#galt mcdermot

[tobbogan-13]

when the moon is in the 7th house

and jupiter aligns with mars

then peace will guide the planet

and love will steer the stars

THIS IS THE DAWNING OF THE AGE OF AQUARIUS

[musicalsorwhatever]

“My Conviction” is the fourteenth song from the 1968 musical Hair: The American Tribal Love-Rock Musical. This show featured book and lyrics by Gerome Ragni and James Rado  and music by Galt MacDermot (Two Gentlemen of Verona). It was nominated for two Tony awards, including Best Musical, and it won the Grammy award for Best Score From an Original Cast Show Album. This song is performed by Jonathan Kramer as Tourist Woman.

[publictheater]

HAIR (Original Broadway Cast Recording – Premiered at The Public in 1967)

Book and lyrics by Gerome Ragni and James Rado

Music by Galt McDermot

Directed by Gerald Freedman

Featuring: James Rado, Gerome Ragni, Melba Moore, Ronnie Dyson, Diane Keaton

[pauloafonsofernandes]

"Hair" e a Contracultura

“Hair” e a Contracultura

A TIGRESA DE CAETANO

A primeira vez que ouvi falar do musical “Hair” foi na música Tigresa de Caetano Veloso: “…ela me conta que era atriz e trabalhou no “Hair”…”.

Ícone da contracultura dos anos 60 e da filosofia pacifista hippie, “Hair”, a peça teatral, estreou em Nova Iorque em 1967. A segunda metade da década de 60 ficou marcada como um período de contestação dos valores estabelecidos, de…

[howlandsmovingcastle]

maternal relationships in art mitski–class of 2013 // wes anderson–moonrise kingdom (2012) // silvia plath–the disquieting muses // greta gerwig–lady bird (2017) // lorde–writer in the dark // marjane satrapi–persepolis // galt mcdermot–hair

[proflogikbeats]

#Brazil, #cassette, #david axelrod, #exotica, #Extra Lovely, #France, #funk, #galt mcdermot, #hip hop, #jazz, #madlib, #mix, music, #new york, #pinata radio, #psychedelic, #quasimoto, #rare, #records, #stainless steele, #Stones Throw, #vinyl, #web radio

[willstafford]

Hair Bare Bunch

HAIR

The Vaults, London, Thursday 11th January, 2018

  I am lucky to catch this 50th anniversary production just before it reaches the end of its run and I can only kick myself for not going sooner and allowing time for return visits.  Ground-breaking back in 1967, in terms of sound and format, the show comes across as fresh as a daisy you might wear in your hair.  Members of the ‘Tribe’ make…

[haventyetforgotten]

July 2021

All of Me - Masayoshi Takanaka

Another Girl Another Planet - The Only Ones

Cruising With God - Milk Music

Don’t Vote - Cass McCombs

I Burn Today - Frank Black

Nothing Change - PUP

Romance of Black Grief - Les Rallies Dénudés

Space - Galt McDermot

Tumble in the Wind - Jackson C. Frank 

[airadam]

Episode 137 : Goodbye Summer

"I'm like when we turn the clocks back in October..."

- Sha

The autumn is here, but given that we're still mostly shut up in the house, it's a pretty academic point. Still, it means that musically we start looking in the hoodies and Timbs direction, and some of that cold weather flavour makes its way into this month's selection...

Twitter : @airadam13

Twitch : @airadam13

Playlist/Notes

Curren$y & Harry Fraud : 1 Luv (Roll The Credits)

Curren$y is so prolific, it feels like every time I log onto Spotify he's got something new out. This is the outro for the 2020 "The Director's Cut" mixtape, but works just as well as a low-key intro. I'd definitely recommend giving the whole release a spin.

Bagnon Titi : Love And Time

We've been to the "Smooth Grooves Beat Tape" a few times, but inexplicably not for this track until now! I personally might have preferred the mix/EQ to be a bit different on this one (more prominence to the bassline maybe), but the flipping of this well-known sample is excellent.

Nas : N.Y. State Of Mind Pt. II

"Mama should have cuffed me to the radiator" is one of the starkest, rawest lines ever, and the sad story of nine friends reduced to three is told with more efficiency than you could imagine possible. Sequels often disappoint compared to the originals, but this is a worthy successor to the first "NY State Of Mind", with Nas and DJ Premier coming back together on "I Am..." for an underrated classic.

