#celtic folk guitar
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Just a sad little country song I wrote about growing apart from someone. Hope they find it.
#country music#indie country#indie folk song#indie songwriter#alternative country#singer songwriter#songwriter#acoustic guitar#lgbt#truth#Lonely#emo#blue grass#tennessee#appalachia#appalachain gothic#Appalachian Music#celtic#from the heart#breakup song#civil war#southern gothic#Youtube
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https://www.tomcampbelltrio.com/
https://www.facebook.com/TomCampbellTrio/
https://tomcampbelltrio.bandcamp.com/album/tom-campbell-trio
https://open.spotify.com/album/0H1yAZhstq5RgdS1fuHoe4
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lol I’ll guess that u listened to Monster while writing that scene? And yes I love Christian music. I care about the lyrics I’m listening to so Christian is what I tend to fill my playlist w. Plus, since I’m a Christian myself I like to support those artists and know they exist bc they’re less common than secular music.
On a LU note, favorite genres per boy? And do they focus more on lyrics or melody?
Oh fantastic! I was a bit wary of suggesting just the Christian artists I grew up on, but I'm glad to hear you enjoy it too! I tend to be more careful with what I listen to as well, but sometimes you don't get a choice (and that sometimes is when your room-mate doesn't give a darn).
For the LU boys:
Hyrule doesn't have a lot of experience with music, but most of what he hears in his era is folk music, much of it passed down from Legend's era (or just straight up written by Legend). He'd enjoy most stringed instruments, I think, but especially because stringed instruments are the best for group songs (the musician can sing too) and he loves the sense of community the music creates.
Legend would be a mix of folk and work songs, since, again, it's something he would have grown up around. He'd be pretty versatile about music though, but I think his favorite instruments would be the piano and the violin/fiddle. Still I think blues and jazz would be something he's really enjoy as well, or just anything really soulful, although he'd have to be in the mood.
Twilight is a country boy, need I say more? He's a fiddler himself, I think, but the banjo and guitar are special too. Mouth organ is a maybe, sometimes it's too much for his ears, but the way it compliments other music is something he really enjoys. French horn is something he really lives though (since it plays so prominent a role in Ordon's music)
Sky is accustomed to the lyre and flute family, but I think he'd really enjoy communal music like Legend, Twilight, and Hyrule. He'd probably get a rush from rock, but only in small doses, as I really can't see this man being a metal head. If he had the chance to hear a full orchestra though, I think he'd be utterly blown away and just dazzled! Same with a proper choir performance. He feels like the type of guy who'd enjoy a vocal arrangement as much as an instrumental one.
Time is a rock man. 80's style dad rock. He cannonically says things like "groovy", so this is cannon to me. (also @cantankerouscanuck got me hooked on the idea). He likes softer music too, but his happy music is the heavier stuff. The ocarina may be what he;s known for, but this guy performed with the Indigo-Go's, he knows how to handle a guitar!
Wind is a pirate, so like Legend, he's used to working songs mostly, but I think he'd also enjoy rock, like most 13-year-olds do at one point or another LOL. He'd be mostly versatile though! Anything with a beat makes him happy mostly (RIP Wind, you would've loved rap)
Four isn't much of a musical person, as none of the colors can agree and the chaos is a bit much, but when split, let's just say that they cover the full spectrum of musical interests :)
Warriors is one that I headcannon to come from a poorer background, so instruments weren;t much of a thing where he's from. Vocal arrangements and folk music were common, but because I love the idea of a Celtic Captain, there was a piper who came to town once and a bit and the music was much adored by a young Wars. Now that he's come city side, he's very fond of piano, but that deep love of the pipes will never leave him <3
Wild isn't much used to music, but I think he just likes anything you can play on an accordion, since the association with Kass and the Rito makes him happiest. Don't tell me that they don't all adore and treat "the champion's descendant" like one of their own! Rito village is his home away from home, but Kass's music is a constant no matter where he is. He'd like other music, I think, especially "exotic" music like what we hear played in Gerudo Town (Naboris' Theme slaps!) but the accordion is the sound of home to him.
#asks and answers#linked universe#linkeduniverse#lu legend#lu warriors#lu twilight#lu wild#lu four#lu time#lu wind#lu sky#lu hyrule#music#ketto's brainfarts
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Hi hi! I just wanted to ask for the Ros. What is their favorite music Genre? Also, LOVE the Demo!
Aww, awesome!
G: Punk / anti-establishment rock, bonus if there's cool lyrics, but could be persuaded to listen to songs from any genre (if only just to dissect it / give the listener a bit of shit).
Sam: Pretty eclectic, but they do have a thing for celtic folk metal, sea shanties (probably thanks to their dad) and dance tunes from the 80s and 90s.
Tobin: R&B / soul, some jazz, they really get into good saxophone solos, and silky smooth vocals. Can jive to anything and everything though.
Rayyan: Grew up listening to a lot of traditional arabic music like the takht, thanks to their grandfather, who plays the oud. Generally, they like songs with simple, no-frills vocals with minimal instruments (e.g. just a guitar).
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#1 – 'We Are What You Say' (A Sun Came, 1998)
The candles are lit. The incense is burning. The choir is in the stalls. The text is on the pulpit, open halfway. The pews are full. The acolytes are hushed. The organ is playing a low E. The bishop is there. His hand is raised. The amber light flickers over his green Michigan t-shirt. He is ready to begin.
