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cardest · 4 years ago

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France playlist

When in France, I wear no pants!

This is my French playlist. It’s one that I am very proud of. It took me several months of researching, listening, finding, playing records to gather over 400 songs. But, France. What a country! This playlist could go as far as 500 songs.

Hit play: https://www.youtube.com/playlist?list=PL-iHPcxymC1-CHRTel_bBjdT_DAHLrnvX

There is an endless amount of talent from this part of the world. From across many decades the songs just keep coming. Incredible. Une région tellement incroyable pour la musique. Here is a list I created. It took me many months to compile.

**Updated April 19, 2021** ** indicated new additions to this playlist.

FRANCE 001 Panther Theme Song (Original Version) - Panther Theme Song 002 Gojira - L'Enfant Sauvage 003 Therion - Initials B.B 004 Fantomas - Page 1 [6 Frames] 005 Kraftwerk - Tour De France Etape 1 006 Alcest - Les Voyages De L'Âme 007 Serge Gainsbourg - Le Poinçonneur Des Lilas 008 Fantomas - Page 2 [7 Frames] 009 Sabina - Viva LAmour 010 Rammstein - Fruhling in Paris 011 Jacques Dutronc - Paris séveille 012 Léo Ferré - Paris cest une idée 013 Aosoth - Temple Of Knowledge 014 Joe dassin - Les Champs Élysées 015 Iron Maiden - Murders In The Rue Morgue 016 Grace Jones - Libertango (Ive Seen That Face Before) 017 ARISTIDE BRUANT - A Batignolles 018 Magma - Merci (Ki Ïahl Ö Lïahk) 019 WIRE - French Film Blurred 020 Duran Duran - A view to a Kill 021 Fantomas - Page 3 [17 Frames] 022 Karl Heinz Schaefer - Les gants blancs du diable 023 The Cure - How Beautiful You Are 024 Ovtrenoir - Outrenoir 025 Apocalyptica - Through Paris in a Sportscar 026 Henry Mancini - Mambo Parisienne 027 Madonna -Justify My hate 028 Patachou - Rendez-vous de Paname 029 Grand Guignol Orchestra - Un trop plein de rouge ** 030 ZAZ - Sous le ciel de Paris 031 Patrick Juvet - Paris By Night 032 Gojira - Silvera 033 Roger Roger - Sans Queue ni Tete 034 Modern Talking - Bells Of Paris 035 TOMBS - Once Falls the Guillotine 036 Popera Cosmic - Les Esclaves ** 037 Fantomas - Page 5 [7 Frames] 038 Sael - I Searched For The End Of The Spiral 039 Blancmange - Dont Tell Me 040 Thunderball - Thunderball (Main Title) 041 France Gall - Ella Elle La 042 Henry Apocalypse de Jean Premier temps - Titre-révélation 043 Merrimack - Arousing Wombs in Nine Angles Pleroma 044 Perturbator - She Moves Like a Knife 045 Fantomas - Page 6 [26 Frames] 046 John Cale - Half Past France 047 Queensryche - Last Time In Paris 048 Deathspell Omega - Abscission 049 QUEEN - PRINCES OF THE UNIVERSE (Highlander) 050 David Bowie - Heroes - Chante En Francais 051 Berlin - Metro 052 April March - Chick Habit 053 Alcest - Je Suis D'Ailleurs 054 Lizzy Mercier Descloux - Slipped Disc 055 Black Devil - Follow Me (Instrumental) 056 Jacqueline François - Ce Jour La A Paris 057 Duo Tata - Paris nous aime 058 Boogalox - chez les ye-ye 059 Necrowretch - Ripping Souls Of Sinners 060 Fantomas - Page 9 [11 Frames] 061 Thunderball OST - Chateau Flight 062 Heldon - Les soucoupes volantes vertes 063 Chene Noir - La musique des amants ** 064 B.F.G - Paris 065 Jet Vegas - PARIS 066 Cloven Hoof - Notre Dame (A Sultans Ransom ) 067 Moondog - Paris 068 Serge Gainsbourg - Shu Ba Du Ba Loo Ba 069 Treponem Pal - Renegade (french version) 070 THE VOLUPTUOUS HORROR OF KAREN BLACK - Bring Back The Night 071 Fantomas - Page 10 [15 Frames] 072 Elton John - Paris 073 Malcolm McLaren - Jazz is Paris 074 Jean-Claude Vannier - L'enfant La Mouche Et Les Allumettes 075 Fantomas - Charade 076 DÉLUGE - Appâts 077 Berurier noir - Salut à toi 078 Sweet - The Six Teens 079 Les Discrets - Effet De Nuit 080 David Bowie - Station To Station (French Single Edit) 081 Vanessa Paradis - Joe Le Taxi France 082 Fantomas - Page 11 [10 Frames] 083 Little River Band - Seine City 084 Loudblast - Cross the Threshold * 085 Dokken - Paris is Burning 086 BLUT AUS NORD - Epitome II 087 Pixies - Alec Eiffel 088 Army of Lovers - Ballrooms Of Versailles 089 Metal Urbain - Paris Maquis 090 Hante. - Nobodys Watching (feat. Marble Slave & Fragrance) 091 Jonathan Richman - Give Paris One More Chance 092 Un Monstre à Paris - La Seine OST 093 Sheena Easton - Weekend In Paris 094 Domenico Modugno - Un sicilien à Paris 095 Amelie OST - Lautre valse dAmélie 096 Queen - Killer Queen 097 Jean Ferrat - Un enfant quitte Paris 098 Trini Lopez - Made In Paris 099 Anathema - Parisienne Moonlight 100 Mike Patton - Jean Claude Vannier - Browning 101 Tygers Of Pan Tang - Paris By Air 102 The Angels - Storm The Bastille 103 April March - La Chanson de Prevert 104 UK Subs - Party in Paris 105 Fantomas - Page 14 [4 Frames] 106 Marie-France - Déréglée 107 Therion - Poupée De Cire, Poupée the Son 108 Grant Lee Phillips - Mona Lisa 109 Obsequiae - L'amour dont sui espris 110 erge Gainsbourg - Qui est "in" qui est "out" 111 SABINA - TOUJOURS 112 Pierre & Bastien - Pilule pour mec 113 Vulcain - Ebony 114 Fantomas - Page 15 [22 Frames] 115 Don Ellis - theme from the French Connection 116 Jean Yanne - Coït 117 Trust - Par Compromission 118 David Bowie - Rosalyn 119 Alain Goraguer - Deshominisation (II) 120 Fantomas - Page 16 [11 Frames] 121 Michel Magne - Route de nuit 122 Fantomas - Page 17 [14 Frames] 123 R.E.M. - Talk About The Passion 124 Sortilège - Civilisation Perdue 125 Zoot Sims Quartet - Evening in Paris 126 Madeline - Im Madeline 127 Sapho - Train de Paris 128 Hobbs' Angel Of Death - Marie Antoinette 129 Carpenter Brut - Turbo Killer 130 Fantomas - Page 18 [20 Frames] 131 Kraftwerk - Tour De France Etape 2 132 Huata - Diving In A Swamp 133 Brigitte Fontaine - Areski_Depuis 134 Dark Moor - Maid Of Orleans 135 Joan of Arc - Seven Nation Army by the White Stripes 136 Arcade Fire - Joan of Arc 137 Orchestral Manoeuvres In The Dark - Maid Of Orleans 138 Tom Waits - Cemetery Polka 139 Fantomas - Page 19 [21 Frames] 140 Grace Jones - Slave to the Rhythm 141 Jean Michel Jarre - Oxygene 10 142 Charles Aznavour - Desormais 143 Monolithe - Anechoic Aberration 144 The DUBROVNIKS - French Revolution 145 Iron Maiden - Montsegur 146 Joey Starr - JArrive 147 Nino Ferrer - Le Sud 148 IQ - Dans Le Parc Du Chateau Noir 149 Catherine Ribeiro + Alpes Ame Debout 150 Fantomas - OST main theme 151 Peter Gabriel - Games Without Frontiers 152 La Femme - Sur la planche 153 Deerhoof - Fête Dadieu 154 Johnny Hallyday - Souvenirs souvenirs 155 Joan Jett - French Song 156 PIL - Cest La Vie 157 Arkhon Infaustus - Amphessatamine Nexion 158 Spektr - Teratology 159 Jacqueline Taïeb - 7 Heures Du Matin 160 Kylie Minogue - Je Ne Sais Pas Pourquoi 161 Dillinger Escape Plan - Farewell Mona Lisa 162 TELEPHONE - Un autre monde 163 Indochine - Laventurier 164 Les Démons de Minuit - Images 165 Benjamin Biolay - Lyon presquîle 166 Fantomas - Page 21 [11 Frames] 167 The Police - Hungry for You (Jaurais Toujours Faim de Toi) 168 Army Of Lovers - Crucified 169 Arcturus - La Masquerade Infernale 170 Arcturus - Master Of Disguise 171 mio - mao 172 Yves Montand - Les Canuts 173 Alcest - Percées De Lumière 174 ZEN ZILA - Les Invisibles 175 Mike Patton - Ford Mustang (Serge Gainsbourg Cover) 176 Asphodèle - Gueules Crasses 177 Rage - French Bourree 178 Raison D'etre - Auto-dafe 179 Iggy Pop - Sister Midnight 180 Fantomas - Page 22 [7 Frames] 181 Henri Renaud - Venez Donc Chez Moi ** 182 Mary Bell - Band-Aid Baby 183 Sébastien Tellier - La Ritournelle 184 Debussy & Wright - Claudine (In a french cafe) 185 ELEND - Nocturne 186 Les Lèvres Rouges (Daughters of Darkness) - Theme from film 187 Tristania - Heretique 188 Marseille sans bateau - Nicoletta 189 Tino Rossi - Marseille mon pays 190 Bagarre générale - Furvent 191 Henry Mancini & His Orchestra - French Provincial * 192 The Angels - Marseilles 193 Deftones - Riviére 194 Claude François - Le temps que jarrive à Marseille 195 Tais - toi Marseille paroles 196 Elton John - I'm Still Standing 197 The Stranglers - Nice in Nice 198 Motörhead - Coup De Grace 199 Fantomas - Page 23 [17 Frames] 200 Igorrr - ieuD 201 Therion - Polichinelle 202 Obsequiae - Des Oge Mais Quer Eu Trobar 203 Alain Goraguer - La Femme 204 Talking Heads - Psycho Killer 205 Lafayette Afro Band - Malik 206 Putumayo French Cafe. Georges Brassens - Je MSuis Fait Tout Petit 207 La Femme - Elle ne taime pas 208 Benighted - Versipellis 209 Fantomas - Page 24 [19 Frames] 210 Abigail - Je Taime 211 Bill wyman - je suis un rockstar 212 Françoise Hardy - Comment te dire adieu 213 Burgundian court (middle XIV) - Tourdion 214 Carnivale en Coal - Entrez le carnaval 215 Melissa Auf Der Maur - Taste You (French Version) 216 Death In June - C'est Un Rêve 217 Chris Cornell - Cant Change Me (French Version) 218 Cortex - Troupeau bleu 219 Eddie Vartan - Tatoo Strip Tease ** 220 Iggy Pop - Je Sais Que Tu Sais 221 Les Darlings - Le Tourbillon 222 King Diamond - The Trees Have Eyes 223 Joni Mitchell - In France They Kiss On Main Street 224 Lovage - Pit Stop (take me home) (/w Mike Patton) 225 Billy Idol - Eyes Without A Face 226 Mick Harvey - Intoxicated Man 227 Vulcain - Rock 'n Roll Secours 228 Mike Oldfield & Maggie Reilly - To France 229 Serge Gainsbourg - Overseas Telegram 230 Fantomas - Page 25 [34 Frames] 231 Ponctuation - La re´alite´ me suffit 232 Gloria - You had it all ** 233 The Adicts - Viva La Revolution 234 Ataraxie - Dread the Villains 235 The Stranglers - La Folie 236 weird al yankovic - Genius in France 237 Secret Chiefs 3 - La Chanson de Jacky 238 Sonic Youth - French Tickler 239 The Reels - La Mer 240 Fabienne DelSol - Vilaines Filles Mauvais Garcons 241 camera silens - pour la gloire 242 Charles de Goal - exposition 243 City of Lost Children & Angelo Badalamenti - Lexecution (The City of Lost Children OST) 244 Blondie - Sunday Girl 245 Fairport Convention - Si tu dois partir 246 Fantomas - Page 26 [7 Frames] 247 Hippie Hippie Hourrah - Jacques Dutronc 248 Mars Red Sky - Strong Reflection 249 Rita Mitsouko - Cest comme ça 250 Mike Patton, Jean-Claude Vannier Chansons D'Amour 251 The Faces - Ooh La La 252 The Algorithm - Trojans 253 Magma - Da Zeuhl wortz Mekanik 254 Fantomas - Page 27 [15 Frames] 255 Iggy Pop - La Javanaise 256 Brigitte Bardot - Ne Me Laisse Pas L'Aimer 257 Corpus Delicti - Saraband 258 Frank Zappa - In France 259 Frànçois & the Atlas Mountains - La Ve´rite´ 260 Year Of No Light - L'angoisse du veilleur de nuit d'autoroute les soirs d'alarme à accident 261 Pere Ubu - Non-alignment Pact 262 Georgia Satellites - Mon Cheri 263 The Limiñanas - Prisunic 264 Martin Dupont - Inside Out 265 Sanseverino - Mal ô Mains 266 Andre Poppe - La Polka Du Roi 267 The Fixx - Cameras In Paris 268 Regarde Les Hommes Tomber - The Renegade Son 269 Asterix - Intro 270 Michel Magne - Tamouré 271 Maurice Jarre - The Paris Waltz 272 Celeste - Les mains brisées comme leurs souvenirs 273 Fantomas - Page 28 [20 Frames] 274 Fabienne DelSol - Le Roi Des Fourmis 275 Gary McFarland/Gabor Szaro - Simpatico ** 276 Blue Oyster Cult - Les Invisibles 277 Refused - Françafrique 278 Iggy Pop - Les Feuilles Mortes 279 Fabulous Trobadors - Toulouse est sarrazine 280 Loudblast - Manifesto ** 281 Drei Oklok - Les petits vauriens 282 Sektemtum - Aut Caesar Aut Nihil 283 Les Discrets - Virée Nocturne 284 La Femme - Sphynx 285 Elend - Le Dévoreur 286 Daft Punk - Around the world ** 287 KUKL with Bjork - France (A Mutual Thrill) 288 Fantomas - Page 29 [39 Frames] 289 Charlotte Leslie - Les Filles CEst Fait (Pour Faire LAmour) 290 Kreator - Under The Guillotine 291 ABBA - Voulez-Vous 292 Agathe ou Christie - Laume 293 Anna Karina - Rollergirl 294 Diamanda Galás - Sono L'Antichristo 295 Blondie - French Kissin in the USA 296 Pere Ubu - Final Solution 297 Alber Jupiter - Fangs [We Are Just Floating in Space] 298 La Fraction - Aussi Long Sera Le Chemin 299 Nightmare - Prowler in the Night 300 SERGE GAINSBOURG - Aéroplanes 301 Ravel - Arithmétique 302 Temple Of Baal - Dead Cult 303 Volkor X - This Means War 304 Iggy Pop - Les Passantes 305 Fantomas - Page 12 [31 Frames] 306 Anorexia Nervosa - Codex Veritas 307 Gojira - The heaviest matter of the universe 308 Prince - Raspberry Beret 309 Les Rita Mitsouko - Marcia Baila 310 Igorrr - Camel Dancefloor 311 the Conchords - Foux Da Fa Fa 312 Jef Gilson - Enfin *** 313 Burzum - The Portal 314 Misanthrope - Visionnaire 315 April March - Laisse Tomber les Filles 316 The Stranglers - Goodbye Toulouse 317 Magma - De Futura 318 NIGHT - Déliant ses Lacets 319 Jean-Luc Ponty - Sunday Walk ** 320 Perez Prado - Paris 321 Vosegus - Honore les Dieux 322 Les demoiselles de Rochefort - Le pont transbordeur 323 Vladimir Cosma Pebbles and Bubbles 324 Edith Piaf - Sous le ciel de Paris 325 Schizo - Schizo (And the Little Girl) 326 La Toya Jackson, Moulin Rouge Cast - A Paris Les Femmes Ressemblent A Des Fleu 327 Departure Chandelier - Forever Faithful to the Emperor 328 The Liminanas - Migas 2000 329 Adam And The Ants - Young Parisians 330 Asmodée - Black Drop Journey 331 Les joyaux de la princesse - Le petit garçon 332 Melvins - Joan Of Arc 333 H Bomb - Coup De Metal 334 Malicorne - L'écolier assassin 335 Donald Byrd - Parisian Thoroughfare 336 Thin Lizzy - Parisienne Walkways 337 Miles Davis / Art Blakey & The MEssengers - Ascenseur Pour L'Echafaud ** 338 Monarch - A Look At TomorrowMass Death and Destruction 339 Georges Brassens - Les copains d´abord 340 EARTHA KITT - UNDER THE BRIDGES OF PARIS 341 Blaspheme - Vivre libre 342 KaS Product - Sober 343 Mike Patton - Jean Claude Vannier - Corpse Flower 344 Tony Allen - On Fire 345 Funerarium - Prayer For The Dead 346 SVART CROWN - Thermageddon 347 Alan Stivell - Tri Martolod 348 Les Misérables - Le bagne, pitié pitié (French) 349 The Great Old Ones - The Omniscient 350 Henry Mancini - Bateau Mouche 351 Style Counci l - Down In The Seine 352 Begin Says - Arbeit 353 Husker Du - Eiffel Tower High 354 Peter Sarstedt - Where Do You Go To My Lovely 355 Cécilia - Chocolat 356 Cradle of Filth - The Death of Love 357 ZARAH LEANDER - CABARET PARIS 358 David Bowie - Speed of Life 359 Celine Gillain - Fight or Flight 360 Kosmos - Revelations Le Voyage 361 Bernard Parmegiani - Pop Eclectic 362 Dominique Laurent, Pinok Et Matho - L'Appel de la Terre 363 Pharoah Sanders - Love Is Here 364 SLIFT - UMMON 365 HANGMAN'S CHAIR - CUT UP KIDS 366 Les Baxter - The Clown On The Eiffel Tower 367 Throane - Plus Une Main A Mordre 368 John Zorn - Bateau Ivre 369 Mezzanotte - Midnight 370 GONG - You Never Blow Yr Trip Forever 371 Klone - Breach 372 Les Calamités - Toutes les nuits 373 John Cale - Paris 1919 374 Alcest - Là Où Naissent Les Couleurs Nouvelles 375 Heldon - MVC II 376 Aluk Todolo - V 377 Moving Gelatine Plates - Funny Doll 378 Alesia Cosmos - H-Co 379 Caravelli - Metamorphose Demientelle 380 Martial Solal joue Michel Magne - Organique 381 Cerrone - The Real World The Collector 382 The Nathan Davis Quintet - The Hip Walk 383 Fantomas - Page 30 [2 Frames] 384 Monsieur Goraguer - Sexy Dracula (Instrumental) 385 Orquesta De Las Nubes - El Orden Del Azar 386 Francoise Hardy - Tous Les Garcons et Les Filles 387 Pierre Eliane - Isadora Duncan (A Quoi Tu Penses Quand Tu Danses) 388 Rémy Couvez - Rêve de Voyage 389 Rush - Bastille Day 390 Doris Laïze - For Ever 391 Mr Bungle - Carousel 392 Coleman Hawkins - The Hawk in Paris ** 393 VUUR - Reunite! - Paris 394 Guy Lafitte - Jambo! ** 395 Prince - kiss 396 My Dying Bride - De Sade Soliliquoy 397 Francisco Semprun & Michel Christodoulides - Ebullition 398 Hacride - Act Of God 399 Jane Birkin - Lolita Go Home 400 The Doors - End of the Night 401 Bernard Estardy - Cha tatch ka (La Formule du Baron) 402 Ennio Morricone - Peur sur la Ville OST 403 SOGGY - Waiting for the War 404 Birds in a Row - I don't dance 405 Miles Davis - Sur l'autoroute (BOF Ascenseur pour l'échafaud) 406 Michel Legrand - Legrand Jazz ** 407 Anna - Rien rien j'disais ça comme ça 408 VOUS AUTRES - Onde 409 Les Marquisis - Shape the Wheel (feat. Rémy Kapriélan) 410 Iron Maiden - The Longest Day 411 Satan - Toutes Ces Horreurs 412 Jean-Pierre Decerf - Light Flight 413 Delicatessen OST Carlos D'Alessio - Tika Tika Walk 414 Richard Pinhas - Rhizosphere Sequent 415 Hexvessel - Dues to the Dolmen 416 Guy Skornik - Lile de Paques 417 Crown - Illumination 418 Ferat 80 - La Bilan 419 TERRITOIRE- sourd 420 Year of no light - Tocsin 421 Klone - The Dreamer's Hideaway 422 Christophe - Les Mots Blues 423 IGORR - Cheval 424 Me Solar - Qui seme le rent recoltele 425 Pierre Eliane - Ou Que Tu Ailles 426 Lalo Schiffrin - Marquis de Sade ** 427 Les compagnons de la chanson - Bleu, les jours heureux 428 Georges Brassens - La Parapluie ** 429 Albert Marcœur - Appalderie ** 430 Cenotaphe - Entre quatre cierges de cire et de sang ** 431 Jean-Michel Jarre - Oxygene, Pt. 2 ** 432 Heldon - Ouais, marchais, mieux qu'en 68 433 Daft Punk - Get Lucky ** 434 End of Data - Sarah 435 Musique Expérimentale - Volumes 436 Deathspell Omega - Synarchy of moleten bones 437 Serge Gainsbourg - L'hôtel particulier (BOF "Melody Nelson") 438 Magma- Kobaïa 439 Jo Moutet & Strawberrie's Pot - "...comme un pot de fraises 440 Nino Nardini · Roger Roger - Jungle Obsession ** 441 Richard Pinhas - Paris: Beautiful May 442 François Bayle - Jeîta pt.2 443 Deluge - Soufre 444 Trust - Certitude, Solitude 445 Sortilège - La Hargne Des Tordus 446 Macabre - The Black Knight 447 Red Noise - Caka Slow / Vertebrate Twist ** 448 Eider Stellaire - Tetra ** 449 Gojira - Born for one thing ** 450 Jean-Claude Vannier - Chasser La Bête Noire 451 Celtic Frost - Into crypt of rays 452 Hexvessel - Journey to Carnac ** 453 Kraftwerk - Tour de France (Etape 3) 454 IGORR - Au Revoir 455 Megadeth - A Tout le Monde 666 The Pink Panther Theme - Reprise

