From Wikipedia, the free encyclopedia. Grammatical article in English. For other uses, see The disambiguation. For technical reasons"The 1s" redirects here. For the band, see The Fly Away - Bread - Lost Without Your Love (Vinyl. Merriam Webster Online Dictionary. A Course in Phonetics 6th ed. Boston: Wadsworth. Man, could he play. Before him it was unusual for the bass to deviate from that single note, dum-dum-dum style Jamerson broke the mould and made the bass more creative.
Carol Kaye, equally well regarded, doubtless outplayed Jamerson in terms of total work accomplished, and in her book Studio Musician and on her own website, has attempted to correct any misconceptions about who played what. Her first session, inwas with Sam Cooke, so her CV is as illustrious any in the game. Which is why bassplayer has interviewed Brian F. Wright, Assistant professor of Popular Music at the University of North Texas in Dallas, who has dug deeply into the who played what controversy.
Thanks Joel. To work for these people can be painful, and usually an unmusical, unrewarding experience. It went on to imply that Thompson is equally happy to play to an audience of 30 in a folk club as he is to appear on a big stage anywhere. I was late discovering Richard Thompson. Island labelmates Free, Traffic and Cat Stevens diverted me from Fairport Convention, and what with everything else going on during those years — mainly The Who and Bowie — the kind of music that Richard Thompson was making passed me by.
This stirring introduction to Richard Thompson prompted me to set out on a crash course. But back to Beeswingthe memoir. When the producer complained we had too many members on stage… I explained with a straight face that we were a tribe that lived communally, and the others would be devastated not to be included.
The poor man, who must have dealt with acres of bullshit every week, just rolled his eyes and adjusted the cameras. Beeswingthough not overlong at pages including an index, is full of funny little tales like this, as well as interesting anecdotes about fellow travellers like Nick Drake and Sandy Denny. As you would expect, his disdain for fashion, fame and capitalist values feature strongly, as does his constant search for sensory fulfilment, found in his discovery of Sufism, and for new genres of music and inspiration.
The pity is that it ends inalthough the brief afterword and epilogue allude to the future, the breakdown of his marriage to Linda Peters and his regret at not being the best of fathers to his children.
The arrow is arcing back towards earth now, and catching a glint of gold from the setting sun. The book includes two eight-page photo sections.
Normally this would not be cause for comment, as RBP often adds pieces by me to its website and now has no fewer than in total, the vast majority from the seven years I spent in the service of MM. However, this particular interview might well be the very last piece I wrote for the paper as I had just handed in my notice, and still have in my possession the letter of acknowledgment I received from editor Ray Coleman, which is dated 27 January, I cannot find the copies for June 13 and 20 on the internet but from all this I can glean that I joined between these LP, and one of those missing copies, Fly Away - Bread - Lost Without Your Love (Vinyl one for which I contributed next to nothing, must therefore represent the week I first landed on MM.
Wisely, Richard Williams, the assistant editor, whose job it was to distribute LPs to MM staff to review, never gave me another Soft Machine album to write about. The 6 June issue lists only Max and Laurie. Chris Welch, next to whom I sat, was the Features Editor and Laurie Henshaw, another old timer who, bless him, probably thought Free was something you didn't have to pay for, was News Editor.
Onwards and upwards. Who was he? But Tony Stratton Smith remains elusive. Which is how Strat, as he was universally known, probably wanted it. Time to declare an interest. The manuscript for this book, allwords of it, landed on my desk at Omnibus Press about seven years ago. I declined to publish it, partly because it was far too long and partly because I knew from experience that books on music industry figures never sell anywhere near as well as books on music industry stars.
Fast forward a few years and Chris Groom rings me up to say that he has found a publisher who requires the book to be cut by overwords, a task beyond him. Could I help? So, Chris crossed my palm with silver and early last year I reduced it towords, eliminating repetition and rewriting large chunks in the process, tinkered with the chronology, followed a lead or two of my own, restructured and retitled the chapters, and added an index.
This seemed to satisfy Wymer, the publishers, and the book finally saw the light of day at the beginning of this month.
Having thus contributed considerably — so much so that the author has seen fit to add my name to the cover, alongside that of Peter Gabriel who has written a Foreword — I can hardly review it in the customary sense. Suffice to say that although Tony Stratton Smith — the Stratton was adopted early on to differentiate him from a work colleague with a similar name — somehow manages to confound the author as regards the full picture of himself, I defy anyone to pull together a more comprehensive picture of this extraordinary man.
