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foxes-that-run · 7 months

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Little Freak

Did you dress up for Halloween? Little Freak is a sweet song, Harry is thinking about an ex and looking at the relationship with distance. It has many references to Taylor. It was written when he was in Tokyo Oct-Dec 2018. Taylor had her last Reputation concert 21 November, 2018 in Tokyo.

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Little Freak was written on bad rental gear, he said it went through 19 versions before finally being on Harry's House. Ophelia is possibly written at the same time, it references Tokyo. TBSL is similar, references Taylor in a similar way, but Harry said it was written in Bath later.

To Howard Stern, Harry said if a song didn't make a previous album why would it make this one, however noted 2 songs on Harry's House are older, but they fit sonically on the album. There is another great post here.

Lyrics

Little freak, Jezebel You sit high atop the kitchen counter Stay green a little while You bring blue lights to dreams

Jezabel is possibly a reference to 'Slut!' Taylor also references this line in the opening of the Bejewelled MV "the prince would not have anything to do with that Harlot again."

Harry references kitchens in Haylor songs Sunflower Vol 6 (kiss in the kitchen), Two Ghosts (fridge light washes the room white), here it is a device to remember a calm intimacy with his muse

A Blue film is an adult film, the last line is a wet dream.

Starry haze, crystal ball Somehow, you've become some paranoia A wet dream just dangling But your gift is wasted on me

The starry haze, crystal ball is a reference to the Ready for it...? MV. Which is about Harry, he also referenced it in To be so Lonely. Ready for it also references a sexual dream "In the middle of the night, in my dreams (eh) / You should see the things we do (we do), baby" It was an impressive tour open too.

The paranoia refers to the complicated nature of their relationship (Fine Line, DBATC) he is asked about her a lot and while their songs imply they interact, they are almost never seen together so they may work hard at that.

The wet dream, just dangling, to me means unfinished business with her that he doesn't know how to resolve.

He feels her musical gifts are wasted on him, (they aren't Harry, you're the best muse)

This producer video comments on the use of a Linn drum machine as something Jack Antonoff uses on Taylor Swifts songs. (26:30)

I was thinkin' about who you are Your delicate point of view, I Was thinkin' about you I'm not worried about where you are Or who you will go home to, I'm Just thinkin' about you

This verse refers to another Haylor Reputation song, Delicate, which also tells of sexual tension. However, here Harry uses the song title to flatter her and adds that he is not feeling possessive, just thinking of her.

Did you dress up for Halloween? I spilt beer on your friend, I'm not sorry A golf swing and a trampoline Maybe we'll do this again

This verse refers to Taylor and has links back to their time dating.

Taylor does dress up for halloween, like this 2014 1989-era Pegacorn. Harry and Taylor were also both in Tokyo a few weeks after Halloween

The spilt beer is often thought to be this photo of him with Karlie Kloss on a fashion persons yacht. It looks like water in front of him but I like to imagine this is it.

Blank Space MV Taylor took a golf club to a classic luxury car. Harry has many nice classic cars. In the Red era when they first dated Taylor had a trampoline on her tennis court and it also featured in the 22 MV.

in the close he asks maybe we'll do this again, I interpret that as maybe be together again one day. Olivia, WITW and Someday maybe have similar messages.

Tracksuit and a ponytail You hide the body all that yoga gave you Red wine and a ginger ale But you would make fun of me, for sure

Above I have a grab from Miss American, which was filmed during the Rep tour, in most of the back stage, home or recording scenes she is wearing a variation on a tracksuit and ponytail.

Red wine and ginger ale mixed is a seltzer type drink, here it is an 'easter egg' as there are red wine references in a lot of Haylor songs: DBATC (My time, my wine..), Clean (You're still all over me like a wine-stained dress I can't wear anymore), Maroon (The burgundy on my T-shirt when you splashed your wine into me), Olivia (This isn't the stain of a red wine, I'm bleeding love) and Grapejuice ("Give me something old and red")

I disrespected you Jumped in feet first, and I landed too hard A broken ankle, karma rules You never saw my birthmark

In the last verse Harry has started reflecting on how things ended, he acknowledges he disrespected Taylor. This may refer to the time in Now that we don't talk.

Harry broke his foot playing football while on tour in Ireland in October 2015, this is close to the time period in NTWDT, Harry includes a reference to Karma, Taylors maybe album, evential song from that time period.

Harry has a birthmark on his back so many think this means he has and will never turn his back on her. (I have seen another fandom say this means they were not intimate, dude- strangers on the internet can link to it)

to me the birthmark is not literal, I think she never saw his full self because of his age & the band. He spoke to both Howard Stern and Zane Lowe about all of his adult decisions being made as part of a group from 16-20. It was in a context of leaving One Direction. To me this emotional coasting (he says he was 'away' in TBSL) was a factor in the events of NTWDT and Is it over now?

But both of these are true, he won’t turn his back on her and he wasn’t his full self then.

#Youtube #happy halloween #harry styles #taylor swift #little freak #haylor #harry’s house

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singlesablog · 7 months

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The Closet, Part 1.

“Everything She Wants” (1984) Wham! Columbia Records (Written by George Michael) Highest U.S. Billboard Chart Position – No. 1

Not since Warhol painted his silkscreens of Mao Zedong in the early 70s had a project as blatantly propagandistic as Wham!, and their second album, Make it Big, appear on US shores. It was a record with its intentions splashed across the LP cover in large, unironic text above the image it was selling: the nubile duo of George Michael and Andrew Ridgeley, hairdos perfectly coiffed, all done up like doe-eyed fashion models in high-end sportswear. Even the colors of the album were strategic: red, white, and blue. Wham! was clearly setting their ambitions straight for the Reagan 80s, and toward US domination.

Andy Warhol, "Mao", 1972, Silkscreen.

Like the Reagan 80s, the ideas behind the first single, “Wake Me Up Before You Go-Go”, were as fun, retro and catchy as his signature jelly beans. I wasn’t terribly impressed with the song (first heard over the piped-in radio at the Chick-Fil-A I worked in at in the mall) until I saw the video. There he was: George Michael, costumed in short shorts, wearing a white sweatshirt that screamed Choose Life, hugging himself as he ponied and swam about in a sea of neon colors. It was then that the song really took off for me: George, Andrew, Pepsi and Shirlie, all having a romp, signaling that the New wave was over, and that something much bigger was ahead of us: pure, unadulterated fun. Of course I zeroed in on George, his Greek curls laboriously blown out into a perfectly feathered mane and dyed into the colors of artificial sunshine, and in the pivotal video moment, hugging himself tightly with fingerless cotton gloves, two gold-hooped earrings glittering for the camera. I am telling you, those earrings on George Michael were the gayest thing I had ever seen (not the straight “one” earring, but two), and thereby an annunciation: looking at him, right there on regular TV, I felt reborn.