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For those lucky – or foolish – enough to have discovered a copy of A Sun Came in 2000, ‘We Are What You Say’ must have been multiple things all at once. Impressive. Ambitious. Carefully written. Spellbinding, even. But yet also – and this is just undeniable, and Sufjan would probably tell you this himself – the product of standing on the shoulders of giants. ‘We Are What You Say’ has the homespun woodwinds of Celtic folk, the meshing guitars of Nick Drake, the hushed voice of Elliott Smith, the storminess of Fairport Convention, and the ending percussive freakout of early Pink Floyd. It was far from unprecedented. What does make Sufjan unique from the very first song he ever released, however, is that only he would dare bring these influences together at all, let alone convincingly do so. He would develop his own inimitable style very soon; he is not quite there on track one, and that is perfectly fine. ‘We Are What You Say’ is a stunning mélange of Sufjan Stevens’ influences – and arguably the single crowning achievement of A Sun Came. A high bar to clear, that is not. But clear it he does.
And this is all being rather unfair. ‘We Are What You Say’ does carry with it one of the most distinctive Sufjan hallmarks, something that he would develop further across the rest of his career: a radical simplicity. The song is in E minor, and the only chords used (prior to the wild outro, which introduces a seventh and a sixth, elevating the tension slightly) are the first, third and the fifth. Rise, rise, resolve, repeat. Underneath all the trappings of the arrangement, ‘We Are What You Say’ has about as simple of a foundation as one could possibly expect. Much the same with the melodies, dancing around simple scale degrees and resolving neatly on the E (only the double-tracked harmonies, and some of the woodwind lines, provide a degree of uncertainty.) He may be no more than five minutes and twenty-one seconds into his recording career, but there is already an effortless sense of confidence here, of trust in the essentials.
What else do we learn about Sufjan on ‘We Are What You Say’? If anything, we don’t learn so much as we are misled. This song is mysterious, languid, obscure, intimidating. Sufjan is many things, but he is rarely those things. You do not listen to ‘We Are What You Say’ so much as you stumble into it; it is the otherworldly juncture between service and séance, held in a misty church of unclear denomination with a choir dressed in pagan masks. It is a song with weight and heft, with double-tracked vocals and a small orchestra of caterwauling instruments making the constant evocation of the title – its unnamed ‘we’ – feel genuinely mighty. So much of Sufjan’s catalogue finds solace in a delicate, melancholic solitude: not so with ‘We Are What You Say’. We are many, and we have a sermon, and we have a song.
More fitting is the notion that Sufjan’s very first song ever released would directly invoke religion lyrically. It is not just the music itself that sounds cultish – there are mentions of tabernacle choirs and of bishops, of Bibles and of spirits. But this is a distinctly Gothic approach to Christianity, if it is indeed directly referring to any specific faith. The Christianity of ‘We Are What You Say’ is violent, cruel even. The narrator-cum-Sufjan calls his own bishops ‘easy’, ‘wrong’; the faith’s ‘word is a guard and the guard is a cleave’, in an especially well-written line. Sufjan will of course go on to present his religion from the perspective of the Devil’s advocate plenty more times in his career, but nowhere on Seven Swans or on Illinois is God so brutal.
Facing this, and with the benefit of twenty-four years of hindsight, we might be tempted to do one of two things. We might be tempted to dismiss these words altogether as lacking much real meaning, merely the free-associative poetry of an edgy twenty-something fresh out of a liberal arts college (which Sufjan very much was.) Or we might be tempted to interpret this song as a sharp rebuke to religion, whether in the abstract or regarding a specific sect (the latter seems to be a popular interpretation; one Genius user offers a very interesting reading of ‘We Are What You Say’ that suggests the song is a pointed attack against Mormonism.)
I don’t put too much stock into either view. I fear, specifically, that people are far too quick to confuse honesty with assault. ‘We Are What You Say’ seems to be a just-the-facts account of Sufjan’s faith, in all its gory, violent truth. The Lord is a god of vengeance and of tremendous fury; his acolytes are fallible, sinful beings who are susceptible to temptation. They can be wrong. The spirit is not. The spirit will guide its followers towards providence. ‘We Are What You Say’ is boldly about the violence of religion, non-believers be damned. The title is not an empty declaration – it is a warning.
You can certainly hear violence in the music. You can certainly hear it in the outro, a full-bore, top-volume race to the finish line, tin whistles wailing and oboes stuttering out notes, drum circles beating away, the guitar (ever the anchor) strummed with tremendous ferocity. It is one of the rare times that Sufjan shoots for a big, post-rock-esque wall of sound climax, and is certainly the most effective example this side of ‘All Delighted People’; a genuinely roaring, cathartic moment, full of that sort of Abrahamic rage that Sufjan is so fascinated with. And it doesn’t entirely end, either. The outro is so loaded with kinetic energy that when most of the instruments finally cut out, a few still sputter along, eyes bloodshot and crazed, until the song hard-cuts into ‘A Winner Needs a Wand’, which is in many ways this song’s complement.
Sufjan would soon achieve better, of course. But at this very early stage in his artistic development, ‘We Are What You Say’ is his best. All his ambition, his confidence, and his prodigal sense of melody is proudly on display here. Worth a listen if you don’t know it, worth another if you do.