This certainly confirms that those who knew — or thought they knew — him as well as anyone will find something to surprise them in the book.
Anderle said that it was "really important" to make the point that "Brian was so creative at this time [that] it was impossible to try to tie things up Smile was going to be the culmination of all of Brian's intellectual occupations. Nolan commented that when Wilson momentarily shifted his focus to films, it had seemed to be "a step easier to capturing more.
If you couldn't get a sound from a carrot, you could show a carrot. He would really liked to have made music that was a carrot. Smile was to be explicitly American in style and subject as a riposte to the British sensibilities that had dominated rock music of the era.
I think it's going to be a big humor trip. There's even going to be talking and laughing between cuts. Parks said that they "kind of wanted to investigate … American images.
So we decided to take a gauche route that we took, which was to explore American slang, and that's what we got. Everybody wanted to sing 'bettah'', affecting these transatlantic accents and trying to sound like the Beatles. I was with a man who couldn't do that. He just didn't have that option. He was the last man standing. Smile was inspired by Wilson's growing fascination with matters such as astrologynumerology and the occult.
If I'd stuck with just a few, I'd have been all right, but I read so many authors it got crazy. I went through a thing of having too many paths to choose from and of wanting to do everything and not being able to do it all. You could hear a bit and say, 'I know where that feeling came from. Many firsthand and secondary accounts support that Wilson owned books that encompassed poetry, prose, cultural criticism Arthur Koestler 's published The Act of Creation was often cited by Wilsonand "diverse expressions of non-Christian religions and belief systems" such as Hinduism from the Bhagavad GitaConfucianism from the I Ching or Book of ChangesBuddhism, and Subud.
In a interview, Wilson stated that his studying of metaphysics was "crucial" and referenced The Act of Creation as "the big one for me". He said that the book "turned me on to very special things", specifically, "that people attach their egos to their sense of humor before anything else. Whatever manifestation it took was whatever it was. There was numerology for a while; there was astrology for a while.
Then we got into the I Ching. And Brian felt that it was time to do a humor album. Jules Siegel famously recalled that, during one evening in October, Wilson announced to his wife and friends that he was "writing a teenage symphony to God".
Songs of faith. In lateWilson commented that Dumb Angel had been a working title for the album and explained that the name was discarded because the group wanted to go with something "more cheery".
Van Dyke had a lot of knowledge about America. I gave him hardly any direction. We wanted to get back to basics and try something simple. We wanted to capture something as basic as the mood of water and fire. Although Smile is a concept albumthe surviving recordings do not lend themselves to any formal narrative development, only to themes and experiences.
According to Heiser, there is also a wealth of material that appears to have "little, if anything to do with [an] Americana theme". By contrast, musicologist Philip Lambert describes Smile as "an American history lesson seen through the eyes of a time-travelling bicycle rider on a journey from Plymouth Rock to Hawaii. Parks' lyrics employed wordplay, allusions, and quotations. He said that, despite Wilson's later claims that the album was about humor and happiness, "the resultant album does not radiate predominately happy mood.
Perhaps the smile Wilson refers to is an ironic one Humour, sarcasm, and lonely introspection are the contrasts that hold Smile together. What should we keep from the structure that we had, the hard-wiring that we had with religion? He had religion beat into him, and I did in my own way, too. So there's a lot of thinking about belief.
Asked what words come to mind when listening to Smile in Wilson replied, "Childhood. A rejection of adult rules and adult conformity. Our message was, 'Adults keep out. This is about the spirit of youth. They responded with " impressionistic psychedelic folk rock ", and said that while most rock seems to be about adulthood, Smile "expresses what it's like to be a kid in an impressionistic way" and "depicts the psychedelic magic of childhood", to which Wilson replied: "I love that.
You coin those just right. Carter summarized that Smile ' s subject matter engaged with matters related to history, culture, and society while also traversing "complex landscapes of faith: from national allegiance and ideological persuasion to religious belief and spiritual devotion. We did things in sections. There might just be a few bars of music, or a verse, or a particular groove, or vamp They would all fit. You could put them one in front of the other, or arrange it in any way you wanted.
It was sort of like making films I think. In the s, it was common for pop music to be recorded in a single take, but the Beach Boys' approach differed. Instead of working on whole songs with "clear large-scale syntactical structures", he limited himself to recording short interchangeable fragments or "modules".
Through the method of tape splicing, each fragment could then be assembled into a linear sequence, allowing any number of larger structures and divergent moods to be produced at a later time.