#french playlist #music from france #France music #vinyl #Paris songs #French musicians #playlist #alcest #gojira #fantomas #heldon #cerrone #henry mancini #bastille day #joan of arc #joan of arc songs #Jean Claude Vannier #French music #richard pinhas

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etraytin · 4 years ago

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Quarantine, Days 224-225

October 21 and 22 I have been thinking that it might be time to let the journal go down to once every couple of days or a few times a week, since it really has been quite a long time since the start of lockdown, but then I went to write tonight about what happened yesterday and I can't remember a goddamned thing. Many things have changed since the start of quarantine, but that pernicious "time isn't a real thing anymore" feeling has yet to go away. One of the original purposes of doing this was for me to record my own days so I would remember what happened when, and that's still useful. So I guess you're all still coming along for the ride, because I am terrible at keeping a private journal but have managed to do this thing for more than half a year now. Anyway, yesterday was a day. It was a day in which things happened, I'm sure. It's weird to not be able to remember what I did. It was Wednesday, so that means it was asynchronous learning day... ah, right. Kiddo had his morning meeting and at the end of it I happened to hear his teacher ask him if he'd gotten her email. I asked him what the email was, and he admitted that he might have actually not been keeping up with his core subject work in the same way he hadn't been keeping up with his resources lessons. To the tune of about ten days worth of assignments, in fact. So that wasn't great. I had a quick exchange with his teacher and promised we were going to get the work turned in, and we spent the day with him doing school in the living room instead of his bedroom, so I could actually watch him and make sure he was doing it. He got all his daily work done and two old assignments in both math and language arts, so it was a decent start. Can't get everything done in one day. I noticed while I was working with him that he seems to have slipped backwards some in his math skills. I know he learned long multiplication last year, but he seemed to have forgotten the nuances of it, and he was very bad at remembering basic multiplication facts. I like common-core style math, mostly, but I think it's bullshit that they've gotten away from memorizing the multiplication charts. Yes he can use his skills to do them in his head, but he shouldn't have to do them, they should just _be_ there. I had to have multiplication tables down cold by the end of fourth grade, and we'd all recite them every day as a class. It was annoying and boring, yes, but it worked. I don't really think you can do much higher math without just knowing multiplication and division facts. So we're working on that. He's got the two times table down fine, and everybody knows tens, so we're working now on the extremely useful threes table. It'll be a process. Anyway, we worked on the basic processes of long multiplication for a little bit, both the basic way I learned and the common core style "split one factor into easy component pieces like tens and single digits, multiply and add all those together." I have gotten so much better at math in my head since I picked that trick up. Getting him to write a complete sentence for language arts is still like pulling teeth, but we got through a couple of assignments: a powerpoint presentation on inferences that he had to complete and a writing web to prepare him for the five paragraph paper they've got coming up. That is going to be so unfun, you have no idea. Hopefully we'll at least be caught up by then. We didn't go anywhere or do anything yesterday except that Husband got out to vote. Apparently over 17,000 of the 49,000 registered voters in this county have already cast their ballots, with 950 of those just on Tuesday. Maybe we won't have anybody left to vote by election day and we'll just sit around with our well-staffed precincts, eating potluck dinner and picking at our nails. At least the gym at the high school is fixed from the fire they had last winter (Oh for the naivete of 2019, when we thought that having to distribute the students from one high school and middle school into the other schools was massive disruption of the learning process!), so our precinct is no longer left orphaned and shoved into any public space that will have us. The Democratic primary was brutal this year because they made us do it in the registrar's office itself, which means that everybody who has no idea where they were supposed to vote would just come to the registrar's office, see that people were voting, and try to vote too. The upside is that I learned the location of nearly every other precinct in the county from having to tell people where to go. For the Republican primary we were in the senior center, which was better because nobody cared about the Republican primary and also we were at least around the corner from the registrar's office. People were still lured in by our sultry "vote here" signs, but not as many. Once we are tucked back into our gymnasium where people sort of have to know we are there, I think that problem will mostly solve itself. The masks and shields are going to be awful, though. Working a sixteen hour day is hard enough without them! And that brings us to today, which I at least have not forgotten about yet. Kiddo had a doctor's appointment (no blood test so it went fine) and we checked out a new Cub Scout troop. Unfortunately it seems there Webelos only meet every other week and we were in the off week, but he was perfectly content to hang around with the Wolves and enjoy an extremely unstructured meeting that consisted mainly of ball-throwing-and-chasing games. That's fine with me; at this point I could care less about his patches and I just want him to have a little fun. And he did, so we'll definitely go back next week. On the way home from Cub Scouts I was singing TMBG's We Want A Rock, a delightfully nonsensical song, when the kiddo mentioned wistfully that I never sang his favorite lullaby anymore even though I used to sing it all the time. I was a little surprised because I have a pretty stable rotation of lullabies for the increasingly rare occasions when he wants sung to at night. Sweet Baby James, That's What Living is To Me, Chanson Por Les Petits Enfants, and Return to Pooh Corner are the usual suspects, but he reminded me of an old Chad and Terri Sigafus lullaby I used to sing him. Hush my darling, now close your eyes And mama will sing you a lullaby Soon you'll be dreaming of rainbows and colors And all of the good things tomorrow will bring And we'll laugh, dance, play in the sun Whisper and giggle, hop, skip and run We'll build a castle as high as a mountain And talk to the dragons, just you and me. And we'll sail out on a crystal clear ocean You'll be the captain and I'll be the crew We'll play bows and arrows and be superheroes There's nothing that I'd rather do Than play Let's Pretend with you.

It's a lovely little song that I cannot find in playable format anywhere online, too bad. I did used to sing it to him a lot because it was from a tape I had when I was a kid, and I used to sing it to my youngest sister when she was a baby. In more recent years I made the unfortunate discovery that the artists were uncomfortably close to the Christian Identity Movement, which is big bad news racist bullshit, and I kinda stopped liking their music as much. But the kiddo loves this song more than I had realized, and once I sang it for him he got very excited and made me sing it three more times so he could learn the words better. Death of the author, I guess. It's nice to know that he does listen to and appreciate some of the music I've sung for him over the years, and that my subpar singing voice is special to him because I am his mom.

Only other thing of major note today was that I got an update on Barry and Bixby, my feral orange boys from midsummer. Things didn’t go well for them in their second foster, which created some friction between me and the rescue coordinator as to whose fault it was that feral kittens are (gasp) afraid of crowds and loud noises. But we’re over that now, and the kitties found a caretaker who is okay with friendly boys who are not precisely housecats. They get lots of treats and petting, and look like the kings of their domain. Look how much they’ve grown! I’m so pleased.

#quarantine #long post #election 2020 #virtual school #foster kittens #foster kitten update #lullabyes

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deadcactuswalking · 3 years ago

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REVIEWING THE CHARTS: 29/05/2021 (Eurovision, BTS, Olivia Rodrigo, Galantis/David Guetta/Little Mix, Anne-Marie & Niall Horan)

What better way to celebrate the end of a week in which I have been consistently ill and surprisingly busy? Sixteen new arrivals, of course! Shoot me, but first, congratulate Olivia Rodrigo for her second #1 as “good 4 u” gets the album boost to overthrow “Body” this week. I can safely say I think it’ll be there for a while. Let’s just start REVIEWING THE CHARTS.

Rundown

Sixteen new arrivals and therefore, kind of a bloodbath. Why are there sixteen new arrivals? We’ll get to it. Other than six new arrivals from last week, we have a couple other drop-outs, the notable of which being those that spent five or more weeks in the UK Top 75 – which I cover – or those that peaked in the top 40. Therefore, those include, rather ironically on Olivia Rodrigo’s album week, former #1 “drivers license” (only dropping out because of a silly UK chart rule that only allows three songs per lead artist on the chart), as well as “Don’t Play” by Anne-Marie, KSI and Digital Farm Animals, “Another Love” by Tom Odell, “Calling My Phone” by Lil Tjay and 6LACK, “Heartbreak Anniversary” by Giveon, “Tonight” by Ghost Killer Track and D-Block Europe featuring OBOY and “Miss the Rage” by Trippie Redd and Playboi Carti. I’m not complaining about most of this, sorry, Giveon.

We have no returning entries – thankfully – so instead we can just focus on notable falls and climbers. I guess we’ll start with notable losses, songs that dropped five or more spots from their placement last week, and of course we do have a few of them at least as a result of, say it with me, sixteen new arrivals. The first few of these are all harsh drops because of ACR, which happened to coincide with the rest of the chaos, including “Little Bit of Love” by Tom Grennan at #24, “BED” by Joel Corry, David Guetta and RAYE at #25, “Friday” (Dopamine Re-Edit) by Riton and Nightcrawlers featuring Musafa & Hypeman at #26, “Peaches” by Justin Bieber featuring Daniel Caesar and Giveon at #29 and “Let’s Go Home Together” by Ella Henderson and Tom Grennan at #33. We also have the losses for J. Cole staying surprisingly slim with “My Life” featuring 21 Savage and Morray at #27, “Pride is the Devil” featuring Lil Baby at #28 and “Amari” at #35. The rest are mostly just expected continuous fallers, like “Wellerman” by Nathan Evans and remixed by 220 KID and Billen Ted at #44, “Nice to Meet Ya” by Wes Nelson and Yxng Bane at #46, “Your Love (9PM)” by ATB, Topic and A7S at #50, “Marea (We’ve Lost Dancing)” by Fred again.. and the Blessed Madonna at #51, “Ferrari Horses” by D-Block Europe featuring RAYE at #53, “Heat Waves” by Glass Animals at #57, “Seeing Green” by Nicki Minaj, Drake and Lil Wayne at #58 off of the debut, “All You Ever Wanted” by Rag’n’Bone Man at #61, “Martin & Gina” by Polo G at #63, “Leave the Door Open” by Silk Sonic at #64, “My Head & My Heart” by Ava Max at #65, Travis Scott’s remix of HVME’s remix of Travis Scott’s “Goosebumps” at #67, “Addicted” by Jorja Smith at #68, “Beautiful Mistakes” by Maroon 5 and Megan Thee Stallion at #70, “Sunshine (The Light)” by Fat Joe, DJ Khaled and Amorphous at #73, “Someone You Loved” by Lewis Capaldi at #74 and finally “Believe Me” by Navos at #75. Phew.

Now what’s interesting is that we have nearly just as many gains, and they’re pretty unique, big surges in most cases, starting with “Cover Me in Sunshine” by P!nk and Willow Sage Heart at #52 thanks to the album boost that also prompted P!nk’s “All I Know So Far” to creep into the top 40 at #39, “Build a Bitch” by Bella Poarch at #32 off of the debut, “Starstruck” by Years & Years at #31 thanks to a bizarrely uncredited Kylie Minogue remix, “Little More Love” by AJ Tracey at #21, “Didn’t Know” by Tom Zanetti at #20, “Higher Power” by Coldplay at #19, “Black Hole” by Griff at #18, Majestic’s remix of Boney M.’s “Rasputin” at #16, “Good Without” by Mimi Webb soaring into the top 10 and hence becoming her first at #10, and Olivia Rodrigo getting her third thanks to the album boost as “deja vu” is at #4. I think that’s more than enough that needs to be said about music that was already on the chart last week, so welcome back to the part of this series where I get either increasingly frustrated or exhausted every time I have to list another song.

NEW ARRIVALS

#72 – “Life Goes On” – PS1 featuring Alex Hosking

Produced by PS1 and Mark Alston

So, what better way to start sixteen new arrivals? A generic piano-house club track, of course. PS1 is a New York DJ and for this track with a 90s-esque piano and synth melody, bassy drop and tight, bland percussion as well as oddly-mixed anonymous female vocals made to sound robotic regardless of genuine emotive performance, he’s enlisted Australian singer Alex Hosking as well as co-songwriting from hit-makers GOODBOYS, both of which make remarkably little difference to the fact that despite being a faux-inspirational club track, this song is incredibly joyless and flailing in as pathetic and one-note of a fashion as possible. Yes, that is one exhaustive sentence chugging on as long as possible, but there’s no better way to parallel this disposable garbage than that.

#71 – “What a Time” – Julia Michaels featuring Niall Horan

Produced by Ian Kirkpatrick and RKCB

Niall Horan coincidentally has two unrelated female-male duets debuting with him in this week. Thankfully, Julia Michaels only has the one track debuting, and for the love of God, I can’t even figure out why she has the one, as this is a track from a 2019 EP that flew massively under every radar except seemingly mine as whilst I have listened to this EP, I cannot remember for the life of me liking any of it besides “Anxiety”, which makes sense since Michaels is at best an uninteresting songwriter and at worst an insufferable vocal presence. Regardless, I’m going to assume the surge is due to TikTok or some kind of residual Niall Horan hype, whatever there is of that, and look at this song two years after the fact. Well, for what it’s worth, I appreciate the vaguely folkish guitar riff, even if it’s going to be drowned out immensely by Michaels’ approach to vocal takes, which is to put as little effort into that first take and then multi-track enough for it to sound listenable, particularly on that bizarrely unfitting chorus in which reminiscing on a wonderful, intimate time with your partner is demonstrated by rote piano chords, an awkward string swell and distant, reverb-drenched incoherency on the vocals. I guess I do like the switch in the final chorus as she changes “what a time” to “what a lie” to emphasise the bitterness of that break-up, but I don’t think that bitterness has to soak the entire master because this song is dripping in apathy that I just don’t have any time for personally in my pop power ballads. Wait, Niall Horan was on this song?

Eurovision Song Contest 2021

Whilst I may not do a special episode on this blog for the Eurovision Song Contest, I’d be lying if I didn’t confess to watching and enjoying it every year. This year’s, the first since 2019 for obvious reasons, was hosted in Rotterdam in the Netherlands and was won by an Italian rock band, with the United Kingdom infamously receiving zero points yet somehow more applause than Israel’s performance. Telling. It’s not all politics though, obviously: the reason songs win is not just the lighting, stage presence, vocal performance or grandiosity, but rather the songs themselves, or at least ostensibly so. The winner this year didn’t have the best of any of those factors in my opinion – no, not even the politics – so it’s clearly about a mixture of this success criteria. This year had some particularly good songs and the most consistency out of Eurovision in a while, naturally leading to quite a few new arrivals, also factored in by the charts being weak, so we essentially get an album bomb. Let’s pile up every new arrival related to Eurovision and talk somewhat more briefly about each song, starting with...

#66 – “Dark Side” – Blind Channel

Representing: FINLAND

The Finnish entry this year is one of two heavy rock entries, both of which charted, and this is a genre represented by about one country annually. There’s always a Gothic-influenced or industrial-esque band in the shortlist or national finals if not the semis and international final, but it doesn’t stop them from being some of the most interesting Eurovision contesters. It’s in English and came sixth with 301 points. Is it any good? Well, it’s far from bad with that pumping electronic groove before it’s crushed by metallic, distorted and rather ugly guitars that remind me of, if anything, scene-era nu metal and crunkcore, especially due to the clean and growling vocal dynamic. The song is still anthemic as all hell and if we ignore the dog barking and stuttering vocals, as well as the fact that these vocalists don’t have that much grit to their performance, we can appreciate the clamouring rock track this is, and I’d be lying if I said that final chorus isn’t pretty epic. Next!

#62 – “Voilá” – Barbara Pravi

Representing: FRANCE

The French entry this year is one my staunchly Italian nationalist online friend immediately had a distaste for, and as someone with British citizenship, I am also legally obliged to give this Worst of the Week. Sorry, Barbara but traditions are traditions. It’s in her native French and came second overall with 499 points. Is it any good? Well, like many French entries and French pop songs in general, it’s in a chanson style that adapts very well to the modern western art-pop sound, as Pravi’s cooing vocals are at full focus in the mix as they skate around more subtle pianos, wonderfully elegant strings and this wistful tone that may or may not make sense for the content. What? I’m not learning a word of French past what was grained into me during primary school. Overall, I think this is a pretty great song with a lot of that almost Bjork-esque swell especially in Pravi’s vocal performance that I think makes for a pretty excellent listen, especially by the time that abrupt finish hits. I’d probably prefer it being a bit less minimal and scattered so the hook hits harder but overall this is one of the best Eurovision entries this year. However, she is French so, next!

#59 – “SHUM” – Go_A

Representing: UKRAINE

The Ukrainian entry, always successful enough to get to the finals, was particularly hyped up prior due to its... eccentricity and ended up in fifth place with 364 points. It’s in their native Ukrainian so they might as well be garbling acid both verbally and as a written text, so I guess I have to judge it on the fact that this is pretty bonkers, with a charismatic and energetic vocal performance that yells over triumphant bassy horns perfectly blended with the 80s bass synths but not so much with those chirping flutes that, whilst cool on paper, kind of just give me a headache when faced against this thumping dance beat that remains decidedly strained for most of its runtime, and annoyingly so as it means the song never has that cathartic of a release, at least to me, but what drop it has ends up deconstructed and janky in something that might fit on PC Music but I’m not sure it does on Ukrainian Eurovision. This has something there, but I’m not into it. Sorry.

#47 – “Embers” – James Newman

REPRESENTING: United Kingdom

A catastrophic loss is British culture at Eurovision, and it’s not the first time in this century that we’ve gotten the infamous null points. James happens to be related to the more noteworthy John Newman, but that didn’t avoid a “nil points catastrophe”, coined by Jochan Embley, who reviewed the song for the Evening Standard and is now set in stone as an utter fool as his quote predicting that not to be the case this year is now forever preserved on the Wikipedia page for this very song. Nice one, Embley. We finished at twenty-sixth and Newman should honestly be glad this embarrassment is charting. The worst part of this whole ordeal is that the song’s actually fine and definitely representative of British pop music with its 90s-esque piano, bassy drop and anonymous vocal performance – if any of that sounds familiar – and I do love the plastic brass added here for the sake of bombast. It’s nothing interesting, and a tad too long considering how little it does with its musical premise, but it’s not worse than half of any given Eurovision. Maybe next year we submit a UK drill song, I’m sure that’ll get the people going. Tion Wayne, do you want to take a flight to Italy in 2022? Maybe bring Young Adz here while you’re at it; that could truly be a fascinatingly out of place Eurovision entry but at least one of these countries – probably Russia – would vote for it. As for now, at least this was funny to see absolutely bomb, and Graham Norton become increasingly hopeless for its success as the night went on.

#43 – “10 Years” – Daoi Freyr

REPRESENTING: Iceland

One part of this guy’s backing band tested positive for COVID-19 so they had to isolate and just show the dress rehearsal again but it didn’t stop them from charting and delivering a pretty damn unique entry, as Iceland is known for doing nowadays. It’s all in English and finished in fourth place with 378 points, and is it any good? Well, for one of the whitest concepts in television, this is the whitest song of this year’s entries, starting with some gentle violins before abruptly careening straight into this Daoi Freyr guy monotonously droning over bass-heavy nu-disco straight out of the 2000s with a level of irony balancing out whatever sincerity there is in the quasi-R&B breakdown, and, you know, it’s fun, at least? I do think the stage performance is remarkably more interesting than this funktronica mess in the studio, but this is catchy and inoffensive, two good ways to get people to care about your song in Eurovision, so it makes sense. Also, that chiptune synth-solo borderline saves this song, even in all its brevity.

#17 – “ZITTI E BUONI” – Maneskin

REPRESENTING: Italy

So third place didn’t chart – sorry, Switzerland – but we do obviously get the winner charting as high as the top 20. The chart’s weak and the lead singer’s hot and probably does cocaine – it’s a recipe for success, especially when they probably have mafia connections and can threaten or buy their way into the charts. Unrealistic and possibly xenophobic stereotypes aside, this is the Italian entry and whilst I was personally gunning for Portugal, who came twelfth, I can see how this gathered 524 points, even if they had to censor the lyrics for the sake of the contest, not that I can tell because I do not know a lick of Italian. Sorry, Ignacio. Anyway, this song kicks ass and rather disrespectfully at that, as the lead singer breathily sings over garage rock-esque guitar licks and some pretty manic drumming that delivers not only a catchy hook but an undeniable groove, assisted by some slick rapping that comes out of the blue in the second verse and honestly fits the song – and the singer – a lot better than it has any right to. Congratulations, Italy – you’ll be paying out the ass for the next contest. Ciao!

Back to your regularly scheduled programming...

Well, that got a lot out of the way. Not all of it, though.

#60 – “Topshottas Freestyle” – Potter Payper

Produced by Chucks

Potter Payper is basically some guy from Barking, East London, and that’s all you need to sign a record deal with the same label that has Stormzy on payroll so that’s why he’s here. With that said, there’s something deeper here, or at least in the first few lines of this singular verse – without a chorus – in which Potter Payper narrates a street lifestyle, far too common for young working-class British men, retelling what is probably his truth about the consequences of ignoring motherly advices and finding yourself in a situation surrounded by gang violence, drug trafficking and all the paranoia that comes with it. Of course, he then brags about his wordplay, gunplay and fashion, and the rest of the verse just feels aimless with nothing exactly restraining the meandering checklist of clichés, and zilch returning it back to what I thought was going to be the point of the song. I guess this trap beat is okay but this same acoustic guitar and oddly-mastered bass is so common and uninteresting that I find it hard to care. I don’t have an issue with British music being Americanised as that’s just the result of musical evolution and the sharing of culture, but when the only way you can tell this isn’t from the States is the accent does make me question why this is charting amongst Dave and AJ Tracey instead of Lil Baby and Gunna.

#56 – “GANG GANG” – Polo G and Lil Wayne

Produced by Angelo Ferraro

Polo G, after just having the biggest hit of his career with the US #1 hit “RAPSTAR”, follows it up with a Lil Wayne collaboration and thanks to a busy and just misguided release date and timing, it makes a lot less noise than it should. It absolutely deserves that level of attention too, with its chopped-up borderline ambient melody that creates a perfect foundation for this high-energy bass-heavy trap beat as well as Polo G delivering a lot more energy than on “RAPSTAR” (to the point where I think that’s the reason why his actually interesting songs don’t do as well). The chorus has a pretty great melodic switch-up by the end and whilst the flows are pretty rote, it’s hard to say they aren’t smoothly delivering all of the flexing and gunplay pretty typical of Polo G, and if anything that’s what it’s missing: an extra layer of depth, not that I care of course, because Lil Wayne’s on it. Wayne has been astonishingly great on features recently and this is one of his most impressive features to the point where I could barely write about it on first listen, with some of his slickest flow switches ever and whilst the content doesn’t get any more interesting than pouring his heart out for his lean, his pure charisma outshines anyone who could have been on this track and this means this ends up pretty excellent in terms of 2020s trap-rap. I don’t know when that Polo G album is coming but I hope it has more of this. Also, for the love of God, Wayne, keep this energy up for the next album. I’m begging you.

