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The Music Thread

Mowl said:
No.

I don't fucking care who Xurion is.

Different thing altogether, Shay.
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"Don't know, don't care." - Mowl

Mowl said:
I like musicians who can play their instruments, not the type who use the demonstration tune on the latest plastic keyboard from Taiwan as a backing track.
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It's called fashwave

Mowl said:
Radiohead have passed their prime. I've seen them three times, but never paid for the tickets. I make my own, you see. It's one of the better sidelines of being a calligrapher and design artist: I look at the poster advertising the show, see which record they're touring, collect the tiny amount of information required, and then head down to the print shop to run off a few laminated AAA passes which are shared among my crew and a method of two in/one out employed to get us all in through the stage door/backstage gate.

I met Johnny Greenwood before Radiohead played The Olympia back in the early 90s: he was having a beer with his lady in the Globe, one of my old haunts. I mentioned that the gig was totally sold out for weeks and that tickets were at a premium. He apologized that he couldn't get me in on the guest list as their management handled that, so I showed him a laminate of my own and he bust a nut laughing. Later that evening, I got somewhere between fourteen to sixteen friends in. They rewarded my stunt with copious amounts of free beer during and after the show.

Do I ever feel bad about forging passes? Fuck no. If someone did it to get into a gig I was playing, I'd congratulate them. As would many artists, like Bowie, whose (very tight guest list) show at The Factory production studio I attended. He introduced his wife, Iman. He was cool, down to earth and up for a laugh. Same with many other international artists I've met over the years. So I handed him my fake AAA and he bust a nut laughing. So did Jamiroquai. As did Sade. Not Van Morrison though, because I know better than to approach him. He's not people friendly, so it's best to keep a safe distance.

Life's supposed to be fun, Jimmy.

A little ducking and diving can open many doors to those adventurous enough to blag their way in.

This is how I rub shoulders with the global elite in many different areas of art, music, and sport.

I know it bothers you that your life thus far has only washed you up on the shores of losers like Coldcut/Woodbines/Magron.

But that's not my fault - it's your own.

Try to live a bit before you die, Jimmy - y'know: enjoy yourself.

It's later than you think.
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Electricity said:
"Don't know, don't care." - Mowl
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Now you've got it.

Electricity said:
It's called fashwave
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Nah, it's called the demonstration tune. Every Casio keyboard has one based on the available sounds and the parameters around them. They're designed to be ear-worms in the same manner the Simpson's theme is arranged: it gives you a variety of sounds that are both familiar and strange. Balance them just right and now you've got a niggling little tune you can't get out of your head. You find yourself in the kitchen cooking and realize you're humming it. You're sitting on the jacks and it's going round and round your head while you sit there contemplating life.

Even digital watches have them.

Pretty much every programmable drum machine I've ever used has one.

The classic Roland R5 Human Rhythm Composer is an unbeatable studio option. Written and arranged in standard yes/no 0/1 it has a unique number of features you won't find in any other rhythm composer. It has what's called 'human feel' options where the loop you just created can feature an added 'human' factor of varying degrees which does a number of things:

Shifts single notes just a millisecond off beat in either direction.
Create a juxtaposition of on beats and off beats that vary slightly in volume and attack.
How hard you hit the pads when creating the loop, the memory stores that information and uses it to offset random dynamics.
Offers you not only several hundred sounds on the card, but also five parameters for editing the basic sample.
When the 'human' factor is added, the machine takes over and offers you a variety of 'feel' and 'swing' factors.
Everything you hear in the demonstration tune is available to use - if you know how to create/sculpt the sample sound database.
All you need to do to hear the demo is turn the little fucker on - it's your first option on start-up.



Mine is over in the corner mounted on my Roland digital drum-set, which I use for teaching the kids.



That's Benni and Joa, two of a friend's kids: I programmed the pads on the kit to trigger farm animal/zoo sounds so they could have fun with the samples before trying to make them 'sing'. Kids are fascinated by the interfacing of everyday things into digital samples. I can even sample their voices and make a complete set of drum/cymbal sample responses so they can hear themselves both sing a melody (of samples) and then harmonize with it in real time. Kids are brighter than you might think, Jimmy. Give them the right tools and adequate encouragement and see them take to their wings to fly.

