#dave smith instruments
Explore tagged Tumblr posts
catsonsynthesizersinspace · 2 years ago
Photo
Tumblr media
290 notes · View notes
mistfunk · 11 months ago
Text
Tumblr media
Mistigram: this @blippypixel #BBCMicro high resolution graphics animation celebrates #DaveSmithInstruments' 2002 analog-digital hybrid #synthesizer the #Evolver. This piece was included in the recent music-themed MIST0224 artpack collection.
6 notes · View notes
sandalstrapchronicles · 2 years ago
Text
youtube
There are many times I thank myself that I bought a DSI Evolver as a first synthesizer - there have been many other synths that have caught my eye - but the Evolver usually does whatever they can, and better. Even the badgear guy likes it.
1 note · View note
cygnusred · 2 years ago
Photo
CIRCA 2016
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Studio angle-shots (iPhone 6s).
105 notes · View notes
gbhbl · 6 months ago
Text
Album Review: I Hear Sirens - Acheron (Post. Recordings/Dunk!Records)
USA (Utah) based post rock band, I Hear Sirens return with their latest full length offering titled Acheron, due for release on the 23rd of August via Post. Recordings in the US and Dunk! Records in Europe. I Hear Sirens are an instrumental band formed in 2005 by founding members Daved Harris and David Qualls releasing their first full album, Beyond The Sea, Beneath The Sky, in 2009. The band has…
0 notes
wheelsgoroundincircles · 1 year ago
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
1955 Chevrolet 210
TECH CHECK Owner: Eric Mead, Evansville, Indiana Vehicle: ’55 Chevrolet 210
Engine Type: BluePrint Engines Chevrolet LS3 Displacement: 376 ci Compression Ratio: 10.7:1 Bore: 4.070 inches Stroke: 3.622 inches Cylinder Heads: BluePrint Engines aluminum Camshaft: BluePrint Engines hydraulic roller (0.612/0.585-inch lift, 225/238 deg. duration) Ignition: E38 Engine PCM Assembly: BluePrint Engines Exhaust: Church Boys Racing by Stainless Works 1-7/8-inch primaries to 3-inch collector and 2.5-inch stainless pipes bent by Dave Favor’s Performance Exhaust, MagnaFlow Mufflers Ancillaries: Holley mid-mount accessory drive, PRC radiator and core support, SPAL Fans Output: 530 hp at 6,100 rpm, 508 lb-ft at 5,200 rpm
Drivetrain Transmission: ’99 GM 4L80E Automatic with TransGo valvebody kit prepared by Wathen’s Transmission (Owensboro, KY) Torque Converter: FTI Billet 3,200 stall Driveshaft: Driveline Plus Rear Axle: Strange Engineering 9-inch with Truetrac differential, 3.70 gears, 35-spline axles
Chassis Chassis: Roadster Shop SPEC Front Suspension: Strange single-adjustable coilovers, stabilizer bar Rear Suspension: Strange single-adjustable coilovers, parallel four-link, Panhard bar Brakes: Baer four-wheel disc, 12-inch front rotors with four-piston calipers, 11-inch rear rotors with four-piston calipers, Baer Remaster master cylinder
Wheels & Tires Wheels: Bogart Racing Wheels D-5; 17×4.5 front with 2.25-inch backspace, 15×10 rear with 5.5-inch backspace Tires: Mickey Thompson Sportsman S/R front, 26×6.00R17; Mickey Thompson ET Street S/S rear, 295/55R15
Interior Upholstery: Holtsclaw Custom Upholstery (Francisco, IN) Carpet: Cars Inc. black loop carpet Seats: Original bench seat with black-and-white vinyl Delray pattern Steering: Summit steering column with Eddie Motorsports steering wheel Shifter: Lokar Dash: Original Instrumentation: Dakota Digital VHX HVAC: Vintage Air Wiring: American Autowire by Andy’s Hot Rod Shop (Mulkeytown, IL)
Exterior Bodywork and Paint: Reisinger Custom Rebuilding (Evansville, IN) and Andy’s Hot Rod Shop Paint: Sateen Silver/white by James Smith of Road Runner Restorations (Johnston City, IL) Hood: Stock Grille: Danchuk Bumpers: Danchuk Glass: Auto City Classics Fuel Tank: 15.5-gallon Tanks Inc. galvanized powedercoated silver
105 notes · View notes
black-arcana · 2 months ago
Text
Watch: HALESTORM's LZZY HALE And JOE HOTTINGER Cover SKID ROW, FLEETWOOD MAC During Surprise Acoustic Gig
Tumblr media
Lzzy Hale and Joe Hottinger of Grammy-winning hard rock band HALESTORM played a surprise acoustic set on December 27 at The Underdog in Nashville, Tennessee as the support act for THE DEAD DEADS. Video of the performance can be seen below.
