From quirky, stripped-back techno injected with soul to deep, dub-inflected excursions, Deepchild has earned himself a reputation as groundbreaking producer, respected DJ and electrifying live-performer. Based in Berlin, the Australian artist has performed at many of the world’s most respected electronic music institutions:
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Dead Wild Roses: The DWR Friday Musical Interlude – Everything Your Voice Teacher Says NOT to do.
Singing is not about the notes. Singing is about putting words and sound together into a formless, yet structured package that allows you to express a feeling or sentiment. One aspect of making a performance “come to life” is correctly using the text of the song to express the feeling
Continue readingMelissa Fong: Weekend Party Announcement- Guy Gerber in Toronto – 2013 BLOGCEMBER 13/31
Guy Gerber is probably one of my favourite Deep House Dj’s. Scratch that- he is my favourite. He performs way more in Ibiza (and Miami) that I would respect (I… have a hate-on for my fictional image of Ibiza), but he just creates such solid tracks. I also like his
Continue readingMelissa Fong: Physicality of Djs- 2013 BLOGCEMBER 12/31
There are some Djs that have a great physical presence behind the decks- I’m not just talking about a “bounce” or a head bop that most Djs will indulge in:
Continue readingMelissa Fong: Why I don’t like outdoor music festivals- 2013 BLOGCEMBER 11/31
Outdoor festivals never have good dancing- it’s a mosh pit of drunk or drugged out people (aka- eff your overpriced, overpriced outdoor EDM Festival). Outdoor festivals don’t have optimal sound systems- open air spaces never properly contain the sound and part of the art of the music-event is to get
Continue readingThe Canadian Progressive: Neil Young’s 4-city concerts to benefit First Nation’s tar sands fight
Neil Young’s 4-city Canadian concert tour to raise money to support the Athabasca Chipewyan First Nation’s legal defense against tar sands developments. The post Neil Young’s 4-city concerts to benefit First Nation’s tar sands fight appeared first on The Canadian Progressive.
Continue readingMelissa Fong: What time do I go to a party?- 2013 BLOGCEMBER 10/31
This is probably the most important factor for me. There are typically anywhere in between 3-8 7 people on the bill for that night at your typical party with one room. I like to listen to a sample set of most of the Dj’s and decide which ones I want
Continue readingMelissa Fong: Ben Klock -breakandenter + Box of Kittens Party Review- 2013 BLOGCEMBER 9/31
Part of my BLOGCEMBER 2013 series- the Theme is Electronic Music *** As always, let’s set the mood: *** Ben Klock did almost a 2.5 hour set on Saturday night at […]
Continue readingMelissa Fong: Weekend DJ Feature: Nautiluss- 2013 BLOGCEMBER 8/31
I don’t even know how I became quite as obsessed as I am with Nautiluss- I don’t even like his individual tracks that much- I just honestly like listening to his sets….
Continue readingMelissa Fong: Weekend Party Announcement- Ben Klock in Toronto- 2013 BLOGCEMBER 7/31
One of the nice things is that Ben Klock is one of those legit artists that is still danceable. If you’re just getting into techno it’s a bit of a different style in terms of “the dance”. Techno tends to have a more frenetic… higher tempo beat than house. There’s
Continue readingDead Wild Roses: The DWR Friday Musical Interlude – Nuages – Debussy
The three movements are: Nuages (“Clouds”) Modéré – Un peu animé – Tempo I – Plus lent – Encore plus lent. Fêtes (“Festivals”) Animé et très rythmé – Un peu plus animé – Modéré (mais toujours très rythmé) – Tempo I – De plus en plus sonore et en serrant
Continue readingMelissa Fong: Seeing a DJ is like going to a concert- 2013 BLOGCEMBER 6/31
If you go to these parties a lot- sometimes you’ll even see an entire crowd just facing forward to the DJ and watching him spin- they may crush up against the front to watch the details as soon as they come on stage. It truly is a concert experience.
