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Son Volt A Retrospective Rar

They ended up on an unofficial hiatus (rumors of their breakup were denied), and Farrar debuted as a solo artist with 2001's Sebastopol, putting the future of Son Volt in further doubt. He continued with his solo career throughout 2002 and 2003, and in 2005 Rhino issued Retrospective: 1995-2000.

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This includes requests for re-uploads; if you miss it, try looking for it somewhere else. Repost the rules at the top of each new page. Quote With the Obsessed and Saint Vitus in the '80s, Scott 'Wino' Weinrich all but invented doom metal (well, the parts that Sabbath didn't create), and in the 2000s, his power trios Spirit Caravan and the Hidden Hand didn't bogart the deep-focus high. Here, perhaps his most deft rhythm section (Clutch drummer Jean-Paul Gaster and Rezin bassist Jon Blank) acts as a liberating army -- trad doom, hardcore tempos, mathematic instrumentals, and a Fugazi lope ('Wild Blue Yonder') coexist perfectly with his famously piercing, rounded guitar tone.

It's change any hesher could believe in. -Jim Gross (Spin Magazine Online). Code: And then: This local Seattle-area band has been making waves in the scene for a while. They recently played at Sasquatch!, have had multiple sets at Bumbershoot, and even toured with Lily Allen. Natalie Portman's Shaved Head - Glistening Pleasure They make lovely electropop with titles like 'Me + Yr Daughter,' 'Holding Hands In The Shower,' and 'Beard Lust,' and the best part?

They're all 18 (if not younger). I played Ultimate against the lead singer and gave him a ride home after.

He's pretty chill! Another highly recommended record. Though the release of Frankmusik's debut is less than two weeks away, I cannot find a leak of this record! So for those who are just as impatient as I am, I cobbled this together from a myriad of different sources and made the tracklisting mimick the one for the UK release of 'Complete Me'. I jettisoned all the demos and remixes I could, but tracks like 'Vacant Heart' and 'Wonder Woman' are almost certainly not album cuts. The only versions of those I can find are either myspace rips or possibly unpolished demos.

For the rest, I can't be certain if these are the final versions that will appear on the record. Still, this captures his best tracks and the majority sound great, so it'll do until a HQ rip is posted (or made, as I have the album on pre-order). - I added 'Made Her Smile' here as track 15, but I don't think it will appear on the album. Quote After touring in support of their 1993 masterpiece Anodyne, the seminal alternative country band Uncle Tupelo split up over long-simmering creative differences between co-leaders Jay Farrar and Jeff Tweedy. Tweedy recruited much of the band to form Wilco, while Farrar teamed up with original Tupelo drummer Mike Heidorn to form Son Volt, the more tradition-minded of the two Tupelo offshoots.

Joined by brothers Jim (bass) and Dave Boquist (guitar, fiddle, banjo, fiddle, steel guitar), the band signed to Warner Brothers and released its debut album, Trace, in 1995. It was greeted with excellent reviews from most critics, offering a set of stark, subtle, mostly downbeat songs that drew from traditional country, folk, and roots rock. The single 'Drown' was successful on both college and rock radio, and the band subsequently added unofficial fifth member Eric Heywood on mandolin and pedal steel for its second album. 1997's Straightaways mined territory similar to Trace and again received positive reviews, though some found Farrar's lack of creative progression troubling. 1998's Wide Swing Tremolo was a somewhat harder-rocking affair, but the erosion of critical support for the group continued.

For the album, recorded in St. Louis, Farrar was joined by drummer Dave Bryson, bassist Andrew DuPlantis, and ex-Backsliders guitarist Brad Rice. Search arrived in early 2007. Quote With their limited resources, the Scroggins sisters put the boogie down in the Boogie Down Bronx. Major kudos to Universal Sound for compiling ESG's best works for A South Bronx Story, a crucial document of sparse, old school funk. Until 2000, the group's scant material had been nearly impossible to find.