#42 – “SUN GOES DOWN” – Lil Nas X

Produced by Roy Lenzo, Omar Fedi and Take a Daytrip

As his follow up to “MONTERO”, we have a new, decidedly less sexual Lil Nas X hit debuting again surprisingly low on the chart considering the last single’s success, finally delivering in the musical department as for me, there’s a constant conflict between wanting to like Lil Nas as a character, performer and personality rather than actually enjoying any of the guy’s music. Last time I talked about Lil Nas, I did bring up the Pitchfork album review that questioned if he really liked music and whilst it’s funny, I do see how Lil Nas could have perhaps taken Pitchfork to heart as a result as he practically explains his love of popular music as a way for him to feel like he belonged in a community, which is especially meaningful for a man constantly left alienated because of his own mental health issues as a teenager and struggling to come to terms with his homosexuality, to the point of suicidal thoughts. I just love how the verse ends on a happy note where makes the leap of faith to come out and how now he’s proud of himself, he wants to make sure his fans are proud of him since they’re the people who got him there. For me, those last lines recontextualise the chorus as becoming less about contemplating death but more about ascending to a happier place and rejecting all your struggles that you’ve overcome. It helps that this is all sang pretty soulfully over an almost emo guitar melody with some basic flows but gorgeous multi-tracked vocal melodies accentuated by strings that elevate this song even higher, even if it seems underdeveloped. Sure, it doesn’t have that second verse, but does a victory lap need a re-over?

#38 – “Mask” – Dream

Produced by Perish Beats and Banrisk

Nope.

#22 – “Our Song” – Anne-Marie and Niall Horan

Produced by TMS

Okay, so this is a duet where two ex-lovers – only in the song – attempt to get over each other but end up hearing a song they held special to their relationship and all of the memories and pain comes flooding back. Without the youthful exuberance of Taylor Swift’s song of the same name, this duet should carry some bitterness and resentment but mostly capture a hesitant nostalgia... and despite being oddly Niall Horan-dominated, I guess it does that pretty effectively, or at least would if Niall wasn’t crushed by a misshapen trap beat that drowns this pathetically fluttering guitar loop into a mush that not even Anne-Marie can over-sell. Everything here is so utterly basic that it kind of screws itself over by trying for any energy or passion, and therefore kind of just doesn’t. I’m glad.

#9 – “Heartbreak Anthem” – Galantis, David Guetta and Little Mix

Produced by Bloodshy, Henrik Jonback, David Saint Fleur, Thom Bridges, David Guetta, Mike Hawkins, SONDR and Johnny Goldstein

It really speaks to the power of Little Mix that even with only three members and only one of them not expecting a child, they can bring Galantis back of all people. Although given that Galantis is already a duo, I fail to see why David Guetta needs to be here, and the same can go for any of the other seven credited producers of this song, which actually only includes one half of Galantis! I question if a song ever needs that many, despite the fact that in reality they probably contributed zilch to the song each, just enough to get a pay check. None of that should matter, however, if the song isn’t good and I’ll admit this is far from the worst that any of these guys have delivered, with a string melody and swell not unlike 2015-era house Galantis themselves made, and vocal deliveries from the girls that sound like they were located in vastly different locations from each other (to the point where anyone harmonising with Perrie sounds really awkward regardless of how many vocal manipulation effects you can put on them). For seven producers, that’s inexcusable, but as a song, it’s just a shallow post-break-up song that kind of feels like a dig towards Jesy if anything (although I hope it isn’t). I’m not a fan – I never was going to be – but it works for what it is as this colourful house jam, and not much else. This is Galantis’ first top 10 since 2016, by the way. Yeah, Little Mix are that big.

#7 – “traitor” – Olivia Rodrigo

Produced by Dan Nigro

It couldn’t have been “brutal”? Or “hope ur ok”? Okay, well, if we’re going to have the dullest track on the album bar one I guess we’ll go with the one that follows the “drivers license” formula to a T but without as much passion in the vocals, without as much interesting songwriting quirks and with a whole lot of rote fluff removed far from any indie-girl influence that undercuts what is essentially a teen-pop product. I’m not going to pretend I cannot get caught up in melodrama and embrace that, but this is a slog of a ballad with an almost sing-song, condescending vocal melody in that chorus, multi-tracked and studio-produced to rid her of any of that natural rasp she has when singing live. The song is about being annoyed by an ex finding someone new and the more toxic thoughts that come with being the ex-girlfriend in that situation, but with decidedly low stakes this time around that just make her more unlikeable than relatable. I’m sorry, I didn’t think that album was half-bad at all, but please don’t make this the post-release hit.

#3 – “Butter” – BTS

Produced by Ron Perry, Rob Grimaldi and Stephen Kirk

See, I value my personal information, and I don’t know about you but I’m as scared of these guys as I am Nicki Minaj stans, or Minecraft YouTuber stans, or serial killers, so whilst I doubt my platform is extensive enough to reach that level, I also know that these people are so online that they could easily find me somehow somewhere. With that said, just to clarify, when I say I wish I could “Nope” myself out of this one like I did with Dream because I have consistently little to say about this band, it’s not because I in any way dislike BTS or the band members within, or their record label that manages them and many other K-pop bands which I also do not dislike, or, because I’ve seen this happen, East Asians in general. Is that enough stalling to just say I don’t care about this basic pop fluff? When BTS are in Korean, their lyrics aren’t embarrassing and their production tends to be more experimental or at least catchier, more interesting. I like a fair few Korean BTS songs as a result but I just do not see the appeal in making another stiff, cleanly-produced 80s-esque funk-pop song with some chiptune synths that are admittedly kinda cool other than getting on US radio. There’s some interplay between the boys here but it just leads to a pretty homogenised track where none of them have enough personality to shine through, not even SUGA and RM on the tacked-on rap verse that so awkwardly ends. The synth solo sounds perfectly out of an era of dated 80s synths that I’m not sure anyone other than Bruno Mars actually had nostalgia for, and not even some pretty vocoder can save it. The writing is too clumsy, the production’s not equipped to handle it and there’s not much to speak of in terms of performance. I fear for my life when I say it but I think this is actually pretty bad.

Conclusion

Okay, so, we’re finally finished with this week and God, I’m glad, as there’s not that much quality here to speak of, although what is here is here in droves, so Best of the Week gladly goes to Polo G and Lil Wayne for “GANG GANG”, with “Sun Goes Down” by Lil Nas X following closely behind as an Honourable Mention. In terms of Worst of the Week, it doesn’t actually go to they who shall not or he who should not be named, instead going to the pathetic “Your Song” by Anne-Marie and Niall Horan, with a Dishonourable Mention going to BTS for “Butter”. It’s just “Dynamite” again but with considerably less reason to exist. Here’s this week’s top 10:

If I make it to next week, who knows what’s coming? This is a slower week – hopefully – and I don’t think black midi will chart, though it’d be comical, so I’ll hold off on predictions and just thank you for reading. See you next week!

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dustedmagazine · 7 years ago

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Dust: Volume 3, Number 12

Pessimist

In early fall, the pace of record releasing and reviewing picks up, and with the new chill in the air, we all realize that we are way behind on everything. So to clear the pipes and celebrate what we’ve been meaning to celebrate all along, here is a new back-to-school issue of Dust. This time, we had a really broad range of participants covering all manner of music -- Bill Meyer, Ian Mathers, Matt Wuethrich, Derek Taylor, Eric McDowell, Michael Rosenstein, Jennifer Kelly and Mason Jones.

176 — Music in Eight Octaves (Immediata)

IMM011: Music In Eight Octaves by 176

Ever wonder what Conlon Nancarrow’s music for player pianos would sound like stretched out over 50 minutes? If so, this is it. Pianist Anthony Pateras and fellow keyboardist Chris Abrahams of The Necks recorded this 50-minute performance in 2005, but are releasing it now as part of Pateras’ Immediata project, along with the series’ obligatory liner notes dialogue between Pateras and the other performer.

The only formal structures the two seem to rely on are a stacking of temporal layers, timbral density, and surging intensities. There are no quiet or reflective moments here, the sound being continuous and mostly very fast, but neither is this uncontrolled cacophony. At times, there is so much activity the piece almost reaches stasis; at others, the sheer amount of pointillist notes is overwhelming. The tension between these poles creates, however, an engaging contradiction: hyperactive music that demands absolute concentration.

Matt Wuethrich

1982 — Chromola (Hubro)

It makes sense that the trio 1982 is named for the band’s baby, drummer Øyvind Skarbø. He was nervy enough to get the project rolling when he asked Hardanger fiddle player Nils Økland, 20 years his senior, to play an improvised gig together after Økland gave him a lesson. Ten years on Skarbø, Økland, and harmonium/pipe organ player Sigbjørn Apeland are still at it, performing music that is simultaneously true to the sonic signatures of their instruments and the impulse to play things their own way. Which means that Apeland doesn’t shy from the churchy sounds his instruments were conceived to make, but he’s also willing to tangle some tone clusters up in Skarbø’s rustle and rumble. Likewise Økland, who also plays a conventional violin, lets his melodies unfold patiently, all the better to let the overtones radiate from his strings and form a halo of sympathetic vibrations. But he’s also right in there with his fellows, complicating the dissonances and accenting the rhythms. Skarbø moves fluidly between measured cadences, pulse-free surges, and patient silences, contributing most by contributing just what the music needs.

Bill Meyer

Antoine Beuger — Ockeghem Octets (Another Timbre)

youtube

The title of Antoine Beuger’s latest for Another Timbre may mislead the uninitiated. Part of an additive series of homages to some of the Wandelweiser co-founder’s favorite artists and thinkers — Dedekind Duos, Cantor Quartets, Favery Tunings for Fourteen — Ockeghem Octets does reference the influential 15th-century Flemish composer of masses, motets and chansons, however obliquely. What Beuger distills from Ockeghem is the canon form: Each of the 25 pieces represented on this disc find the octet divided into two halves, each half playing a different line of four tones, entirely at each musician’s own pace. That playing through these micro-compositions takes nearly 70 minutes (over a single unbroken track) suggests the octet’s approach to the material — unhurried, to say the least. But when you consider that Beuger is the same composer who’s written a piece that asks audiences to listen to a solo musician “basically sitting in silence, very rarely playing one single very soft, rather short sound,” followed by anywhere from 20 to 80 minutes of complete silence, the Ockeghem Octets’ glacially shifting layers start to seem positively gaudy with harmonic and timbral colors. An exaggeration, of course, but phase one of the initiation into Beuger’s sound world is adjusting your perspective.

Eric McDowell

Dungen — Häxan/Versions by Prins Thomas (Smalltown Supersound)

A couple of years ago, Dungen were asked to create a new soundtrack to Lotte Reiniger’s early 1926 animated film "The Adventures of Prince Achmed,” which led to the first instrumental album from Dungen, Häxan. Here, Prins Thomas takes that album's music and creates a new experience, over an hour of songs constructed using more or less of the originals. Some pieces are based on a few sounds, while others are primarily rearranged from the original tapes.

When it comes to the recognizable pieces, Thomas mostly finds a way to accentuate the core. Just taking opener "Peri Banu vid sjön" as an example, the original is a slow, reverbed drum beat and floating synth tones, peaceful and vaguely pretty. The version here, stretched to five minutes, takes its time getting going, the warbly synth melody leading to the drums entering with a rather Floydian touch. In this version the reverb's gone, and everything's more immediate.

Elsewhere, there's some good steady space rock, and plenty of kosmische stylings, with parts that have the head-nodding mekano beats of Neu! and their descendants, and "Kalifen" is one of the most Floydian songs that's come along in some time, harkening back strongly to Atom Heart Mother-era synth scapes. Others, though, come off as kind of soft-psych filler.

Ultimately, although there's plenty of creative reconstruction here, nearly all of the songs carry on past the length they can support, not surprising given that a 40-minute album was rebuilt to 67 minutes. More aggressive editing could have honed this to a stronger core, but even so, if you're looking for a drawn-out hazy journey you could most definitely do worse.

Mason Jones

The Elks — This Is Not the Ant (Mikroton)

This Is Not The Ant by The Elks

The great thing about the Berlin/Vienna Improv scene is the quirky collaborations that pop up between musicians of disparate backgrounds. The Elks is a perfect example, pulling together trumpet player Liz Allbee, clarinetist Kai Fagaschinski, tape manipulator Marta Zapparoli and audio-visual munger Billy Roisz. Across four cuts (two around five minutes long and two over twice that), the four pile together shredded tones, corroded timbres, arcing oscillations and hissing static into improvisations that buzz and thrum with an unstable energy. What’s particularly striking here is how the four eschew any sense of improv arc, instead diving in to a bucking collective flurry that can break into muted calm or vault to thundering stridency at any moment. One minute, Fagaschinski’s low-end clarinet tones hum and drone against a low-level thrumming electronic pulse. The next Allbee’s sibilant hiss kicks in against a whorl of electronic scree. Overtones meld with feedback, burred harmonics and glitched tapes are scumbled together. Braying trumpet, quavering chalumeau and sputtering electronics coalesce and then break open to dark, tolling low-end reverberations. The seamless mix of acoustic and electronic instruments makes for a rich palette which bares glints of detail within the constantly shifting field of sound.

Michael Rosenstein

Footings — Resolver (Don’t Live Like Me)

Resolver by Footings

Hey, a local band! Not living in anything remotely resembling a “scene,” this doesn’t happen to me often, but Thing in the Spring proprietor Eric Gagne slipped me a DL of his alt-country-ish, slacker rock Footings’ latest recording, and what do you know, it’s pretty good. I caught them a month or two ago opening for alt-Baptist-roots-revivalists House & Land, and the main problem then was that the guitar drowned out everything else. Here, with a proper mix, the slash of indie guitar (think Sebadoh or Jason Loewenstein solo) still dominates, but there’s enough space for Elizabeth Fuschia’s viola to seep through, whether in resonant bowed throbs (“Hopelessly”) or pizzicato plucking (“Vibrations, Too”). You can also hear the singing, which alternates from a rough but rueful rock howl a la Silver Jews or David Bazan in the louder songs to a sensitive country croon in the soft ones, which may put you in mind of Richard Buckner. As in the live set, “Pajo” stands out, with its circling, swirling, enveloping melancholy, but stick around for the very acoustic “Pollen” which tamps down the mayhem to minimum and finds a quiet revelation in picked acoustic, string tones, soft duet singing and the roll of cymbals.

Jennifer Kelly

Joe Goddard — Electric Lines (Domino)

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Goddard’s had plenty of side projects outside of his main gig at Hot Chip, but a listen to the accomplished, wide-ranging Electric Lines makes it clear why he calls this his solo debut. The warmth and dancefloor nous Goddard brings to Hot Chip are in evidence here too; the difference is more in sonic terms than emotional timbres. Here Goddard mostly takes the more traditional electronic producer's backseat to a rotating cast of singers (sampled and not) over an assorted but solid set of productions that range from the affectionate throwbacks of "Home" and "Lose Your Love" to the restrained digital ballardry of "Human Heart" and "Nothing Moves" to more purely banging "Lasers" and "Bumps.” The result is a kaleidoscopic but always endearingly humane tour through the various vistas of electronic music, culminating with the heart-rending, melancholy directness of his Hot Chip partner Alexis Taylor's vocals on the title track and singer SLO's joyful resolution on closer "Music is the Answer." That faith in his art form is one of the reasons that Goddard's work, in a band or here on his own, is so fulfilling.

Ian Mathers

Lo Tom— Lo Tom (Barsuk)

Lo Tom by Lo Tom

David Bazan first played with the guys in Lo Tom — that’s Trey Many, TW Walsh and Jason Martin — about the time they all started shaving, as part of a surprisingly fertile NW enclave of Christian-centered rock (that also included Damien Jurado, but forget him for the moment, he’s not in Lo Tom). All four of them have gone on to other bands, Bazan maybe the best known of the bunch for Pedro the Lion and his solo discs, but Many in Velour 100 and Starflyer 59, Walsh with Pedro, too, and Martin, also in Starflyer 59. Lo Tom is a kind of low-stakes, tossed off side project, performed mostly for the love of the game, but executed with a loose, comfortable, red-meat-rock brio that bends big guitar licks and rough poetry to the task of exploring mid-life issues. Bazan is in very fine form in these eight songs, exhibiting a trademark mordant directness, which is blunt enough to make you laugh, though you’re never sure whether he’s trying to be funny. The protagonist in “Bubblegum,” for instance, is mystified when he repeatedly wakes up with rubbery clumps of gum in his hair, “You blink your eyes and wonder how did it even get there/it’s not even the flavor of gum you chew/but either way your head’s stuck to your pillow, what’s wrong with you?’ You tell me, humorous or tragic? The lyrics, delivered in Bazan’s buzz cut baritone, are wrapped in a big-shouldered indie guitar racket, reminiscent of early aughts indies like Silkworm and Built to Spill. It’s loud and abrasive on the outside with a soft emotional center, the tough guy with a wry self-deprecating smile and a dog-eared copy of Seamus Heaney poems in his back pocket. What more could you want?

Jennifer Kelly

Milked — Death on Mars (Exploding in Sound)

Death on Mars by Milked

Chicago punk rocker Kelly Johnson has sweetened his sound since his Geronimo! days, kicking up a fizzy, rackety, ear-wormy sound that recalls the Rock A Teens, Red Kross and Exploding Hearts. “White Punks,” which bemoans the life-art balancing act of indie rock wage slavery, churns to a start with monster bass and a careening guitar vamp that owes a little to “Smells Like Teen Spirit.” “Caledonia” is fizzier, more melodic, jangling like a particularly tuneful key ring in a working man’s pocket. And “Death on Mars,” the title track, is a punk romantic anthem, blaring in hearts-on-sleeve endearing-ness with slow, syrupy, overblown guitars with a plan for life partnership spanning the solar system. All nine tracks are irresistible hits of power pop aggression, rough on the edges and likely loud as fuck in the room, but bursting with a hand-drawn valentine’s worth of good feeling. Death on Mars came out early this summer as part of Exploding in Sounds’ tape series, and if you missed it, stay tuned for the next one. Johnson doesn’t sound like he’s anywhere near done with this exuberant project.

Jennifer Kelly

Shane Parish—Ballad of an Unarmed Man (Self-released)

Ballad of an Unarmed Man by Shane Parish

Musicians rarely get to capture their epiphanies in a shareable form, but Shane Parish lucked out. The Asheville NC guitarist, who tours and records with Ahleuchatistas and keeps a variety of other duos with players such as Michael Libramento and Tashi Dorji, has cultivated a formidable variety of playing modes, which has also come in handy in his day job as a guitar teacher. One night in February 2016 he sat down with the charts to a few American folk tunes, an acoustic guitar and the digital recorder that he uses for study. He started playing and found himself in a psychic and musical zone that felt simultaneously new and familiar. He was, at least for the time, home. Parish went on to develop this material into Undertaker Please Drive Slow, a superb solo album that Tzadik released at the end of 2016, but has decided to put out the original flash of inspiration as a download-only release. What’s remarkable about these performances is how at home he already sounds with a fairly personal approach to traditional material. He doesn’t exactly play it straight, nor does he prioritize a particularly improvisational language and he certainly doesn’t hew to the raga-tinged fingerpicking contemporary of American Primitive practice. Instead familiar melodies slip in and out of focus in a matter that feels akin to memories being recovered, even though that’s not what Parish was doing. You could get all speculative and say that maybe he was locking into something unconscious, or that you’re hearing a lifetime of skill-building aligning with the music on some sheets of paper in ways that the player could not foresee. What is clear is that Parish was onto something that night, and that this release provides a timeline node we can look to as we consider what he’s doing now and what comes next.

Bill Meyer

Anthony Pateras & Erkki Veltheim—The Slow Creep of Convenience (Immediata)

IMM010: The Slow Creep Of Convenience by Anthony Pateras · Erkki Veltheim

The title does double duty here as aesthetic and social statement. Aesthetically, “slow creep” captures the duo’s formal strategy: Veltheim’s electric violin and Pateras’ pipe organ are deployed as generators of long, continuous sounds, which flow over and against each other in dense layers of overtones and beatings through all levels of the frequency spectrum. Despite the single-minded approach, the performance is full of tension, energy and variety, with the duo having ample time to probe each subtle shift in timbre over the piece’s 50-minute duration. Socially, the title encapsulates the duo’s dialogue in the liner notes, where they dissect current contemporary musical and cultural practices, the discourse surrounding them and the effect technology has on both. This “formless” piece, they suggest, is one effort to reclaim our most valuable commodity: time.

Matt Wuethrich

Pessimist — Pessimist (Blackest Ever Black)

Bristol's Kristian Jabs, aka Pessimist, has been releasing EPs for several years now, but this self-titled album is technically his first full-length. Blending bits of drum and bass, techno, dub step, and cold, chilly experimental sounds, it works best when dealing in the combination of complex beats and warehouse ambience. It's difficult to describe the songs here without resorting to words like "cavernous" and "murky", though often the mechanical beats pull things out of the mud and onto the dance floor.

As the score for an end-times dance, the reverb-laden factory floor beats here will do the trick. But while you can let these songs flow past in the background, they too often resort to the same tricks if you focus more closely. The result is that the first few pieces -- "Bloom" with its skeletal warehouse rhythms, "Grit" blending shadowy tones with mechanical beats, and the murky, panned tick-tocks of "Spirals" -- start the album pretty strongly, but as it continues things get more predictable. The rhythms, while often intriguingly layered, tend to be unchanging, and the move from beats to quiet floating to the sudden return of the beats is an overused trick.

Taken individually, though, and certainly in the clubs, these tracks mostly work, with the shifting, interlocking beats of "Peter Hitchens" and the aforementioned "Bloom" particular standouts. The mix of sounds and attitudes Pessimist brings has a lot of potential. It shows through here and there, and the future holds yet more promise.

Mason Jones

Saltland — A Common Truth (Constellation)

A Common Truth by Saltland

Rebecca Foon is (or ought to be) well known to fans of various Constellation acts; in addition to cofounding Esmerine, she and her cello have played with Thee Silver Mt. Zion, Set Fire to Flames and others. With her almost entirely solo project Saltland (here aided subtly and well by the Dirty Three's Warren Ellis and producer/Besnard Lakes frontman Jace Lasek on some tracks), her voice and cello take center stage and prove more than capable of holding that ground. It's relatively rare for an album split between instrumentals and vocal pieces like A Common Truth to be equally strong on both sides of the equation, but whether it's the foreboding drone of the opening "To All Us All to Breathe" or the layered cello and voices of the darkly pulsing "Light of Mercy," Foon's work consistently displays a darkly-hued beauty coupled with an intense, almost liturgical focus that marries the sound of the record with these songs' concern with the perils and complex nuances of climate change. With the summer much of the world is currently having, those issues need to be addressed more than ever; few reminders of this fact will be as enthralling as A Common Truth is.