Continue readingMelissa Fong: Ticket Price: What should you pay for a good party?- 2013 BLOGCEMBER 5/31
The purpose of writing this is to let you know that price points depend on a lot of things and I want people to make decisions on genuine qualities rather than buying into a scene. The problem I am seeing with a lot of parties lately is that they have
Continue readingMelissa Fong: Techno/House Party Guide: How to find the best parties Part 3 of 3- BLOGCEMBER 4/31
Once you get to know like-minded party people- keep in touch with them. I went to this relatively tiny no-name club in London while there were droves of people who rsvp’d for some of the bigger names and ended up meeting a bunch of people who set me up with
Continue readingMelissa Fong: Techno/House Party Guide: How to find the best parties Part 2 of 3- BLOGCEMBER 3/31
I’ll tell you the secret of a good dance party: If you walk in and see people dancing alone/ separately, you have hit gold. Good techno/house parties are not cliquey or sexualized grinding orgies. People go there to DANCE and they don’t need to wait for anyone else to start
Continue readingMelissa Fong: Techno/House Party Guide: How to find the best parties Part 1 of 3
For AW. What to look for in a good party. I was talking to my good friend who wanted to start going to good techno/house parties but didn’t know where […]
Continue reading350 or bust: Saturday At The Movies
I know tomorrow is the first Sunday of Advent in the Christian calendar (as well as the first day of December), but I can’t resist posting this today. I confess I’ve been listening to carols for a week now, since the snow blanketed my part of the world winter wonderland
Continue readingDead Wild Roses: The DWR Friday Musical Interlude – The CBC Signature Series – B major The Artist
In music theory, B major is a major scale based on B. The pitches B, C♯, D♯, E, F♯, G♯, and A♯ are all part of the B major scale. Its key signature has five sharps. Although B major is usually thought of as a remote key (due to its
Continue readingZorg Report: A Brief History of "Oh So Many Years"
_1_
Norah Jones and Billie Joe Armstrong (2013)
starts at around 23:28, so go back.
–Billie heard the Everlys’ Songs Our Daddy Taught Us, and thought, since he was rich and famous, he’d like to cover it. His wife urged Norah, who he’d once met at an awards gala, as someone to do it with him. So it happened, over a total of 9 days. The Everlys, of course, came from a steeped tradition going back generations. But if you’ve got the money and a hint o’ time, well, that cures all defects.
_2_
The Everlys – Songs Our Daddy Taught Us (1958)
–This must have been a bit of a weird album; after a couple of big hits like “Wake Up, Little Susie” (banned in Toronto in ‘58), the Everlys had to provide more content, overnight. So. . .songs they knew from youth and had sung forever. Even Phil at 76 admitted that they didn’t really know what they were singing; they were just striving for good harmonies and music and to please an audience and so on.
They explicitly used only an acoustic guitar and bass; they wanted the songs to sound like they would be heard on a porch. What they knew. What they had.
Or that would give cache’, too, a bit like Billie Joe and Norah now.
Notice _1_ sounds like a cacophony with all kinds of things happening at the same time so that the import of the song, lyrically, is lost. Drums destroying any sense of the music.
I like how the Everlys’ voices hadn’t even seemed to break by 20; Kentucky never met science. Those steel-stringed acoustics, those voices like silken filaments (ever tried to break silk?). Vulnerable, enduring, frail, resonant.
_3_
The Bailes Brothers akaThe Bailey Brothers (1949)
Of course, nothing comes from nowhere, and the Everlys (songs our daddy taught us) learned from the Bailes, or Bailey Brothers; that’s where they got the harmony. The Everlys’ dad could easily have introduced this one, since it was in his puberty.
The steel guitar put the melancholy in the song, and the banjo lends the bouzouki-type sound; if one hasn’t a grand piano or a sophisticated horn or wind instrument, one has voices or banjo with its available steel strings. Notice this sound.
Importantly, Billie Joe Armstrong made Norah Jones swear that she would listen to no other versions of the Everlys’ album. Clearly, however, he did; his entire approach to the song, and obviously the lead riff from _1_, is based on the original by the Baileys. Yep, women. Keep ‘em in the dark. Never let them know or they might mess it up. Billie Joe just wanted to make sure Norah sang the high Don part. This overproduced version, _1_, actually loses something by Jones not being ½ way in control of the song, as she isn’t. It gets throwaway honky-tonk instead of meaningfully moving. Still, good song; captivating, captive female; I can get into that, but in the end I’m a man and it ends up being a long way from a “Rocking Good Way” with Brook Benton and Dinah Washington.
_4_
This song is not about Billie Joe of Green Day, or Norah Jones; it’s about a young girl, and that’s where this great music came from. Would Billie Joe, or Norah, or for that matter even Phil or Don Everly, choose “oh so many years” as a chorus line?
so _5_
The song was written a long time ago by a woman for a man. The later renditions are great, as I’ve said above, but I am haunted by the missing voice in this song. And that’s the lead voice of the woman in this song, and also the one who wrote it. It sure ain’t, ain’t, ever Billy Joe. I hope a great female singer will do this song again one day and put it in its rightful place in the country pantheon.
-zr
Zorg Report: A Brief History of "Oh So Many Years"
A Brief History of “Oh So Many Years” _1_ Norah Jones and Billie Joe Armstrong (2013) https://www.youtube.com/watch?v=q7lZhbCZ4QQ starts at around 23:28, so go back. –Billie heard the Everlys’ Songs Our Daddy Taught Us, and thought, since he was rich and famous, he’d like to cover it. His wife urged Norah,
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