The most legendary inclusion is the Martin Hannett-produced 7' EP that was originally released on Factory (later released as a 12' in the U.S. By 99 with live tracks backing it).

This release featured their trademark 'Moody,' which ended up being listed as a Top 50 classic by nearly all of New York's dance clubs; it was also immortalized on a volume of Tommy Boy's excellent Perfect Beats series, lodged between Liquid Liquid and Strafe. Like the remainder of their recorded output, it featured the three 'R's: rhythm, rhythm, and more rhythm.

Also on the debut EP was their most sampled 'UFO'; the nauseous siren trills at the beginning found sped-up use in at least half a dozen rap tracks in the late '80s and early '90s. Handy Alarm Pro S60v5 Keygen Software. Big Daddy Kane and LL Cool J used it, and the Bomb Squad slyly swiped it for Public Enemy's 'Night of the Living Baseheads.' But arguably their best moment was 'Dance' with its jumpy Motown rhythm, post-punk bass, and narrative/old school vocals. It sounds like a wild mix of the Supremes and Metal Box-era Public Image Limited.

Deborah's bass, though not as musicianly, captures the spirit of PiL's Jah Wobble copping Motown session bassist James Jamerson. It's that sort of sprited, unconscious hybrid that made ESG so unique. After all, they played the opening night of Manchester's Factory club and the closing night of Larry Levan's Paradise Garage. Code: There are quite a few differences between the mainstream release and this scrapped bootleg. For starters, the audio quality is a little bit different, as it isn't polished or tweaked. Fiona's voice has a rawness to it that's jam packed with so much emotion that it's sometimes hard to tell whether she's almost crying or drunk. There are only 11 tracks on the bootleg as opposed to the 12 tracks on the official release (The bootleg does not contain the track Parting Gift).

The arrangements of some of the tracks are completely and totally different on the Brion version than on the Sony/Epic release. I almost prefer the bootleg to the official release, but I love them both. This is probably one of my favorite Fiona Apple records (and I keep pining that she'll release something new. Aside from the EP she's featured on, which I can post here later if anyone wants it. It's a jazz tribute to Cy Coleman).

This is absolutely a must-have. Get it or else. Quote As the story goes, Not Exotic grew out of vocalist/guitarist Al James' quiet home recordings. As contributors were gradually acquired, so did an identity for the project, and Dolorean was born. But even with the addition of understated percussion, shimmering synth and piano, and stately cello, the record still runs on James' sharply rendered lyricisms and quietly deliberate guitar work. In first-person musings like 'Hannibal, MO' and the incredible opener, 'Morningwatch,' the spaces between chords linger like low-lying morning fog, and accompanying instruments drift in and out of focus, as late-night memories often do. This confessional or diary quality aligns Dolorean with avant folk, but it's not that simple.

Tracks like 'Traded for Fire' and 'Still Here With Me' seem like slowcore as they surge quietly toward resolution; they suggest an acoustic Bedhead strumming along with Neil Young. It doesn't really matter where the characterizations lie -- the album's rustic, well-appointed feel is just plain comforting. Friends pass easily through James' lyrics, just like they do as collaborators. Elsewhere, there's a sense of escape from life and love. 'Sometimes I try to be a fighter pilot,' he imparts over the barely ascertained wee-hours groove of 'The Light Behind My Head.'

'And I'm always ridin' alone in the cockpit/If I lose my mind/I'll just press eject/And drift down/Like a lazy dove.' The drifting metaphor is a key to Not Exotic's whispered wow and flutter. 'Sleeperhold' might run a bit too long, but its formless wane is the only time the album looks too far inward. For the rest of its lilting yet crisply defined span, Not Exotic glistens like the ghostly circus organ winking in the depths of 'Jenny Place Your Bets.' Quote In late 2003, Al James and Dolorean made some gentle waves with the Yep Roc-issued Not Exotic. The album had an endearingly offhanded quality about it, as if the songs were sung straight from James' tattered lyric book. But there was also a palpable gravity in its mixture of indie folk and quietly surging, nearly slowcore arrangements. Download Free Liebermann Piccolo Concerto Pdf Creator.