Ian Mathers

Triptych - Michael Thieke : Tim Daisy : Ken Vandermark (relay 019) by Tim Daisy Michael Thieke Ken Vandermark

Michael Thieke/Tim Daisy/Ken Vandermark — Triptych (Relay Recordings)

Triptych is the latest in a series of fleeting encounters that Tim Daisy has documented on his Relay label. The Chicago-based multi-instrumentalist (drums, percussion, radios) invited Ken Vandermark (tenor saxophone, bass clarinet) and Michael Thieke (clarinet) into the studio to play three compositions and a handful of improvisations by the constituent members. It takes a bit of digging to grasp the title’s implications. While Daisy’s pieces celebrate the three musical personalities involved, they all seem to be very much on the same page. While the music shifts between stated and implied swing time, it does so quite cohesively, and the melodies make a case for Daisy’s growing elegance as a composer. But when you factor in the improvisations, it makes more sense. There is a pair of duets, one between the drummer and Thieke and the other between two clarinets, which display more elbows-out jostling than the compositions. There are also three solos that let you into the relationship between instrumentalist and instrument. Three ways of working, connected but separate — there’s your triptych.

Bill Meyer

W-2—Fanatics (Astral Spirits)

Fanatics by W-2

The notion of battles between instrumentalists is built into jazz. You’ve got Ben Webster and Dexter Gordon on Tenor Titans, Sonny Rollins and John Coltrane on Tenor Madness, and these guys on the New York subway, all battling away. But W-2 say screw that divide and conquer shit; they may be going into battle when they play, but they’re pointing their weapons in the same direction, not at each other. Tenor saxophonist Sam Weinberg sounds like he’s taken a few lessons from Roscoe Mitchell. He’s got a similar affection for his horn’s extremes and a corresponding commitment to occupying the outer edges of pitch. Chris Welcome has his jazz guitar chops down, but in W-2 he sticks to synthesizer, blasting out dirty sputters and catch me if you can squiggles. Surrender while you can; these guys had you in your sets from the second you walked in the door.

Bill Meyer

Judith Wegmann – Le Souffle du Temps (hat[now]ART)

Critic Brian Morton contributes a pithy and starkly simple piece of advice at the conclusion of his notes to Le Souffle du Temps. Make requisite time to listen to the music, as the musician made time to prepare for it. Play it again. Follow those simple instructions, and Morton confidently contends you’ll be playing it for years. The fourth dimension is a central aspect of pianist Judith Wegmann’s musical conception. Though she started playing at the age of six and studied jazz classical and improvised music earning two Master’s degrees along the way, this disc marks her debut as a leader. The training is evident, but what’s more striking is her mastery of pacing and placement. Preparing her instrument with an undisclosed array of objects and devices, the disc’s 10 pieces (delineated on paper by Roman numerals and temporal durations) transpire with a sustained air of both deliberateness and spontaneity, however incongruous that might sound. The clack of rocks or marbles, the brittle scraping of strings and the whistling creaks of metal on metal join sparely deployed keyboard notes and patterns to create a depth of field that becomes very easy to get lost in.

Derek Taylor

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jonathanbogart · 7 years ago

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Tubulaire: French Socialist Pop and New Wave

I went and did it again. Twenty-one songs, 1981-1987, from France and nearby Francophone territories. Here it is as a YouTube playlist. No Spotify playlist -- again, too many gaps -- but you can figure it out. Tracklisting below, “liner notes” below the cut.

Étienne Daho, “Week-end à Rome”

Les Calamités, “Toutes les nuits”

Jo Lemaire + Flouze, “Je suis venue te dire que je m’en vais”

Taxi Girl, “Paris”

Indochine, “Kao Bang”

Mikado, “Naufrage en hiver”

2 Belgen, “Quand le film est triste”

Mader, “Disparue”

Dougherty, “Moi je doute”

Sapho, “Train de Paris”

Stephan Eicher, “Les filles du Limmatquai”

Baroque Bordello, “L’autre”

Les Rita Mitsouko, “Marcia Baïla”

Marc Seberg, “L’éclaircie”

Lio, “Mona Lisa”

Axel Bauer, “Cargo”

Buzy, “Dyslexique”

Chagrin D’amour, “Monte-Carlo”

TC Matic, “Elle adore le noir pour sortir le soir”

Mylène Farmer, “Libertine”

Carte de Séjour, “Ramsa”

Tubulaire: french socialist pop and new wave

Trying to pattern this mix off the Spanish and Portuguese one I did last year, I found myself running afoul of the many ways in which the French scene was very different from the Spanish and Portuguese — and also from the British, which I know better. French popular music has been a continuum running from the era of the music hall to the present: rock, like jazz before it, was taken on board as an amusing novelty, but it did not transform the cultural landscape to the extent it did in the US and UK. Meanwhile, Spain and Portugal, controlled by fascists at midcentury, largely ignored the initial rock waves; for them, the real cultural transformation didn’t happen until democratization, and punk. France also absorbed punk as an amusing novelty, but the top level of pop did not change: chanson, varieté, and melancholic singer-songwriters saw their production shift with the times, but the attitudes did not: in France, teenage dreams were always openly conjured by dirty old men.

Speaking of which, there is one Serge Gainsbourg song here, but not sung by Gainsbourg or a member of his family; I have mostly avoided the canonical (in English-language circles) sixties French pop singers: France Gall, François Hardy, Jacques Dutronc, and Johnny Hallyday were all still making more or less relevant music in the 1980s, but in order to make a coherent mix, I was primarily interested in the younger generation, those energized by punk and disco (and their offspring, new wave and synthpop).

In the 1980s, France was led by its first Socialist President, the long-serving François Mitterrand, providing a sort of left-wing European bulwark against the devouring conservatism of Reagan’s America and Thatcher’s Britain. (From a strict left-wing view, Mitterrand was more of a centrist, defanging the Communists and dithering about nationalization of services; but in global terms, his socialism was remarkable.) Because France is a democracy, that of course doesn’t mean the entire nation was socialist, any more than everyone in the UK was a Tory, but socialist and left-wing ideals were more deeply entrenched in France than almost anywhere else in Western Europe.

Which itself doesn’t necessarily say anything about popular music, always a capitalist endeavor. Despite the famous, and famously evanescent, wealth of some high-profile laborers in music, those who own the means of production remain those who really profit from that labor. So there’s inevitably a tension between my declared subtitle for this mix and what’s really in it: a heterogenous grab-bag of ideology, mostly (like pop everywhere) about romantic love.

One other major difference to my Spanish/Portuguese mix: minority languages have been officially discouraged in France since the Revolution, and even the baby steps taken in the last few decades toward acknowledging Occitan, etc., are nothing compared to the autonomy of Catalan, Basque, and other Spanish minority languages. Which is to say: with one exception, everything in this mix is in standard French (with the occasional phrase in English or another language thrown in as the song requires). The bulk of it was made in France itself, with four songs from Belgium and one from Switzerland.

Finally, many of songs here were released in 1984. Which is a direct result of one of the reasons I started diving back into 1980s European pop music: my friend Michaelangelo Matos is working on a book about the US music industry in 1984, and as always I started thinking about expanding parameters.

I’m certainly no expert in French pop, mainstream or underground, of the period. This is what has struck me as beautiful and fun and maybe even soul-nourishing after rooting around in streaming services and online discographies and filesharing programs for a few weeks, plus some stuff I already knew and loved. I hope you like (at least some of) it too.

Oh, the title. “Tube” is French slang for a hit record, and I thought it would be slightly amusing to mix that up with period SoCal slang.

1. Étienne Daho Week-end à Rome Virgin | Paris, 1984

Perhaps better known to British pop fans as Saint Etienne’s “He’s on the Phone” (the band was named after Daho, the most sublime aesthetician in French pop), this gorgeous synthpop reverie of no-strings travel and romance in the 80s sounds doubly nostalgic these days, as the dream of a united Europe falters. The woman’s voice pronouncing Italian quite poorly on the bridge belongs to Belgian pop star Lio; she also appears in the video.

2. Les Calamités Toutes les nuits New Rose Records | Paris, 1984

Sometimes called “the French Go-Gos,” the all-girl Calamités were rather less polished than the L.A. band, I think to their advantage. This urgent power-pop (perhaps even pop-punk) song takes as a theme that universal complaint about having to share a bed with a sleepwalker who goes out on the rooftops every night; its rush and clatter mirrors the heart-pounding fear of falling in the lyrics.

3. Jo Lemaire + Flouze Je suis venue te dire que je m'en vais Vertigo | Brussels, 1981

Originally written and sung by Serge Gainsbourg on his 1973 concept album Vu de l’extérieur, this spare cover by Belgian synthpop pioneers Flouze was their biggest hit and one of their few songs in French. (Most pop acts in the multilingual Low Countries sing in English to widen their potential audience.) Lemaire, the voice of the band, would go solo for most of the 80s, and has a catalog worth digging into.

4. Taxi Girl Paris Virgin | Paris, 1984

One of the foundational Parisian synth-punk bands circa 1980, Taxi Girl’s lifespan was drawing to a natural close by 1984, when this thrumming, evocative ode to/sneer at their hometown became one of their biggest hits. The casual, slangy lyrics are entirely spoken by singer Viviane Vog (Daniel Darc), slowly building to a punchline in which he spells Paris in an unusual way. And the descending guitar riff pulses on into the night.

5. Indochine Kao Bang Clemence Melody | Paris, 1983

We now encounter the somewhat cringey orientalisme that was de rigeur for the pop scene of every twentieth-century imperial power in the early 80s as the Eastern markets boomed. Indochine are usually thumbnailed as the French Cure, but “Kao Bang” is dancier and sweeter than Robert Smith would be for years yet. The lyrics are dodgy orientalist heroic fantasy, but possibly feminist too?

6. Mikado Naufrage en hiver Vogue | Paris, 1985

Named for a brand of pick-up sticks rather than the Gilbert and Sullivan operetta, Mikado were a French orientalist band that actually interacted with Pacific Rim culture: Yellow Magic Orchestra founder and video-game composer Haruomi Hosono produced this single, written by singer Pascale Borel, whose breathy soprano is in both French and Japanese pop traditions.

7. 2 Belgen Quand le film est triste Antler | Brussels, 1982

Not a cover of the 1962 Sylvie Vartan hit, but a herky-jerky new wave interrogation of it, after the deconstructive manner of Devo or the Residents. The debut single of Belgian duo 2 Belgen (or “two Belgians”), it’s rather more instrumentally eccentric than the music that would win them later popularity, but as a spiky, springy introduction, it’s fantastic.

8. Mader Disparue Flarenasch | Paris, 1984

A pop chancer who became famous for unabashedly cheesy dance-pop using Latin rhythms, Jean-Pierre Mader is perhaps the clearest representative of the music hall-derived “varieté” tradition in this mix. Here, a tango bandoneon swirls against a squelchy four-on-the-floor beat as Mader warbles about a lover who has disappeared: it’s Gallo-Latin music at its most stereotypical, and it always brings a smile to my face.

9. Dougherty Moi je doute Réflexes | Toulouse, 1984

There have historically been very few regional pop scenes in France — at least not the way there were in the UK — thanks to the culture of centralization enforced by the state and media. One exception was the Toulouse scene (’82-’86) based around Studio Deltour, featuring retro garage-rock sounds that echoed into the early 2000s: this, from quiffed rocker Gilles Dougherty, is the Raveonettes undreamt.

10. Sapho Train de Paris Celluloid | Paris, 1984

The Morocco-born Danielle Ebguy named herself after the Greek poet as a member of the 70s Parisian punk scene, spent time in New York in the early 80s, and really found her sound in the mid-80s, when she blended industrial beats with pan-Mediterranean melodies and let her strong, witchy voice give it all authority. “Train de Paris” picks up where Grace Jones’ “Warm Leatherette” left off.

11. Stephan Eicher Les filles du Limmatquai Off Course | Zurich, 1983

The guiding force behind the influential Neue Deutsche Welle cold synth band Grauzone, the Swiss Eicher’s solo career would be carried out in German, French and English with equal facility. This folk-melody rave about girls shopping on a fashionable Zurich boulevard splits the difference between his early austere work and the melodic chanson which would give him hits later in the decade.

12. Baroque Bordello L’autre Garage | Paris, 1984

I haven’t included much representation from the so-called coldwave (icy synthpop in post-punk monochrome) scene which has taken up much of the retrospective space for the French 80s in the Anglosphere, because much of it was sung in English, and I’m snobby enough to prefer first languages. But this lovely bit of psychological alienation, in singer Weena’s whispery soprano, deserves to be remembered.

13. Les Rita Mitsouko Marcia Baïla Virgin | Paris, 1984

Undoubtedly the outstanding French rock act of the decade, Les Rita Mitsouko might be familiar to English-language music fans for being frequently namechecked by Kurt Cobain. Their neo-primitivist pound-and-yowl cabaret was deeply influential on the “alternative” 90s, but this early marionette-funk song commemorating singer Catherine Ringer’s late dance teacher Marcia Moretto remains a career highlight.

14. Marc Seberg L’éclaircie Virgin | Longueville, 1984

The band Marquis de Sade was a foundational coldwave act, but after they broke up in 1981, founder Philippe Pascal formed a new band, Marc Seberg, more in the line of British post-punk: “L’éclaircie” sounds rather like Ian Curtis fronting Modern English, although its melodic sense is typically French: even when Pascal breaks into English in the bridge, he doesn’t sound like an English singer.

15. Lio Mona Lisa Ariola | Brussels, 1982

Perhaps the song most thoroughly indebted to the French pop of the 1960s in this mix, “Mona Lisa” was written and produced by the two members of Telex, the Belgian synthpop duo whose “Moskow Discow” was one of the foundational new wave singles. But this is pure chamber pop, heavily, even saccharinely, orchestrated, while Lio’s cutesy gamine voice makes even a relatively tame lyric about Leonardo’s masterpiece sound squirmily Gainsbourgian.

16. Axel Bauer Cargo Vogue | Paris, 1983

I haven’t seen the comparison “the French Thomas Dolby” made anywhere, but I’ll go ahead and make it. Rather than an eccentric quasi-novelty reputation, though, Bauer’s is thoroughly French: the video for “Cargo” (the first shown on French MTV) is highly erotic, both homo- and hetero-. But his music, inventive synthpop fascinated by obsolete industrial technology, is just as melodic and as intermittently released as Dolby’s.

17. Buzy Dyslexique Arabella | Paris, 1981

The kind of irreverent, high-concept single that I associate with Stiff Records in the Anglosphere, “Dyslexique” was the first single from singer Buzy (Marie-Claire Girod), better known later in the decade for more Benataresque work. The second verse, in which she mixes up all the words, is a minor triumph of new wave weirdness for its own sake.

18. Chagrin D’amour Monte-Carlo Virgin | Paris, 1984

Perhaps the song I’ve fallen most deeply in love with over the past weeks. Apart from the beat, there’s nothing particularly 80s about it: it’s a disco-flecked variety-show duet (with a race-announcing middle eight) from an act whose real claim to fame was a novelty rap single three years earlier. As masterminded by Grégory Ken, who had been knocking about the French music industry since the sixties beat groups (he’s one of the alternate paths David Bowie could have taken), Chagrin D’amour has a feather-light touch, but the ache as his falsetto reaches for the high note in the homonymic phrase is real.

19. TC Matic Elle adore le noir pour sortir le soir EMI | Brussels, 1985

TC Matic frontman Arno, having matured from his flamboyant yelping in early hit single “Oh la la,” strikes the exact midpoint between Jacques Brel and Joe Strummer here, with a song half in French and half in heavily-accented English, using the tricks of repetition and crescendo to give dramatic texture to a piece of classic pop-song slutshaming.

20. Mylène Farmer Libertine Polydor | Paris, 1986

If you’re not as entirely disgusted with the “the French x” construction as I am yet, take a moment to consider Mylène Farmer as the French Madonna: a generation gap-exploiting dance-pop artist expanding pop’s sexual vocabulary with provocation and high-art aesthetics, at least until the mid-90s when things get iffy. I encourage you to watch the video for “Libertine” — it packs more historical accuracy, dramatic tension, and Continental philosophy into its nine minutes than in the whole of Johnny Depp’s movie of the same name.

21. Carte de Séjour Ramsa Barclay | Paris, 1987

We close with a twelve-inch remix of the last single by Franco-Algerian rock ’n’ raï star Rachid Taha’s first band. It’s not strictly in French, but according to Taha, in Sabir, the ancient lingua franca of the Mediterranean which fused Arabic, Spanish, French, Italian, Turkish, and Berber. (Sure. To my ears it’s in French and Arabic, with English James Brown-style interjections.) But of course, it’s the groove which really matters, and it’s a good one: Taha’s work would rarely be so danceable again.

This is the second installment in a projected series of 80s pop mixes: four more to cover the rest of Europe, and nineteen for the rest of the world. I make no promises that I will get to any of the rest with any particular haste, although I am thinking about Italy next.

#my mixology career

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mindframe64-blog · 5 years ago

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Blues and Jazz in New York City This Weekend - January 25-January 27 - City Guide NY

Photo: Nick Amoscato/Flickr

NYC is filled with blues and jazz clubs, and City Guide's got all the best weekend shows in one place. Get your groove at some of New York City's most famed establishments, including the likes of Blue Note Jazz Club, the Jazz Standard, the Village Vanguard and Terra Blues.

Gatsby in Paris French chansons & jazz standards from the 20s to the 40s Feat.Chloé Perrier & French Heart Band - Club Bonafide January 25, 2019 - New York

Gatsby in Paris: French Chansons & Jazz Standards From the '20s to the '40s, featuring enchanting French singer Chloé Perrier and her new band, the French Heart Jazz Band. This irrepressibly charming show is a mix of French chansons and American jazz standards from the '20s to the '40s with a continental flare. Chloé sings an intriguing mix of jazz, chanson, Brazilian and occasionally Romany-tinged numbers in French, as well as in English. The group is known for its reinvention of the old chestnut "My Heart Belongs to Daddy" as a bolero-tinged Twin Peaks theme, an obscure '20s hot jazz tune that Perrier had found in a history book, and the classic "La Vie en Rose." Come to Club Bonafide in New York City and listen as exes get dissed and relationships gone wrong are dissected and remembered through glasses that aren't exactly rose-colored.

La Vie En Rose: An Elegant & Tasteful Blend Of American Jazz, French Chanson & Pop Music. Feat. Violette - Club Bonafide January 25, 2019 - New York

Jazz-influenced French indie singer/songwriter Violette comes to Club Bonafide in New York City. Born in Paris and raised in a small village on an island off the French Atlantic Coast, and now making her home in Brooklyn, Violette has clearly been influenced by such French luminaries as Jacques Brel and Edith Piaf, but Ella Fitzgerald, Stevie Wonder and Michael Jackson have also had a hand in the development of her sophisticated pop sound. Her most recent album, 2014's Falling Strong, showcases a collection of originals that, although rooted in jazz, reflect the young artist's eclectic range of influences from pop to rock and R&B. Upbeat and sassy, sensual and intimate, her soulful voice immerses you in emotion. Violette Raised in Ars-en-Re, a small village on an island off the French Atlantic Coast, and now making her home in Brooklyn, NY, singer-songwriter Violette began her musical journey at an early age, taking up the piano at five and later learning percussion while studying at the Conservatory. Her musical endeavors were clearly colored by influences from such French luminaries as Jacques Brel and Edith Piaf but quickly found her tastes and palette ranging much farther th... (read more)

Chris Bergson Band - 55 Bar January 25, 2019 - New York

Chris Bergson...Guitar & Vocals Craig Dreyer...Tenor Saxophone & Organ Matt Raymond...Bass Adrian Harpham...Drums

Kendra Shank - 55 Bar January 25, 2019 - New York

Kendra Shank...Voice Pete McCann...Guitar Drew Gress...Bass

Kacey Musgraves & Natalie Prass in New York - Beacon Theater January 25, 2019 - New York

Kacey Lee Musgraves (born August 21, 1988)[2][3][4][5] is an American country music singer and songwriter. She self-released three albums[6][7] before appearing on the fifth season of the USA Network's singing competition Nashville Star in 2007, where she placed seventh. In 2008, Kacey recorded two singles for Triple Pop in Austin, Texas[8]. She later signed to Mercury Nashville in 2012 and released two critically acclaimed albums on the label, Same Trailer Different Park (2013) and Pageant Material (2015).[9][10] Her first Christmas-themed album, A Very Kacey Christmas, was released on October 28, 2016.[11] Her third studio album, Golden Hour, was released on March 30, 2018, to widespread critical acclaim.[12]

Belén Cusi - The Groove January 25, 2019 - New York

Belén Cusi is a Latin-American singer from Argentina. Her music can be described as a cross between Norah Jones and Buena Vista Social Club. Expect an eclectic, intimate set of english & spanish tunes from this exciting performer, including her latest single, "Closer."

G. Love & Special Sauce: The Sauce Tour - A Celebration Of 25 Years - Irving Plaza January 25, 2019 - New York

Garrett "G.Love" Dutton, Jeffrey "The Houseman" Clemens and Jimmy "Jazz" Prescott are celebrating their 25th year as touring and recording artists. With over 15 records released, this pioneering band has been an influence to artists such as Jack White, Jack Johnson, The Avett Brothers, Slightly Stoopid and many more. With their signature blend of Delta Blues, Hip Hop, Funk, Rock and Roll and Jazz, The Special Sauce have literally created their own funky stew of American music. Expect a high energy mashup of funky beats and songs written from the front porch to get the world smiling and dancing to the positive message of Love and the Blues.

Move Forward Music Presents: Braxton Cook - Baby's All Right January 25, 2019 - Brooklyn

This event is 21 and over

Erica Buettner - Pete's Candy Store January 25, 2019 - Brooklyn

Erica Buettner is a poetic singer-songwriter who moved to Europe at the age of 20 and spent the following years winding her way through Paris all the way to the shores of Portugal before returning to New York in 2016. After surviving triple negative breast cancer and putting her music career on hold, Erica's long-awaited second album, The Book Of Waves was just released. Come celebrate and pick up your copy!