Lzzy and Joe's setlist was as follows:
01. White Dress 02. Mz. Hyde 03. I Remember You (SKID ROW cover) 04. Familiar Taste Of Poison 05. I Like It Heavy (with "She Won't Mind") 06. Gold Dust Woman (FLEETWOOD MAC cover) 07. I Am The Fire
This past October, Lzzy and Joe announced an intimate tour featuring the two of them performing acoustic, stripped down versions of HALESTORM favorites and the music that has inspired the band. Dubbed "Halestorm's Lzzy And Joe: The Living Room Sessions", the tour consists of 12 dates in January 2025.
When the trek was first announced, Lzzy said in a statement: "With this tour, we're inviting our fans to experience what it would be like hanging with Joe and me in our living room: picking up instruments, telling stories, chatting about songs that helped shaped us as a band and brought us to where we are today."
Joe added: "Back when we decided to quit our day jobs and make music our full-time endeavor, Lzzy and I would play music wherever we could, and sometimes that meant playing acoustic covers in any bar or restaurant that would have us. That time really allowed us to develop our playing skills and dig into songwriting, and it really set the groundwork for what HALESTORM is today."
In a September 2024 interview with PK of Louisville, Kentucky's ALT 105.1 radio station, Lzzy spoke about the progress of the recording sessions for HALESTORM's follow-up to 2022's "Back From The Dead" album. Lzzy said: "We've had three separate sessions in the studio with — we're making a record with [producer] Dave Cobb. And he's actually a huge closet metal fan, and so he's really excited. And so we're making this great music, but we're constantly touring. So we've had, like, three different sessions in the studio. We're probably — what? — 70, 80, maybe, percent there. We have a studio in our house and so I'm doing a lot of the finishing touches on vocals and sewing everything up, doing solos and all that. And then we get back in in December to just say, 'Okay, this is good.' And then, yeah. And then there we are. So we're excited about it. We really are."
Cobb has shared in nine Grammy wins, including four for "Best Americana Album" and three for "Best Country Album". He's also been named "Producer Of The Year" by the Country Music Awards, the Americana Music Association (twice) and the Music Row Awards, and has been a Grammy nominee in the category.
HALESTORM and I PREVAIL recently embarked on summer 2024 co-headlining tour. Produced by Live Nation, the trek kicked off on July 9 in Raleigh and ran through August 17 in Las Vegas. HOLLYWOOD UNDEAD and FIT FOR A KING served as support. The tour was also the catalyst and the creative spark for HALESTORM and I PREVAIL's collaborative track "Can U See Me In The Dark?", which was released in June.
"Back From The Dead" has tallied over 100 million streams worldwide. Rolling Stone called the title track "a biting but cathartic howler about overcoming all obstacles," and that song as well as "The Steeple" marked their fifth and sixth number ones at rock radio, respectively. Associated Press said the album "will definitely be in the running for best hard rock/metal album of the year." Their previous album, "Vicious", earned the band their second Grammy nomination, for "Best Hard Rock Performance" for the song "Uncomfortable", the band's fourth #1 at rock radio, and led Loudwire to name HALESTORM "Rock Artist Of The Decade" in 2019.
Fronted by Lzzy with Arejay, Hottinger and bass player Josh Smith, HALESTORM's music has earned multiple platinum and gold certifications from the RIAA, and the band has earned a reputation as a powerful live music force, headlining sold-out shows and topping festival bills around the world, and sharing the stage with icons including HEAVEN & HELL, Alice Cooper, Joan Jett and JUDAS PRIEST. Additionally, Lzzy was named the first female brand ambassador for Gibson and served as host of AXS TV's "A Year In Music".
youtube
15 notes · View notes
ostensiblynone · 2 months ago
Text
Tumblr media Tumblr media Tumblr media Tumblr media
Noel Gallagher / Oasis / Johnny Marr
A Gibson Flying V Electric Guitar Formerly Owned By Johnny Marr, Used By Noel Gallagher During The Monnow Valley Sessions Prior To The Final Recording Of Oasis’ 1994 Debut Album ‘Definitely Maybe’ At Sawmills Studio
Catalogue Note
“Johnny Marr sent down some guitars because I only had one guitar and Bonehead had one guitar.”
-Noel Gallagher on the Monnow Valley Sessions.
“I then lent [the Flying V] to Noel Gallagher who used it on Definitely Maybe, recording Cigarettes & Alcohol & possibly more.”
-Johnny Marr, 2019
This Gibson Flying V is representative of one of the most significant guitar lineages of the 1990s: between Johnny Marr, virtuosic guitarist formerly of The Smiths and the The, and Noel Gallagher, on the cusp of Oasis’ global success. Originally obtained by Marr in 1989, he had used it on some sessions of his own before lending it among a group of his instruments to Noel in January 1994.
By this point, Oasis was working on the latest in a string of studio sessions building towards the album ‘Definitely Maybe’, this time at Monnow Valley Studios near Monmouth, Wales.