For 2004's Violence in the Snowy Fields, James has lost none of his flair for lucid storytelling. But his songs are more expansive and dynamic, and supported by a wider range of instrumentation. Drummer Ben Nugent puts a country tavern two-step into opener 'The Search,' and the title track is an homage to the Band with its crackling electric guitar, layered harmonies, and easygoing sway.

And 'Dying in Time' is a gorgeous orchestral pop thrill, complete with a string quartet, vibes, and dramatic lyrics that wax smoothly about love and death. Though Dolorean makes these stylistic leaps with confidence and grace, fans of the first album's sparer moments won't be disappointed with Violence in the Snowy Fields, from the atmospheric pedal steel and nightmare meditations of 'Put You to Sleep' to the skeletal acoustic picking and fragile delivery of 'In the Fall.' 'You should let me know/If you think of me at all,' James sings in a wavering high register, and his loneliness feels heavier than a stone. Other highlights of the album's softer side include 'My Grey,' a Clem Snide-ish number with brushed strings, told with James' trademark first-person honesty. Offering both fragile guitar ballads and full-band backbone, Violence in the Snowy Fields is an engaging, quietly rewarding listen. Avec.you posted the Radical Face record, right? Outstanding stuff.that made me d/l the rest of his discog.

I would start with You Can't Win, I think it's their most layered work to date, though there is more of an alt-country tinge rather than the folksy americana that filled their previous records. 'Heather Remind Me How This Ends' was one of the singles, even featured on a Paste magazine disc, I think. If you enjoy You Can't Win, you almost certainly will enjoy the other two. Violence in the Snowy Fields features some great CSNY-esque tracks like the title track, 'The Search', and 'To Destruction' while Not Exotic has the outstanding opener 'Morning Watch' and the beautiful 'Sleeperhold'.

Delia Derbyshire Audiological Chronology Delia Derbyshire An audiological chronology If you care about the Audiological Chronology Thank You!:) Version 2.34,?? October 2013 () The is new! Contents • • There is some new stuff here: • A, including detailed biographical info for her childhood •: a 1970 newspaper article, complete with photo. • A with John Cavanagh and Drew Mulholland • A on how he met Delia and on how the 'An Electric Storm' album was made • The Performing Right Society's records for works credited to and to, listing dozens of unknown pieces.

• The, Winter 2001. Delia was born on the 5th of May 1937.

' I was always into the theory of sound even in the 6th form. The physics teacher refused to teach us acoustics but I studied it myself and did very well. It was always a mixture of the mathematical side and music. Also, radio had been my love since childhood because I came from just a humble background with relatively few books and radio was my education. It was always my little ambition to get into the BBC.

The only way into the workshop was to be a trainee studio manager. This is because the workshop was purely a service department for drama. The BBC made it quite clear that they didn't employ composers and we weren't supposed to be doing music.' -- Delia, in the, 24 Feb 2000 Delia joined the BBC Radiophonic Workshop in 1962. Delia's BBC Studio Undated 1962 1963 1964: 1. 1965 1966 1967 1968 album: 1.

1969 album: 1. (9 themes) 4.

1970 1971 1972 album: 1. (rhythm only) 11. 1973 1975 2000 I have no date for the following pieces. Please get in touch if you know more about any of them. (1:44) A version of Bach's 'Air on a G String, 'which she dismissed as 'rubbish', though it has a fair number of admirers.'