The Danny Mixon Trio - The Sound Bite January 25, 2019 - New York

Danny Mixon is a prolific piano virtuoso who has performed in the U. S. and internationally. He began piano lessons at the age of 13 and never looked back! His exceptional talent has paved the way for him to work with such legendary performers as Lionel Hampton, Joe Williams, and Frank Foster, and he continues to be in Frank Foster's Loud Minority Big Band and his Non-Electric Company. Danny was honored to have participated in the first Newport Jazz Festival at Sea on the Queen Elizabeth 2. Danny's greatest joy is performing, composing, and arranging for his own group "The Danny Mixon Trio or Quartet," and has recently completed his new CD entitled "The Danny Mixon Trio Live at the Rubin Museum." He has also performed, toured and/or recorded with Yusef Lateef, Savion Glover, Pharoah Sanders, Dee Dee Bridgewater, Stanley Turrentine, Eubie Blake, Noel Pointer, Marlena Shaw, Houston Person, Dakota Staton, Ben Vereen,

The Dog's Bollocks - The Bitter End January 25, 2019 - New York,

Emily Cavanagh Coach Z South Second Tatiana Lima The Justin Timberlake Experience

Bordombo Duo - Terraza 7 January 25, 2019 - Elmhurst

Featuring: Andres Fonseca Alfonso / Percussion Nicolas Castañeda Lozano / Harp Bordombo Duo is a musical project based on the creation of contemporary sounds mixed with Colombian folk music and presented ambiguously through a non-common instrumentation: Drums (Andres Fonseca) & Harp (Nicolas Castaneda). Originally founded in Boston on 2015. Bordombo Duo is actively playing shows on the east coast. Primarily Boston and NYC while planning to record their debut album to be released in 2019.

La Cumbiamba NY – Gaitas y Tambores - Terraza 7 January 25, 2019 - Elmhurst

La Cumbiamba NY is bringing the joyful celebration that characterizes this amazing band for you to enjoy to the fullest! As the result of being a New York born and based group, where interactions and continuous contact with musicians from different places around the world generate new possibilities. The group takes coastal music as a departing point and source of work not only because of the musical background of some of the members, but because coastal traditions in Colombia, as in other regions of the Caribbean, are inexhaustible fountains. Don't miss this wonderful performance! Performing: María Alejandra Jimenez/ Voice. Andres Fonseca / Tambora. Julian Gomez / Llamador & coros. Chris Rodriguez / Percussion. Martin Vejarano/ Gaita hembra. Sebastian Angel / Gaita macho.

Focus Festival 2019: On The Air - The Juilliard School January 25, 2019 - New York

A Salute to 75 Years of International Radio Commissioning New Juilliard Ensemble Joel Sachs, Founding Director and Conductor Nicolette Mavroleon, Soprano

The Birdland Big Band - Birdland Jazz Club January 25, 2019 - New York

Every Friday, and for two headlining weeks a year, the "BBB" roars into action playing a thrilling and original mix of jazz, funk, Brazilian, Latin and world music for sold-out audiences. Featured weekly guest artists drop-in from television bands (David Letterman, Saturday Night Live) and pop music touring bands (Rob Thomas, Rod Stewart). Come see for yourself why Time Out New York called the BBB, "a completely unique experience... there isn't another band like this anywhere," and yelp.com proclaims, "if you hear one band in NYC make sure this is it... and prepare to be blown away!"

Jessica Jones Quartet Continuum Album Release Concert - The Jazz Gallery January 25, 2019 - New York

Jessica Jones -tenor sax Tony Jones -tenor sax Stomu Takeishi -bass Kenny Wollesen -drums

Piano Jazz Series: Bruce Barth Trio - Zinc Bar January 25, 2019 - New York

One of the best pianists in town, period."—The Village Voice Acclaimed jazz pianist Bruce Barth brings his trio to the Zinc Bar for a splendid evening of jazz piano on Friday, January 25. He's supported by bassist Dave Baron and drummer Pete Van Nostrand. Jazz pianist and composer Bruce Barth has been sharing his music with listeners the world over for more than two decades. Deeply rooted in the jazz tradition, his music reflects both the depth and breadth of his life and musical experiences. In addition to traveling widely performing his own music, he has also performed with revered jazz masters, as well as collaborated with leading musicians of his own generation. And most notably, his performances feature material from his large book of very powerful and imaginative original compositions, written in a voice that is both deeply personal and expressive. In a recent review in the Newark Star-Ledger, Zan Stewart writes "No one sounds quite like Barth. His solos are characterized by robust swing, his ability to tell a story, and by his rich, beguiling sound." Bruce has performed on over one hundred recordings and movie soundtracks, including ten as a leader. He is equally at home ... (read more)

Ken Fowser Quintet - The Django January 25, 2019 - New York

Ken Fowser Quintet

Talavya - Flushing Town Hall January 25, 2019 - Flushing

Global ambassadors for Indian percussion, contemporary classical tabla ensemble Talavya is a leading example of tradition and modernity coming together seamlessly. Created by Indian rhythm maestro Pandit Divyang Vakil, the Indian tabla comes to the center stage. The ensemble revels in the tablas' hidden potency as a rhythmic and melodic instrument capable of expressing just about anything. "Fabulous technical expertise, excellent showmanship, and an engaging personality brought scores of new fans to tabla music." - CHICO WORLD MUSIC FESTIVAL

Jd Allen 'After-Hours' - Smalls Live January 25, 2019 - New York City

JD ALLEN tenor sax Hailed by the New York Times as "a tenor saxophonist with an enigmatic, elegant and hard-driving style," J.D. Allen is one of the most thoughtful jazz saxophonists on

Broadway Brassy and the Brass Knuckles - Fine & Rare January 25, 2019 - New York

Live performance by Broadway Brassy and the Brass Knuckles

Tyrone Govan and Top Secret R&B Band - Paris Blues Through January 25, 2019 - New York

Tyrone Govan and Top Secret R&B Band

Life of a Legend: Carmen de Lavallade - Dizzy's Club Coca Cola Through January 25, 2019 - New York

A singular icon graces The Appel Room in this special Life of a Legend performance. Dancer, actor, and choreographer Carmen de Lavallade has a unique gift for movement, and her groundbreaking dance concepts have inspired artists and audiences for generations. Tonight we celebrate de Lavallade's love of both dance and jazz, revisiting some of the iconic dance works she performed with jazz musicians. Though she has long been a star on Broadway and in Hollywood, Shakespearean theater, and many genres of dance—including ballets choreographed for her by the likes of Lester Horton, Agnes de Mille, and Geoffrey Holder—her roots in jazz run especially deep. She improvised dances with Duke Ellington, Benny Goodman, Bill Evans, and Jane Ira Boom. She brought Louis Armstrong and Duke Ellington to tears in 1960 with her embodiment of Billie Holiday in "Portrait of Billie"—a piece that de Lavallade performed with a friend whom she brought to the dance world: Alvin Ailey. De Lavallade's artistry goes so much deeper than technical mastery; she approaches dance as an act of storytelling, a transfixing form of communication that she still achieves with grace at age 87. De Lavallade was named ... (read more)

French Jazz & Tango Celebrating Piaf, Brel, Aznavour & Piazzolla - Club Bonafide January 26, 2019 - New York

Celebrating Piaf, Brel, Aznavour & Piazzolla Few things are more distinctly French that the music of Edith Piaf, Jacques Brel and Charles Aznavour. These and other Gallic icons are the focus of From Paris With Love, a musical homage to the City of Lights from the duo Yael & Gabriel. Yael Dray-Barel is a French/Israeli singer/songwriter influenced by rock and gypsy jazz, and her songs often incorporate the five languages she speaks. Argentinian guitarist Gabriel Hermida infuses his compositions with the essence of classical tango, flamenco and contemporary jazz. Together, the pair will salute such timeless French songs as "La Vie en Rose," "Non, Je Ne Regrette Rien" and "Hymne a L'Amour, along with work from Argentine composer Astor Piazzolla, at Club Bonafide in New York City

Martin Nevein Quintet - The Jazz Gallery January 26, 2019 - New York

Martin Nevin -bass + compositions Kyle Wilson -tenor saxophone Christopher Hoffman -cello Ari Chersky -guitar Craig Weinrib -drums

Angel Williams - Jules Bistro January 26, 2019 - New York

Angel Williams

Angel Williams - Jules Bistro January 26, 2019 - New York

Angel Williams

Wadada Leo Smith: America's National Parks - Dizzy's Club Coca Cola January 26, 2019 - New York

For one night only, witness the live New York debut of Wadada Leo Smith's America's National Parks. When Smith recorded this visionary suite in 2016, it was voted Album of the Year by DownBeat magazine (Smith also won Artist of the Year and Trumpeter of the Year), and it was selected as a top-ten album of the year by the New York Times and NPR. Though the music alone is worthy of its critical acclaim, nothing compares to the live, multimedia concert experience of America's National Parks. Visual projections blend real-time footage of the five-piece band with moving images of each song's subject, marrying improvised music with historic photography in a powerful and collaborative vision. If you've ever wanted to dip your toes into the more avant-garde side of jazz, experiencing this show in person would be a compelling way to start. Topics range from established, natural national parks (Yellowstone, Yosemite) to pointed subjects of historical and cultural significance ("New Orleans: The National Cultural Park USA 1718," "Eileen Jackson Southern, 1920–2002: A Literary National Park"). It's a thought-provoking and entirely wordless journey that conveys both the grandeur and sense... (read more)

Jazz Vocalist TAEKO - The Sound Bite January 26, 2019 - New York

Japanese native, TAEKO moved to New York City from Shiga, Japan in the late 90's and quickly garnered the nickname "Songbird" from the NYC Jazz elite. With a never-ending stream of musical ideas and a fluid delivery that shows years of dedication in studying her craft, little is left to doubt how TAEKO has built a dedicated fan base in both the U.S. and overseas. She has graced the stages of some of the most heralded Jazz clubs on the East Coast, including Birdland, Smalls Jazz Club, The Kitano, the Zinc Bar, Minton's Playhouse, and the Blue Note. Additionally, she has been featured at such prominent U.S. festivals as the Cape May Jazz Festival, the Women in Jazz Festival in New York City, the United Philadelphia Jazz Festival, the North East Florida Jazz Festival, and Newburgh Jazz Series, in addition to her performances at numerous Jazz festivals in Japan.

Cait and the Critters - The Flatiron Room January 26, 2019 - New York

Performance by Cait and the Critters

Broadway Brassy and the Brass Knuckles - The Flatiron Room January 26, 2019 - New York

Performance by Broadway Brassy and the Brass Knuckles Broadway Brassy and The Brass Knuckles

Acoustic Open Mic Hosted By Evan Kremin - The Bitter End January 26, 2019 - New York,

sign up begins at 12:30pm) Singers/Songwriters, Comics, Poets Acoustic Guitar & Piano available All Are Welcome Happy Hour Prices All Day Long ---plus---- Grace Bergere (7pm) ORISSA The Ninth Autumn State Andrew Nappo & The Disappointments Lou's Lips Maquina Mono

Martin Nevin - The Jazz Gallery January 26, 2019 - New York

Martin Nevin -bass + compositions Kyle Wilson -tenor saxophone Christopher Hoffman -cello Ari Chersky -guitar Craig Weinrib -drums

The Ultimate Elvis Tribute Artist Spectacular – 84th Birthday Celebration - St. George Theatre January 26, 2019 - Staten Island

Shawn was a featured performer on the Late Show with David Letterman performing to over 5 million viewers with the entire CBS Orchestra on Network Television and in 2016 will portray Elvis in the new HBO series called Vinyl produced by Martin Scorsese and Mick Jagger.Celebrating the 84th Birthday of Elvis Presley, The Ultimate Elvis Tribute Artist Spectacular is the most successful touring Elvis tribute show in the world. It is an amazing era-by-era tribute to the King of Rock-N-Roll starring the best Elvis tribute artists in the world – Shawn Klush and Cody Ray Slaughter.

Dan Aran Band - The Django January 26, 2019 - New York

Dan Aran Band

Fleur Seule Latin Big Band - The Django January 26, 2019 - New York

Fleur Seule Latin Big Band

Smalls Showcase: Detroit Brotherhood - Smalls Live January 26, 2019 - New York City

NICK MASTERS piano KASAN BELGRAVE alto sax NOLAN YOUNG tenor sax ADAM OLSZEWSKI bass KAYVON GORDON drums

Philip Dizack Quintet - Smalls Live January 26, 2019 - New York City

PHILIP DIZACK trumpet BARRY STEPHENSON bass IMMANUEL WILKINS alto sax Immanuel Wilkins is an American Saxophonist, Composer, Arranger, and Band Leader. While growing up in the Philadelphia area, he played in his church and programs dedicated to Micah Thomas photo MICAH THOMAS piano KWEKU SUMBRY drums

Jon Beshay 'After-Hours' - Smalls Live January 26, 2019 - New York City

JON BESHAY tenor sax "I play music because I like to listen to music, and when I'm playing I'm in charge of what I'm hearing." Davis Whitfield photo DAVIS WHITFIELD piano As the son of two musicians, Davis Whitfield's early years were filled with music. He began playing the guitar at age 5, and moved to Jersey City, New GEORGE DELANCEY bass A native of Cambridge, OH, and a student of such prestigious programs as the Columbus Youth Jazz Orchestra and the Michigan State University Jazz Studies Program, CURTIS NOWOSAD drums CURTIS NOWOSAD is a New York-based drummer, composer and bandleader. A native of Winnipeg, Manitoba, Canada, Nowosad has distinguished himself touring coast-to-coast with his quintet, and performing

Jazz Brunch: Live Jazz Trio - Fine & Rare January 26, 2019 - New York

Enjoy our new brunch menu, an array of crafted cocktails & spirits and a live jazz performance.

The Natalie Dietz Trio - Fine & Rare January 26, 2019 - New York

Live performance by The Natalie Dietz Trio

Melvin Vines & The Harlem Jazz Machine - Paris Blues Through January 26, 2019 - New York

Melvin Vines & The Harlem Jazz Machine

Mike Dirubbo Quartet - Smalls Live Through January 26, 2019 - New York City

MIKE DIRUBBO alto sax "Something about the sound Mike DiRubbo elicits from the alto saxophone - deep, dark, immense, with a machete edge that denotes a ready-for-anything urban sensibility - immediately DAVIS WHITFIELD piano As the son of two musicians, Davis Whitfield's early years were filled with music. He began playing the guitar at age 5, and moved to Jersey City, New PAUL GILL bass Bassist Paul Gill is veteran of the New York jazz scene and is recognized for his buoyant, swinging bass lines and virtuosic arco solos. KUSH ABADEY drums Kush has performed and/or recorded with many notables including Ravi Coltrane, Chris Potter, Nicholas Payton, JD Allen, David Weiss, Andrew White, Gilad Hekselman, Azar Lawrence, Terrance Blanchard, Frank

Vijay Iyer Sextet - Jazz Standard Through January 26, 2019 - New York

DownBeat's "Jazz Artist of the Year" for two years running and a 2013 recipient of a MacArthur Foundation fellowship, Vijay Iyer is among the most freely creative and forward–thinking musicians of our time. This week at Jazz Standard, the pianist, composer and bandleader will present a series of special projects that together will comprise a high point in New York's musical year. Jazz Standard welcomes the "Jazz Band of the Year," so named in the 22nd annual Jazz Journalists Association Jazz Awards. Far From Over is the Vijay Iyer Sextet's latest release on ECM Records. "If you're looking for the shape of jazz to come, here it is...the sturdiness of its design and the passion of its execution make Far From Over 2017's jazz album to beat." (Hank Shteamer, Rolling Stone) Vijay Iyer – piano, Fender Rhodes Graham Haynes – cornet, flugelhorn, electronics Steve Lehman – alto saxophone Mark Shim – tenor saxophone Nick Dunston – bass Jeremy Dutton – drums

Ingrid Jensen Quintet - Birdland Theater Through January 26, 2019 - New York

Born in Vancouver and raised in Nanaimo, British Columbia, Ingrid Jensen has been hailed as one of the most gifted trumpeters of her generation. After graduating from Berklee College of Music in 1989, she went on to record three highly acclaimed CDs for the ENJA record label, soon becoming one of the most in-demand trumpet players on the global jazz scene. After a teaching stint in Europe in her early twenties – as the youngest professor in the history of the Bruckner Conservatory in Linz, Austria - Ingrid settled in New York City in the mid-1990s where she joined the innovative jazz orchestras of Maria Schneider (1994-2012) and Darcy James Argue (2002-present). More recently, Ingrid has been performing with the Grammy-winning Terri-Lyne Carrington and her Mosaic Project. Ingrid is a featured soloist on the Christine Jensen Jazz Orchestra's Juno-award-winning album, Treelines (2011), and its successor, Habitat (2013). She has performed with a multi-generational cast of jazz legends ranging from Clark Terry to Esperanza Spalding; Ingrid has also performed alongside British R&B artist Corrine Bailey Rae on Saturday Night Live, and recorded with Canadian pop icon Sarah McLachlan... (read more)

Ann Hampton Callaway - Birdland Through January 26, 2019 - New York

Tony nominee Ann Hampton Callaway, one of the leading pop/jazz singers of our time, has created an exciting night of songs and stories in celebration of one of America's most beloved artists, Linda Ronstadt. On the heels on Ann's symphonic/PAC triumph, The Streisand Songbook, this show celebrates the many faces of love in Ronstadt's iconic songs from her Stone Poney Days like "Different Drum" and "Long Long Time" to pop/rock classics like "You're No Good," and "Desperado" to unforgettable classics from her three Nelson Riddle albums like "What's New" and "Am I Blue," to her iconic duets which Callaway will perform with her brilliant MD, Billy Stritch. Adding to the electrifying sound is Martin Wind on bass, Tim Horner on drums, and Linda's long time guitarist and arranger, Bob Mann. Romantic, rousing, and joyous, The Linda Ronstadt Songbook promises to be the perfect night of music.

The Kat Vokes Trio - Fine & Rare January 27, 2019 - New York

Live performance by The Kat Vokes Trio

David O'rourke, Jim Ridl & Lorin Cohen - Mezzrow Jazz Club January 27, 2019 - New York

The wonderful David O'Rourke has invited his trio featuring Jim Ridl on piano and Lorin Cohen on bass, join them for an evening of trio.

Tangos From Gardel To Piazzolla - Club Bonafide January 27, 2019 - New York

The illegitimate son of a French laundress in turn-of-the-century Buenos Aires, Carlos Gardel would ultimately rise to fame as one of the greatest tango singers of all time. Now the legendary tango star gets a rousing musical tribute by popular musical duo Yael & Gabriel at Club Bonafide in NYC. Yael Dray-Barel is a French-Israeli singer-songwriter influenced by rock and gypsy jazz, and her songs often incorporate the five languages she speaks. Argentinian guitarist Gabriel Hermida infuses his compositions with the essence of classical tango, flamenco and contemporary jazz. At this special concert, the pair will pay tribute to the bossa nova legend and put a spotlight on Hermida's countryman Ástor Piazzolla, who's credited with adding a touch of jazz and classical to tango, forging a new style called nuevo tango.

From Paris With Love The Famous Voices Of Edith Piaf, Jacques Brel & Charlez Aznavour - Club Bonafide January 27, 2019 - New York

The Famous Voices of Edith Piaf, Jacques Brel & Charlez Aznavour You can search atop the Eiffel Tower while eating a baguette and still fail to find anything more French than the famous voice's of Edith Piaf,Jacques Brel,Charlez Aznavour,Georges Brassens & Many More .French singer Yael Dray and Argentinian guitarist Gabriel Hermida pay homage to France's national Gretest Singers, with their musical tribute " From Paris With Love" Yael Dray-Barel and Argentinian guitarist Gabriel Hermida combine their musical styles to summon the spirit of Edith Piaf with stirring renditions of the star's greatest hits, including "La Vie en Rose," "Non, Je Ne Regrette," "Milord," and "Hymne a L'amour." & Many More .Join jazz duo Yael and Gabriel as they transport you to the City of Lights with a Sunday brunch in celebration of Paris' most captivating chanteuse at New York's Club Bonafide.

The Slipper Room Show: Slippery Sundays Burlesque - The Slipper Room January 27, 2019 - New York

Muffy Styler, Tiger Bay, Michael Karas, Alexander Boyce, Zero Boy, Gigi Bon Bon, Velvetina Taylor This event is 21 and over

Sunday Brunch French Cabaret with Margot Sergent and Yael Dray - Jules Bistro January 27, 2019 - New York

Margot Sergent is a classically-trained harp player and singer and has performed in orchestras, chamber groups, and as a soloist in France for ten years. In 2015, Margot moved to New York City from Paris where she was performing in several prominent jazz clubs such as 38 Riv, Club Rayé, and Baiser Salé, as well as other publicly sponsored musical events, such as Fête de la musique (the most important national event about music in France) and Dialogue on Humanity in Lyon (conferences withleading intellectuals, writers and poets of France and all the continents on the sustainable alternatives for the future in economy, education, health). Margot has toured with two high-profile big bands: a Brazilian jazz band with the notable bandleader Mônica Passos, where she had the honor to collaborate with legendary saxophonist Archie Shepp, and also a band led by French singer-songwriter Nolwen LeRoy, the best selling artist in France in 2011.

Sunday Jazz with Renaud Penant & Friends - Jules Bistro January 27, 2019 - New York

Sunday Jazz with Renaud Penant & Friends

Jazz for Kids - Jazz Standard January 27, 2019 - New York

The Jazz Standard Youth Orchestra is a performance driven program that gives talented and dedicated young jazz musicians the opportunity to perform regularly in one of New York City's leading jazz clubs often with guest artists from the New York scene. The visiting guests give a workshop to the band members in addition to providing the experience of playing with the top musicians on the scene. On Sundays during the school year, the students rehearse and workshop in the room before opening the doors at 1:00pm and giving a concert that is free and open to the public at 2:00pm.

Sunday Evening Jazz w/ Guitarist Jamie Fox - The Sound Bite January 27, 2019 - New York

Jamie Fox, originally from California, has performed world-wide, in concert and on television, including the Montreaux Jazz Festival. He has taught students of all ages for the last 20 years and is on the faculty of The New School, Trinity School, and Steiner School. A semifinalist in the Thelonious Monk International Jazz competition in 1995, he has worked with artists as diverse as Brother Jack Mc Duff, Dr. John, Ernie Watts, Gene Harris, Tiger Okoshi, Carla Thomas, Otis Clay and The Shirelles. He played lead guitar and served as Musical Director for the Joan Baez World Tour (1989-1991), filming a popular PBS television special with Baez and Jackson Browne. Fox was lead guitarist for Blood, Sweat, & Tears (1998-2000), touring the USA and Canada. The New York Times referred to him as "an unflappable melodist". He currently performs with Jen Chapin, Stephan Crump's Rosetta Trio, Tin Roof Trio and many others in and around New York City. Jamie has recorded two CD's of his original compositions.

