Tag: music

~ Mark

noiseforairports:

A lovely little infographic from Neven Mrgan, comparing the durations of Gould two major recordings of Bach’s Goldberg Variations:

Here’s a little chart I made. Glenn Gould recorded two remarkably different versions of Bach’s ‘Goldberg Variations’. The 1955 version is fast, virtuosic, and energetic (even frenetic). The 1981 version is deliberately paced and elegant. They are both dizzying masterpieces.

Most people prefer one over the other. On an average day, I will favor the 1981, but only by about 5%. I am very glad that both of them exist.

(Click for full size, please)

A State of Wonder was one of my favorite albums of 2008. I’ve been meaning to go back and listen through again, but alternating between the 1955 and 1981 versions for each variation. I think I also prefer 1981 recording.

~ Mark

The better the singer’s voice the harder it is to believe what they are singing.

David Byrne (via ). I heartily disagree, although it is good food for thought and I don’t necessarily think the opposite is more accurate. What’s more interesting is how/why these kinds of aesthetic details become/remain valuable to us.
~ Mark

thingsiatethatilove:

AllHipHop.com: With “Shooters,” did you hear the original version by Robin Thicke and just wanted to redo it?
Lil’ Wayne: Yeah, hell yeah. I heard it years ago, on his album.
AllHipHop.com: Do you think that would surprise people, like, “Weezy listens to Thicke?”
Lil’ Wayne: Fuck people.

(via Leon)

Colin Marshall: Openearedness

~ Mark

I went to City Skies Electronic Music Festival again last night and it reminded me of Colin Marshall’s post:

Take heed, experimental music-loathers: it’s not that us enthusiasts possess (or believe ourselves to possess) some higher discernment that allows us to draw infinitely more pleasure from the same sound waves you can’t stand. It’s that we enjoy the culture surrounding it.

Or at least I do; it’s the one live music “scene” whose adherents don’t irk me in some distinctive way. The experimental crowd lacks the pious immortal-worship of jazz fandom, the dried-out shushery of the classical set or the pro forma disenchantment/enchantment of young rockdom, replacing it with a relaxed yet eager openmindedness. Or openearedness. Whatever. The point is that they’re willing to listen seriously and see what sort of an art experience results, pretty much no matter what.

Colin Marshall: Openearedness

~ Mark

Interview with Carol Kaye | WMLB 1690 | The Voice of The Arts.

Scott Glazer speaks with one of music’s most prolific bass players, Carol Kaye. Kaye has played on over 10,000 recordings in her career including her work with the Beach Boys, Frank Zappa and as Phil Spector’s go-to bass player. Scott and Carol talk about her history in recorded music, how it all started and how an accidental session with Sam Cooke changed her life forever.