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An audience with... John Paul Jones
(from Uncut, April 2010 - link)
You’re stuck on a deserted island, you have one instrument you can bring. It is: a) piano, b) bass or c) mandolin? (Gary Attersley, Ontario, Canada)
Oh… that’s horrible! I’ll probably get Hugh Manson – the guy who builds all my bass guitars – to build me some monstrous instrument that encapsulated all three! Hugh and his brother Andy Manson once actually designed me a triple-necked guitar with 12-string guitar, six-string guitar and mandolin on it! Andy also designed a triple-necked mandolin. But I guess if it really came down to it on a desert island, it would have to be the piano, because you can do so much on it. You’re a whole band. The bass is not much fun on your own.
John, it’s so good to see you so engaged with today. Any advice for old farts who can’t move on? (Andrew Loog Oldham)
Who are you calling an old fart? I dunno, Andy, you tell me! Ha ha. He’s done a good job of staying up to date. Andrew, of course, gave me the name John Paul Jones. I was John Baldwin, until Andrew saw a poster for the French film version of John Paul Jones. I thought it ’d look great in CinemaScope, as I wanted to do music for films. I imagined it saying “Music By John Paul Jones”, over the whole screen. I never realised then that he was the Horatio Nelson of America!
I know that you’ve been getting heavily into bluegrass lately – who are some of your favourite bluegrass artists of all time? (Ryan Godek, Wilmington, Delaware)
Apart from Bill Monroe, you mean? Oh, there’s loads. I’m friends with the Del McCoury band, I love that style of classic bluegrass. I love Sam Bush’s Newgrass stuff. And of course there’s Nickel Creek, Chris Feely, Mike Marshall. I love it all, really. One thing I like about bluegrass is that you don’t require amplifiers, drums and trucks. You can pull an instrument out of a box and get on with some instant music making. I carry a mandolin around wherever I go. I also like the fact bluegrass musicians play more than one instrument. There’s a tradition of them swapping instruments. In bluegrass bands I swap between double bass, fiddle and banjo.
One Butthole Surfers anecdote, please? (Dave Grohl)
Ha! I was brought in to produce the Butthole Surfers’ 1993 album, Independent Worm Saloon. I guess it was to give it a heavy rock vibe, but it didn’t work like that. They were actually incredibly hard-working in the studio, but I do recall running up a phenomenal bar-bill at the San Rafael studio. And then there was Gibby [Haynes, Butthole Surfers’ frontman] and his… eccentric studio behaviour. Gibby did one vocal take shouting into his guitar. He held it out in front of his face and screamed at it. Ha! He was trying to find out if it picked up through the pick-ups, which it kind of did. And that was pretty good.
How’s the violin coming along? (Sean, Berkshire)
I started about three years ago. With the guitar, or the piano, you can sound OK quite quickly. With the violin, it takes much longer. Once you get past the first six months of scraping, of muttering to yourself, “What is this fucking horrible noise on my shoulder?” you get the odd musical bit, and you think, ‘Oh, this is starting to get good.’ And you continue with it for a while. I’m getting into country fiddle playing, Celtic folk songs, a bit of swing. Basic stuff, but very satisfying.
Why not record a second ‘Automatic For The People’ with REM? (Franz Greul, Austria)
They haven’t asked me! But doing the string arrangements for that album was a great experience, actually. They sent me the demos of their songs, and we went into a studio in Atlanta, with members of the Atlanta Symphony Orchestra. They were great songs, something you can really get your teeth into as an arranger. And I’ve been good friends with them ever since.
How did you first meet Josh Homme? And is he still a notorious party monster? (Rob Hirst, Kippax, Leeds)
Well, I think we’ve all calmed down rather a lot. Dave introduced me to Josh at his 40th birthday party. It was a ridiculous themed place where they have jousting with knights. As Dave said, it was like somewhere you’d have your 14th birthday party. Or maybe even your 4th. Anyway, Dave sat Josh and I together for a blind date. Which was reasonably embarrassing for both of us, surrounded by people going “prithee this” and challenging each other to duels. But we survived the trauma and went into the studio the next day, and just started jamming. And I knew immediately it was going to be something special.
If Them Crooked Vultures had Spice Girls-like nicknames what would they be? (Paul Jones, Liverpool)
Dave would be Smiley Vulture. He can’t stop grinning. Josh would be Slinky Vulture. He’s a slinky kinda guy. And I’d be Speedy, I guess. Or Jumpy. So there you go. Smiley, Slinky and Speedy. Or does that sound more like the dwarfs?
I remember you being a pretty funky bass genius back in the day! What memories do you have of those sessions? (Donovan)
The sessions with Don and Mickie Most were great, because we were given a free hand. I usually got leeway, because I was the sort of Motown/Stax specialist, so producers in the mid ’60s would get me in for cover versions of American records, and none of them could write bass parts convincingly enough, so I was London’s answer to James Jamerson, I guess! And I was certainly encouraged to get kinda… funky when I worked with Donovan.
How did it feel to see Jimmy Page and Robert Plant venture off in their own project in the ‘90s without mentioning a word of it to you? (Danny Luscombe, Hull)
Oh yeah, I was pissed off about it. The surprise was in not being told. It’s ancient history now, but it was a bit annoying to find out about it while reading the papers. It came just after Robert and I had been discussing the idea of doing an Unplugged project. Then I’m on tour in Germany with Diamanda Galás, I turn on the TV and see Robert and Jimmy doing it, with someone else playing all my parts! I was pissed off at the time. You would be, woudn’t you? But… it’s all in the past, isn’t it?