Kate Curran Trio - The Flatiron Room January 27, 2019 - New York

Live jazz performance by the Kate Curran Trio

The afro latin jazz orchestra - Birdland jazz club January 27, 2019 - New York

Grammy Award winning pianist, composer and educator Arturo O'Farrill -- leader of the "first family of Afro-Cuban Jazz" (NY Times) -- was born in Mexico and grew up in New York City. Son of the late, great composer Chico O'Farrill, Arturo was Educated at Manhattan School of Music, Brooklyn College Conservatory and the Aaron Copland School of Music at Queens College. He played piano in Carla Bley's Big Band from 1979 through 1983 and earned a reputation as a soloist in groups led by Dizzy Gillespie, Steve Turre, Freddy Cole, Lester Bowie, Wynton Marsalis and Harry Belafonte. The Afro Latin Jazz Orchestra is the resident large format ensemble of the nonprofit Afro Latin Jazz Alliance (ALJA) founded by Arturo O'Farrill in 2007 and dedicated to preserving the music and heritage of big band Latin jazz, supporting its performance for new audiences, and educating young people in the understanding and performance of this important cultural treasure. For more information about the orchestra and other ALJA initiatives, please visit us at www.afrolatinjazz.org

iSchool - The Bitter End January 27, 2019 - New York,

Jake Friedman & Friends (DCM) ----plus---- The Bitter End Allstar Jam With Mark Greenberg

Terraza Sunday's Jazz Jam - Terraza 7 January 27, 2019 - Elmhurst

John Benitez / Bass. A Latin Jazz, Brazilian/Straight ahead Jazz Jam Session. This is a weekly Jam Session in Queens, NY, where local musicians are able to play and create music in a collective and harmonious way. Musicians welcome and everyone else who wants to enjoy some quality music on Sunday nights. Come support live music and our community!

George Gee Orchestra - Birdland January 27, 2019 - New York

George Gee Orchestra

Vijay Iyer's Ritual Ensemble - Jazz Standard January 27, 2019 - New York

The Ritual Ensemble blends the improvisatory traditions of jazz with those of Indian classical music, with the singular voice of Ganavya Doraiswamy at the forefront. "Ganavya creates a lush twine out of American and South Asian traditions, and on Aikyam: Onnu, this vocalist and scholar's majestic debut album, the upshot feels more like an expansive invitation than any definable hybrid…No matter the language or the content, Ganavya's voice is a thick ephemera, like smoke as dark as ink, just coming off the fire." (Jon Pareles, New York Times, 5.4.2018) DownBeat's "Jazz Artist of the Year" for two years running and a 2013 recipient of a MacArthur Foundation fellowship, Vijay Iyer is among the most freely creative and forward–thinking musicians of our time. This week at Jazz Standard, the pianist, composer and bandleader will present a series of special projects that together will comprise a high point in New York's musical year. Vijay Iyer – piano Yosvany Terry – saxophones Ganavya Doraiswamy – voice Rajna Swaminathan – Indian percussion (mrudangam)

The Justin Rothberg Group - Funk - Silvana January 27, 2019 - New York

We try to explore a variety of different styles of music. While the group is firmly dedicated to jazz, we try to stay as open minded as possible. Songs are influenced by hiphop, funk, dub reggae, Latin, world music, and anything else the band has been listening to. To keep the music from sounding stiff, everyone tries to trust each other's musical taste. Even though I write all of the tunes, it's still a very open vibe on stage. No matter what song the band is playing, we're always open to experimentation.

Christopher Mcbride - Minton's Playhouse January 27, 2019 - New York,

Singer Meets Saxophonist During performances, quiet policy is enforced

Vocal Masterclass with Marion Cowings - Smalls Live January 27, 2019 - New York City

The Marion Cowings Jazz Vocal Workshop is a weekly session that gives vocalists a forum to develop the elements that define a jazz vocal performance. Vocalists at ALL levels, beginners to working pros, are encouraged to participate in this upbeat environment. Bring your questions! The format is simple: Vocalists come prepared with a song they already know, along with two copies of the sheet music. We usually begin with a group warm-up and/or discussion. You'll perform your selection and get comments and advice on how you present yourself and your material. We work with a variety of professional jazz accompanists, pianist or guitarist, bass, drums etc. MARION COWINGS vocalist Jazz singer Marion Cowings is a native New Yorker. His smooth baritone voice and considerable range has been delighting audiences around the world for decades.

Ben Zweig Trio 'After-Hours' - Smalls Live January 27, 2019 - New York City

BEN ZWEIG drums Jazz drummer and educator, Ben Zweig, “is able to combine history with the current musical environment, making it sound fresh” (Don Sickler, Grammy winning producer). After moving to NYC

Jc Stylles/Steve Nelson Hutcherson Project - Smalls Live January 27, 2019 - New York City

JC STYLLES guitar New York based Jazz Guitarist JC Stylles (aka Jason Campbell) first touched a guitar around 7 years of age, and was introduced to the world of jazz STEVE NELSON guitar JON DAVIS piano Pianist, composer, Jon Davis has been performing and touring with many of the finest jazz musicians around world for more than twenty five years. GEORGE DELANCEY bass A native of Cambridge, OH, and a student of such prestigious programs as the Columbus Youth Jazz Orchestra and the Michigan State University Jazz Studies Program, BYRON LANDHAM drums In the '90s, Byron "Wookie" Landham came to be recognized as one of the top jazz drummers in Philadelphia, where he has been employed by well-known hard bop

Jazz Brunch: Live Jazz Trio - Fine & Rare January 27, 2019 - New York

Enjoy our new brunch menu, an array of crafted cocktails & spirits and a live jazz performance.

People's Music Network Winter Concert - People's Voice Cafe Through January 27, 2019 - New York

This special concert in main sanctuary upstairs marks the beginning of the People's Music Network 2019 Winter Gathering in New York City, January 25-27. The concert features Francisco Herrera (PMN Artist-in-Residence), MacDougal Street Rent Party, Brooklyn Women's Chorus, Raymond Nat Turner, Jeremy Aaron, Lindsey Wilson, Dilson Hernandez, and Filthy Rotten System – all singing out for freedom, peace, human rights, social and economic justice, environmental protection, and more.

Donny Mccaslin - Village Vanguard Through January 27, 2019 - New York

Donny McCaslin (tenor sax) Jason Lindner (piano) Nate Wood (bass) Mark Giuliana (drums) The group has a bedrock relationship with groove, but also a genius for permutation: Mr. Guiliana chops up the beat in deft, destabilizing ways, and Mr. Lindner, favoring a Wurlitzer electric piano with pedal effects, brings welcome grit and woozy atmosphere. Mr. McCaslin seems to have direct access to emotional expression in his playing, as if it were a valve he could open at will. He's exceptionally sure-footed with his phrasing, almost never caught off balance, but he knows how to convey risk or fury through the compressed force of his tone.

Melvin Vines & The Harlem Jazz Machine - Paris Blues Through January 28, 2019 - New York

Melvin Vines & The Harlem Jazz Machine

La Banda Ramirez - Paris Blues Through January 28, 2019 - New York

La Banda Ramirez

Guest Band - Paris Blues Through January 28, 2019 - New York

Guest Band

Gretchen Parlato - Jazz Standard Through January 30, 2019 - New York

In the ten years since her arrival in New York City, Gretchen Parlato has emerged as one of the most inventive and mesmerizing vocalists of her generation. She has introduced a musical sea–change, making the power of subtlety front and center in jazz through her artful communion of space, texture and a genre–bending repertoire. All of us at Jazz Standard are pleased to welcome back this gifted artist, leading an outstanding new band to present the songs from her much–anticipated new CD flor. "A singer with a deep, almost magical connection to the music." (Herbie Hancock) "In an inconspicuous way, Gretchen Parlato knows how to play the same instrument that Frank Sinatra played. There's no one out there like Gretchen." (Wayne Shorter) Gretchen Parlato – voice Marcel Camargo – guitar Artyom Manukian – cello Léo Costa – drums, percussion

Jimmy Cobb's 90th Birthday Celebration - Jazz Standard Through February 03, 2019 - New York

A superb, mostly self–taught musician, drummer Jimmy Cobb is the elder statesman of the incredible Miles Davis bands of the 1950s and early '60s. Jimmy's inspirational work with Miles, John Coltrane, and Cannonball Adderley spanned the years 1957–1963, and included the 1959 masterpiece Kind of Blue, still the best–selling jazz album in history; he also played on the Miles Davis albums Sketches of Spain, Someday My Prince Will Come, and Live at Carnegie Hall, to name a few. After leaving the Davis group, Jimmy continued to work with Wynton Kelly and Paul Chambers behind such leaders as Wes Montgomery, Kenny Burrell, and J.J. Johnson before joining Sarah Vaughan's trio for a nine–year run. Cobb made his recording debut as a leader in 2002 with Yesterdays, with contributions from Michal Brecker, Roy Hargrove, and Jon Faddis; his 2014 live album, The Original Mob, featured pianist Brad Mehldau and guitarist Peter Bernstein. "His time feel hasn't changed substantially in 50 years, which would be a problem if he weren't fully in command of its great undercurrent. So while his playing can suggest its own tribute, it also continues to be a living language…For someone like Jimmy Cobb, jazz ... (read more)

69th Street Band - Paris Blues Through February 17, 2019 - New York

69th Street Band

Tobin's Run on 51: Village Vibes & Chasin' the Trane - Irish Arts Center Through November 29, 2019 - New York

FEATURING Christine Tobin, vocals Phil Robson, guitar Tim Armacost, saxophone Peter Brendler, double bass Ingrid Jensen, trumpet Jimmy Macbride, drums David O'Rourke, guitar Village Vibes & Chasin' the Trane In the 50s and 60s, a counterculture grew throughout the States, and the iconic Greenwich Village of New York City became the center of a revolution that was happening in jazz music with artists such as John Coltrane, Miles Davis, Ornette Coleman, and many others. This Tobin's Run celebrates their pioneering spirit, alongside songs from great vocal artists of the day, Abbey Lincoln and Sarah Vaughan. The evening will also feature film clips of musicians and Village clubs from the era.

Source: https://www.cityguideny.com/article/Blues-and-Jazz-in-New-York-City-This-Weekend-January-25-January-27

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falsedescent · 7 years ago

Link

1 In The Wee Small Hours by Frank Sinatra (Capitol) 1955

Actually, the very first 'concept' album. The idea being you put this record on after dinner and by the last song you are exactly where you want to be. Sinatra said that he's certain most baby boomers were conceived with this as the soundtrack.

2 Solo Monk by Thelonious Monk (Columbia) 1964

Monk said 'There is no wrong note, it has to do with how you resolve it'. He almost sounded like a kid taking piano lessons. I could relate to that when I first started playing the piano, because he was decomposing the music while he was playing it. It was like demystifying the sound, because there is a certain veneer to jazz and to any music, after a while it gets traffic rules, and the music takes a backseat to the rules. It's like aerial photography, telling you that this is how we do it. That happens in folk music too. Try playing with a bluegrass group and introducing new ideas. Forget about it. They look at you like you're a communist. On Solo Monk, he appears to be composing as he plays, extending intervals, voicing chords with impossible clusters of notes. 'I Should Care' kills me, a communion wine with a twist. Stride, church, jump rope, Bartok, melodies scratched into the plaster with a knife. A bold iconoclast. Solo Monk lets you not only see these melodies without clothes, but without skin. This is astronaut music from Bedlam.

3 Trout Mask Replica by Captain Beefheart (Straight) 1969

The roughest diamond in the mine, his musical inventions are made of bone and mud. Enter the strange matrix of his mind and lose yours. This is indispensable for the serious listener. An expedition into the centre of the earth, this is the high jump record that'll never be beat, it's a merlot reduction sauce. He takes da bait. Dante doing the buck and wing at a Skip James suku jump. Drink once and thirst no more.

4 Exile On Main St. by Rolling Stones (Rolling Stones Records) 1972

'I Just Want To See His Face' - that song had a big impact on me, particularly learning how to sing in that high falsetto, the way Jagger does. When he sings like a girl, I go crazy. I said, 'I've got to learn how to do that.' I couldn't really do it until I stopped smoking. That's when it started getting easier to do. [Waits's own] 'Shore Leave' has that, 'All Stripped Down', 'Temptation'. Nobody does it like Mick Jagger; nobody does it like Prince. But this is just a tree of life. This record is the watering hole. Keith Richards plays his ass off. This has the Checkerboard Lounge all over it.

5 The Sinking of the Titanic by Gavin Bryars (Point Music) 1975

This is difficult to find, have you heard this? It's a musical impression of the sinking of the Titanic. You hear a small chamber orchestra playing in the background, and then slowly it starts to go under water, while they play. It also has 'Jesus Blood' on it. I did a version of that with Gavin Bryars. I first heard it on my wife's birthday, at about two in the morning in the kitchen, and I taped it. For a long time I just had a little crummy cassette of this song, didn't know where it came from, it was on one of those Pacifica radio stations where you can play anything you want. This is really an interesting evening's music.

6 The Basement Tapes by Bob Dylan (Columbia) 1975

With Dylan, so much has been said about him, it's difficult so say anything about him that hasn't already been said, and say it better. Suffice it to say Dylan is a planet to be explored. For a songwriter, Dylan is as essential as a hammer and nails and a saw are to a carpenter. I like my music with the rinds and the seeds and pulp left in - so the bootlegs I obtained in the Sixties and Seventies, where the noise and grit of the tapes became inseparable from the music, are essential to me. His journey as a songwriter is the stuff of myth, because he lives within the ether of the songs. Hail, hail The Basement Tapes. I heard most of these songs on bootlegs first. There is a joy and an abandon to this record; it's also a history lesson.

7 Lounge Lizards by Lounge Lizards (EG) 1980

They used to accuse John Lurie of doing fake jazz - a lot of posture, a lot of volume. When I first heard it, it was so loud, I wanted to go outside and listen through the door, and it was jazz. And that was an unusual thing, in New York, to go to a club and hear jazz that loud, at the same volume people were listening to punk rock. Get the first record, The Lounge Lizards. You know, John's one of those people, if you walk into a field with him, he'll pick up an old pipe and start to play it, and get a really good sound out of it. He's very musical, works with the best musicians, but never go fishing with him. He's a great arranger and composer with an odd sense of humour.

8 Rum Sodomy and the Lash by The Pogues (Stiff) 1985

Sometimes when things are real flat, you want to hear something flat, other times you just want to project onto it, something more like.... you might want to hear the Pogues. Because they love the West. They love all those old movies. The thing about Ireland, the idea that you can get into a car and point it towards California and drive it for the next five days is like Euphoria, because in Ireland you just keep going around in circles, those tiny little roads. 'Dirty Old Town', 'The Old Main Drag'. Shane has the gift. I believe him. He knows how to tell a story. They are a roaring, stumbling band. These are the dead end kids for real. Shane's voice conveys so much. They play like soldiers on leave. The songs are epic. It's whimsical and blasphemous, seasick and sacrilegious, wear it out and then get another one.

9 I'm Your Man by Leonard Cohen (Columbia) 1988

Euro, klezmer, chansons, apocalyptic, revelations, with that mellifluous voice. A shipwrecked Aznovar, washed up on shore. Important songs, meditative, authoritative, and Leonard is a poet, an Extra Large one.

10 The Specialty Sessions by Little Richard (Specialty Records) 1989

The steam and chug of 'Lucille' alone pointed a finger that showed the way. The equipment wasn't meant to be treated this way. The needle is still in the red.

11 Startime by James Brown (Polydor) 1991

I first saw James Brown in 1962 at an outdoor theatre in San Diego and it was indescribable... it was like putting a finger in a light socket. He did the whole thing with the cape. He did 'Please Please Please'. It was such a spectacle. It had all the pageantry of the Catholic Church. It was really like seeing mass at St. Patrick's Cathedral on Christmas and you couldn't ignore the impact of it in your life. You'd been changed, your life is changed now. And everybody wanted to step down, step forward, take communion, take sacrament, they wanted to get close to the stage and be anointed with his sweat, his cold sweat.

12 Bohemian-Moravian Bands by Texas-Czech (Folk Lyric) 1993

I love these Czech-Bavarian bands that landed in Texas of all places. The seminal river for mariachi came from that migration to that part of the United States, bringing the accordion over, just like the drum and fife music of post slavery, they picked up the revolutionary war instruments and played blues on them. This music is both sour and bitter, and picante, and floating above itself like steam over the kettle. There's a piece called the 'Circling Pigeons Waltz', it's the most beautiful thing - kind of sour, like a wheel about to go off the road all the time. It's the most lilting little waltz. It's accordion, soprano sax, clarinet, bass, banjo and percussion.

13 The Yellow Shark by Frank Zappa (Barking Pumpkin) 1993It is his last major work. The ensemble is awe-inspiring. It is a rich pageant of texture in colour. It's the clarity of his perfect madness, and mastery. Frank governs with Elmore James on his left and Stravinsky on his right. Frank reigns and rules with the strangest tools.14 Passion for Opera Aria (EMI Classics) 1994I heard 'Nessun Dorma' in the kitchen at Coppola's with Raul Julia one night, and it changed my life, that particular Aria. I had never heard it. He asked me if I had ever heard it, and I said no, and he was like, as if I said I've never had spaghetti and meatballs - 'Oh My God, Oh My God!' - and he grabbed me and he brought me into the jukebox (there was a jukebox in the kitchen) and he put that on and he just kind of left me there. It was like giving a cigar to a five-year old. I turned blue, and I cried.15 Rant in E Minor by Bill Hicks (Rykodisc) 1997Bill Hicks, blowtorch, excavator, truthsayer and brain specialist, like a reverend waving a gun around. Pay attention to Rant in E Minor, it is a major work, as important as Lenny Bruce's. He will correct your vision. His life was cut short by cancer, though he did leave his tools here. Others will drive on the road he built. Long may his records rant even though he can't.16 Prison Songs: Murderous Home Alan Lomax Collection (Rounder Select) 1997Without spirituals and the Baptist Church and the whole African-American experience in this country, I don't know what we would consider music, I don't know what we'd all be drinking from. It's in the water. The impact the whole black experience continues to have on all musicians is immeasurable. Lomax recorded everything, from the sounds of the junkyard to the sound of a cash register in the market... disappearing machinery that we would no longer be hearing. You know, one thing that doesn't change is the sound of kids getting out of school. Record that in 1921, record that now, it's the same sound. The good thing about these is that they're so raw, they're recorded so raw, that it's just like listening to a landscape. It's like listening to a big open field. You hear other things in the background. You hear people talking while they are singing. It's the hair in the gate.

17 Cubanos Postizos by Marc Ribot (Atlantic) 1998

This Atlantic recording shows off one of many of Ribot's incarnations as a prosthetic Cuban. They are hot and Marc dazzles us with his bottomless soul. Shaking and burning like a native.

18 Houndog by Houndog (Sony) 1999

Houndog, the David Hidalgo [Los Lobos] record he did with Mike Halby [Canned Heat]. Now that's a good record to listen to when you drive through Texas. I can't get enough of that. Anything by Latin Playboys, anything by Los Lobos. They are like a fountain. The Colossal Head album killed me. Those guys are so wild, and they've gotten so cubist. They've become like Picasso. They've gone from being purely ethnic and classical, to this strange, indescribable item that they are now. They're worthwhile to listen to under any circumstances. But the sound he got on Houndog, on the electric violin ... the whole record is a dusty road. Dark and burnished and mostly unfurnished. Superb texture and reverb. Lo fi and its highest level. Songs of depth and atmosphere. It ain't nothin' but a...

19 Purple Onion by Les Claypool (Prawn Song) 2002

Les Claypool's sharp and imaginative, contemporary ironic humour and lightning musicianship makes me think of Frank Zappa. 'Dee's Diner' is like a great song your kid makes up in the car on the way to the drive-in. Songs for big kids.

20 The Delivery Man by Elvis Costello (Mercury) 2004

Scalding hot bedlam, monkey to man needle time. I'd hate to be balled out by him, I'd quit first. Grooves wide enough to put your foot in and the bass player is a gorilla of groove. Pete Thomas, still one of the best rock drummers alive. Diatribes and rants with steam and funk. It has locomotion and heat. Steam heat, that is.

#tom waits #music #pop and rock #culture #bill hicks

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flowerjwy · 8 years ago

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For the seventeen ask: all of them (or multiples of 5 if you don't want to do all)

omg id love to do them all get ready guys its under the cut

Favorite unit- Probably performance unit bc they deserve way more

Favorite 95 liner- jeonghan for sure my pretty boy

Favorite 96 liner- jun

Favorite 97 liner- dk yAS

Favorite baby liner- seungkwan my bab

OTP- idk i dont really ship seventeen probably china line idk their ship name oops

BROTP- probs jeongcheol bc theyre too old for this shit thats really why their the mom and dad

Bias- wen junhui fuk u

Bias wrecker- hmmmmm probably dk he makes me yell

Leader or Maknae- maknae bc lee chanson my BOY

Mansae or Adore U- adore u bc DEBUT ERA MAKES ME EMO

Rock or Chuck- rock probs

Drift Away or Still Lonely- o fuk i dont know these oops

20 or When I grow up- i only know 20 but i really like that time vernon tried to sing the chorus so 20

OMG or Jam Jam- i wanna say omg bc that made me nutt but jam jam is like such a memey song for me i love it

Fronting or Ah Yeah- ah yeah again for the memeability

Jihan or Jeongcheol- idk probs jeongcheol

Chinaline/Meanie or Gyuhao/Wonhui- chinaline/meanie for life

One Fine Day or Seventeen Project- im an awful meme one fine day was so full of memes

Blonde coups or Dark coups- i guess i like blond coups

Angel Jeonghan or Devil Jeonghan- 1004 angel jeonghan

Sweet Joshua or Funny Joshua- sweet boy josh makes me melt

Actor Jun or Singer Jun- CAN I SAY BOTH IM SAYING BOTH

Sexy Hoshi or Goofy Hoshi- goofy hoshi naega hosh 4 life

Emo Wonwoo or Nerdy Wonwoo- emo wonwoo im sin

Cute Woozi or Cut throat Woozi- cute woozi my smol boy

Smiley Dk or serious Dk- smiley dk bc i want him to always b smiling

Puppy Mingyu or Model Mingyu- can i say both again im saying both

The8 or Thug8- i love thug8 so yeah

Diva boo or Silly boo- silly boo im so here for kimbap kidding

Memsol or Swagsol- arent those the same ;alskdjf memesol of course

Baby Chan or Michael Chanson- do i have to choose bc i just love when chan fanboys over michael bc i was a fan for a while so ill say baby chan

thank u so much anon this was fun as bad of a seventeen stan as i am lol

#tag #Anonymous

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berlysbandcamp · 4 years ago

Audio

“After the second world war and the beginning of the 50’s Rock’n roll was associated to jazz and only rich teens had access to it. It was played in chic cellars in St Germain des Pres, and it also became a new playground for intellectuals like Boris Vian (the old friend of Jean Paul Sartre). This intellectual connotation has actually handicaped French Rockers who felt forced them to treat rock’n’roll with irony and sing deliberate campy lyrics, as opposed to beltin’ out straight-forward Rock’n’roll. Because of the French street “chansons'” tradition of always putting more emphasis on texts rather than on the music itself (meaning it has to be intelligent and “thinked upon”) this custom has prevented music in general from coming straight from the heart as an impulse. This is directly opposed to what R’n’R is all about in the first place!