Parks said that he and Wilson were conscious of musique concrete and that they "were trying to make something of it". There was no way this music could be 'real'. The material was continuously revised, rewritten, and rearranged on a daily basis. Anderle recalled examples: "The beginning of 'Cabin Essence' becomes the middle of 'Vega-Tables', or the ending becomes the bridge.
I would beg Brian not to change a piece of music because it was too fantastic. But when Brian did change it, I admit it was equally beautiful. In the mids, trialing mixes required the physical act of cutting tape reels with razor blades and splicing them together.
Creating an entire LP that relied on these processes proved too challenging for Wilson. About fifty hours of tape was produced from the Smile sessions and encompassed musical and spoken word to sound effects and role playing. Many of the modules were composed as word paintings and invoked visual concepts or physical entities.
The music itself carried on the "harmonic ingenuity" of Pet Sounds and in the belief of academic Dave Carter, "it makes little point to distinguish between the two albums in terms of their differential impact. Jardine said that the music became "more textural, more complex and it had a lot more vocal movement.
With ['Good Vibrations'] and other songs on Smilewe began to get into more esoteric kind of chord changes, and mood changes and movement. You'll find Smile full of different movements and vignettes. Each movement had its own texture and required its own session. The vocal arrangements, according to Heiser, use "a wide range of pitch centres, antiphonal effects, rhythmic variations, juxtapositions of legato and staccato figures, rounders-like echoes, and vocal effects not usually associated with mid-sixties rock records.
The journal considers comparisons with the work of Sun Ra and John Cageand concludes that this was a reconfiguration of doo-wop, a genre that the Beach Boys were rooted in. Psychedelic music will cover the face of the world and color the whole popular music scene.
Anybody happening is psychedelic. She argued that Smile presented such a quality in the form of "alternately frantic and grinding mayhem" " Fire ""isolated, small-hours creepiness" " Wind Chimes "and "weird, dislocated voices" " Love to Say Dada ".
I'd call it contemporary American music, not rock 'n' roll. Rock 'n' roll is such a worn out phrase. It's just contemporary American.
Smile drew from what most rock stars of the time considered to be antiquated pop culture touchstones, like doo-wopbarbershopragtimeexoticapre-rock and roll popand cowboy films. Priore described this action as Wilson's attempt to expose "pre-'60s songwriting This LP will include "Good Vibrations" and "Heroes And Villains" and ten other tracks [plus] lots of humor—some musical and some spoken.
It won't be like a comedy LP—there won't be any spoken tracks as such—but someone might say something in between verses.
On December 15,Wilson attempted to ease Capitol's concerns over the album's delay by delivering a handwritten note that contained an unordered, preliminary track listing. Capitol prepared record sleeves that listed these songs on the reverse side with the disclaimer "see label for correct playing order". As Wilson neared the completion of "Good Vibrations", he asked Parks to rewrite the song's lyrics, but Parks declined, as he did not wish to alienate Mike Love. Parks immediately conceived the opening line: "I've been in this town so long that back in the city I've been taken for lost and gone and unknown for a long, long time.
The success of their collaboration led to them writing more songs with an Old West theme, including "Barnyard" and "I'm in Great Shape". We got into something else. On November 4,Brian recorded a piano demonstration of "Heroes and Villains" that included "I'm in Great Shape" and "Barnyard" as sections of the song, but on his note from December, "I'm in Great Shape" was listed as a separate track from "Heroes and Villains".
Marilyn said: "We went shopping one day and we brought home some wind chimes. We hung them outside the house and then one day, while Brian was sitting around he sort of watched them out the window and then he wrote the song [' Wind Chimes ']. I think that's how it happened. He does a lot of things that way. The title of " Wonderful " derived from a pet name Wilson had for Marilyn.
Honestly, I really thought we would do it, but I never found an opportunity to pursue that with the music I was given. Oppenheim declared on his CBS documentary that "Surf's Up" was "one aspect of new things happening in pop music today.
As such, it is a symbol of the change many of these young musicians see in our future. None of the lyrics mention worms. Parks later said that he did not know where the title came from and attributed it to possibly an engineer, Wilson, or Mike Love. Parks commented, "A lot of people misinterpreted that, but that's OK; it's OK not to be told what to think, if you're an audience.
Health is an important element in spiritual enlightenment. But I do not want to be pompous about it, so we will engage in a satirical approach. Inthe section spun off into a piece called "Mama Says". So the obvious thing was to do something that would cover the physical surroundings. Vosse recalled, "I'd come by to see him every day, and he'd listen to my tapes and talk about them.