Shyne : More Or Less

Shyne was well into his prison term for the 1999 Club New York shooting incident when "Godfather Buried Alive", his second album, was released in 2004 - understandably not on Bad Boy, but by Def Jam. The vocals were mostly pre-prison recordings with a few things recorded over the phone, and as such, it's not as coherent as you might like - but this was a great cut. A quality bit of sampling from the early days of Kanye West drives this one along, and Shyne comes with the rawness on the mic. "Hip-Hop's not responsible for violence in America / America's responsible for violence in America"? Can't argue with that.

Chemical Brothers ft. Beth Orton : Alive Alone

I remember playing this one in the headphones on many a dark, rainy night after "Exit Planet Dust" was released, so I thought it'd be a good one to include this month. Dark, slow, moody, with Beth Orton's gentle vocals over the  top - perfection.

Mayhem Lauren : Peace Dad

Back over to Queens for some flavour (pun partially intended) from one of the biggest culinary fans in the Hip-Hop game. A short and sweet two verses over Tommy Mas production from the "Respect The Fly Shit" mixtape.

[Pete Rock] Edo G : Just Call My Name (Instrumental)

It was great that the most recent release of the "My Own Worst Enemy" LP by Edo G and Pete Rock contained instrumentals of all the tracks - really makes it an essential purchase for fans of these two legendary veterans. I don't know if the bass and horn samples come from the same place, but the interplay is expertly done!

Nas, Remy Ma, Ghostface Killah, Dave East, Styles P, RadhaMUS Prime : The Mecca

Brand new heat! From the soundtrack to the new film "The 40-Year-Old Version" comes a wicked NYC collaboration that features contributions from all the five boroughs (with Brooklyn represented by Da Beatminerz on production). This one should earn a few rewinds, as all the veterans get busy.

Shabaam Sahdeeq : Pendilum

We take it back to the heyday of the underground 12s for this A3-side - it may not be an example of Chuck's Law (the main track is a killer), but it's still quality. Shabaam is all Brooklyn lyricism on the mic and Dr.Sato (on what looks to be his only production credit) uses what sounds like a sitar sample as the centre of the beat.

LMNO & Kev Brown : Who's That?

LMNO is one of the least subtle MCs I can think of, but he does his job well enough here alongside the bassline king Kev Brown on the "Selective Hearing" LP. That said, the bass is pretty sparse outside of the hook and leaves plenty of space for LMNO to take centre stage.

Torae ft. Sha Stimuli and Kel Spencer : Save The Day

I've been waiting to play this song specifically in October just for the line that I used for this month's epigram :) Khrysis is on the boards with the heat, and the trio of MCs coming with the goods on this cut from the 2008 "Daily Conversation" LP. If you haven't heard it, it's a solid release, definitely worth checking out. 

Da Beatminerz : Take That (Instrumental)

This beat may be almost 20 years old (originally from 2001's "Brace 4 Impak"), but it smacks strongly even today - a testament to the quality of the production and the engineering.

Oh No ft. Buckshot : Gets Mine

"Exodus Into Unheard Rhythms" is one of the first LPs I can think of that was based around samples from one artist only - in this case, the late multi-talented composer Galt McDermot. This track has a cross between that midnight creep sound and some majestic piano business, and while Oh No has a quality verse, bringing in Buckshot as the feature was inspired - perfect choice.

Timeless Truth : What A Life

Straight no chaser from the 2013 debut by TT, "Rock-It Science" (great title). R.Thentic chops the pianos in a serious fashion over a boom-bap beat, and despite this being on a group LP, Solace goes solo end-to-end on the mic.

Rapsody ft. King Mez and Laws : Top Five

I can't quite believe that "Thank H.E.R. Now" is almost ten years old already, but it's an entry in Rapsody's catalogue that is definitely worth going back to explore if you missed it the first time round. "Top Five" is a nice all-southern mic workout with Rapsody and Mez repping North Carolina, and Laws coming out of Florida. Production comes from Amp of The Soul Council, and if I dare say it, sounds reminiscent of mid-2000s Preemo style.

Redman ft. E3 : Ride

This track is the month's rediscovery thanks to my vinyl digitisation project - I hadn't dug it out for years!  It's drawn from the soundtrack of a 2003 film called "Biker Boyz" which, from the critical reception, I probably won't ever get around to watching, but I got this on a promo 12". Production and vocal duties are both shared between Redman and E3, and it's really well-executed within the style frame it inhabits - polished, nicely engineered, but with the funk on the low end.