You can stick to the basic three chords and a few Oasis b-sides.

That's as deep as music will ever be to you, kid.
 
Didn't Harrison and McCartney hate Oasis?

www.irishtimes.com

Dried-up Oasis

When Paul McCartney had the temerity to publicly criticise Oasis last month, there was the familiar sound of floodgates opening…
www.irishtimes.com www.irishtimes.com
 
Here, Jimmy - something for you to dance to:



David said:
Didn't Harrison and McCartney hate Oasis?

www.irishtimes.com

Dried-up Oasis

When Paul McCartney had the temerity to publicly criticise Oasis last month, there was the familiar sound of floodgates opening…
www.irishtimes.com www.irishtimes.com
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Absolutely - considered them boy-scouts out on the weekend.
 
People with IQs less than Val's are usually Oasis fans.

I bet you a pound to a penny Jambo would give Liam Gallagher a blowjob if he asked.
 
Mick Jagger and other RS members used to hang around Leixlip back in the day. They were friends with Desmond up in the castle.
 
I suppose Oasis were popular with Britpop fans who considered themselves too hip and edgy for the Spice Girls.
 
David said:
Mick Jagger and other RS members used to hang around Leixlip back in the day. They were friends with Desmond up in the castle.
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Lots of globally-renowned people hang around with the Guinness family. My drumming hero Stewart Copeland had a kid with Miranda when they met after The Police concert when I was knee-high. Great day out, U2 did a set using Wavin piping to spell their name on the backdrop. A bearded Dave Fanning acted as compere, and Paul Young sang with some band I never heard of then and still don't know today. In the attached video filmed on the day, the sharper ears will note Larry checking his set-up before the first song by running his delay system (which he used only at the top of songs to make sure everyone was in tempo: tap the mic once and it repeats a few times giving precise count-in via the band's fold-back monitors, very clever) and that he's playing drums built by Tama, with whom Stewart had an endorsement deal. Larry was wide-eyed about Stewie's playing style. We all were. It was the newest, freshest, most unique style of playing any of us had ever heard, mixing punk with reggae, Caribbean with Lebanese and rock with anything he felt like adding in.

Later in the day some idiot flung a glass bottle at the stage which landed on Stewie's kit and left him with a gaping hole in his leg, bleeding heavily. The show was stopped. While he was out getting bandaged by someone from the St John Ambulance, Sting singled out the twat who threw the bottle by asking those around him/her to form a circle so the bouncers could get them. It was a grey day, the sound was really horrible, gaps between bands took an age to sort out, and it started to rain during the final encores which saw many make their way back to the main road to hop the bus home. I stuck around and went up to the fence on stage left where I met Andy Summers hiding under an umbrella. Said hello, shook his hand, told him I was a drummer and that Stewart was my idol. He was nice and very smiley. Neither of us had a pen or paper, so no autograph.

https://www.rte.ie/archives/2020/0715/1153493-music-at-leixlip-castle/
 
I still find it very difficult to listen to Mardi Gras type party music - or even serious blues - after losing my Louisianna-born soul brother Dustan to suicide back in 2014. We had a blues club up here in Hotel Intercontinental on Mannerheimentie for a couple of years. While the club didn't last, the endorsement deals we set up did and they earned us a club-full of sound gear which included personal instruments. In fact, the Gretsch Catalina kit I use today came from that deal.






A few short years later and Dusty and his Finnish wife hit the rocks. They ultimately moved back to New Orleans and eventually she took the kids and moved out. He couldn't handle the loss of the kids and as an ex-US Marine still had his hardware locked up in what used to be the family home. Louisianna was battered by Storm Katrina so I guess that also took its toll and he loaded up and stopped his clocks. Hit me like flying hammer.

Still got the blues today.

This is Dustan's English band Remedy Krew (formed when he left Helsinki en route to Nola via a few months in Manchester (the wife had studies there).

 
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