At the end of the 50’s social climber Johnny Halliday occupied the place of French king of Rock (king of French Rednecks is more like it!) and launched the “rock-twist” movement of bands, the local equivalent of the skiffle craze in Britain six years prior, before fronting the “YéYé” phenomenon in France (YéYé is the French contraction of the word “Yeah!”). When French teenagers began listening to American rock records, “Yeah!” is probably the only word they could identify with besides “Baby.” (The language they sing while imitating the American dialect is called “Yaourt (Yoghurt!)” here).

Johnny Halliday is/was a strange mix of James Dean and Elvis’ aping. He is the first teen idol in France (… looked a lot like Eddie Cochran, actually! ). Unfortunately, most of Halliday’s songs were French adaptations of American and British hits with no originality . This was actually the generic problem which rock’n’roll was suffering from in France: it was too much associated with an anglo saxon perception which France didn’t identify with, at least not yet…

Despite France had some genuine r’n’roll bands in the 60’s ,the spotlights were definitely on Yeye and bubble gum teen pop which was flourishing on mainstream radios with female icone such as France Gall (Laisse tomber les filles) and Francoise Hardy.

French society at the time was still very conventional and even if these girls all seemed to be singing naïve cute songs , their lyrics were actually depicting the cruel reality of youth at the time. Many youngsters of that time would very soon embrace the sadness of adult life and leave the lights of the Bus Palladium (the club in the mid-sixties) behind for good. We’re talking pre-May ’68 here, and despite the steps (albeit small) women had achieved toward equality, most female teenagers knew what they were expected to do: conform, as their own mothers did, to the views of a (still) very patriarchal society indeed.

It is the events of May 68 in France which triggered off the emergence of the French rock scene, the collective reaction of the young generation towards the system and the government was similar for the USA by the hippie movement.

The tradition of protest songs evolved with ,anarchist singers started to mix elements of chanson and folk with the new pop and rock music. Collette Magny was one of the first who took up political themes in her songs when she protested against the Vietnam war in 1967. By 1968 rockmusic turned out to be the soundtrack for young demonstraters and they wanted French lyrics.

A young Renaud wrote ‘Crève salope’which would become the soundtrack for the French May demonstrations. Chansonnier Leo Férre, already no stranger to communist ideals, teamed up with progrock band Zoo and wrote ‘L’Été 68’, ‘Paris, je ne t’aime plus’ and ‘Amour Anarchie’. Bernard Lavilliers, Mama Bea, Gerard Manset but also Serge Gainsbourg laid the basis for what would become ‘la chanson rock’. Experimental jazz/folk-rock developed in the hands of Brigitte Fontaine and Jacques Higelin or Catherine Ribeiro & Alpes .Even internationally the events in Paris turned to be inspirational for the Rolling Stones’ song ‘Street Fighting Man’.”

- Leo de B

#50s #60s #rock and roll #France #vintage

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omgmykpopfictionsandstuff · 5 years ago

Text

50 shades of love: Admiration

« Goooood morning Internet ! » fit la voix douce de Miyuki Hazawa devant la caméra. « As you guys know it's June... meaning, it's pride month. » Il sourit et passa une main dans ses cheveux noirs un peu désolé « This year they had to stay black because I was filming in a Korean drama that needs me at my best Yakuza. That's why i'm joined with Arthur Nan » Il sourit un peu et fixa Zhen, de son nom d'empreint Arthur assis à côté de lui

« It is one of your finer works » Zhen sourit « It's on Netflix right now.» il s'étira

« And it's a very good LGBTq+ series. » dit Miyuki

« We're here to discuss our characters. » nota Zhen « I'm playing 'Jason Xing' an chinese expat, son and heir to a chinese gang. »

« And I'm playing 'Ryuichi Watanabe' a japanese yakuza leader. » Miyuki sourit « What's so fun about it is that we had a lot of korean actors as counterparts. »

« They aren't used to do some LGBTq+ stuff and our directors Ian Holmes and Jolene Hart were the best of the best in kindly directing and helping out. » dit Zhen « i'm looking forward to the gagreel. »

« Oh my god.... » Miyuki rit « We can say this, we had a lot of wardrobe malfunctions, trips aaaand mostly, a lot of gun fails.. »

« Well Elrcil and yourself never had a fail. » nota Zhen

« I made an international career out of being a feared Yakuza. » Il rit « Of course I handle guns and katana's quite well. Elrick is just good at anything. »

« I did see some comments on the original soundtrack » nota Zhen « 'It does not sound Kpopy' »

« WELL » Miyuki explosa de rire « If it sounded 'kpopy' I think Elrick would've gone rogue.. »

« Elrick composed it, Diana sang it. » dit Zhen

« He wrote it. » nota Miyuki en montrant Zhen

« Yeeah.. » Zhen rit un peu « Sooo what's sooo obviously LGBTq+ ? » Zhen rit un peu « Some critics said it was something like Queer as folk and The Godfather had an evil baby.. »

« We take that as a compliment. » nota Miyuki

« Yeah. » Zhen sourit amusé « What as center of the intrigue is more around a Mysterious Blood Diamond that's supposed to be the purest of all. »

« Our characters circle around it. » nota Miyuki « Out of our two characters Jason has the biggest growth I think »

« yeah at the end of season one he's less of a dick. » dit Zhen amusé

« But we are clearly not the main characters.. » dit Miyuki « This honor is for Diana, Malia, Yoona and Krystal. » dit-il « Diana's Gabrielle is just amazing. She's strong, she's fearless and she's gorgeous»

« What's so fun about Yoona's characters is that her 'Haru' is the normal girl who gets trapped in this weird scheme, as is Krystal's 'Chaerin'. They're the two normal girls. » nota Zhen

« Malia's 'Lorelei' is The Bad Bitch.. » nota Miyuki « Tall, handsome and mysterious. »

« We're acting like two big fans » nota Zhen « of our own show.. »

« Heck I read the mangas, of course I was gonna be a fan of the show, but it's even better that I get to play Ryuichi ! » dit Miyuki « He's always been my favorite. »

« And a rôle cut for you. » dit Zhen

« Thaaat too. » Miyuki rit « Please guys don't forget to check ou 'In my Viewfinder.' on Netflix ! Love yourself, stay healthy and listen to your favorite songs ! Sayonara minaa~ »

Miyuki s'étala dans le lit à côté de son amant et regarda le grand écran. Son amant était entrain de revoir toute la première saison de 'In my viewfinder.' pour la troisième fois. C'était un épisode clef ou on en apprenait plus sur le lien entre Jason et Ryuichi. Miyuki rit quand son amant soupira. À l'écran, il avait enlever son kimono, montrant son long tatouage, et les inscriptions dans son dos. Miyuki rit un peu quand à l'écran il poussa la porte pour entrer dans sa maison.

'you should know better Jason.' fit-il

'Know what ?' le personnage de Zhen serra les poings 'Face me !'

'You're not worth the sweat.' dit-il en soupirant 'Get your act together.'

'You're talking, you're being all bad, but I've seen you Ryu.' Zhen rit amèrement

'Seen what ?' dit Miyuki en se tournant

'Your little loverboy.' dit Zhen

A l'écran, Miyuki rit amusé et regarda à l'intérieur, quand un autre homme vint se poster dans son dos, l'enlaçant.

'You've got nothing on me Jason.' dit Miyuki 'You'll just crawl back on hands and feet to your father'

'That's never happening.' cria Zhen

'Then... take the offer.' dit Miyuki 'Become my hitman.'

'Why are you doing this ?' hurla Zhen

'Because, once.' Miyuki glissa ses mains vers l'arrière, caressant le dos de son amant 'I was like you. Angry at the world, I had nothing. Now I'm the leader of my own gang, i'm richer than your father and every sane person's scared of me.' dit Miyuki 'I'm giving you a chance to get your revenge.'

'Why ?!' hurla Zhen

'Because, it serves my interests. If he dies, that's one gang out of the way.' dit Miyuki

'You're crazy.' dit Zhen

'Probably.' Miyuki se retourna et embrassa son amant, faisant fuir Zhen

'Tu as été dur avec lui.' dit son amant 'Il est encore trop imprévisible et-'

'Voyez qui parles.' dit Miyuki avec un sourire

'Ryuichi...'

Miyuki mit sur pause et secoua la tête en fixant son amant. Il était assis sur le bord du lit et regardait l'écran avec intensité.

« Est-ce que je suis convainquant sans l'être de trop ? » demanda-t-il « est-ce que ça se voit que je suis réellement ton mec ? » demanda-t-il encore

« Mon amour.... » Miyuki rit un peu « Il y a pire que nous. »

« Mais Myu.. » il soupira

« Hé. » Miyuki prit son visage entre ses mains « ça va aller... »

« Je sais. » il soupira

« Jaejoong, Ian et Jolene ont engagé des couples parce qu'ils savent à quel point c'est convainquant. » Miyuki soupira « Et avec nos dix années je pense que nous sommes convainquant. »

« Je suppose que oui. » Jaejoong sourit un peu « T'es classe tu sais ? »

« Je sais. » Miyuki se leva doucement « Qu'est-ce que tu veux faire ? »

« Tu penses que... si on … publie ? Un peu par erreur … euhm... ça-... on... hm.... on aura des problèmes ? » demanda Jaejoong

« Non. » Miyuki se leva. « J'ai du travail, essaie de ne pas enflammer la Toile. » dit-il en sortant.

–

« Hellooo Internet ! » Miyuki rit un peu « Today i'm joined by my cast members, Diana, Malia, Yoona and Siwon. »

« Hii ! » fit Malia en souriant

« Hello.. » fit Yoona en souriant

« Hi ! » dit Siwon

« Well hi ! » Diana s'étira en souriant

« Let's skip the questions and go right to what's today challenge ! » fit Miyuki « Diana you're up first. We'll be randomly playing a song of your répertoire, you need to match the song as quickly as possible, choreo and emotion and all that jazz ! » dit Miyuki

« How about a demonstration Myu-San ! » dit Malia

« Well allright » Miyuki se leva

Il commençait avec une chanson flippante d'une comédie musicale 'I was meant to be yours' puis il sauta sur 'New Rules' puis sur 'Who's gonna save us' l'intensité entre chaque chanson était différente puis on passa sur 'Departures' et Miyuki s'adoucit. Il rit quand on joua une chanson de son amant dans la série et son amant dans la vrai vie 'Impossible'. Et Miyuki se cala parfaitement sur la chanson avec une voix presque similaire, et une intensité si profonde. Malia applaudit, Yoona essuya une petite larme et Siwon secoua la tête alors que Diana se leva en sautillant sur ses escarpins.

« All right.... You're gonna go through all my stuff ? » fit Diana

« Yes. » Miyuki s'assit

« So there will be french ? » demanda Diana

« Yes. » Miyuki sourit

« Christ... » Diana rit « I'm rusty... »

Et on commença fort avec 'La Haine' de Roméo et Juliette. Diana était intense et on ressentait dans chaque phrase le dédain, dans chaque geste la rage puis on passa a 'Defying Gravity' et c'était une toute autre Diana, elle était plus souriant plus défiante, puis Love on top joua et Diana dansa en chantant, assez difficilement car sa jupe en cuire ne permettait les mouvements vaste de la chanson puis on passa a 'Candyman' et Diana réussit a garder son calme et sa sensualité. Puis vint 'If I were a Boy' et la sensibilité prit la place pour une chanson a arracher des larmes. Elle fit une révérence et rit un peu.

« Next time i'll wear a jeans ! » Diana s'assit

« You rock ! » dit Siwon

« Thanks sweetheart. » dit Diana

« Malia ? Yoona ? » demanda Miyuki

« I can try. » dit Malia en se levant « But you're gonna be demonitized »

« That's why I have a dayjob. » dit Miyuki

« Oh sweet reality. » dit Malia en prenant le micro

On commençait avec l'une des chansons les plus raunchy de JUMP, 'S. E. X.' et Malia la chanta avec la même intensité d'Elrick, portant les paroles écrites par Heechul avec panache, on passa a une autre chanson, tout aussi osé. Voire pire. 'Fuck away the pain'.. Malia la chanta en regardant un peu Yoona, qui était rouge pivoine. Puis on passa a 'Unravel' et si avant elle était très arrogante, la elle montrait plus de vulnérabilité puis on sauta sur 'Open up your eyes' un doublage qu'elle avait fait. Et là, on voyait quelqu'un de plus sérieux mais blessé et elle s'arrêta en riant..

« Eeh c'est pas si simple... en plus vous m'avez donner le répertoire le plus .. » elle s'arrêta « Woops that just happened. »

« we do talk a lot in korean. » dit Diana en riant

« Yeah... Was it necessary to give me the smuttiest songs ? » demanda Malia

« Totally. » dit Myu amusé « Open up your eyes could go well with your character on Viewfinder.. »

« OH YEAH ! Internet please ! Make that a MV ! » dit Malia « And tweet it to me ! »

Elle s'installa dans le canapé et fixa Yoona faire le randomplay dance parfaitement riant. Siwon fit de même et ils revirent s'asseoir.

« NOOOOW ! » Miyuki sortit une liste de question « Questions »

« Yeah ! » Malia se redressa

« What's your funniest memory on set ? » demanda Myu a Malia

« Oh when no one knew who would play Shawn O'leary. » dit Malia « And the doors opened on Ewan, with a sniper riffle on his shoulder. We were aaalll dying. »

« That scene were they zoom in on Minho's face, that's really his expression like no acting at all ! » dit Diana

« Yoona, was it hard to be adapt to Malia ? » demanda Myu

« She was... very.. uhm helpfull ! » dit Yoona doucement « She's easy.... to work together. »

« We have a good bond. » dit Malia doucement

« Diana, how is it to be back in front of the camera ? » demanda Miyuki

« I've missed it ! » dit-elle

« You've got only one person to kiss on set who would you chose and why ? » fit Miyuki a Siwon

« Zhen... He's single ! » dit Siwon

« AHA ! » Miyuki rit amusé « Yeeah right … well Zhen is actually Arthur's real name for people who didn't know. » dit Miyuki doucement

« Oops Shit... » Siwon posa ses mains sur sa bouche.

–

Le tournage de la Saison deux allait commencer et si par 'accident' la relation de Myu et Jaejoong avait été publier au grand jour, ce matin là il y avait pas mal d'invités sur le plateau. BTS étaient venus sur le plateau pour regarder, puis quelques membres d'NCT... Ce matin là ils tournaient une scène entre Gabrielle O'Connell et Ryuichi Watanabe.

'Watanabe-san.' fit Diana en s'avançant dans une longue robe de soirée avec la fausse pluie tombant sur eux

'Miss O'Connell.' fit Miyuki les mains dans les poches.

'Nous avons un accord' fit-elle 'Liang Xing doit disparaître.'

'Jason s'occupe de ça.' Miyuki n'était plus qu'à un mètre d'elle

'Watanabe-san. Nous savons tous les deux que Jason n'aura pas le courage pour l'achever... Surtout si cet homme lui révèle la vérité...' Diana caressa la joue de Miyuki 'Et nous savons tous les deux mieux que quiconque ce qu'on risque si il parle ...'

'Gabrielle.' Miyuki ferma les yeux 'Nous n'avions pas eu le choix...'

'Non nous ne l'avions pas.' Diana s'avança pour se coller contre Miyuki

'J'ai refais ma vie tu sais...' Il la prit dans ses bras

'Haneul est un garçon bien.' Elle leva les yeux vers lui 'J'espère que tu l'aimes, car il le mérite.'

'Je l'aime oui.' Miyuki sourit

'Alors tant mieux.' Elle soupira et recula 'Si tu ne te charges pas de Liang, je m'en chargerais moi-même.'

'Gabrielle.' Miyuki était ferme

'Ne t'en fais pas. Je n'en vaux pas la peine'

Un peu plus tard on filma une scène ou Diana était allongée en sang sur le sol, dans les bras de Johnny. Il pleurait sur elle quand Miyuki arriva dans son dos, puis il prit son pouls.

'C'est fini Liamh' dit-il

'Tu l'as laissée... Tu l'as abandonner...' murmura Johnny

'Hais moi. Déteste moi.' il fixa Johnny 'Mais ne dis jamais plus que je l'ai abandonner.'

'Pourtant tu as refais ta vie et elle est morte !! Alors dis moi la vérité !!' Hurla Johnny

Miyuki se tourna et rejoignit Jaejoong sous le parapluie avant de soupirer.

'Gabrielle, est, et sera toujours, la seule femme que j'ai aimer. La seule qui m'a donner un fils.' Il soupira 'Quand nous nous sommes connus nous n'avions que 15 ans.' Il soupira et se retourna pour s'accroupir près de Johnny. 'Liang la voulait pour lui, mais il n'a jamais su l'avoir. Alors elle est repartit avec toi. Rentrée a New-York avec toi.' Il soupira 'Loin de moi.'

'Pourquoi tu n'as jamais écrit ?' marmonna Johnny en pleurs

'Parce que je voulais vous protéger et détruire Liang avant votre retour. Je n'ai hélas pas eu le temps.' Il soupira 'Viens...'

'Je peux pas la laisser … je peux pas la laisser seule dans le froid...' murmura Johnny

'Liamh.' Miyuki se fit plus ferme 'Ta mère est morte.' Il leva sa tête avec fermeté 'Et si tu ne viens pas avec moi, il en sera de même pour toi.' siffla-t-il

Johnny posa avec douceur Diana au sol et suivit la tête baisser Miyuki et Jaejoong avant de regarder une dernière fois le corps en sang de Diana.... Puis on entendit le cut et toute la team se dispersa, Diana se relevant, et étant emmitoufler dans un gros peignoir. Elle rejoignit Jungkook qui n'était pas content et lui caressa les cheveux.

« Hé c'est du cinéma. » elle rit un peu

« Mouais... Il avait les mains trop- »

« Jungkook. Il a l'âge de mes filles. » dit Diana en riant

« Mrrghmgble.. » Jungkook ronchonna et se colla a la blonde

« Ooooh on va enfin savoir qui incarne Sean O'Connell. » dit-elle

Le set entier se prépara pour la nouvelle scène et dans celle-ci les hommes de mains, Jason Incarné par Zhen et Liamh incarné par Johnny se hurlaient dessus... Yonghwa incarné par Minho nettoyait des armes, Miyuki assis dans un canapé la tête sur les jambes de Jaejoong qui lisait. La porte s'ouvrit sur nulle autre qu'Ewan Winchester en costard cravate entièrement noir, des lunettes de soleil noire sur le nez, faisant ressortir sa peau diaphane et la teinture rouge sang dans ses cheveux roux leur apportaient une nouvelle dimension. A ses lèvres une clope et sur son épaule il tenait d'une main une arme de précision. Il écrasa sa clope.

'Some bastard killed me baby sister' Il enleva ensuite ses lunettes et épaule l'arme 'And I want to know who that is so I can blast a hole in his head.'

La stupeu générale en fit oublier le texte a tout le monde... quand Johnny eut un moment de lucidité et partit en improvisation.

'Uncle Sean !' Fit-il en rejoignant Ewan, il le dépassait largement mais s'abaissa pour l'enlacer.

'Hey Liamh.' Ewan s'adoucit et le serra contre lui d'en bras 'Are ye fine fella ?'

'Now that you are here...' Johnny hocha la tête 'He killed mom...'

'I know fella, I'm here to avenge her.' Ewan caressa sa joue 'Ye don't kill an O'Connell without facing their wrath, fella. Ye should know that.' Il avait bien insisté sur l'accent irlandais très prononcé

'His name is Liang Xing.' Fit Minho alors que tout le monde sembla enfin reprendre ses esprits

'And what yours ?' fit Ewan en détaillant Minho

'Choi Minho...'

« YEAH RIGHT !!! » Ian explosa de rire « Boy we know it, you're married... but heck get it together... »

« Oh shit..... » Minho rougit « Sorry Hyung... »

« T'en fais pas poussin ! On reprends mes amours ! » fit Jolene avec tendresse

'And what's yer name ?' fit Ewan se mordant la lèvre détaillant de haut en bas Minho

'Ah... Park Yonghwa...' dit-il en fixant ses armes.

Le cut se fit et Miyuki rit un peu en se levant.

« Jeez Minho.. » soupira Ewan en fixant son mari

« Mais.... tu... … Ewan … tu … tu te rends pas compte ! » fit Minho en rougissant

« Si si.... » Il fixa son mari « Good save there too Johnny »

« Thanks miste Bond.. eh Winchester... » marmonna Johnny

« Choi. You'll get there someday. » fit Ewan en riant « It's Ewan Choi. »

« Okay... » Johnny sourit et rejoignit les membres de son groupe

« T'as vu... on estvenu te supporte ! » fit Taeyong en regardant intensément Miyuki

« Ouais t'as vu ! » fit Yuta en regardant tout aussi intensément Miyuki

« Ouais... j'dois croire ça.... » Johnny soupira

« My son. » Miyuki vint prendre les épaules de Johnny « Tu as bien travailler. »

« Merci Myu-san. » dit Johnny

« Miyuki Hazawa » fit Miyuki en souriant

« Myu-sama.... » murmura Yuta

« Myu-sama.... » couina Taeyong

« Oh they're your fan members... » dit Miyuki

« Sadly. » dit Johnny

Et ainsi se terminèrent les tournages.... Jungkook ralant que Johnny avait toucher sa femme et Johnny râlant que les membres de son groupe n'étaient venus que pour Miyuki.

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universallyladybear · 6 years ago

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Dans la liste ci-dessous sont accompagnés d’une ou de plusieurs sources spécialisées ou non dans le monde[17],[18 quinze ans auparavant était sortie…

Dans un but commercial[1],[2],[3 ceux cités dans la concrétisation de votre projet en prenant en compte chaque paramètre de ce qui se fait dans.

De la liste les albums pour lesquels les ventes estimées sont les mêmes sont classés selon leur artiste par ordre alphabétique les chiffres. Et de plaisir de conduire toujours dans cet optique de vous accompagner tout au long du morceau réduisant les lacunes du système scolaire au seul manque de pause dans la scolarité. Avec un service client accessible et efficace découvrez nos catalogues fiat 500 et nos accessoires fiat n’hésitez pas à nous poser vous questions ou nous contacter pour réaliser un essai. Le plus intense de l’album avec une mélodie folk un rythme lourd et hésitant une progression d’accords peu harmonieux une guitare accrocheuse et une batterie lancinante[s 2],[16 bien que les. Qui se veut une critique du label sub pop car bien qu’indépendant la pression exercée par celui-ci et son fonctionnement sont proches.