“… A few of Johnny Marr’s guitars, including a Flying V which he used on ‘Slide Away’.”
-Engineer Dave Scott on Noel Gallagher at Monnow Valley Studios, Melody Maker, 1st October 1994.
In addition to the Flying V, Marr had sent his iconic black & white Rickenbacker used during his time in The Smiths; and a Gibson Les Paul conversion (itself formerly owned by Pete Townshend). The latter guitar quickly became one of Noel’s favoured guitars played live in 1994 and 1995. The precise extent of its track usage at Monnow Valley Studio may differ according to contemporaries and engineers, but Michael Spencer Jones’ photography at the time shows Noel playing this Flying V beside Liam during these formative studio sessions.
The Flying V returned to Marr’s collection sometime after Monnow Valley, but the Flying V was a model that Noel would revisit. In the 1997 Oasis music video of ‘D’You Know What I Mean’, Noel plays a Gibson Flying V ’97 reissue with the same ebony finish as Marr’s guitar which he had used four years earlier.
Description
Serial number 82590004 and Made in USA to rear of headstock, 1980, solid mahogany body and neck with black finish, Indian rosewood fingerboard with dot inlays, two pickups, three-way selector switch, three rotary controls, with white pickguard; in shaped hard-shell case with blue plush-lining.
Used by Noel Gallagher during the Monnow Valley Studio sessions for ‘Definitely Maybe’ in January 1994. Previously studio-used by Johnny Marr.
Accompanied by provenance documents comprising:
A Manchester/New York import note dated 22nd August 1989.
A handwritten & signed postcard from Johnny Marr, dated 2019.
A Sonic Editions black & white photographic print, no. 5/250, photo by Michael Spencer Jones, of Noel and Liam Gallagher during the 'Definitely Maybe' sessions at the Monnow Valley Studios in Wales, 26th January 1994.
A Fujfilm polaroid illustrating the guitar, undated.
Provenance
The collection of Johnny Marr, 1989.
Lent by the above to Noel Gallagher in January 1994 for the ‘Definitely Maybe’ recording sessions at Monnow Valley Studios.
Acquired directly from Johnny Marr by the current owner in 2019.
Usage
8th-24th January, 1994 Monnow Valley Studios, Monmouth
Image Captions
Detail from a Sonic Editions photographic print, no. 5/250, photo by Michael Spencer Jones (included in the present Lot). Noel Gallagher with the present Lot at Monnow Valley Studio, January 1994.
source: [Sotheby's Popular Culture Auction | Lot 45 | Sept 12th 2024]
11 notes · View notes
mlmshipbracket · 1 year ago
Text
Fourth MLM Ship Bracket Propaganda Submissions
Below you will find all of the submitted and approved ships for the Fourth MLM Ship Bracket Tournament along with the form to submit further propaganda at the bottom
This is another opportunity to submit propaganda for your favorite ships. Wether you were unable to submit propaganda for them in the initial form or you spot your favorite ship who has no propaganda submitted. Ships with a strikethrough have propaganda submitted, I will continue to update this post as propaganda is submitted. I will accept further propaganda for ships with already submitted propaganda but please prioritize those with out.
The goal is to have propaganda for all ships but I understand that may not be possible. Therefore I will be leaving the form open for a few weeks to see if we receive propaganda for at least half the ships.
Note: Please reach out to me if you spot any mistakes in character or fandom names, even if it is only formatting or spelling issues.
Monkey D. Luffy/Roronoa Zoro (One Piece)
Kyojuro Rengoku/Akaza (Demon Slayer)
Mikhail”Misha” [Heavy]/Dr. Ludwig [Medic] (Team Fortress 2)
Dave Strider/Karkat Vantas (Homestuck)
Chu Shuzhi/Guo Changcheng (Guardian, 2018)
Oliver Marks/James Farrow (If We Were Villains)
David Starsky/Kenneth "Hutch" Hutchinson (Starsky & Hutch)
Tinn/Gun (My School President)
Loki Odinson/Mobius M. Mobius (Loki)
Jaime Reyes/Bart Allen (DC Comics)
Levi Schmitt/Nico Kim (Grey's Anatomy)
Ren Amamiya or Akira Kurusu/Goro Akechi (Persona 5)
Wallace Price/ Hugo Freeman (Under the Whispering Door)
Daffy Duck/Bugs Bunny (Looney Toons)
Shen Wei/Zhao Yunlan (Guardian, 2018)
Isak Valtersen/Even Bech Næsheim (SKAM)
Henry "Monty" Montague/Percy Newton (Montague Siblings)
Nico di Angelo/Will Solace (Camp Half-Blood Chronicles)
Argos/Mr. Plant (The World of Mr. Plant)
Richard St Vier/Alec Campion (Swordspoint Universe)
Klaus Hargreeves/Dave Katz (The Umbrella Academy)
Woody/Buzz Lightyear (Toy Story)
Victor Lawson/Hap (In the Lives of Puppets
Charlie/Babe (Pit Babe The Series)
Fred/Shaggy (Scooby-Doo)
Simon Snow/Tyrannus Basilton "Baz" Grimm-Pitch (Carry On)
Gaius Octavius/Jedediah Smith (Night at the Museum)
Sound/Win (My School President)
Pat/Pran (Bad Buddy)
Mike Wazowski/James "Sulley" P. Sullivan (Monsters, Inc.)