Did you listen to much work by Josh Homme or Dave Grohl before you were contacted in relation to joining Them Crooked Vultures, and if so, how did you honestly rate it? (Ralph Ryan, Lisronagh, County Tipperary)
I did like the Foo Fighters and Queens Of The Stone Age, before I’d met either of them. There’s a tendency for people – especially musicians from my generation – to say that there has been this terrible decline in musicianship, that today’s bands haven’t got the chops, blah blah blah. But that’s not true at all. There’s always some people for whom technique on an instrument isn’t necessary. They can get their ideas across without being able to have the chops. But Josh really does have the chops, he just doesn’t feel the need to flash them about all the time. In fact, there were a few riffs he gave me that I had to simplify, because they were bloody difficult to play. I really had to work at it, where he could just flick it off. He is an astonishing musician.
Were you serious when you told Peter Grant that you wanted to jack it in to become choirmaster at Winchester Cathedral? (Brian Fisher, Manchester)
Ha! That was a tongue-in-cheek joke, although I was serious about leaving Led Zeppelin in 1973 unless things changed. But Peter did sort things out pretty quickly. What kind of choirmaster would I have made? A bloody good one! Listen, any way that they’ll pay you for making music is just the best situation in the world. I’d do it for nothing. I don’t care what music it is. I just love it all. The rubbing of notes together. I love it all. I would be very passionate about whatever I decided to do.
What was the worst session you ever did as a jobbing session player? (Adam Burns, Castleford, West Yorkshire)
I generally have fun memories of that time. I’d criss-cross London playing two or three sessions a day, going between Trident and Olympic and Abbey Road and Philips in Marble Arch, you know. You’d be backing Shirley Bassey, Cat Stevens, Lulu, whoever was paying you. The worst experience was a Muzak session. With Muzak sessions, the music was deliberately boring. I distinctly remember one session where I embellished the bass part a little bit, just so that it wasn’t so boring for me to play. They said, “No, you can’t do that. Any interest in the music will distract people’s attention from when they’re meant to be eating.” Or standing in a fucking lift. For fuck’s sake! So I was like, “OK, thanks, bye!”
#john paul jones#jonesy#led zeppelin#robert plant#planty#jimmy page#pagey#john bonham#bonzo#60s#70s#70s rock#70s music#rock music#ourshadowstallerthanoursoul
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ELUVEITIE Announces New Album 'Ànv'
About one month ago ELUVEITIE released "Premonition", the first new music after two long years. Today the band announce their new album "Ànv", which will be released on April 25, 2025 via Nuclear Blast Records. ELUVEITIE also shares the second song "The Prodigal Ones" from the upcoming album. After their own headliner tour "Ánv Rising - Europe", which starts in January 2025, the band will hit the road again together with ARCH ENEMY, AMORPHIS and GATECREEPER in October 2025.
ELUVEITIE frontman Chrigel Glanzmann comments: "Hard to express how excited we are to share this one with you all! Musically combining the heavy pounding ELU classics like 'Luxtos', 'Inis Mona' or even 'King' with some new, maybe unexpected ideas, we feel that this song most of all comes like a punch in the face and we hope you'll enjoy it as much as we do! Lyrically it actually opens the big theme of 'Ànv' — these ancient words, several thousands of years old, our upcoming album is based on..."
"Ànv" track listing:
01. Emerge 02. Taranoías 03. The Prodigal Ones 04. Ànv 05. Premonition 06. Awen 07. Anamcara 08. The Harvest 09. Memories Of Innocence 10. All Is One 11. Aeon Of The Crescent Moon 12. The Prophecy
ELUVEITIE, formed in 2002 by Chrigel Glanzmann, has consistently merged modern metal with Celtic musical traditions. Originating from the Swiss Alps and deeply rooted in Celtic history, mythology, and spirituality, the band has become a cornerstone of the modern metal scene. Their debut, "Vên" (2004),set the stage for a unique blend of melodic death metal and traditional folk. Subsequent albums like "Slania", "Everything Remains (As It Never Was)", "Helvetios" and "Origins" solidified their reputation. The acoustic albums "Evocation I - The Arcane Dominion" and "Evocation II – Pantheon" showcased their versatility.
In 2022, ELUVEITIE released the singles "Aidus" and "Exile Of The Gods", marking a new chapter in their musical journey and thematical cycle pursuing the lyrical concept opened by their last studio album "Ategnatos". These tracks were followed by the announcement of their upcoming album, "Ànv", set for release in April 2025. The first singles from this album, "Premonition" and "The Prodigal Ones", have been unveiled, offering a glimpse into the band's evolving sound.
Over the years, ELUVEITIE has undergone lineup changes, including their latest addition with Lea-Sophie Fischer on violin in May 2024. Despite these changes, the band's essence and soul remains untouched. With nine studio albums, numerous tours all around the globe, and headline shows worldwide, ELUVEITIE continues to be a dynamic force in the metal genre.
As they approach the release of "Ànv", ELUVEITIE remains committed to their roots while exploring new musical horizons. Coming as one of their most profound and earnest albums, "Ànv" presents a result of more than 20 years of intense involvement with Celtic mythology and spirituality, translating deeply pagan knowledge for a modern generation. ELUVEITIE's journey reflects a dedication to authenticity and innovation, ensuring their place as a defining presence in modern metal.