Make it Big would spawn five top ten singles in the United States (if you count “Last Christmas”, a one-off that would appear as a double A side with “Everything She Wants” in England) and included three US number ones. “Everything She Wants”, which followed “Wake Me”, “Careless Whisper”, and “Freedom”, would be the last to be released from the album, and it was unique in that it did not seem to be cut from the same cloth as the other singles, which were in essence modeled after Motown. It was a song that also did not depend on a video to sell itself (not that they didn’t make one). I was in the bathroom blow-drying a crest into my swing bang when I first heard it on the radio, and I know I must have frozen mid-bang. Something was very different with this track. First and most importantly it was entirely built on a synthesizer, from the Linn drum bongos that open it (George’s rough demo sample was kept for the final product) to the beautiful synth notes; in fact, like “Last Christmas”, the entire song was written and performed on one instrument, a Roland Juno-60, and both songs would be performed solely by George without any other musicians to sweeten it. He wrote and arranged it overnight, with no thought of it being a single until everyone responded to it so well. According to engineer Chris Porter:

"I think this was when George started to realize that if he wanted to, he could do everything himself. He could [just] cut out all these other people and their ideas."

Back in my bathroom, frozen in place, I wouldn’t have perceived any of this. What I was perceiving was something even gayer than George hugging himself in “Wake Me Up”: this new George had a voice speaking directly to me. “Everything She Wants” is a song about a man in an unhappy marriage, an unhappy 80s marriage, to be precise, because the female in question is fixated upon perfection through consumerism. George in the song is projecting the role of the long-suffering woman, and in an act of pure subversion instead plays the hard-working husband who has to pretend that he is fulfilled by having a wife. He is, in essence, bitching about having to play it straight, and in my mother’s bathroom I understood completely that a song dripping in sarcasm about being in a marriage was the queerest (and possibly most liberating) thing I had ever heard in my life up until that moment, the peak, the essence, being when he sings the lines: And now you tell me that you're having my baby I'll tell you that I'm happy if you want me to But one step further and my back will break If my best isn't good enough, then how can it be good enough for two?

Not only were these priceless, hilariously bitchy lyrics (the song is punctuated with his backing vocals screeching “work!”, “work!”) it directly expresses the reality of a gay man suffering miserably in the closet, and delivers a pungent commentary about the reality of living in the shadows of straight conformity. The most delicious thing about it was the era it was tucked into (with its new rush of bubblegum pop)—if the song had a real message, it was sure to be lost in all of the neon fun. The import was not, however, lost on me.

Looking gay, as Wham! did, does not make you gay. Making fizzy, lush pop songs, in and of itself, of course does not make you gay. Being a male pop duo does not make you gay. After taking over the world, hit after hit, the final No.1 for Wham! in “Everything She Wants” definitely, definitely made me gayer. In sound and vision, it would mark the beginning of George Michael as a real solo act, on the precipice of joining the ranks of the biggest pop stars in the world. Soon, George would have all the fame he could ever desire; sadly, it would prove to be the biggest closet of them all.

Last Christmas, 1984

Written in 1983, recorded in August of 1984, Wham’s “Last Christmas” would of course be announced as a December release (George had performed the song alone in a studio fully decorated for Christmas with engineer Chris Porter to set the mood).

In the UK there is a long history and competitive spirit surrounding a Christmas No. 1 , which meant the hit should be the last to chart for the year. Famous examples of a Christmas No. 1 in the UK would include The Beatles’ “I want To Hold Your Hand” (1963), The Human League's “Don’t You Want Me” (1981) and Pet Shop Boys’ “Always on My Mind” (1987). In 1984, during the filming of Band Aid’s “Do They Know It’s Christmas”, which was produced for famine relief in Ethiopia by Bob Geldof, one can see George Michael lamenting that the song they were recording would surely keep the Wham! track from going to No.1, and he was right. “Do They Know It’s Christmas” won the year, with “Last Christmas” coming in as No.2. He had smiled shyly when he said it, but one could tell he was over it. If George Michael was anything in the 80s, it was ambitious.

In 2006, Michael released a Greatest Hits, Twenty-Five, featuring four new songs, one of which, “Understand”, would serve as a sort of apologia to “Everything She Wants”, imagining the couple 30 years later, and seeing the relationship more from the woman’s point of view.

George always insisted that “Everything She Wants” was his all-time favorite Wham! song, and he performed it regularly in concert.

#80s music #1984 #wham!#popmusic #andy warhol #christmas no. 1 #UK #george michael

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dustedmagazine · 7 months

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Dust Volume Nine, Number 10

Older, but not a bit wiser, the Hives return

Fall comes with its smell of maple in the leaves, its intimations of mortality and, this year, its share of unsettling events—war in the middle east, AI in everything and the murder of our beloved Bandcamp by capitalist privateers. (We are not equating these things by any means.) Like always, we turn to music, the annihilating blare of metal, the agile interplay of improvisation, the well-shaped contours of pop, depending on our individual tastes. We hope you’ll find something to ease your own personal burden in all this as well. Contributors include Bryon Hayes, Bill Meyer, Andrew Forell, Tim Clarke, Jonathan Shaw, Ian Mathers, Alex Johnson, Jennifer Kelly and Ray Garraty.

Due to technical issues we're posting this in two parts, so don't miss the second one.

Ad Hoc — Corpse (Shame File Music / Albert’s Basement)

Ad Hoc was a Melbourne-based improvising unit, an experimental outfit that should have higher prominence. It only took 40-plus years, but Shame File Music and Albert’s Basement are finally spearheading a reissue initiative. Last year saw the arrival of the trio’s sole release, the hypnotic Distance cassette. It disappeared the moment it became available. Corpse documents an unconventional live performance from the group. They prepared their instruments (guitars, an EMS Synthi AKS synth and tape loops) for performance prior to the arrival of the audience and then shut off their amps. When all were seated, the trio turned on the amplifiers and unfurled an aleatoric blast of sound. The resulting music is far removed from the ambient tone clusters of Distance. The first piece shimmers in a way that calls to mind Matthew Bower’s Sunroof project, while the latter piece bathes in guitar noise so thick that it may have influenced The Dead C’s The Operation of the Sonne EP. Ad Hoc have today’s noisemakers beat: Corpse presents itself with a freshness that belies its 1980 provenance.