Nicholas “Nick” Bell/ Seth Gray (The Extraordinaries)
Evan 'Buck' Buckley/Edmundo 'Eddie' Diaz (9-1-1)
Sean/White (Not Me: The Series)
Vegas Theerapanyakun/Pete Saengtham (Kinnporsche: The Series)
Runaan/Ethari (The Dragon Prince)
Larry Daley/Ahkmenrah (Night at the Museum)
Tintin/Captain Archibald Haddock (Tintin comics)
Bai Lang/Jin Xun An (My Tooth Your Love)
Napoleon Solo/Illya Kuryakin (The Man from U.N.C.L.E)
Wario/Waluigi (Mario franchise)
Peter Parker/Miguel O'Hará (Spider-Man: Across the Spider-Verse)
Steve Rogers/Anthony "Tony" Stark (Marvel Comics)
Dave Miller/Jack "Old sport" Kennedy (Dayshift at Freddy's)
Boston/Nick (Only Friends)
Kinn Theerapanyakun/Porsche Kittisawasd (Kinnporsche: The Series)
Satoru Gojo/Suguru Geto (Jujutsu Kaisen)
Craig Cuttlefish/Octavio Takowasa (Splatoon)
Tulio/Miguel (The Road to El Dorado)
Sun Wukong/Neptune Vasilias (RWBY)
Zachary Ezra Rawlins/Dorian (The Starless Sea)
Fox Mulder/Alex Krycek (The X-Files)
Thomas/Newt (The Maze Runner)
Fulgrim/Ferrus Manus (Warhammer 40k)
Kim Theerapanyakun/Porchay Kittisawasd (Kinnporsche: The Series)
Alec Lightwood/Magnus Bane (The Mortal Instruments)
Tan/Bun (Manner of Death)
Qrow Branwen/Clover Ebi (RWBY)
Rhy Maresh/Alucard Emery (Shades of Magic)
Yashiro Isana/Kuroh Yatogami (K Project)
Jaskier/Geralt of Rivia (The Witcher)
Dustfinger/Mortimer "Mo" Folchart (Inkworld series)
Brandon/Sky (Winx Club)
Phineas Taylor “P. T.” Barnum/Phillip Carlyle (The Greatest Showman)
Alfred Hillinghead/Henry Ashe (Bodies TV Show)
Baal/Inanna (The Wicked + the Divine)
Timothy "Tim" Drake/Bernard Dowd (DC Comics)
Vash the Stampede/Nicholas D. Wolfwood (Trigun Stampede)
Anthony Lockwood/Quill Kipps (Lockwood and Co)
Henry Winter/Francis Abernathy (The Secret History)
Crowley/Aziraphale (Good Omens)
Dainix/Falst (Aurora Comic)
Prince Rupert/Prince Amir (The Two Princes)
Finn/Poe Dameron (Star Wars)
Jean Luc Picard/Q (Star Trek: The Next Generation)
Will Stronghold/Warren Peace (Sky High)
Heart/Li Ming (Moonlight Chicken)
Wallace Wells/Todd Ingram (Scott Pilgrim Takes Off)
Sunai/Veyadi Lut (The Archive Undying)
Linus Baker/Arthur Parnassus (The House in the Cerulean Sea)
Aaron Slaughter/Jace Boucher (House of Slaughter)
Hercule Poirot/Captain Arthur Hastings (Hercule Poirot)
Phaya/Tharn (The Sign)
Hercules/Iolaus (Hercules: The Legendary Journeys)
Todd/Black (Not Me: The Series)
Julio "Rictor" Esteban Richter/Shatterstar (Marvel Comics)
Wen Kexing/Zhou Zishu (Word of Honor)
Siffrin/Isabeau (In Stars and time)
Kendall Knight/Logan Mitchell (Big Time Rush TV Show)
Yuichiro Hiyakuya/Mikaela Hyakuya (Owari no Seraph/Seraph of the End)
Palm/Nuengdiao (Never Let Me Go)
Khatha/Dome (Midnight Museum)
Asterix/Obelix (Asterix Comics)
Bowser/Luigi (Mario Franchise)
Lucien "Luc" O'Donnell/Oliver Blackwood (London Calling)
Kazuki Kurusu/Rei Suwa (Buddy Daddies)
Benjamin “Ben” Tennyson/Kevin Ethan Levin (Ben 10: Alien Force)
Lumière/Cogsworth (Beauty and the Beast)
Damian Wayne/Jon Kent (DC Comics)
Spy/Dell Conagher [Engineer] (Team Fortress 2)
Shanks/Buggy (One Piece)
Jesper Fahey/Wylan Van Ecks (Six of Crows)
Harold Finch/John Reese (Person of Interest)
Ulrich Stern/Odd Della Robbia (Code Lyoko)
Vincent Freeman/Jerome Morrow (Gattaca)
Eustass Kid/Killer (One Piece)
Christopher Hitchcock/Jalil Sherman (Everworld)
Frodo Baggins/Samwise Gamgee (Lord of the Rings)
Edgin Darvis/Xenk Yendar (Dungeons & Dragons: Honor Among Thieves)
50 notes · View notes
doedipus · 1 year ago
Text
jazz season continues, in spite of inclement weather
I don't have anything clever to say about this album but the first track really strongly brings to mind pbs bumpers from when I was a kid
youtube
credits under break
Neil Ardley keyboards, synthesizer, liner notes
Bob Bertles alto saxophone, soprano saxophone, flute
Paul Buckmaster cello, producer