ELUVEITIE is:
Chrigel Glanzmann - vocals, whistles, mandola, bagpipes, bodhran Fabienne Erni - vocals, celtic harp, mandola Alain Ackermann - drums Rafael Salzmann - guitars Jonas Wolf - guitars Kay Brem - bass Matteo Sisti - whistles, bagpipes, mandola Lea-Sophie Fischer - fiddle
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Folk music recs as very kindly solicited by @subwaylesbians. Just know that i have arcane and inscrutable ways of coming across music and also literally nobody I know shares my taste in music so I listen to music exclusively in isolation and therefore have no idea what is like normie overplayed music and what is cool obscure music. If anything on here is like the taylor swift of folk music well rest assured that i decided i liked it all on my own. Also. Is all of this music folk music? I dont actually know. I dont know what genres are man i just listen to music i like and then spotify tells me I listen to a lot of folk. Or like sometimes it calls it fucking "stomp and holler" or whatever.
First and foremost. Obviously. Famed pnw folk music outfit Seastar. I personally like their album Never Go Back the best. Very classic folk vibes, they've got songs about like cursed sailors and ghosts and selkies and shit.
The Oh Hellos. My Oh Hellos phase was the stuff of legends and its always threatening to return at a moment's notice. They love to do a concept album and I love that for them. All of their stuff is really good but I will give a special shoutout to the Family Christmas album which i avoided for a while bc like who wants to listen to christmas music, right? Wrong. Its good as hell.
I think Lizzy McAlpine might technically be a pop artist? Whatever I dont care. I like her. I liked her before tiktok knew about her. To The Mountains and Apple Pie are both on my folk playlist because I said so.
The Civil Wars. Are they technically country? Yeah. But who cares we love country in this house. I broadly recommend all their stuff but Barton Hollow and Devil's Backbone are like particularly folk-y for a place to start.
Celtic Woman has the craziest name of any music group ever and it always makes me feel like I'm being culturally insensitive when I say it. Like oh you like music from Ireland? Whats the group called. Whatever man leave me alone. I feel bad for Ed Sheeran recording the original I See Fire for the hobbit movie because they ate him up so bad his version sounds like a shitty knockoff of theirs. For full effect imagine you are me age fifteen flying over the west coast while staring down into active wildfires while listening to that song on loop.
Ill be real with you i Dont understand whats going on with Trousdale like I dont know what their deal is. They seem to be a pop/country group. But in 2021 they released one (1) folksy song called Wouldn't Come Back. And you should put that song on your folk playlist. I love folk thats just like a guitar and some crazy fucking vocals and thats what that song is.
I haven't done enough of my homework on Secret Sisters but their music seems kind of quiet and moody and acoustic and thats like exactly my shit. So. Also do have to give the shout to He's Fine because I love songs that are like gossip. Girl fuck Davey and the Louisiana girl they sound lame as hell.
Usually starting with spotifys suggested tracks for an artist is fine but i think if youre gonna listen to The Arcadian Wild you should start with Wander. Wonder. because its. Weird. And i like it <3
Delta Rae is almost certainly a country band but they qualify as a subgenre of music i like to listen to that my mom calls "evil pagan music" so if you are likewise an evil pagan enjoyer you should listen to them.
Anyways thats a bunch and i need to go to bed now. If anyone listens to any of these and likes them I can point out more that feel similar to them.
Also important note. The actually most important folk band in the world to me is a band my family saw at an outdoor festival when I was like 2 and bought their CD and who have since completely fucking vanished from the internet. I found one reference to their existence on a music venue's website and that's it. My family has been passing the .wav files my mom pulled off the CD (long gone unfortunately) from phone to computer to phone to flashdrive for decades now. I dont know how to share these files with the people of tumblr most effectively but rest assured they matter very deeply to me and I will find some way to put them somewhere.
#top ten posts that make me realize i really need to become more serious about listening to music that i like#ive been slacking#ive been coasting on music i already know#havent been poking around in the catalogues of artists im only a little familiar with.#why do i ever waste my time on pop music bro there is so much great folk music out there which wont inflict synthesizers on me#i want to be very clear i dont dislike pop music because im a snob. i dislike it because im autistic and i hate electronic music.
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Song Review: Silkroad Ensemble with Rhiannon Giddens - “Far Down Far”
When it begins, “Far Down Far” evokes the Windham Hill sound - a little bit of folk music and a touch of classical before arpeggios and percussion signal a transition to a more-complex piece.
Based on the Celtic jig “The Far Down Farmer” and recorded live in 2023, the seven-minute instrumental from the Silkroad Ensemble solders multiple genres as it transitions to a percussion break sandwiched between music from two violins, cello, bass, pipa, drums, guitar and accordion. It’s the sonic equivalent of a functioning person with multiple personality disorder.
Artistic director Rhiannon Giddens does not appear on this track, though she sung the preceding “Swannanoa Tunnel / Steel-Driving Man,” which announced the Nov. 15 arrival of Silkroad/Giddens’ American Railroad.
Based on the previews, it promises to be an eclectic collection from an eclectic collaboration.