Bryon Hayes

Axolotl — Abrasive (Souffle Continu)

The French trio Axolotl existed for a few years in the early 1980s, and it reflects the aesthetic concerns of its time. Guitarist Marc Dufourd’s playing betrays some acquaintance with the work of Derek Bailey and Henry Kaiser, and the fibrous tones and agile exchanges between reeds players Jacques Oger and Etienne Brunet recall Evan Parker. All three double on electronics, hand percussion and utterances. These accessories, in combination with the concentration of the album’s 12 tracks, give the music a truculent attitude and just-the-facts brevity that brings to mind punk and post-punk. This may be free improvisation, but it is improvised from a point of view, and it’s that informed attitude that makes the album worth visiting nearly 40 years after its original release.

Bill Meyer

Will Butler + Sister Squares — Self-Titled (Merge)

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Will Butler joins with Sister Squares — multi-instrumentalists Jenny (Butler’s wife) and Julie Shore, Sara Dobbs and drummer/producer Miles Francis — for their debut album. Bouncy, heartland rock garlanded with that 1980s Fairlight and Linn drum sound mixes with touches of art rock as Butler emotes wholehearted. The influence of the 20 years Butler spent with Arcade Fire is inescapable, but it feels like the quintet have also been listening to Billy MacKenzie (“Long Grass”) and Russell Mael (“Arrow of Time”) as well as Springsteen, Mellencamp and company. “Hee Loop” sounds like a mash of Paul Simon and Peter Gabriel. The themes and emotions can be big in that Arcade Fire way that’s equal parts exhilarating and exhausting, but the album works best when the band dial down the melodramatic flourishes as on “Car Crash” and “The Window,” where Butler is right in your ear, tired, disillusioned, real. This is a record I wanted to like both more and less. For every heartfelt moment and interesting musical choice, there’s a cringe-inducing gestural overreach that makes you wince. A bit like his former band but with enough promise to persevere with.

Andrew Forell

Claire Deak — Sotto Voce (Lost Tribe Sound)

Melbourne-based composer Claire Deak’s last release on Lost Tribe Sound was 2020’s The Old Capital, a fantastic collaboration with Tony Dupé. In my Dusted review I said, “There’s so much wonderful stuff going on across these seven songs that it’s a delight to revisit.” As its title suggests, Deak’s solo debut, Sotto Voce, very much sits at the opposite end of the musical spectrum. This is subtle, minimal music that softly arises out of silence and speaks an elusive language. The background to the album’s creation is Deak’s exploration of the work of two women composers from the early baroque era, Francesca Caccini (1587–c.1645) and Barbara Strozzi (1619–1677). The dominant musical elements are strings, harp and voice, with other instruments coloring the edges of these understated, starkly beautiful compositions. Across the album’s 42 minutes the music feels, at times, to be battling the entropy of erasure, struggling to be heard amid the cacophony of these overstimulated times. For that reason alone, it’s necessary to invest your attention and listen closely. The experience is eerie and transportive.

Tim Clarke

Mike Donovan — Meets the Mighty Flashlight (Drag City)

On a musical Venn diagram showing the intersecting circles of garage rock, lo-fi, and psych, Mike Donovan has set up his sandbox. With Sic Alps he veered more noisy and lo-fi; with Peacers he favored a straight-ahead garage-rock sound. On this new record with Mike Fellows, AKA The Mighty Flashlight, Donovan steers in the direction of shambolic psychedelic-pop in the vein of the Olivia Tremor Control. (To anyone who knows and loves OTC, this is obviously a very good thing.) The splashy drums and percussion tracks feel like a gestural afterthought rather than a rhythmic backbone the songs are built around, and Donovan and Fellows steer these songs into some choppy, unexpected waters. Opener “Planet Metley” is the clearest and most successful distillation of their aesthetic, offering up a staggering range of ideas in under four minutes, stopping and starting erratically, the bass roving all over the fretboard. At the other end of the spectrum, “Laurel Lotus Dub” is the kind of experiment that sounds like it was more fun to create that it is to listen back to. Between these two extremes there’s the junkshop boogie of “A Capital Pitch,” which features the hilarious line, “Hanging out on the ramparts with some dickheads in black,” the concise drum-machine and organ instrumental “Amalgam Wagon,” and the plaintive, country-flavored “Whistledown.” Wherever Donovan roams it’s usually worth following, and Meets the Mighty Flashlight is a winning collaboration that fizzes with fun.

Tim Clarke

Everything Falls Apart — Everything Falls Apart (Totalism)

“Somn” means sleep, or more poetically death. It’s the title of six of the seven tracks from Everything Falls Apart, the self-titled album from the duo of Belgian bassist Otto Lindholm (born Cyrille de Haes) and English producer Ross Tones. Those titles (numbered six to 11) and the coda “Wonderfully Desolate” tell you only part of the story of the music the pair produce. Their conversation focuses on the nuance of the Lindholm’s double bass which Tones swathes in electronic effects, stretching notes and motifs into near drones in timbres that rise from the murk like lugubrious sentinels. This is seriously heavy music but the dynamism of the duo’s understanding and interplay distinguishes Everything Falls Apart. Whilst many of the pieces focus on stasis and decay, “Somn 9” is a desert storm with clicking percussion, almost didgeridoo like growls from the bass and screeching electronic noise. On “Somn 11”, deep bowed notes support Lindholm’s move through the registers as if shaking from fitful dreams into the morning light. “Wonderfully Desolate” is comparatively unadorned, a string quartet playing against the end times, shimmers of light through the cracks.

Andrew Forell

False Fed — Let Them Eat Fake (Neurot Recordings)

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Is it accurate to call a band including members of legendary underground acts Amebix (Stig Miller), Nausea (Roy Mayorga) and Broken Bones (Jeff Janiak) a “supergroup”? It might help to note that Janiak has sung for Discharge since 2014, and Mayorga has done a couple stints as drummer for Ministry. All names to conjure with (though a few of us first encountered Mayorga as a teenager back in the 1980s Lehigh Valley hardcore scene, when he drummed for Youthquake; West Catty Playground Building forever, man). In any case, the players have pooled their talents to create this death-rocking, sorta goth, sorta post-punk record, and it’s a lot of grim, grimy fun. Most of the music is mid-tempo, grand and romantic in its gestures, but shot through with a crusty growl in the guitars and production tone. The best songs speed things up a bit; both “The Tyrant Dies” and “The Big Sleep” have compelling momentum, complementing the stakes of songs’ ideas. It's Armagideon Time, people. Here’s your soundtrack, from dudes that know.