Tony Coe tenor saxophone, clarinet, bass clarinet
Ian Carr trumpet, flügelhorn
Geoff Castle piano, synthesizer
Dave McCrae piano, synthesizer
Roger Sellers drums
Ken Shaw guitar
Brian Smith tenor saxophone, soprano saxophone, flute
Roger Sutton bass
Barbara Thompson alto saxophone, soprano saxophone, flute
Trevor Tomkins percussion, vibraphone
John Taylor keyboards, synthesizer
Stan Sulzmann wind instruments
Martin Levan engineer
W lacquer cut
John Pasche design
Gull Graphics design
Phil Jude cover photography
Derek Jewell liner notes
11 notes · View notes
burlveneer-music · 1 year ago
Text
Mudd - In The Garden Of Mindfulness - languid grooves pack the new solo album from Claremont 56 label head
When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait. In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006. In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes.
2 notes · View notes
singeratlarge · 1 year ago
Text
Tumblr media Tumblr media Tumblr media Tumblr media
HAPPY HEAVENLY BIRTHDAY TO DAVE "LOAFY" ALEXANDER + SATURDAY MATINEE MUSIC VIDEO “My Love (She Means Everything)” https://www.youtube.com/watch?v=UVAX_iK8NVE Between 1993 and 2003 Davy Jones and I worked on 40 of his original songs. Most of the work was recorded and issued on 3 albums, the best known being JUSTME and JUSTME2 (refracting on JUSTUS, the 1997 Monkees reunion album). David and I had a give-and-take communication on the arrangements—sometimes he’d let me run wild with tempos and instrumentation, other times he had a song mapped out and I topped it off. His eclectic tastes went into country to r’n’b to Latin styles, and we explored glam, British rock, and old school Britpop. Many of the songs were new while some were songs he started in 1968, designated for The Monkees but not used. "My Love" (a newer one) was inspired by "Hurricane" Smith and ELO. This is one of my personal favorites and features key members of his road bands: myself, Aviva Maloney (sax, vocals), and two people no longer with us, the late well-remembered Jerry Renino and Dave “Loafy” Alexander—whose birthday was yesterday (9/22). When I made this “My Love” video for I intended for Dave and Jerry to have significant face time.
Dave was a proud flag-bearer for all things Monkees. My friendship and work history with him began in 1994, and (for 19 years) we intersected on Monkees spin-off gigs (including Davy’s first symphony pops concert in 2005). When I first met Dave, he had hair like a male Rapunzel. Davy needed a quick-study keyboard player for his band + an upcoming Brady Bunch musical tour. Jerry (then Davy’s music director) found Dave and introduced him as “the perfect person for the job,” arriving with bonus skills on guitar, ukulele, and very strong vocals. It helped that Dave had the temperament of a gentle giant, which was tested as he was often the brunt of Davy’s jokes—from the “short/tall man” vignettes (“I can see right up your nose”) to the Archie & Edith routine that always killed audiences. Then there was Dave’s spot-on Meatloaf parody, which may or may not explain why Dave’s nickname was “Loafy.” 
In time Dave became deeply imbedded in touring with The Monkees and with solo Micky Dolenz, and Dave took the Monkees songbook to heart. Speaking of heart, he and I had confessional conversations, and there are stories about him that range from hilarious to unbelievable (they’re still talking about the “Lefty & Loafy gig” in Green Bay WI). Yet even when he was living on the edge in private, he was always on point for the music. I could count on his uncanny memory for musical details, and there was no guile or competitiveness with him. 
https://www.youtube.com/watch?v=UVAX_iK8NVE Meanwhile, heavenly HB Dave and thank you for always making me feel like a brother. See you on that great stage in the sky. 