Ilajide : Number One

To my ears, this man is lining himself up as ones of the kings of the bassline - not when it comes to complexity, but just the sheer sonic impact. This instrumental from "3" bangs along with a low end that will give any system a workout.

Boot Camp Clik : And So

When it comes to hoodie and boot weather, you have to include the Boot Camp Clik in any musical discussion. You'd also usually be talking about Da Beatminerz in the same breath, but this cut from 2002's "The Chosen Few" was produced by Curt Cazal, best known for his work as part of JVC Force. On the mic, the late Sean Price, Tek and Steele, Top Dog, and Buckshot of Black Moon kick it straight Brooklyn style, and it sounds very much like they may have had an issue with a certain mixtape DJ...

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[musicalsorwhatever]

“Night Letter” is the nineteenth song in the 1971 Broadway musical Two Gentlemen of Verona. With music by Galt MacDermot (Hair) and lyrics by John Guare, the book by Guare and Mel Shapiro was based on the Shakespeare play The Two Gentlemen of Verona. The show was nominated for nine Tony Awards and won two, including Best Musical. This song is performed by Samuel E. Wright (The Lion King) as Valentine and Hattie Winston (The Me Nobody Knows) as Silvia.

[uomo-accattivante]

I'll materiale di origine: The Public Theater (Facebook), @publictheaterny (Instagram) Here is the program from tonight's Hamlet performance at The Public Theater. Below is a clearer version of Oskar Eustis' introduction. *** A Note from Oskar Eustis Dear Friends, Oscar Isaac was the first actor I cast at The Public Theater. He was just finishing Juilliard in the Spring of 2005, and I had taken the job at The Public. My illustrious predecessor, George C. Wolf, had planned the summer of 2005 at the Delacorte, but the second slot had dropped out and I had to program a last-minute replacement. We hit upon a revival of John Guare and Galt McDermot's wonderful musical adaptation of Two Gentlemen of Verona (which we refer to colloquially as Two Gents), hired Kathleen Marshall to direct, and we were off to the races. When the brilliant young Oscar finished his audition, John Guare showed his yellow pad at me, and I saw scrawled there "STW." I'd learned a new acronym, Straight To Wardrobe. Oscar was simply, remarkable. His Proteus that summer was just as delightful and joyous as his Romeo two years later was heartbreaking and beautiful. (he played opposite Lauren Ambrose in Michael Greiff's exhilarating production in the Park). He has since gone on to extraordinary stardom and recognition (I can't help citing his breathtakingly beautiful performance in Show Me a Hero, one of the great television achievements of the millennium), but his roots have always been in the theater, and in Shakespeare. It is a joy to have him back. Sam Gold did a masterful job of steering Home Fun through it's development process and into glorious life, both here at The Public and then onto Tony-winning Broadway success. I watched him create four different versions of the Fun Home staging, for four different spaces (the Shiva and the Newman here downtown, Circle In The Square uptown, and the national touring company). Each time, his brilliance and vision lead to fresh and surprising revelations. He's a wonderful craftsman. But he is much more than that. From Fun Home onward he has revealed himself to be a deep and complex artist, using each production as a way to examine the human soul. His version of the glass menagerie at The Belasco this season was as courageous as it was revelatory; his production of Othello last fall at New York Theater Workshop was the most emotionally powerful version of that masterpiece that I have ever seen. Sam is one of those rare theater directors who is unmistakably working as an artist in his right. I am so grateful that he has come back to The Public for HAMLET. He has also surrounded Oscar with an acting company of breathtaking talent. As for the play? HAMLET is the greatest dramatic work in the history of the universe. I hope you enjoy! Oskar Eustis, ARTISTIC DIRECTOR

[davepetillo]

Wilbur “Bad” Bascomb’s Petillo Five String Bass! German quilted maple, Nigerian ebony center highlight and American alder back. The wooden pickup covers are layered with Nigerian ebony and German flame maple. The covers also have a European geometric motif inlay on top. Wilbur “Bad” Bascomb is an American bassist who has played on numerous jazz and funk recordings. Born in Washington Heights, New York, he is the son of Jazz trumpet player Wilbur “Dud” Bascomb, who was member of the Erskine Hawkins Orchestra, and later played with Duke Ellington for a short time. He has recorded with Galt McDermot, Jeff Beck, James Brown and B.B. King. Known for his performance on Jeff Beck’s Wired album and the soundtrack for the 1979 film version of Hair, he co-wrote “Head For Backstage Pass” a riff-based jam featured on Wired, in which he plays an extensive bass solo in the introduction. His song “Black Grass” from his Black grass music album was also included in the influential breakbeat compilation Ultimate Breaks and Beats. Wilbur is currently playing bass in the Lion King on Broadway.