Jonathan Shaw

Hauschka— Philanthropy (City Slang)

German composer Volker Bertelmann’s 15th album of prepared piano pieces under the name Hauschka is noticeably warmer than some of his previous works. Joined by Samuli Kosminen on percussion and electronics and cellist Laura Wiek, Hauschka continues his exploration of the rhythmic and timbral possibilities of his instrument. At times almost jaunty, there are echoes of Bertelmann’s previous experiments with melancholic atmospherics but the general tone here is welcoming and optimistic. Kosminen adds subtle effects which frame rather than obscure the piano. There’s a touch of Satie in Hauschka’s playful iconoclastic approach to the piano and his deceptively simple melodies, especially on “Loved Ones” where Wiek’s plangent cello lines sustain and decay over an allusive harmony that speaks both of innocence and experience. At the other end of the spectrum, the closing piece “Noise” builds abstract ambience from repeated piano notes, smears of cello and a quiet wash of effects as if the players are enveloped in a thick damp fog. A lovely album for both fans and newcomers.

Andrew Forell

The Hives — The Death of Randy Fitzsimmons (Disques Hives)

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There are usually going to be some questions when a band comes back with a new record after over a decade, maybe especially so with an act like Swedish garage/punk flamboyants the Hives; can they match the energy of their youth? Are they still willing and able to give us the old thrills? Or have they (and this is usually asked with a small, tasteful shudder of disgust) matured? It doesn’t take very long into first single/first track “Bogus Operandi” for the concerned listener to have reason for a sigh of relief. Anyone who used to (or still does?) blast “Main Offender” or “Hate to Say I Told You So” or “Walk Idiot Walk” should feel the galvanizing charge of a true, Frankensteinian resurrection once the riff hits. And across these not-quite-32 minutes (the brevity is also a promising sign) Howlin’ Pelle Almqvist and the boys kick up exactly the kind of racket you’d want from them, with tracks like “Trapdoor Solution” and “The Bomb” savoring the kind of gleefully dumb fun they’ve always provided (with a nice sideline in some of Almqvist’s deliberately, over-the-top awful narrators on “Two Kinds of Trouble” and “What Did I Ever Do to You?”). They even continue to throw out small, satisfying variations on the classic Hives sound like the brassy swagger of “Stick Up” and the surprisingly heartfelt thrash of “Smoke & Mirrors”. They may have killed off their “sixth member,” but the Hives are otherwise in rude health.

Ian Mathers

Islet — Soft Fascination (Fire)

The Welsh psych-electronic oddballs in Islet are on their fourth full-length now but show no signs of settling down. Soft Fascination is a bonkers mash up of dance pop, art song, hip hop, noise and folk. “Euphoria” floats a feather-light daze, a la Avey Tare, then punctures it the rat-at-tat of snare, the rifle shot rap repartee of Emma Daman Thomas. Gossamer textures of synth weave in and around the main action, snapping tight at intervals, like sails catching a hard wind. The whole thing is butterfly ephemeral with strong wires holding it up, a combination of daydream and architecture. “River Body,” if anything, tips even crazier, with its infectious sing-song, skip-rope vocals, its tootling toy keyboards, its blasts of noise and friction. And what can you make of “Sherry” which bucks and heaves and shouts out “Ay, ay, ay, ay,” like a lost Matias Aguayar cut? “Ay, ay, ay, ay,” indeed.

Jennifer Kelly

Jute Gyte — Unus Mundus Patet (Self-released)

Unus Mundus Patet is not the most dissonant or challenging record Adam Kalmbach has released during his 20-plus-year run under the Jute Gyte moniker. But neither is this black metal for the kvlt trve believers or for the hipster-adjacent sets, be they transcendental or ecstatic or blackgazy. The songs twist and turn in on themselves, always clear in their expressions of complex musical ideas, and also — somehow, someway — listenable and enjoyable. Avant-garde? Sure thing, and likely a much more authentic iteration of that phrase’s meaning than the music many other metal bands churn out under cover of high-minded beard stroking. See the by-turns undulating and fragmenting “Killing a Sword” or the trudging, vertiginous and then utterly thrilling “Philoctetes.” Jute Gyte doesn’t make music for the background, but if you can give these songs your full attention, you’ll be rewarded. Turn it up and open the portal into somewhere much weirder and more marvelous.

Jonathan Shaw

Danny Kamins / Chris Alford / Charles Pagano — The Secret Stop (Musical Eschatology)

Free improvisation may be a little sparser on the ground in the southern USA than it is in Chicago or New York, but The Secret Stop affirms the vigor of those who participate. Guitarist Chris Alford and drummer Charles Pagano play in New Orleans, and Danny Kamins is a saxophonist from Texas; this encounter took place in the Crescent City. As even players in places like the aforementioned northern cities or London will affirm, travel comes with this territory. Their interactions display a capacity to sustain balance when the energy is high and to back off when doing so will transform the music’s tension. Kamins intersperses long, coarse tones with emphatic pops, and Alford evidences a fluent stutter that suggests he’s spent a lot of time studying James “Blood” Ulmer’s sound grammar. Pagano’s cymbal sizzle and mutating not-quite-patterns provide both forward momentum and a framework within which the action occurs.

Bill Meyer

MIKE \ Wiki \ The Alchemist — Faith Is a Rock (ALC)

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The long awaited collaboration between The Alchemist and MIKE took a sudden turn when they took on board another New York rapper Wiki who steals the show here. Both Wiki and MIKE were outcasts recording music in the vein of Earl Sweatshirt, even though MIKE was always a better version of Earl with only possibly a tenth of his fame. Knowing no rest, The Alchemist (that is his fourth collab this year) takes both MCs way out of their comfort zone, refusing to pander to the needs. MIKE and Wiki have to deal with The Alchemist’s fast and thick layered production, and it works for all of them. “Mayors A Cop” is a standout here, and Faith Is a Rock is one strong contender for the tape of the year.