#davidalexander #davealexander #loafy #meatloaf #davyjones #mickydolenz #monkees #justme #mylove #johnnyjblair #jerryrenino #birthday
Tumblr media Tumblr media Tumblr media
4 notes · View notes
silverslipstream · 2 years ago
Text
not sure why but here's my spotify playlists
I've ranked them from longest (time-wise) to shortest, with number of songs, the median song length in each (because I can't be arsed adding hundreds of songs together for an exact average) and a random selection of three tracks as a sample.
#1. ignition sequence | 148 songs, 13hr 39min total length, median song length 5m 24s
Realizer - The Crystal Method
Atom Bomb - Fluke
Papua New Guinea (Hybrid Mix) - The Future Sound of London
#2. the soundtrack to a downward spiral | 205 songs, 13hr 26min total length, median song length 3m 50s
Magnificent (She Says) - Elbow
Blood - The Middle East
I Know It's Over - The Smiths
#3. yokohama expressway | 163 songs, 13hr 17min total length, median song length 4m 55s
Antares - Omniverse
GRAN TURISMO - Trashiii
The Band Played On - Glenn Underground
#4. 80s stuff | 137 songs, 9hr 46min total length, median song length 4m 03s
Fire In The Twilight - Wang Chung
You Can Call Me Al - Paul Simon
Tainted Love - Soft Cell
#5. club and dance shit but like only the popular stuff | 131 songs, 8hr 58min total length, median song length 3m 39s
Castles in the Sky - Ian Van Dahl, Marsha
Feel The Love - Rudimental, John Newman
The Rockafeller Skank - Fatboy Slim
#6. chill beats to shit and piss to | 90 songs, 6hr 57min total length, median song length 4m 20s
An Ending (Ascent) - Brian Eno
Sympathique - Pink Martini
My Tears Are Becoming A Sea - M83
#7. theme tunes for a hopeless romantic | 112 songs, 6hr 27min total length, median song length 3m 29s
I Belong In Your Arms - Chairlift
Je te laisserai des mots - Patrick Watson
This Charming Man - The Smiths
#8. britpop | 86 songs, 5hr 38min total length, median song length 3m 50s
Common People - Pulp
Chelsea Dagger - The Fratellis
Inbetweener - Sleeper
#9. boys night out playlist (co-created with three friends) | 94 songs, 5hr 31min total length, median song length 3m 24s
Paddling Out - Miike Snow
SPIT IN MY FACE! - ThxSoMuch
Novocaine - Valentino Khan, Kayzo
#10. the songs I do air guitar to when nobody's looking | 96 songs, 5hr 24min total length, median song length 3m 19s
Lobotomy For Dummies - Zebrahead
Lights and Sounds - Yellowcard
Blackjack - Airbourne
#11. summer: the motion picture soundtrack | 77 songs, 4hr 49min total length, median song length 3m 42s
16 - Craig David
Cheerleader - Felix Jaehn, OMI
How Bizarre - OMC
#12. random shit with a vaguely American teen movie from the late 90s or early 2000s-theme | 75 songs, 4hr 21min total length, median song length 3m 23s
Seven Days In The Sun - Feeder
Maureen - Fountains of Wayne
Partners In Crime - Vibrolux
#13. classical music | 40 songs, 3hr 22min total length, median song length 4m 29s
Prokofiev: Romeo and Juliet, Op.64, Act I, Scene II: Dance of the Knights - Sergei Prokofiev, André Previn, London Symphony Orchestra
13 Pieces, Op. 76: No.2 Etude - Jean Sibelius, Håvard Gimse
Piano Sonata No. 12 in F Major, K. 332: II. Adagio - Wolfgang Amadeus Mozart, Maria João Pires
#14. i am literally humphrey bogart | 43 songs, 3hr 13min total length, median song length 4m 32s
Loungin' - Donald Byrd, Guru
My Queen Is Albertina Sisulu - Sons Of Kemet
Beatmaker - Matt Berry, Emma Noble
#15. kurtzing the gesagt | 24 songs, 2hr 56min total length, median song length 6m 55s
Alien Scale - Epic Mountain
Dyson Sphere - Epic Mountain
All The Bombs - Epic Mountain
#16. tofu delivery beats | 30 songs, 2hr 30min total length, median song length 4m 48s
SPACE BOY - EXTENDED ver. - Dave Rodgers
The Top (Extended) - Ken Blast
RUNNING IN THE 90'S - Max Coveri
#17. music to start a cyberpunk revolution to | 49 songs, 2hr 28 min total length, median song length 2m 58s
Stardust Circuit - Starjunk 95
Daft. - Kosu
Lost (Instrumental) - PYLOT
#18. nucking futs (goes fucking nuts) | 48 songs, 2hr 16min total length, median song length 2m 52s
Ready Set - Joey Valence, Brae
Get Your Dad Off The Internet - Dr. Syntax, Tom Caruana
BERRIS FUELLER - Billy Marchiafava
#19. valentine's day | 24 songs, 1hr 37min total length, median song length 4m 02s
About You - The 1975
Kiss Me - Sixpence None The Richer
Can't Help Falling In Love - Lick The Tins
#20. childhood ruined | 20 songs, 1hr 3min total length, median song length 2m 36s
So Long - Randy Newman
Stuff We Did - Michael Giacchino
Leaving Hogwarts - John Williams
#21. falling in love on a bridge in an old english city | 34 songs, 59min 41sec total length, median song length 1m 34s
Cambridge, 1963 - Jóhann Jóhannsson
Travel To Edinburgh - Tom Tykwer, Johnny Klimek, Reinhold Heil
Whiffing - Borrtex
Hope you enjoyed this stupidly lengthy view into my music taste, if you've managed to read this far! I have no idea why I did this!