Released on 10' vinyl 'Music from The BBC Radiophonic Workshop' by Rephlex as CAT147LP (2003) Released on vinyl 'BBC Radiophonic Music' by BBC Records as REC25M (1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002) Her papers contain detailed notes and tape labels for the creation of sound for what appears to be a two-act play produced in collaboration with F. Chagrin and S. This may be Sandy Brown, composer of the score for 'Searching'. (5:34) 'pretty much defies description and is all the better for it; you don't want to have to resort to mere words to describe such a perfect sound, utterly deserving the self-definitive title Delia so knowingly gave it.' -- It can be heard as the backing music to at about 19'30'.

Released on 10' vinyl 'Music from The BBC Radiophonic Workshop' by Rephlex as CAT147LP (2003) Released on vinyl 'BBC Radiophonic Music' by BBC Records as REC25M (1971 and 19 May 2003) and on CD as REC25MCD (26 November 2002) Released on 'Doctor Who Volume 2: New Beginnings' Her papers contain two half-sheets of handwritten manuscript score for Music to Undress to, one with the theme and chords, the other with the bass accompaniment. Here, we provide these fragments recreated using: • typeset as a and • to listen to as a file. (0:24) Released on 10' vinyl 'Music from The BBC Radiophonic Workshop' by Rephlex as CAT147LP (2003) Included in CD 'BBC Radiophonic Music' by BBC Records as REC25MCD (26 November 2002) A note in her papers (DD073025) says that 1 minute 18 seconds of her music for 'Travelling in Winter' (TRW 7417) was renamed 'Dreaming' for issue as track 17 of the BBC record of sound effects 'Out Of This World'. 1962 (1962) (1:12) 'One of her earliest contributions - 'Time On Our Hands' - is a superb subversion of a phrase which would normally evoke (especially in the context of 1962) new-found affluence, spare time and leisure, now rendered alienated, distant and isolated.' -- In her papers, she writes 'TRW 4060 - The Future - 1987' and 'Don Haworth, Manchester, 20th August'. (Don Haworth is a british playwright and documentary maker). Released on 'BBC Radiophonic Workshop 21' by BBC Records & Tapes, REC354 (1979).

(July 1962) Her papers include her score dated July 1962 for Science Serves the Arts, a science series for 6th formers broadcast 10.1.63 - 14.2.63. -- (August 1962) (0:23) Her papers contain her score for A.S.& I., dated August 1962. From her notes, it appears to be an 'arabic' version of hers of a theme for a TV programme 'Science and Industry' for which a theme had already been created? We don't know if her version is based on their melody or not. It also gets called 'Arabic Science and History'. Released on 'BBC Radiophonic Workshop 21' by BBC Records & Tapes, REC354 (1979).

1963 (1963) (0:58) 'a devastatingly effective appropriation of the 1930s hit 'Get Out And Get Under'.' -- The original song was by Maurice Abrahms. Released on 'BBC Radiophonic Workshop 21' by BBC Records & Tapes, REC354 (1979).

(1963) Her papers contain a copy of a note to the Associated British Picture Corporation dated 25 April 1963: For creating the 'In a Monastery Garden' sequence of 'The Cracksman'. The instrument is an Eb safe-unlocking mechanism! Hope you like it Delia Derbyshire Although the 1963 Charlie Drake comedy film by ABPC contains a short sequence in which Drake and some prisoners escape briefly into the prison grounds, its music is orchestral and has nothing matching Delia's description or style. A short synthetic sound effect is used near the end of the film while Drake is using an electronic device to open a museum's safe; it consists of a sine wave of varying frequency followed by some feedback noise (at which Drake makes a pained expression). (April-May 1963) In her papers are her notes for a piece she calls 'F.

(TRW 5053), carried out 26th April to 6th May 1963 in collaboration with David Lyttle. (May 1963) Her papers include notes for 'Oliver Twist' in collaboration with playwright Richard Wortley.

In her papers are her notes for the creation of a 'Radio Newsreel Signature Tune', with work to start 26th July 1963. (August 1963) '[The Doctor Who theme is] the single most important piece of electronic music'.