Ray Garraty

Camila Nebbia — Una Ofrenda A La Ausencía (Relative Pitch)

The title translates as An Offering To Absence, which of course raises the question, what’s missing? Camila Nebbia is a multidisciplinary artist who grew up in Buenos Aires, Argentina, but has seems to have spent a fair chunk of time moving around Europe in recent years, and is currently based in Berlin. She has a sizable discography, but this correspondent has not heard most of it, so let’s just focus on the album at hand. Its 16 tracks present three facets of her work — acoustic tenor saxophone, electronically adjusted saxophone and poetry — with the first method best represented. The unaccompanied saxophone performances reveal her mastery of both weight-bearing muscularity and adroit tap-dancing on the far side of the fences that confine conventional tonality. But when she layers long tones and feedback, Nebbia becomes a one-woman orchestra transmitting heavy Penderecki vibes. The one poem included, “Dejo que me lieve” (“I let it lie”), is recited in Spanish, and no translation is offered; perhaps home is what’s not there, so she needs to manifest it creatively?

Bill Meyer

[Continued in Part 2, because Tumblr decided we only get 10 audio links.]

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c-40 · 4 months

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A-T-4 009 Adrian Sherwood Remixes

In 1984 Adrian Sherwood starts using his talents to remix artists outside his On-U Sound stable. Bristol's Y Records go under in 1983 and Y artists Shriekback sign with Arista, they have Paul "Groucho" Smykle co-producing and get Adrian Sherwood in to remix their singles

Skriekback - Cloud Of Nails (Pump Up A Storm) this is a version of Hand On My Heart which almost made it into the UK top 40. The Adrian Sherwood mix is reserved for a second 12" (which has a Paul "Groucho" Smykle remix on the a-side) as it's gloriously nuts but slides into the track effortlessly

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Skriekback - Mistah Linn He Dead Mr Linn Drum is dead? is also on Shriekback's Hand On My Heart (Remixes) 12" but it first appears on their 12" EP Knowledge, Power, Truth And Sex, it's another remix of Hand On My Heart but taken further from the original. What do you think a little like African Head Charge but a bit harder than Drastic Season? Defo proto-Tackhead. I think it's great, remember this is before digi-dub

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This is a slightly better quality copy of Mistah Linn He Dead, it's Chapter 6 if it don't come up straight away

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On the bandcamp page for this Atmosfear remix I think it said something about Andy Sojka and Adrian Sherwood being a strange collaboration but I can totally see it. They're both involved in black music scenes in London from the late 70s, they both start record labels, both are pulling talent from the pot, lovers artists are recording soul and boogie records and vice versa. Surely you'd hear On-U Sound and Elite tracks on the same night at a Wild Bunch or Soul II Soul doo? Anyway this gem is released as...

Atmosfear - When Tonight Is Over (US Thunder Mix)

Depeche Mode - Are People People? The second of Adrian Sherwood's remixes of Depeche Mode's People Are People, this one is found on the limited edition embossed yellow Master And Servant 12" L12 Bong 6, the first is the On-U Sound Mix on the limited edition People Are People 12" L12 Bong 5. Sherwood was the first person asked to remix Depeche Mode

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The original Science Fiction Dance Hall Classic is a remix of Master And Servant. It's different from what Art Of Noise are doing. There beats, synths, and samples are so clean and clear and this pushes up the noise and feedback

Depeche Mode - Master and Servant (An On-U Sound Science Fiction Dance Hall Classic)

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#1984 #adrian sherwood #dub #new wave #synth pop #london #england #uk #80s music

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natromanxoff · 1 year

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JOHN DEACON of Queen, and musician/engineer Henry Crallan are partners in a new recording studio venture — Milo Music, a 24-track recording facility in North London, which is part of a complex that also houses video and design studios plus other related businesses.

Here, Deacon and Crallan, a former keyboards player with the Kevin Ayres band, talk about the project which is now up and running and open for business.

MW: Is this your first venture into the commercial studio world?

JD: Yes, for me it is. As a group we've been involved with Mountain Studios in Switzerland for quite a few years now, but unlike a lot of bigger UK bands where the individual members have their own studios at home and that sort of thing, none of us has ever really got into that before, got involved with a 24-track professional studio, though I used to have a 16-track at home. Henry and I first discussed this project about two years ago.

How did the partnership come about?

HC: We've known each other for about eight years. I used to work with Edwin Shirley, the trucking company, and worked on a number of Queen tours which used to have a reputation among all the crews as being a bit special, which, retrospectively, I think they were. For three years I managed the staging department at Edwin Shirley and did further Queen tours including Mexico and South America. To build a studio was an age-old dream that I had. I think I first discussed it with John on a flight to Japan, and it's grown from there.

How does Mountain Studios fit into the scheme of things?

JD: Montreux is something we got involved with some years ago, at a time when UK taxes were quite crippling. It was a group investment we made. Jim Beach (Queen's management) basically runs that studio, and the four of us don't really have a lot to do with it, though we have recorded there, and Roger did a lot of his solo projects there.

In a way, we began to find it was becoming very difficult to do group investments — all four of us have got such different ideas about what we want to do. We've really started venturing out, doing more things individually, whereas in the old days we all used to work solidly on Queen 52 weeks a year. We have actually slowed down the work rate now so it gives us all time to work on other projects.

I have always enjoyed studios and that side of the business - I did electronics at college and have always wanted to learn. That's why I got a 16-track at home — but it was only a back-bedroom sort of affair. It was a development from this that Henry and I started this project really. Henry had said he wanted to build a studio, and I said I had the equipment which would be better suited to a proper studio than to a bedroom...

[Photo caption: JOHN DEACON and Henry Crallan take stock of the newly-completed studio area at Milo. The studio measures 24’ x 14’ and is fully isolated with hard and dead ends. There is also a 7’ x 7’ isolation booth. The resident piano is a Steck Baby Grand. A number of instruments are available for hire at discount subject to availability, including Linn Drum, Fender Rhodes, Wurlitzer, Korg CX-3. Yamaha DX-7 keyboards, Fender and Gibson guitars.]

[Photo caption: FEATURES OF Milo's control room (14’ x 15’) include 24-track Studer A80 Mk IV. Studer 810 1/4" and Sony F1 digital, an Amek Angela 28:24 console in-line with extended patch-bay. Monitoring is Sean Davies 3-way LS 841, power amplifiers by BGW, Turner and Quad. Mini monitors are Auratones and Visonik Davids. There is the usual range of microphones, compressors and limiters, reverberation & delay effects and processors.]