Grade card: Silkroad Ensemble with Rhiannon Giddens - “Far Down Far” - B
11/6/24
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Happy Birthday Founding member of The Waterboys, Michael ‘Mike’ Scott born 14th December 1958 in Edinburgh.
Okay, I've been posting about the 15th, and only just noticed, I blame the copious anount of alcohol I consumed yeaterday....at least it leaves me free tomorrow as there is a football match on I want to watch.....here goes with todays posts.......
Scott was born and raised in Edinburgh. His father, Allan Scott, left the family when Mike was ten years old, but the two were reunited in 2007.
Scott was interested in music from an early age. At age 12, after the family had moved to Ayr, he began a serious interest in learning guitar. In 1968 he mentions listening to Hank Williams as a “life-changing” experience. The next year, Scott was playing in school bands and formed the band Karma, they were inspired by David Bowie, The Beatles and Bob Dylan.
Playing in a few bands by the time 1981 came he had started the idea of The Waterboys, he admits that he “is” The Waterboys, the lineup has changed through the years but he say that “ there’s no difference between Mike Scott and the Waterboys; they both mean the same thing. They mean myself and whoever are my current travelling musical companions.”
It’s not all about having hits with The Waterboys, Mike is a natural songwriter, as The Waterboys and Mike Scott he has released 15 albums, 4 of the singles reached the top 40.
In mid-1980s, when The Waterboys supported U2 at Wembley Arena in London, Mike Scott’s band seemed all set for the same global status as Bono and Co.
The following year, when their third album, This Is The Sea, and classic single, The Whole Of The Moon, catapulted the band’s “big music” into the Top 10 such success seemed virtually assured. But it was never what he wanted. Under pressure from his record company to produce more stadium-pleasing Waterboys tracks, he retreated to Ireland… and made a folk record. Mike has lived in the Fair city of Dublin for over 12 years and holds a dual nationality, he said in an interview last year “ ....people have often told me I’m an honouree Irishman, but I feel Scottish. But I’m very proud to live in Ireland. And my children are Irish. So, now I’ve very deep roots here.”
Mike continues to write and tour with the Waterboys, I remember always arguing with a friend that disagreed with me that the Waterboys were (are) a Scottish group, it’s true some of the members of the group have come from Ireland and England as well as the US but Mike Scott, as I said to him and would still say to him IS The Waterboys, The Whole of the Moon is a top class song and the lyric…
“Unicorns and cannonballs, palaces and piers
Trumpets, towers and tenements
Wide oceans full of tears
Flags, rags ferryboats
Scimitars and scarves”
……could only be written by a Scotsman. The song was initially released to a limited success in 1985, it resurfaced again in 1991 and won an Ivor Novello Award as “Best Song Musically and Lyrically” that year and reached number 3. Celtic Women sing a version at their concerts, Jennifer Warnes has also covered it as well as the late great Prince at Ronnie Scott’s Jazz Club during his 2014 Hit & Run tour. U2 used the song as a “walk out tune” during the Joshua Tree tour.
I’ve chosen another song, this is a solo track by Mike, I think you’ll like it, especially if you are from oor capital city.....the song is a live rendition at Kelvingrove Bandstand in Glasgow with The Waterboys.
Edinburgh Man
I woke up in the morning
Seven twenty-four
Drank a cup of coffee
Stepped out the door
I said Goodbye
To my old best friend
I took a ride
To the old West End
I walked along Princes Street
My feet were hurting bad
As I squirmed inside my shoes
I was thinking about my dad
There was the bones of a song
Beatin' around my head
Unless I remember it wrong
This is what it said:
Edinburgh Castle hugging the sky
Cold grey stone, humourless and dry
Sitting like a cork on top of the town
One of these days I'm gonna blow you down
I jumped on a bus
A trusty number 23
To the Royal Botanical Gardens
Where a ghost was calling me
I saw a brace of weeping willows
A burnt and withered land
I saw a man and a little boy
Holding hands
I scanned the skyline
It was like the backdrop of a play
I never saw your heartless beauty
Until I'd been away
As I was climbing up The mound
It struck me like a chime
I must have dreamed this scene
About a thousand times !
Edinburgh Castle hugging the sky
Cold grey stone, humourless and dry
Sitting like a cork on top of the town
One of these days I'm gonna blow you down
I found myself on Forrest Road
Feeling pretty sore
This city once was mine
But it ain't mine anymore
And here's my old school, "Jingling Geordie's"
And I must confess
I couldn't step through that gate
Until I'm better dressed
Back at Waverly Station
Half dead on my feet
I got on board the four forty-four
Promptly fell asleep
I woke up in Queen Street
At my journey's end
I've got to say it's totally great
To be back in Glasgow again !
Edinburgh Castle hugging the sky
Cold grey stone, humourless and dry
Sitting like a cork on top of my town
One of these days I'm gonna blow you down
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Elkhorn — The Red Valley (VHF)
Photo by Sam Erickson
The two guitarists of Elkhorn meet up again for a bout of mesmeric drone, the sound this time more electric than pastoral but as open-ended as ever. As always, Jesse Sheppard mans the 12-string, whether acoustic or electrified, while Drew Gardner plays the six, as well as a few other instruments notably zither and vibraphone. Gardner is responsible, as well, for the pounding, grounding percussion in The Red Valley, nothing complicated but a key component of making this duo sound like a band. And finally, Jesse Sparhawk contributes lever harp and pedal steel. It’s a lush, enveloping sound, nothing minimal about it.