-- Adrian Utley of Portishead 'Her recording of Ron Grainer's Doctor Who theme, one of the most famous and instantly recognisable TV themes ever' and ranked as the 76th greatest song of the '60s. ' In those days people were so cynical about electronic music and so Doctor Who was my private delight. It proved them all wrong.' -- Delia in 1993, according to ' The first producer of Doctor Who, Verity Lambert, she had in her mind Les Structures Sonores, this group from Paris.

Their music sounded really electronic but in fact they were all acoustic instruments and because the Radiophonic Workshop was a below-the-line cost she came to the Radiophonic Workshop and the boss recommended Ron Grainer because he had done something called 'Giants of Steam'. Ron saw the visual titles, as usual something like a black and white negative, and he took the timings and went away and wrote the score.' ' On the score he'd written 'sweeps', 'swoops'. Beautiful words. 'wind cloud', 'wind bubble'.

So I got to work and put it together and when Ron heard the results, oh, he was tickled pink!' -- Delia, in the ' It was a magic experience because I couldn't see from the music how it was going to sound.' 'She used concrete sources and sine- and square-wave oscillators, tuning the results, filtering and treating, cutting so that the joins were seamless, combining sound on individual tape recorders, re-recording the results, and repeating the process, over and over again. When Grainer heard the result, his response was 'Did I really write that?' ' Most of it,' Delia replied.

-- In an official history of the first 25 years of the BBC Radiophonic Workshop, Delia tells how she created the Dr Who theme tune with a series of 'carefully timed handswoops' over oscillators. Dick Mills, who helped Delia create the piece, says: 'We started with the bass line. You know those 19-inch jack-bay panels? You could get blank panels too, to fill in between them. They were slightly flexible, so Delia found one that made a good musical twang and played it with her thumb. We recorded it then vari-speeded up and down to different pitches, copied them across to another tape recorder, then made hundreds of measured tape edits to give it the rhythm.' And what was the main tune played on?

'It was just a load of oscillators -- signal generators -- that someone had connected to a little keyboard, one for each note.' But what about that distinctive portamento?

'Well, you just twiddled the frequency knob, of course -- how else?' Eventually, after some pre-mixing, the elements of the entire composition existed on three separate reels of tape, which had to be run somehow together in sync. 'Crash-sync'ing the tape recorders was Delia's speciality,' says Dick. 'We had three big Phillips machines and she could get them all to run exactly together.

She'd do: one, two, three, go! -- start all three machines, then tweak until they were exactly in sync, just like multitrack. But with Doctor Who we had a bum note somewhere and couldn't find it! It wasn't that a note was out of tune -- there was just one little piece of tape too many, and it made the whole thing go out of sync. Eventually, after trying for ages, we completely unwound the three rolls of tape and ran them all side by side for miles -- all the way down the big, long corridor in Maida Vale.

We compared all three, matching the edits, and eventually found the point where one tape got a bit longer. When we took that splice out it was back in sync, so we could mix it all down.' -- Dick Mills, ' in Sound On Sound magazine, April 2008. ' I did the Dr Who theme music mostly on the Jason valve oscillators. Ron Grainer brought me the score. He expected to hire a band to play it, but when he heard what I had done electronically, he'd never imagined it would be so good. He offered me half of the royalties, but the BBC wouldn't allow it.

I was just on an assistant studio manager's salary and that was it. And we got a free Radio Times. The boss wouldn't let anybody have any sort of credit.' -- Delia, in By comparison, when Kara Blake wanted to include a sample of the Doctor Who theme in her Film Board of Canada-sponsored film, the BBC quoted her $1000 per second, which would have consumed her entire budget for the film. The version that has Delia's stamp of approval is the 1:30 version broadcast during the BBC Radio Scotland interview. ' I think every time a new producer came or a new director came they wanted to tart it up, the title music, and they wanted to put an extra two bars here, put some extra feedback on the high frequencies. They kept on tarting it up out of existence.

I was really very shocked at what I had to do in the course of so-called duty.' -- Delia, in.