#queen #queen band #john deacon #queen scans #magazine’s title is unknown

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medicus-felini · 5 months

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❀⊱ 𝕌𝕟𝕡𝕣𝕠𝕞𝕡𝕥𝕖𝕕 𝕊𝕥𝕒𝕣𝕥𝕖𝕣 ⊰❀

↷ ⸍@melodysian ⸝

────────────────────────

𝐴𝑛 𝑢𝑛𝑢𝑠𝑢𝑎𝑙 𝑠𝑖𝑔𝘩𝑡 — 𝑇𝘩𝑒 𝑚𝑖𝑛𝑘 𝑙𝑜𝑜𝑘𝑠 𝘩𝑜𝑟𝑟𝑖𝑏𝑙𝑒٫ 𝑡𝑖𝑟𝑒𝑑٫ 𝑑𝑎𝑟𝑘 𝑐𝑖𝑟𝑐𝑙𝑒𝑠 𝑢𝑛𝑑𝑒𝑟 𝘩𝑒𝑟 𝑒𝑦𝑒𝑠٫ 𝑤𝘩𝑖𝑐𝘩 𝑤𝑎𝑠 𝑡𝘩𝑜𝑢𝑔𝘩𝑡 𝑖𝑚𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒 𝑓𝑜𝑟 𝘩𝑒𝑟 𝑓𝑢𝑟𝑟𝑦 𝑓𝑎𝑐𝑒. It was another sleepless night after the crew went all out at their last concert. She was almost sure they got their hands on some new speakers, and boy, did they work well. ❝ You are a musician too, I've heard ? Please tell me you don't play drums or bass . . . ❞

A sad little mreow. Not that Linn hates melodies and tunes, her fluffy white ears are just still ringing from her crew's attempt to mimic the craziest trash metal songs of last night.

#melodysian #I think I remember Uta having a Kid au? Don't have to use it tho!#Only got inspired by it uwu #⚕ ⦅ Consultation hour. ⦆⠀⠀/ ic .

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nervoussystemmusicreverence · 8 months

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Roxy Music - Avalon

Music Video

youtube

Artist

Roxy Music

Composer

Bryan Ferry

Lyricist

Bryan Ferry

Produced

Rhett Davis Roxy Music

Credit

Bryan Ferry – Vocals, keyboards, Linn LM-1 Andy Mackay – Saxophones Phil Manzanera – Lead guitar Jimmy Maelen – Percussion Andy Newmark – Drums Alan Spenner – Bass guitar Fonzi Thornton – Backing vocals Yanick Étienne – Backing vocals

Released

May 28 1982

Streaming

youtube

#roxy music #bryan ferry #andy mackay #phil manzanera #jimmy maelen #andy newmark #alan spenner #fonzi thornton #yanick étienne #rhett davis #1980s #1982 #music #Youtube

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kanobarlowe · 1 year

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OCkiss23 Day 1 - Dance

This is an excerpt from my fantasy WIP Psalms from the Mountaintop - in which Linn joins Shandril in an ancient elven ruin to witness the god's old memories from long ago, leading to a dance and more.

Shandril’s smile warmed. He pressed his forehead against Linn’s — Linn blushed, but he closed his eyes. Shandril’s breath steamed against his face. He swallowed.

“Would you like to dance?” Shandril whispered.

Linn’s eyes opened; he looked into the dark pools of Shandril’s eyes, watching the ethereal shapes and colors mixing and swirling within the blackness — the closest he’d ever been. He opened his mouth but found no words. He nodded instead.

Shandril took his hand, then moved away so their arms outstretched. “We will do a simple dance,” he said, “follow my lead.”

Linn watched Shandril’s movements and attempted to match his pace. They stepped around each other in a wide circle; their fingers no longer interlocked, but palms pressed together as they turned. Each step echoed the dance of flame — heat burned in his chest as he moved with light, lithe steps around Shandril. They slid in broad sweeps faster as the whoop and thrum of the music picked up speed.

Shandril broke away suddenly, their palms sliding apart. The god spun, and his braid encircled him. It floated through the air, ribboning upward in its wide spiral. Linn awed the god’s grace, bronze skin glowing in the dimming sunlight — his muscles, taut with life, sent waves of heat through Linn. He mimicked Shandril’s twirls, spinning to the melodious fifes.

The pair reconnected, palms pressed tightly together. Swirling in synchronicity, they leaped, legs kicking. Sweat trickled down Linn’s brow as he pushed to keep pace with his ancient elven dance partner. The beat of the drums, the whistling flutes, and the singing of ghostly elves from centuries past flooded his ears. Amidst the mystic sea of faceless history and ancestral memory, Linn and Shandril danced. Braids flew, and robes swished. As the music kicked into a near-frantic pace, Linn found himself laughing and crying — he wasn’t sure what to make of the emotions permeating his chest.

Even across the ages, the songs of his people stirred his soul.

Shandril’s smile was a fiery sun. His ears perked, long and slender, to Linn’s laugh. He laughed his deep, rumbling bellow that echoed across the mountain peaks. Sweat beaded across his golden muscles and looked incandescent as the most sacred of spirits. His braid soared, a flying serpent mid-dance.

The two embraced as the song ended with the resounding beats of the drum. The phantom elves clapped and cheered around them, yelling praise in a language Linn couldn’t understand. Pressed together, Linn panted as he looked up into Shandril’s face. Shandril looked back.

Their lips collided in fiery sparks. Shandril’s arms tangled around Linn’s waist, picking him up off his feet as they kissed. Linn’s heart hammered in his chest as his hands explored Shandril’s chest and arms. The thick, heavy muscle and smooth, tattooed skin sent shivers down his spine. He kissed Shandril passionately as he admired Shandril’s firm pectorals.

The pair fell back onto the plaza’s stone floor. Ghostly figures danced around them, flashing pictures of Shandril’s memory as their minds connected. Shandril’s hands pushed Linn’s robes up his legs. They kissed fiercely, desperately, to the trilling flutes.

Two became one. Linn’s legs locked around Shandril’s waist. A pleasure so magical, so serene spread through him. Lulled into the rocking waves, he fell into himself, embracing the intoxicating sensations in his body and Shandril’s heavy, hot breaths in his ear.