“Black Wind of Kayenta” runs dark and more turbulent, building ominous, western-tinged expanses in distortion blasted low-end runs. An acoustic dances atop these shadowy foundations, bending and flowering in high blues licks. I hear a sunset here, the air darkening, the clouds lit up with brilliance, a few stray rays of sunlight still on hand but not for long.
“Inside Spider Rock,” by contrast, is a prickly blossom, all pizzicato runs and trebly flourishes, aided by Sparhawk’s lever harp. This is an instrument favored by Celtic musicians for its quick, hand-manipulated tunings (as opposed to the classical harp which works with pedals), and Sparhawk makes the most of its sparkling, note-flurrying radiance, an excellent match for the ethereal overtones of 12-string.
Elkhorns roots are in blues, folk and country, though you won’t hear much of the latter until “Jackrabbit Hops” with its eerie masses of pedal steel (Sparhawk, evidently) and bent notes melting like Dali’s clocks. A jangle of bells, a slash of cymbals works as atmosphere, but not really as timekeeping. This track moves on its own schedule, stretching minutes out like taffy and snapping back in quick rhythmic bursts.
“Gray Salt Trail” is the long one, quiet reverie that sits at the intersection of blues, folk and raga, very much the neighborhood Jack Rose inhabited when not in Dr. Ragtime mode. There’s a bit of rock churn in the way that the guitars roar up, a bit more distortion and dissonance than on, say, “Cathedral et Chartres,” but the vibe is similar. The song goes on for more than nine minutes, but who’s in any hurry when the shimmer hits the shadow like this?
Jennifer Kelly
#elkhorn#the red valley#vhf#jennifer kelly#albumreview#dusted magazine#drew gardner#jesse sheppard#jesse sparhawk#guitar#drone#folk#blues
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*cracks knuckles* This is a [sub]genre best enjoyed 1-2 beers in with the volume cranked
Old 97's - Curtain Calls (My favorite band. Both singers signed my hat while I was drunk at a Hollywood bar show. Too Far To Care is probably my favorite album of all time. Witty, noisy, self-deprecating cowboy rock.)
Steve Earle - Galway Girl (More popularly known around these parts for his earlier Copperhead Road. Another favorite artist of mine. Despite its Irish subject matter, this song was originally written and performed by Earle himself. Transcendental Blues is also a great album in general, with a lot of sound diversity, including this Celtic-influenced song, bluegrass, outlaw, and garage rock, and probably other stuff that goes over my head.)
Dwight Yoakam - Streets of Bakersfield (Recorded alongside fellow Bakersfield country artist Buck Owens. Beautiful Mexican-folk influenced sound. Personally I like to interpret the song as a middle finger to California suburban hell, but maybe that's my own imposition. Yoakam also used to open for LA punk shows back in the day which I think is a fun fact.)
Guy Clark - The Guitar (Incredible alt-country singer-songwriter, and I think this song exemplifies why. A wonderful ghost story.)
Sturgill Simpson - Turtles All The Way Down (It may be a little corny but I really like his voice and I think the intended sentiment is touching. Pretty psychedelic sound.)
Kris Kristofferson - To Beat the Devil (My all time favorite song hands down no holds barred, but if we're splitting subgenre hairs its more outlaw than alt-, if that makes a difference)
Brandi Carlile - Again Today / Hiding My Heart (To be perfectly honest I would like to learn about more alt-country artists that aren't white men. I definitely need to listen to more of Carlile's stuff but The Story is a great album and I love her voice, both when soft and quiet and when loud and raspy. She also did a re-recorded version of this album duet-ting with a different artist for each of the songs in the guest artist's style, including Pearl Jam, Kris Kristofferson, and Dolly Parton. She has a song with Old 97's as well called Good With God that you should check out too.)
I think I'll cut myself off there lol
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https://www.churchstreetshuffle.com/
https://www.facebook.com/profile.php?id=100092837887697
https://churchstreetshuffle.bandcamp.com/
https://open.spotify.com/album/4xuZ0ZMgyaAjXioZlOJMyE
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What is your favorite genre of music to play?
Depends on what instrument!
On uke/guitar it's indie/folk with a smattering of classic rock.
On piano it's a lot of musical theater, piano based rock (Billy Joel, Elton John etc) with a bit of Jim Brickman, Taylor Swift, and other soft pop thrown in, and then classical, particularly the romanantic period composers (Chopin, Schubert, Schumann, Debussy etc). Also I used to play The Beach Boys a lot for my dad.
On harp it's mostly Celtic/Irish stuff or with some soft pop arrangements. Hidemith, Fauré and Saint-Saêns are some of the classical composers I lean towards for harp.
On flute/clarinet/bassoon its whatever. I honestly don't play much of any of those currently as I no longer have access to anything besides my clarinet. Clarinet is by far my best instrument out of the 3. I'm self taught on all.
Bass is whatever too. I mostly just messed around and I don't currently have one though I'm pretty sure Daddy is getting me a U-Bass for Christmas so I can continue to annoy him through music.
Vocally I lean heavily towards musical theater. I started training in classical voice when I was 14 years old and voice was my primary instrument in college (I was a music major in undergrad).
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This may be United Church of Christ sacrilege or whatever but I really don't like The New Century Hymnal. I support inclusive language in church, certainly, and I understand why it's in there, but I think the NCH implementation of inclusive language is often really clunky and awkward to sing.
