapt and so on. Wiseman and Kosminsky both said it was a brilliant way to work.

Personally, I love Renaissance music, and the music of Thomas Morley (half a century later than Cronwell), and David Munrow; Wiseman did a brilliant job, composing original music in a sensibility that was both authentically of its time (in terms of rhythm, tone and instrumentation) yet also curiously modern in spirit.
I found the Wolf Hall soundtrack on Spotify.
I'll give it a listen this weekend. Thanks again for the recommendation.
A good soundtrack definitely can become almost another actor in the film. The Hours to me is unthinkable without Philip Glass' soundtrack. And as I read in his Autobiography this weekend, he was only the third composer they approached.
 
I found the Wolf Hall soundtrack on Spotify.
I'll give it a listen this weekend. Thanks again for the recommendation.
A good soundtrack definitely can become almost another actor in the film. The Hours to me is unthinkable without Philip Glass' soundtrack. And as I read in his Autobiography this weekend, he was only the third composer they approached.

Oh, agreed entirely re The Hours. Fantastic soundtrack.

Wiseman said that they were using version of her soundtrack - individual pieces - as background music while mixing the scenes, and also - which was unprecedented - sometimes, while rehearsing (and was open to suggestions from cast and crew as to what suited and how it might be rendered more suitable).

Both she and Kosminsky stressed what a collaborative effort the whole series was, and how filming on location, in building form that era, including in the grounds of these exact buildings - or contemporaneous substitutes from that era - where the characters - or their contemporaries had lived - gave the series an atmosphere most other s were never able to match.

Likewise, Kominsky's decision to use natural light (for outdoor scenes) and candlelight and firelight for the indoors scenes - he wanted the audience to see what the actual characters in real life would have seen - added enormously 9to my mind) to the stunning atmosphere of the series.

A brilliant series; am seriously thinking of purchasing it on DVD.
 
Just got to listen to a newly released tune from Eric Church. While I'm not a believer, I am a believer in Eric's talent and voice and I liked this song. Can't wait to see what else the album has on it. I'm impressed by the two songs I've already heard.


Here's the first song he released.

 
Ludovico - Divenire

Great choice; I love Ludovico Einaudi.

I-VIII?

Dance IX is one of my all time favourite pieces of music. Like a Strauss waltz, there is an undercurrent of melancholy within the joy.

It is hard to sit still… makes me want to jump for joy and flail my arms about wildly.

When I'm alone of course! :)

There are days (and nights) when it is the only possible listening.

Tara MacLean - Holy Tears.
Acoustic. Great voice, beautiful harmonies.

And - well, while I won't comment on Paul Gross (except in positive terms) - I will say that that Canadian Mountie uniform must be the most attractive and stunning uniform worn - donned - by any police force in the world. (With the possible exception of the Italian carabinieri).
 
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