And then it bloomed. Somewhere in the air around them and deep within him, his magic called out to Shandril. He opened his eyes and found himself staring at his own face, lying back against the stone, mouth agape, eyelids heavy — from Shandril’s eyes. When he blinked, his vision changed. A vast universe rose before him, filled with colors and impossible shapes. Fire, water, earth, and air flowed around him. A thundering storm embraced him. His mind cleared, and a heavy weight lifted off his chest. Words and sensations rushed through him — a heat that began in his hips, then ran toward his mind: ancient words, whispering spirits. Overhead, the moon and sun collided, entangled in an embrace of their own. In their love-making, the sky burst forth. Spirits in all shapes and sizes erupted in waves. He turned and saw Patience, a pinkish glowing reflection of himself, in the lap of another spirit. Hips rocking, mouths pressed together, Patience consummated with an ancient spirit carved with markings across its body in supernal radiance.

Two bodies, two magics, now one. Linn understood the world and his role in it all at once, even if only for a moment.

#ockiss23 #ockissweek #oc kiss week #writeblr #writing community #writing #writers on tumblr #writers #fantasy writing #fantasy wip #fantasy #romance #romance writing #Psalms from the Mountaintop #Linn #Shandril

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daydreamerandmoonwalker · 1 year

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youtube

Are we bringing back the 80's?

As I was shopping at Macy's for some slacks, I noticed there were clothing garments that had the color scheme of the 80's: bright purple, pink, and blue. My boyfriend even pointed it out and asked the same question I did: are we bringing back the 80's style? And Macy's wasn't the only store that had clothes styled like those in the 80's- Target did too! I wish I would have taken actual pictures from when I was in the store but going to Target's online shopping site was second best. I found multiple swim suits, a dress, and a skirt that I felt like were influenced by popular 80's outfits. You can tell by the designs, the purposeful cuts, and, predominantly, by the color scheme that this is so.

But it's not just in the clothing industry that I have noticed this trend. I have also noticed in the music industry. Labrinth released his song titled "Kill for Your Love" on September 9th, 2022 (about 6 months prior to date) and everything about it screams 80's: the color scheme of the music video and his poster for the song, the use of the Linn Drum, and it's use of beats that "clash" with each other but still sound so good that it makes you want to groove! This is similar to Miley Cyrus' new album titled "Endless Summer Vacation" (2023). Most of her songs in the album sound like they were influenced from the 80's, as well. The ones linked in this post are "Rose Colored Lenses", "Flowers", and "River". With these songs, the "1 2 3 4" beat that was mentioned in the "Why The Weeknd & Dua Lipa Sound Like the 80s | Genius News" YouTube video is apparent with other "clashing" sounds that just go right together- not to mention how the swim suit she is wearing also has cuts similar to the ones in the first few pictures and how she is working out in her "Flowers" music video (which is something common in 80's music videos).

The Genius Youtube video that I linked in this post definitely sealed the deal for me that the 80's trend is coming back. I felt relieved that I wasn't making things up lol. Even though it was made 2 years ago (as of 2023), I think they may have sparked something or were part of the spark that has led me to this observation.

All in all, this is motivating me to listen to songs/artists from the 80's and appreciate them because I appreciate the current artists that are being influenced by this era!

But what do you think? Are my observations similar to yours? Are you appreciating the 80's coming back or would you like to skip this part? What did/do you like from the 80's?

#80s style #80s music #labrinth #miley cyrus #youtube #dua lipa #the weeknd #endless summer vacation #rose colored lenses #kill for your love #Youtube

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my-chaos-radio · 11 months

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youtube

Release: November 4, 1983

Lyrics:

Captured effortlessly

That's the way it was

Happened so naturally

Did not know it was love

The next thing I felt was you

Holdin' me close

What was I gonna do?

I let myself go

And now we're flyin' through the stars

I hope this night will last forever

I've been waitin' for you

It's been so long

I knew just what I would do

When I heard your song

You filled my heart with a kiss

You gave me freedom

You knew I could not resist

I needed someone

And now we're flyin' through the stars

I hope this night will last forever

Oh, oh, oh, oh

Ain't nobody (nobody)

Loves me better (loves me better)

Makes me happy

Makes me feel this way (nobody)

Ain't nobody (ain't nobody)

Loves me better, than you

I wait for night time to come

To bring you to me

I can't believe I'm the one

I was so lonely

I feel like no one could feel

I must be dreamin'

I want this dream to be real

I need this feelin'

I make my wish upon a star

And hope this night will last forever

Oh, oh, oh, oh

Ain't nobody (ain't nobody)

Loves me better

Makes me happy

Makes me feel this way (nobody, baby)

Ain't nobody (nobody, baby)

Loves me better (nobody makes me feel)

Ain't nobody

Loves me better, than you

At first you put your arms around me

Then you put your charms around me

I can't resist this sweet surrender

Oh, my nights are warm and tender

We stare into each other's eyes

And what we see is no surprise

Got a feelin' most would treasure

And a love so deep we cannot measure

Ain't nobody (nobody)

Loves me better

Makes me happy

Makes me feel this way

Ain't nobody (ain't nobody)

Loves me better (nobody)

Ain't nobody

Loves me better (nobody, baby)

Ain't nobody (nobody, baby)

Loves me better

Makes me happy

Makes me feel this way

Ain't nobody

Loves me better

Ain't nobody

Loves me better (nobody)

Ain't nobody (ain't nobody)

Loves me better (ain't nobody)

Makes me happy

Makes me feel this way (nobody, baby)

Ain't nobody

Loves me better (ain't nobody)

Ain't nobody

Loves me better

Ain't nobody (nobody, baby)

Loves me better (ain't nobody, baby)

Makes me happy (ain't nobody, baby)

Makes me feel this way (ain't nobody)

Songwriter:

Ain't nobody

Loves me better

Ain't nobody

Loves me better

Ain't nobody

Loves me better (makes me feel this way)

Makes me happy

Makes me feel this way

David Wolinski / David J Wolinski

SongFacts:

"Ain't Nobody" is a song by American funk band Rufus and American singer Chaka Khan. It was released on November 4, 1983, as one of four studio tracks included on their live album, Stompin' at the Savoy (1983). "Ain't Nobody" quickly gathered popularity, and reached number one on the US Billboard R&B chart and number 22 on the US Billboard Hot 100. It has become one of Khan's signature songs.

Rufus keyboardist David "Hawk" Wolinski wrote the song around a repeating synthesizer loop backed by a Linn LM-1 drum computer; however, John "JR" Robinson, the band's drummer, played real drums for the recording session. The band held a democratic vote, and they decided to include the song in their album repertoire. Once the song was recorded, Warner executives wanted to issue another song as the album's first single. Wolinski threatened to give the song to singer Michael Jackson and producer Quincy Jones for Jackson's album Thriller if the song was not the lead-off single. The label relented and "Ain't Nobody" was issued and hit number one on the R&B chart for the week ending October 15, 1983.