3 notes · View notes
davidisen · 5 days ago
Text
Wintergrass 2025
Flying to Wintergrass felt like a reprise of my February 2020 trip to the Ground Up festival in Miami. Flying into an unknown, vaguely fearful and dark future. Once there, future be damned, Wintergrass was its own delightful little world in a hotel lobby. Below are a few highlights, but certainly not all of them!
Tumblr media
I witnessed a two-hour vintage instrument showcase, with Mike Marshall, Michael Daves, Jacob Jolliff and Avril Smith playing ensemble. For their opening song, they played four guitars that were made in the 1800s. They switched instruments for each song, getting newer ones for each song. The last song featured guitars and mandolins from the 1950s.
Tumblr media
Per Wintergrass tradition, there was jamming in the lobbies and stairway landings and elevator vestibules. There were also several events for kids, culminating in a youth orchestra concert on the last day.
Tumblr media
I found myself sitting on the floor at the "What she wrote," women songwriter workshop, and got this perspective.
Tumblr media
I had not seen my long-time friend Joe Weed since before the pandemic. Here he is with his daughter Katie. Both of them are amazing musicians. They played a Joe Weed original twin-fiddle composition in the hallway that could have been on stage. (Afterwards I had to walk down the hall looking for my socks.) Joe's musical passions are expressed in lower-key ways - music history documentaries, audio engineering, etc. but he still practices violin often enough to keep sharp.
Tumblr media
Twin fiddles again. The great Darol Anger and the great Bruce Molsky. Genius set to music.
Tumblr media
I don't think I'll ever again consider attending a bluegrass festival that doesn't have a choro band. In fact, choro has been a regular feature of Wintergrass for well over a decade. Here's the most recent incarnation of Mike Marshall's band Choro Famoso. That's Brian Rice on pandeiro, the most amazingly incredible Douglas Lora on 7-string guitar, special guest (and long-time resident of the Pacific Northwest) Jovino Santos Neto on melodica, Mike on mando, and Andy Connell on clarinet.
Tumblr media
There's an active choro scene in the Seattle area with a monthly roda. About 50 gringo choroẽs came out to play with the Choro Famoso band members. Everybody knew everybody. It was generous and high-spirited. The music hit all the right notes.
Tumblr media
On Saturday night there was a "secret concert," but the word got out, and the room was packed for THE DUO, Mike Marshall and Darol Anger. They've been playing as The Duo - off and on - for maybe 40 years. The set was built around folk and bluegrass standards, for example, a version of Elizabeth Cotten's Freight Train, played uniquely, with evocative technique I could not begin to describe, but so wonderful it brought tears to my eyes. One more thing I realized in this set - my ears have spent twenty years listening to Darol's fiddle magic and I feel only now that I am learning enough to begin to appreciate his musical mind.
Tumblr media
The last Wintergrass set I saw was Trey Hensley and Rob Ickes.
Tumblr media
Amazing players both!
1 note · View note
magaramach · 17 days ago
Text
Ok can I speak my truth without getting cancelled
It is never too late to learn something new!!! But if you ever complained about Hozier’s Too Sweet bandwagon fans who only know that song and Take Me To Church but can’t name a Kendrick verse except something about the beef or when he collabed with Taylor that’s just fucking embarrassing.
I think it’s kind of stupid to be acting like any of this stuff with Drake is new or like he’s unique. Everyone at the Grammy singing it like they didn’t all know and let it slide and let it happen for years?  
Kendrick is a genius but he is not. Like. A feminist. (I’m not talking about Aunty Diaries here because I think while it was tone-deaf it was still more support for trans people than anyone else in the game has expressed.) I don’t personally think he abuses women but he certainly has a history (changing arguably around the time of Mr. Morale) of being very dismissive about them. Even just this summer at Ken and Friends he brought Dr. Dre out. That man is a fucking wifebeater. His issues with Drake are personal, not moral.