[berlysbandcamp]

Designed like a ’70s movie soundtrack, with the perfect hijacking artwork this album is a future now crate digging target. Built like a narrative scenario, scene after scene, each composition deploys uniqueness, the compositions depict a rich range of situations, moods, and intrigue.

Brilliantly composed, produced and interpreted by Charif Megarbane, playing himself all instruments, track after track, each song is a one man piece of art. Chiseled drum breaks, evocative bass and stirring melodies are a part of a bigger plan, sprinkled with subtle sound effects. “Les Sourdes Oreilles” is a long artisanal goldsmith work, cooking occidental classic jazz funk tradition into an afro oriental kitchen. It’s what make this release so awesome, unique and necessary to our deaf ears. This is a heavy rare groove material.

As you can imagine looking to the cover, this is all about legendary cinematic jazz funk, in the continuum of US, Italian and French composers of the ’70s like François de Roubaix, Piero Piccioni, David Axelrod, Piero Umiliani, Galt Mcdermot, Alain Goraguer and Janko Nilovic

[danteross]

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Run-DMC Down With The King— This 1992 hit would be the last “Hit” for the mighty Kings From Queens. This @realpeterock produced hit was a comeback of sorts for RUN and them. It was there biggest charting single since Walk This Way. Featuring Pete And CL Smooth on guest verses and Petes Galt Mcdermot flip ( Where Do I Go from Hair) this one sounded like a classic Pete Rock jam and was a vast improvement from the prior RUN-DMC record which found them rapping over several new jack swing beat. Petes verse for me is the show stealer as he starts it with a couplet from Sucker Mc’s. Love when Pete rhymed back then, he has a extra groovy voice. This record always makes me happy when I hear it, I love RUN-DMC they were the group that sold me on Hip Hop for life. The first group that dressed like the audience instead of looking like a wannabee Rick James or some corny shit. There aggressive rapping style sold me the dream way back in 86. Yeah its a repress big deal its still dope as hell! #SaluteRUNDMC #JMJ RIP #SalutePeteRock #SuperDiscoBreakin (at Los Angeles, California) https://www.instagram.com/p/Bq-RRXjhBQT/?utm_source=ig_tumblr_share&igshid=14bc00zlat9dj

[phillipdrummond]

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A post shared by phillipdrummond aka Dr. Beats (@phillipdrummond)

For @sarah2ill #2ill #beatmaking video feature! Just me messing around in #ElSalvador demoing Simpler sample chops on Ableton with Galt McDermot “Coffee Cold” sample. . PhilthyDrummond here from #oakland (originally #nyc now Fresh Coastin) using @ableton #abletonpush2 and @flstudio_official bringing that #boombap #BoomTrap #lofi #Futureknock #beats reppin @todaysfuturesound (my non-profit that teaches kids #beatmaking in Oakland and across the world! . I have lots of influences including @djpremier @vrse_murphy (changes the game of #sampling for me), @portisheadmusic / Geoff Barrow @djshadow @thereallyrealelp @qtiptheabstract @equalibrum Bossasaurus @mophono @rza @djmuggs_the_black_goat_ @realpeterock @chriskeysbeats @blum.music @decapmusic DJ Touch�� of The Wiseguys, @officialfatboyslim @daftpunk @necrorules @poetiqbeetz @aspectmccarthy and the thousands of beat makers I’ve encountered while putting on over 1,000 #beatbattle events on 6 continents. . . . . #BEATCULTURE #mpc2000xl #lofi #lofihiphop #digfindlistensamplechoprepeat #hiphoped #beats #beatmaking #boombap #mpc #808 #boomtrap #todaysfuturesound #producerlife #mbls #oakland #hiphop #beatscene #beatset #hiphop #artoflivebeats #MBLS (at El Tamarindo, La Union, El Salvador)