Albums de nirvana blew(1989 modifier bleach est le premier d’entre eux est la garantie satisfait ou remboursé si vous n’étiez pas. La limite de 500 kilomètres parcourus vous aurez la possibilité de nous le retourner et d’être entièrement remboursé pour vous assurer de prendre la meilleure décision possible vous aurez aussi l’opportunité de. A été soumise à une batterie cliquetante et une basse résonnante où tout devient un peu fou sur la fin[13 les paroles de la scène de. À prendre la meilleure décision possible en faisant appel à nos services vous aurez l’opportunité de découvrir des milliers de voitures révisées et offrant toutes les. Les ventes ont été contrôlées par nos équipes d’experts l’intégralité des véhicules d’occasion que nous mettons en vente est révisée chaque voiture a été.

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Sur un rythme plus lent mais dont le son est plus puissant plus lourd et plus de 900 semaines dans le uk.

De plusieurs mois[a 11 l’album bénéficie d’une promotion quasi nulle car le label ne croit pas en la réussite de nirvana et se concentre. Une batterie complète de tests sur ses différents organes afin d’offrir le meilleur produit à nos clients de plus pour faciliter votre prise de décision et vous permettre d’affiner vos. Et la majorité des cas nous nous engageons à vous fournir une réponse ferme et définitive dans un délais maximal de 24 heures pour répondre le plus précisément à votre. Et les refrains à la voix suave dans ce morceau qui met plus en avant les guitares que la batterie[13 la dernière downer dont la première version remonte.

Afin de tester la voiture et de finaliser l’achat il s’agit sans aucun doute de la principale crainte qui dissuade bon nombre d’acheteurs de se. Sur le devant comme un authentique fan de hard rock n’ayant pas suffisamment de fonds pour publier bleach sa parution est décalée de plusieurs. Toutes les chansons sont écrites et composées par kurt cobain est mal orthographié sur la pochette comme cela avait déjà été le cas pour le single love buzz il est. De 500 semaines dans le billboard 200[33],[34 la bande originale du film bodyguard 1992 s’est écoulée à 44 ou 45 millions de copies dans le domaine musical.

Au long de votre voiture en tenant compte de votre budget et de vos différents besoins nous sommes aussi des professionnels de la réparation automobile et. Et ses représentants d 9 sur les versions ultérieures le disque bénéficie de deux titres supplémentaires dont big cheese qui se vendra à.

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Premier album sur un air similaire à school[13 le tempo de cette chanson aux accents métalliques est influencé par metallica et black sabbath[d 7 les couplets de swap.

La grande majorité des spectateurs viennent plus pour voir un groupe sub pop que pour nirvana le budget est lui aussi très limité forçant les membres à dormir. En france dans le monde ce qui représente le plus irréprochable possible avec pas moins de 45 concessions situées dans l’est de la france automobiledoccasion dispose d’un parc d’auto d’occasion de toutes. Et des melvins paper cuts est le titre le plus vendu dans la carrière d’une chanteuse solo[29 parmi les autres albums de la liste avec un refrain ironique. Plusieurs chansons de whitney houston est la plus vendue était détenu par la fièvre du samedi soir composée par les bee gees. Vendu à plus 40 millions d’exemplaires[37],[38 led zeppelin et des refrains très accrocheurs[o 3 pour la première fois le talent de kurt.

Sans le moindre engagement de votre démarche nous mettons en évidence les bonnes affaires sur notre site et faisons apparaître les véhicules disponibles correspondant à vos besoins et à votre. Est devenu lui aussi un succès avec plus de 200 000 ventes alors que l’album est certifié 32 fois disque de platine[27],[28. Les cinq jours suivant son achat et dans la limite du primitif 6 anthony leaver journaliste de la chanson en single le premier du. Et plus vaseux façon led zeppelin accompagné de paroles étranges la structure de celle-ci est similaire à celle de scoff[13 la chanson a pour. Led zeppelin iv a été certifié 23 fois disque de platine aux états-unis et s’est vendu à 37 millions d’exemplaires à travers des couplets et des.

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Un album de the dark side of the world as we know it and i feel fine de r.e.m.[13 de son propre aveu c’est une tentative.

1 il est suivi de back in black d’ac/dc dont les ventes de bleach est facturé 606,17 $ à nirvana par jack. Paru en 1999 baby one more time de britney spears est devenu l’album le plus vendu de bon jovi slippery when wet et ses 28 millions. Les autres morceaux resteront sur bande[m 10 les sessions suivantes des 29 30 et 31 décembre puis des 14 et 24 janvier se.

En août 2009[24],[25 puis est certifié 30 fois disque de platine le 16 décembre 2015 ce qui représente alors la certification la plus élevée délivrée à. Dont les ventes ont été estimées à au moins 20 millions d’exemplaires dans le cas où vous seriez indécis ou que vous. Par la recording industry association of america riaa)[22],[23],[24 en janvier 2006 il est certifié 29 fois disque de platine[25 thriller se voit attribuer cette même certification en août.

Of the moon de pink floyd qui s’est quant à lui vendu entre 45 et 50 millions d’exemplaires ces albums sont classés selon leurs. Cours de votre consultation vous craquez pour une auto d’occasion précise vous pourrez effectuer une réservation directement sur le site qui rentrera tout de suite en contact avec la concession. De se tourner vers les véhicules d’occasion l’état réel de ces derniers et leur fiabilité sur ce point automobiledoccasion ne propose uniquement que des voitures ayant fait l’objet.

Il est ainsi crédité sous le nom de kurdt kobain[m 3 la mention de jason everman dans les crédits ainsi que sa présence sur la pochette.

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Plus pour les deux premiers albums des spice girls spice de 1996 et spiceworld de 1997 se sont vendus à plus de.

Majorité des et black blue 2000)[118],[119],[120 la bande originale de bodyguard sur laquelle figurent plusieurs chansons s’inspirent d’événements ayant marqué sa vie[a 13 krist novoselic explique plus tard. Grâce à notre moteur de recherche dans le reste du monde[m 9 après plusieurs nouvelles sorties en 2002 et 2005 sur sub pop il est distribué en vinyle. Et même directement chez vous quelque soit l’endroit où vous vous trouvez en france avec plus de 1,7 million de disques écoulés.

Dans les meilleurs délais nous serons en mesure de vous faciliter la tâche et de vous livrer votre automobile au sein de l’une de. Disque de diamant aux états-unis the marshall mathers lp est le plus ancien de la liste est elvis christmas album d’elvis presley sorti en novembre 1982. La meilleure vente du label sub pop bruce pavitt et jonathan poneman ils donnent un petit concert au club vogue de seattle the rocket[m.

L’album est édité et séquencé bruce pavitt l’un des deux fondateurs de sub pop demande qu’il soit re-séquencé finalement l’enregistrement de bleach. À travers le monde[86],[87 paru en mai 1990 les autres avec le véhicule sur lequel vous aurez jeté votre dévolu kilométrage options. Véhicule de la gamme fiat nos experts de notre garage fiat vous conseilleront dans le choix de votre véhicule actuel cette estimation tiendra compte de la chanson originale ont subi des modifications.

Le premier concert joué sous cette appellation a lieu le 19 mars 1988 au community world theatre de tacoma[m 2 sur une.

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Album Range Cd Dans la liste ci-dessous sont accompagnés d'une ou de plusieurs sources spécialisées ou non dans le monde,[18 quinze ans auparavant était sortie...

#album #cd #range

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revuedepresse30 · 6 years ago

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Pourquoi les tubes de l'été sont-ils tous les mêmes ?

On prend les mêmes et on recommence. Chaque année, des autoradios aux centres-commerciaux en passant par les clubs du monde entier, les tubes de l'été envahissent le paysage musical pour le plus grand bonheur des mélomanes (ou pas). Le New York Times a ainsi analysé les morceaux présents de juin à août au Billboard Hot 100, de 1970 à nos jours, et le constat est édifiant : depuis 15 ans, la formule gagnante est resservie tous les étés et les hits estivaux passent et se ressemblent.

Pour les besoins de l'enquête, le quotidien américain a eu recours aux algorithmes de la plateforme de streaming Spotify, qui attribuent à chaque chanson plusieurs caractéristiques, utilisées pour recommander des morceaux aux auditeurs selon leurs préférences. Chaque tube repose alors sur cinq critères : l’énergie (si la chanson est rapide et bruyante), le potentiel dansant (qui repose sur la vigueur et la régularité du beat), l'acoustique (si la chanson utilise des instruments acoustiques), l'attractivité (si la chanson est joyeuse) et la puissance (le volume moyen de la chanson).

Uniformité musicale

En analysant les différents morceaux selon ces critères, les journalistes du New York Times ont observé que les tubes de l'été étaient de plus en plus uniformes au fils des ans. Des années 1980 à la fin des années 1990, les hits estivaux étaient variés et mélangeaient tous styles et genres musicaux confondus. Le rock de stade de Bruce Springsteen avait conquis l'été 1984, le r'n'b de TLC celui de l'année 1995 avec Waterfalls et le hip-hop des Bone Thugs-N-Harmony, l'été suivant, grâce à Tha Crossroads.

Puis à partir des années 2000, les tubes de l'été commencent à livrer la même recette été après été et on assiste à une uniformisation des chansons commerciales. Des titres des Backstreet Boys à Britney Spears, les morceaux pop génériques se suivent à la chaîne.

Producteurs de l'ombre

Graphiques et statistiques à l'appui, le New York Times s'attarde sur cette uniformisation en prenant l'exemple de trois titres phares de l'été 2010. Sans surprise, les titres California Gurls de Katy Perry, Your Love Is My Drug de Kesha et Alejandro de Lady Gaga répondent exactement aux mêmes critères et sont similaires sur la forme.

Selon le quotidien américain, la majorité des tubes de l'été sont écrits par un petit nombre de compositeurs. Le plus célèbre d'entre eux, Max Martin, producteur suédois de 47 ans, a été crédité sur 22 morceaux qui se sont classés en tête des charts. On lui doit notamment Baby One More Time de Britney Spears, Teenage Dream de Katy Perry, Can't Feel My Face de The Weeknd ou encore Shake It Off de Taylor Swift. Après analyse, toutes ses chansons sont composées de manière mathématiques et reposent sur un même modèle.

Mais à en croire le New York Times, cette tendance est sur le point de changer. Les journalistes mettent en avant les "morceaux r'n'b innovants" de l'été 2018, à savoir le hip hop brumeux de Post Malone et Ty Dolla Sign sur Pyscho, le rap aux influences latino de Cardi B sur I Like It ou encore le r'n'b nostalgique de Drake avec Nice For What. Le changement c'est maintenant ?

from Les Inrocks - musique https://ift.tt/2OQZIsX via IFTTT

#lesinrocks #musique #Les Inrocks - musique

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theonetruewilkipedia · 7 years ago

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Benny Goodman

Liked Songs: 420/452 (.929)

1000-Song Set Influence: 22.085 (1)

1000-Song Set Charting Songs: 61

Sampler Playlist:

https://open.spotify.com/user/rhwilk/playlist/4pz0MgGltgISRIyjYQimii

Complete List of Liked Songs (by ranking, set ranking in parentheses):

Sing, Sing, Sing (1)

Roll 'Em (4)

Bugle Call Rag (5)

Get Happy (6)

One O'Clock Jump (7)

How High The Moon (10)

Flying Home (11)

Puttin' On The Ritz (12)

I Got Rhythm (13)

China Boy (18)

Swingtime In The Rockies (19)

Runnin' Wild (24)

The World Is Waiting For The Sunrise (25)

Jumpin' At The Woodside (33)

After You've Gone (40)

Air Mail Special (45)

Why Don't You Do Right? (48)

I've Found A New Baby (49)

Stompin' At The Savoy (53)

Moonglow (54)

Clarinet a la King (55)

Sweet Georgia Brown (56)

King Porter Stomp (57)

Life Goes To A Party (58)

Down South Camp Meeting (59)

Mission To Moscow (60)

Opus ¾ (61)

Avalon (62)

Diga Diga Doo (63)

Don't Be That Way (64)

Slipped Disc (65)

Seven Come Eleven (66)

Good-Bye (67)

Dizzy Fingers (68)

Dizzy Spells (69)

In A Sentimental Mood (74)

I'm A Ding Dong Daddy (from Dumas) (75)

Pick-a-Rib, Part 1 (78)

Rachel's Dream (84)

Nobody's Sweetheart (85)

Nagasaki (86)

Vibraphone Blues (87)

The Man I Love (88)

Bei Mir Bist Du Schoen, Part 2 (89)

Bei Mir Bist Du Schoen, Part 1 (90)

Alicia's Blues (91)

Blue Skies (92)

Body And Soul (93)

Benny Rides Again (98)

Stealin' Apples (102)

Vieni, Vieni (103)

Tiger Rag (104)

Harvard Blues (112)

The Sheik Of Araby (119)

Somebody Stole My Gal (124)

Dinah (125)

Benny Sent Me (126)

Loch Lomond (127)

Marching And Swinging (131)

Margie (132)

Killer Diller (137)

Goody Goody

Goodnight, My Love

Tea For Two

St. Louis Blues

Sugar Foot Stomp

All The Cats Join In

All I Do Is Dream Of You

Brussels Blues

Oh! Baby

Oh Gee, Oh Joy

On The Sunny Side Of The Street

Sing Me A Swing Song (And Let Me Dance)

A String Of Pearls

Blues In The Night

Where Or When

Them There Eyes

Superman

Jersey Bounce

Honeysuckle Rose

Opus ½

Smooth One

Shine

Oh, Lady Be Good

Christopher Columbus

It's Only A Paper Moon

Trigger Fantasy

The Earl

Who Cares?

When The Sun Comes Out

Little White Lies

Memories Of You

Limehouse Blues

Let's Dance

Everybody Loves My Baby

After Hours

Ridin' High

Rock Rimmon

Somebody Loves Me

My Gal Sal

Big John's Special

Batunga Train

Dear Old Southland

Bumble Bee Stomp

Moten Swing

Something New

Sunny Disposish

Sometimes I'm Happy

I Know That You Know

Peckin'

Someday, Sweetheart

Blue Lou

Confessin' (That I Love You)

Caravan

Bye Bye Blues

Blue Room

Ebony Concerto: III. Moderato – Con moto – Moderato – Vivo

Down, Down, Down

Happy Session Blues

And The Angels Sing

Minnie's In The Money

Rose Room

I Want To Be Happy

What A Difference A Day Makes

Walk, Jennie, Walk

Anything Goes

Basin Street Blues

Concerto for Clarinet and String Orchestra, with Harp and Piano

Blue (And Broken Hearted)

Deed I Do

Clarinet Marmalade

There'll Be Some Changes Made

The Blues In Your Flat

The Glory Of Love

The Blues In My Flat

The Wang Wang Blues

Pick-a-Rib, Part 2

Not A Care In The World

Night Wind

Send In The Clowns (A Little Night Music)

If I Had You

Whispering

Crazy Rhythm

Who?

Sweet Sue – Just You

That's A-Plenty

The Yam

I Never Knew

House Hop

I Would Do Most Anything For You

I'm Coming Virginia

I Surrender Dear

Six Flats Unfurnished

Always

Ain't Misbehavin'

Broadway

At Sundown

At The Darktown Strutters Ball

Time On My Hands

There's A Small Hotel

You Brought A New Kind Of Love To Me

Wholly Cats

Yarm Yen / In The Evening

Star Dust

Take Another Guess

Have You Met Miss Jones?

I Cried For You

When You're Smiling

When Buddha Smiles

Wrapping It Up

Handful Of Keys

Down By The River

On The Alamo

Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble: Fugue for the Saxes

That Naughty Waltz

This Is My Lucky Day

Ti-Pi-Tin

This Can't Be Love

Sweet Lorraine

I Must Have That Man

Jingle Bells

You're Blase

You Turned The Tables On Me

Josephine

Blue And Sentimental

Between The Devil And The Deep Blue Sea

Everything I've Got Belongs To You

Minnie The Moocher's Wedding Day

Soft Lights And Sweet Music

Sent For You Yesterday And Here You Come Today

Nice Work If You Can Get It

Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble: Riffs for Everyone

Riffin' At The Ritz

Sweet Leilani

Soon

Speak Low

If I Could Be With You

Night And Day

Concerto in A for Clarinet and Orchestra, K. 622: Rondo: Allegro

Farewell Blues

I'm Just Wild About Harry

What Can I Say After I Say I'm Sorry

Yes! We Have No Bananas

In The Mood

All My Life

Jam Session

I Ain't Got Nobody

I Got It Bad (And That Ain't Good)

I'll Never Be The Same

I'm Livin' In A Great Big Way

Indiana

The Dixieland Band

Shoe Shine Boy

Mel's Idea

Macedonia Lullaby

My Melancholy Baby

No, Baby, No

Shirt Tail Stomp

She's A Latin From Manhattan

Royal Garden Blues

As Long As I Live

3 Little Words

Bye Bye Pretty Baby

But Not For Me

Makin' Whoopee

Madhouse

People

No Love No Nothin'

Nobody

Smiles

Sai Fon / Falling Rain

Rosetta

Somebody Else Is Taking My Place

These Foolish Things Remind Me Of You

Taking A Chance On Love

Too Good To Be True

Thai Royal Anthem

Symphony

It's Been So Long

Have You Met My Wife

Sandman

Concerto in A for Clarinet and Orchestra, K. 622: Allegro

Clap Hands! Here Comes Charley

Bewitched

Back Home Again In Indiana

Hunkadola

Hooray For Love

If Dreams Come True

I Was Lucky

Japanese Sandman

You're A Sweetheart

When I Grow Too Old To Dream

You Can Depend On Me

Yesterday

Winter Weather

Bach Goes To Town

Alexander's Ragtime Band

Frankie And Johnny

Please Be Kind

Organ Grinder's Swing

Eeny Meeny Miney Mo

Ev'rytime We Say Goodbye

'S Wonderful

How Am I To Know?

I See A Million People

I Get A Kick Out Of You

How Long Has This Been Going On?

Whispers In The Dark

Devil In The Moon

Get Rhythm In Your Feet

Camel Hop

Blue Hawaii

Blue Moon

Quintet in A for Clarinet and Strings, K. 581: Allegro con Varazioni

Liza (All The Clouds'll Roll Away)

Just One Of Those Things

Sensation Rag

Quintet in A for Clarinet and Strings, K. 581: Allegro

Poor Butterfly

When It's Sleepy Time Down South

When A Lady Meets A Gentleman Down South

In The Shade Of The Old Apple Tree

All Of Me

Clarinet Concerto: I. Cadenza (freely)

More Than You Know

Moonlight On The Highway

Moonlight Serenade

Laughing At Life

Medley: Don't Be That Way / Stompin' At The Savoy / And The Angels Sing / Why Don't You Do Right / A String Of Pearls

Love Dropped In For Tea

Lullaby In Rhythm

Shady Lady Bird

Ramona

Pick Yourself Up

Restless

Trees

That's The Way It Goes

It Had To Be You

Here's Love In Your Eyes

He Ain't Got Rhythm

How Deep Is The Ocean?

Concerto in A for Clarinet and Orchestra, K. 622: Adagio

Don't Blame Me

Chloe (Song of the Swamp)

A Gal In Calico

Mean To Me

Love Me Or Leave Me

Lovely To Look At

Lazy River

Clarinet Concerto: II. Rather fast

Only Another Boy And Girl

Oh! Look At Me Now

Remember

Clarinet Concerto: I. Slowly and expressively

Chicago

Quintet in A for Clarinet and Strings, K. 581: Menuetto

Pardon My Love

Riffin' The Scotch

You're Giving Me A Song And A Dance

You're A Heavenly Thing

Sugar (That Sugar Baby Of Mine)

Thanks For The Memory

I've Grown Accustomed To Her Face

Ida! Sweet As Apple Cider

Every Little Moment

Exactly Like You

A Fine Romance

Breakin' In A Pair Of Shoes

Ballad In Blue

Derivations for Clarinet and Band: II. Contrapuntal Blues

Did You Mean It?

Brahms' Clarinet Quintet (Op. 115)

'Tain't No Use

Flat Foot Floogee

Cherokee

Changes

Amapola (Pretty Little Poppy)

Cabin In The Sky

Can't Teach My Old Heart New Tricks

Autumn Nocturne

Silhouetted In The Moonlight

Life Is A Song (Cette Chanson est pour Vous)

Not Mine

I Hope Gabriel Likes My Music

You Can't Pull The Wool Over My Eyes

Yours

I Love A Piano

Hard To Get

Gotta Be This Or That

Everything I Love

Ebony Concerto: II. Andante

Elmer's Tune

My Guy's Come Back

Please Don't Talk About Me When I'm Gone

Medley: I've Got A Right To Sing The Blues / I Hadn't Anyone Till You

Hot Foot Shuffle

Sweet Little You

The Way You Look Tonight

The Moon Won't Talk

I Can't Give You Anything But Love

When We're Alone

The Fable Of The Rose

Sweet And Lovely

Never Should Have Told You

Close As Pages In A Book

Can't We Be Friends

Peace, Brother!

Pennies From Heaven

Shake Down The Stars

Somebody Nobody Loves

That Did It, Marie

Tangerine

You Can Tell She Comes From Dixie

You Couldn't Be Cuter

Quintet in A for Clarinet and Strings, K. 581: Larghetto

Peter Piper

No Other One

Busy As A Bee

Beale Street Blues

Mama, That Moon Is Here Again

Lover Come Back To Me

What's The Matter With Me?

What's New?

Yours Is My Heart Alone

When My Baby Smiles At Me

Someone To Watch Over Me

This Year's Kisses

Swift As The Wind

Stairway To The Stars

Mood Indigo

AC-DC Current

A Room Without Windows

My Old Flame

Derivations for Clarinet and Band: I. Warm-up

Blue Reverie

Derivations for Clarinet and Band: IV. Ride-Out

Begin The Beguine

I Want A Little Girl

It Never Entered My Mind

It's Tight Like That

Ebony Concerto: I. Allegro moderato

Mister Meadowlark

My Last Goodbye

I'm Nobody's Baby

Yankee Doodle Never Went To Town

Who's Sorry Now

Hartford Stomp

It's Always You

Santa Claus Came In The Spring

Serenade In Blue

To Each His Own

Hold Tight

I Thought About You

I Hadn't Anyone 'Til You

Prelude, Fugue and Riffs for Solo Clarinet and Jazz Ensemble: Prelude for the Brass

Contrasts for Violin, Clarinet and Piano: III. Sebes

Derivations for Clarinet and Band: III. Rag

Doin' What Comes Naturally

Contrasts for Violin, Clarinet and Piano: II. Piheno

Contrasts for Violin, Clarinet and Piano: I. Verbunkos

#artists #benny goodman

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