I also am super uncomfortable that the authors of the NCH felt it was okay to change the words to African-American spirituals. It feels gross, and at odds with this mostly-white denomination's effort to be more inclusive and diverse. Those are not our songs to change, that should be clear at this point.
Honestly, we can have meaningful and inclusive church musical experiences without appropriating the traditions and experiences of the black church. I've worked with UCC congregations who have done bluegrass, celtic music, plainsong chant, brass quartet, string quintet, folk guitar, Taize chant and more vibrant musical traditions that bring life and light to worship.
There are other inclusive hymnals available that do all this better. The Chalice Hymnal is a huge improvement, and the UMC hymnal supplement The Faith We Sing is a diverse and inclusive collection of hymns that fits into the rich musical tradition of the Methodist church. It's sad to me that for so many UCC churches The New Century Hymnal is the default because frankly, it ain't great.
#pastoral care posting#united church of christ#new century hymnal#it's also almost 30 years old at this point and it really feels that way#it has a very 1990s attitude towards diversity and inclusion#also Marty Haugen is a Lutheran hymn composer whom i LOVE#his hymns are modern and easy to sing and have great messages
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ODD FOXES + MUSICAL ABILITY
Here's a little breakdown of each of the Foxes' musical (including vocal + other skills) abilities and an idea of how they ended up with the sound they have.
ART
All of Art's instrumental ability is self-taught - he bought an acoustic guitar from a music shop when he was about ten (after saving his pocket money for weeks), and found a chord book at the library and taught himself. The tin whistle and harmonica came a little later when he was about thirteen, after acquiring both at a market in Basildon and teaching himself how to play them. His vocals came naturally and is a touch lower than his baseline voice tone. He'd practised singing by learning his favourite songs and singing along. Once he felt he was good enough at playing guitar and singing, he tried his hand at songwriting when he was fifteen with his strongest skill being his lyricism. Reg wanted him in Odd Foxes' original line-up because of his songwriting and vocal skill but was pleasantly surprised to learn that Art could also play guitar. His main influences are: punk, blues, and general rock music - all of which he actively listens to on a near-daily basis.
FRANK
Like Art, all of Frank's instrumental ability is self-taught. Unlike Art, it was due to him having access to all three instruments at home and learning how to play folk songs (specifically Welsh folk songs). He started with the violin, which is rarely used on Foxes' songs but it is used, it's him playing it, then moved on to the guitar after becoming obsessed with Top Of The Pops and wanting to be a 'cool guitarist'... The bass became his main instrument because he preferred the sound of it and he was gifted one for his thirteenth birthday, so it was his most practised instrument of the three. Frank learned how to sing early because of his family encouraging it and teaching him old Welsh folk songs, and the tone of his voice matches his normal speaking tone. His only other skill is related to singing, which is his ability to sing in multiple Celtic languages (Welsh, Irish, Scots, etc.) - the others don't know the languages at all, while Frank grew up in a Welsh family and eventually learned other non-English Celtic songs as he grew up. His biggest proficiency (obviously) is in Welsh. His main influences are: punk, blues, folk, and funk - all of which he actively listens to on a near-daily basis.
JAMES
Of all the Foxes, James has the most musical ability - not that people would really know that. He's been playing the drums from the age of six, having lessons through school, but he also had private piano and violin lessons - both of which, he's graded in (grade 3 piano and grade 2 violin). He learned the guitar, bass, flute, and harmonica for fun in his late teens. Vocally, James is a tenor, which is just a touch higher than his normal speaking tone and this skill had been hidden from Foxes fans until after Frank's death and they released Polaroids as a single - on which, James sings the second verse. His other skills all revolve around the studio-end of things: production, arrangement, and composition. He is self-taught in these skills, having learned them over time whilst making records. His main influences are: punk, blues, prog-rock, folk, funk, thrash, and general metal - all of which he actively listens to on a near-daily basis.
TIM
In the original line-up, Tim was the most qualified musician, but since James joined, they're the second-most qualified. Synth keyboards are his favourite instrument to play, but his ability comes from a transferable skill in the form of his grade 1 piano - which they'd had private lessons for as a child until his parents couldn't afford the lessons anymore, but they kept at it. Guitar he picked up at Frank's and taught themself to play, while the melodica he had bought at a toy shop and purposely learned to play "properly" so that Foxes could use it in their music. Tim's vocal ability was something he learned from growing up in a relatively musical family and being around Frank and his family from the age of about eleven - they're a higher tenor than James is and it's higher than his normal speaking tone. They are the highest vocal tone in the Odd Foxes line-up. His songwriting skill they picked up whilst helping Art writing the original Odd Foxes songs early in the band's life, production and composition he learned similarly to how James did - on the job while making records. His synth programming skill, however, comes from Tim's obsessive special interest in synthesisers and learning exactly how they work and why - it's his most proficient skill in the studio. His main influences are: punk, blues, funk, disco, pop, prog-rock, and glam rock l - all of which they actively listens to on a near-daily basis.
#ansicredocs#oddfoxesverse#artzzz#jamesfoxes#frankfoxes#artiefoxes#timfoxes#oddfoxeslore#oddfoxesart#artiefoxeslore#frankfoxeslore#jamesfoxeslore#timfoxeslore
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