It is absolutely true that Drake runs to Atlanta or Traviss Scott every time he needs to make a record feel more authentically Black American. Also he hasn’t written a good song since 2018. However, I think calling his work with African and Caribbean Toronto-based artists cultural appropriation is taking a very US-centric two-races view on a city defined by diversity and the mixing of cultures. Many artists who originally started on OVO Records or closely affiliated with Drake jumped ship, but those starts would not have been possible without him. 6LACK, Majid Jordan, PartyNextDoor, Popcaan, Dave, Skepta, Nav, Jorja Smith, Sampha, Wizkid, Summer Walker, Headie One, ASAP Rocky, The Weeknd, even his spot on Kendrick’s own GKMC. Even if his interpersonal relationships with a lot of those artists failed because he’s insufferable as a person, he’s been instrumental in bringing so many great careers to public attention.
Wah Gwan Delilah was really funny.
0 notes
theloniousbach · 26 days ago
Text
GETTING BACK TO THE JAZZ GALLERY
RALPH ALESSI with Matt Mitchell, John Hebert, and Ches Smith, 31 JANUARY 2025, 9:30 pm set
CAROLINE DAVIS with Dave Smith, Kenny Warren, Julian Shore, Chris Tordini, and Jimmy Macbride, 1 FEBRUARY 2025, 9:30 pm set
Each club has its own feel—where in town it is, food or just drinks, and booking policy. The Smalls/Mezzrow’s 7 days a week, jam sessions, eclectic Village vibe is different than Smoke Uptown with dinner for more uniformly established players. Even down to streaming capabilities, Smalls/Mezzrow’s is from the tapers’ section and Smoke is a soundboard. There are charms to each.
And there are charms at The Jazz Gallery in Midtown. Gallery is I think the key word. It’s on the whole arty music, composed, programmatic, bumping up against/going over to New Music territory. Now, they have a big fundraiser (and no stream—sad face) with Kenny Barron/Ron Carter/Jeff Tain Watts, but on the whole that’s too straight ahead for TJG. For a year and a half or so during Lockdown, I had a TJG membership that got me a steep discount for their streams. I let that lapse as I could get to in person events and other things sorted out. Recently they offered a Jazz Streamer membership which offers at least some shows free (ZOH AMBA earlier this week was), though these two were 75% off for a flat fee. I have already saved half of the value of the flat fee on just these three shows, though it’s not the money. I have more time and want to stretch my ears.
RALPH ALESSI with John Hebert plays Smalls about monthly and I’ve seen him there; equally, CAROLINE DAVIS will play a few times a year. I have caught them a Smalls and appreciated them for, well, stretching my ears with interesting, edgy compositions and conceptions.
It is usually Hebert’s presence who prompts me to give RALPH ALESSI his periodic chance. Hebert’s a spiky but fascinating bassist and Alessi himself has a pleasing tone and approach to the trumpet. His tunes are just fine, but, and of course this is purely a matter of taste, not as good as Monk, Ellington, Shorter, Cole Porter, Vernon Duke, etc. I like standards as reference points that can illuminate one’s own tunes and the structure of tunes too are guide posts without which, as here, players can seem to be terse in their statements and tangential to the tune and their bandmates. The presence of Matt Mitchell on this gig, given his role in some significant recent recordings was another attraction. He is touted as innovative and even leading a trio I might get that sense. But, paradoxically, there is a kind of stylish Innovation with a capital I that is generic. With at least a few exposures, I can appreciate what Alessi is on about and actually really like Hebert’s subversiveness. It was a worthwhile gig and with better production values than at Smalls. I bet I’d watch Alessi sometime in the next few months and no reason it shouldn’t be this one.
I’ve heard CAROLINE DAVIS perform music from her project of responding instrumentally to her grandmother’s poetry and I’ve heard her alto playing enough times in relation to tunes to have a sense of her aesthetic. Marquis Hill was the advertised trumpeter and I’d have been interested to see him again, but Kenny Warren was perfectly capable. Davis gave the two of them interesting voicings, including intertwining Ornette/Cherry lines, and each, more than Alessi with Mitchell, had chances to stretch out. Julian Shore didn’t relax into things as much so he remains a cipher on piano. Chris Tordini, like Mitchell, has shown up in interesting places and he got into good mischief. I see Jimmy Macbride rather frequently so I knew what to listen for and could smile whereas Ches Smith with Alessi was extremely capable without making an impression behind the kit. He did play vibes sometimes which was both interesting and gave the Alessi gig a bit of the New Music/chamber music feel. Davis most decidedly didn’t have that particular feel as her opener and closer featured spoken word (rap/hip hop?) artist Dave Smith who was both rhythmically effective and unintelligible to an old Jewish guy who doesn’t hear lyrics very well anyway. I’m not opposed to incorporating that part of the culture into the synthesis, being well aware of how soul/funk/rock came in from my generation, but be patient with me.
I get the GALLERY part of the Jazz Gallery. That is a part of my listening, but I usually want more unqualified JAZZ.
0 notes