The song was included on the soundtrack album to the 1984 film 'Breakin''. In 2021, "Ain't Nobody" was ranked number 403 on Rolling Stone's 500 Greatest Songs of All Time. The song was adopted in the United Kingdom by fans of some of the country's football clubs, with the words: Ain't nobody loves (player), makes me happy, makes me feel this way.

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tim-official · 2 years

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1,000 free samples 2,000 free samples 5,000 FREE samples fruityloops tutorial MIDI drums 100% Royalty Free vintage drum machines old drum machines linn univox tracks rock blues garageband jungle amen break amen-break EXCHANGE LOOPS COMMUNITY

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rejaytionships · 2 years

Note

Question for Bill; are there any habits you and Linn have picked up from each other? @captainscyarika

Hi there! Thanks for asking~ ^o^ @captainscyarika

I always had an active mind during work, but it wasn't 'til I started living with Linn that those thoughts ever came out verbally! I'll start talking to my computer like it's able to respond back... o_O It does help me with my train of thought though, so I ain't complaining~

Speaking of, er, speaking (hehe :3), I reckon Linn started picking up certain petnames 'cause of me. They did use some before, but I noticed it wasn't 'til a few months into being together that they fancied using terms like "sugar" or "darling" or "honeybun". I reckon those aren't as common in Sinnoh as they are in the Kanto-Johto region! :P

We've also exchanged some more nervous habits (oops...). Linn now bounces their leg around more, and I drum my fingers on flat surfaces more. It's an equal exchange alright! x3 (Although sometimes it feels like I can't stop doing it... D:)

Hope you have a wonderful day! :D

#fvmbr week 1 #answer: bill #f/ovember #fovember #beeshipping #trainer linn #captainscyarika #jay's jots

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c-40 · 3 months

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A-T-4 042 Art Of Versions

The Art of Noise follow the Into Battle EP with Beat Box. As you've probably guessed from previous ZTT and AON posts releasing many different edits and versions was their m.o. The image (I got at least) was the technology (most noticeably the Fairlight) and time in the studio gave you the ability to churn out endless variations (AON released at least 11 'diversions' of Beat Box). It was great advertising for Trevor Horn as he and his partner owned one of the most sophisticated recording studios on the planet at the time. It's easy to see similarities with Jamaican producers and studios that in the previous decade created dubs and versions, although the closest AON got to producing a riddim would be Moments In Love which has been covered, remixed, and sampled a lot a lot. We have had pop music factory production lines before and I suppose this is where Trevor Horn crosses over with his contemporary Pete Waterman, according to Phil Harding "Waterman watched Trevor Horn so closely that he would strike a deal with equipment suppliers to furnish him with whatever state-of-the-art gadgetry Horn had." Before his hit factory had been established Waterman produced a Relax sound alike track, complete with a look alike sleeve, in 1984 called The Upstroke by Agents Aren't Aeroplanes. Nowadays trap music can be made quickly for very little money and production is more automated and streamlined than it ever has been

Beat Box was the first track AON worked on and it came from JJ Jeczalik messing around with recordings of Yes drummer, Alan White's drums with a Linn drum machine, a Fairlight CMI Series II and Page R (music sequencing software) while Horn was working on the Yes album 90125 (the similarities between the Red + Blue Mix of Owner Of A Lonely Heart and Beat Box are unmistakable). "So JJ was screwing around in the back room and I remember him playing me that 'Beat Box' drum loop and I said 'Jees, that's fantastic, they'll love that in New York.'"

...And they did, Beat Box did very well on the Billboard dance and black music charts in America, reaching number 1 and 10 respectively. Writer Simon Reynold's has written Beat Box was popular with breakdancers in the US, I believe it's still popular with poppin and lockin dads (and granddads)

In June 1984 AON released their debut album Who's Afraid of the Art of Noise? the title a pun on the 1962 play and later film Who's Afraid of Virginia Woolf? which is itself a pun on the song Who's Afraid of the Big Bad Wolf? from the 1933 Walt Disney cartoon The Three Little Pigs... would we call this a meme?

On the album is Close (To The Edit) which would be released as a single in October 1984. There were five different 12" versions of Close (To The Edit) released, including a picture disk. As far as I can tell AON put out six different versions of the track at the time, including the LP version (that's if I ignore the cassette single). To make matters more confusing Close (To The Edit) evolved out of the afore mentioned Beat Box. Beat Box Diversion Two is a version of Close (To The Edit) and vice versa, as are Diversion Seven and Diversion Eight. Close (To The Edit) was named after the Yes album Close To The Edge and they had fun with the names of the various versions of Close (To The Edit) that they put out, Close-Up, Closer, Closest, Closely Closely (Enough's Enough), Closed

Close (To The Edit) features Anne Dudley playing a very familiar sounding walking bass on piano, if we ignore the car ignition sounds they also use a sample of Boogie Woogie Bugle Boy by The Andrews Sisters. I wondering if this comes from the Duck Rock sessions the then unnamed AON did with Malcom McLaren? I'm thinking Buffalo Gals is taken from a song reference in It's A Wonderful Life, that film was made in 1946 when boogie woogie was the sound. It's either that or they love boogie woogie and swing. AON do love film genre recordings Peter Gunn, Dragnet, James Bond, Robinson Crusoe...

There's another diversion on the Close (To The Edit) singles, a track called A Time To Hear (Who's Listening). Of course there's a few versions, Who's Listening goes into Beat Box and then Close (To The Edit), as does the version called A Time To Clear (It Up) ("all together now") - there's very little difference between these tracks, then there's A Time To Hear (We're Listening) which is the first minute and a half of A Time To Hear (Who's Listening) - the variations of names is more fun the tracks themselves when there's very little to tell them apart... unless the lesson is to accept being resold more of the same stuff in a slightly different package and disappointment

Oh and all these records have come out and Marley Marl still hasn't sampled a drum beat

Art Of Noise - Beat Box Live on the Tube in 1984

youtube

Art Of Noise - A Time To Hear (We're Listening)

youtube

Art Of Noise - Closely Closely, Enough's Enough

youtube

12 versions of Beat Box personally I can see more appearing in time, that's what RSD is for

youtube

#1984 #art of noise #synth pop #hip hop #london #england #uk #80s music #ztt

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