I was just fascinated that he would hear things every once in a while and his ears would prick up and he'd go back and listen again. And I had no idea what he was listening for! O'Leary's Cow" and commonly referred to as "Fire". Wilson instructed a friend to purchase several dozen fire helmets at a local toy store so that everybody in the studio could don them during its recording. Wilson also had the studio's janitor bring in a bucket with burning wood so that the studio would be filled with the smell of smoke.
Anderle recalled that Wilson told the group "what fire was going to be, and what water was going to be; we had some idea of air. That was where it stopped. None of us had any ideas as to how it was going to tie together, except that it appeared to us to be an opera.
In Julythe composition was reworked as the first section of " She's Goin' Bald ". Inthe piece was given new lyrics and retitled "On a Holiday".
It was recorded the day after the "Fire" session, along with a piece titled "Friday Night", which was intended to segue from "I Wanna Be Around". He then handed out various tools to his musicians for them to create the sounds of sawing, wood cutting, hammering, and drilling.
Brian was consumed with humor at the time and the importance of humor. He was fascinated with the idea of getting humor onto a disc and how to get that disc out to the people.
Wilson held sessions that were dedicated to capturing "humorous" situations. It was just like the old days with his Wollensak recorder, except much, much weirder.
In earlyBrian's brothers Carl and Dennis went into the studio to record pieces that they had written individually. This look of, 'What the fuck do I do?
Capitol gave Smile the catalog number DT At least two versions of the album jacket were designed, with minor differences. By Holmes' recollection, his contributions were finished by October. Holmes based the cover on an abandoned jewelry store near his home in Pasadena.
This was something that would be pulling you into the world of Smile —the Smile Shoppe—and it had these little smiles all around. He felt that he and Wilson would not have continued the project the way they did without thinking of it in cartoon terms.
According to Vosse, the smile shop derived from Wilson's humor concept. He said that "everybody who knew anything about graphics, and about art, thought that the cover was not terribly well done It was exactly what he wanted, precisely what he wanted. I Album) that still stands; I think of Smile in visual terms. In September, Capitol began production on a lavish gatefold cover with a page booklet containing featuring color photographs of the group ultimately selected from a November 7 photoshoot in Boston conducted by Guy Webster as well as Holmes' illustrations.
The gap between conception and realization was too great, and nothing satisfied Brian by the time he'd worked it out and gotten it on tape. And eventually the moment passed He no longer had the same vision. Smile was shelved due to corporate pressures, technical problems, internal power struggles, legal stalling, and Wilson's deteriorating mental health.
Writers frequently theorize that the album was cancelled because Wilson's bandmates were unable to appreciate the music. However, Stebbins says that the conclusions those writers draw from this perspective are "overly simplistic and mostly wrong" with not enough consideration for Wilson's psychological decline.
It is often suggested that Mike Love, in particular, was responsible for the project's collapse. Love dismissed such claims as hyperbole and said that his vocal opposition to Wilson's drug suppliers was what spurred the accusation that he, as Album) as other members of the band and Wilson's family, sabotaged the project. Parks' later accounts suggest that he was dismissed from the project at Love's behest. You do a lot of pot, LSD, cocaine, you name it, paranoia runs rampant, so, yes, Brian could have become extra- ultrasensitive But can I be responsible?
Should Mike Love take a beating for Brian's paranoid schizophrenia? A playpen of irresponsible people. The group's heavy consumption of drugs at the time has been cited as one of the reasons Smile collapsed. Carl recalled: "To get that album out, someone would have needed willingness and perseverance to corral all of us. Everybody was so loaded on pot and hash all of the time that it's no wonder the project didn't get done.
Drugs played a great role in our evolution but as a result we were frightened that people would no longer understand us, musically. We were stoned! You know, stoned on hash 'n' shit! Brian's use of LSD was negligible compared to his use of Desbutal. By that point, Brian was suffering from He was taking a lot of amphetamines, in the form of Desbutal, which is methedrine and some barbiturate mixed together. That's a combination that's gonna fuck you up — if you take enough of it, you will feel like the walls are looking at you!
There were a number of parts to his paranoia — some of [which] were valid — The things that you do, you see as having so much potency, which usually is your own delusion.
The problem is when you crash, [just] how ugly and stupid and trivial it all looks — all you can see are the mistakes. It was quite haunting and mysterious to me. They were plastic, so often they broke. I had a number of hairbrushes broken over my head to the sound of this record. I like the bands they inspired, too, like Spacemen 3 and even Bruce Springsteen. Every time I play it to anyone, everyone asks what it is. Crystal Castles are good friends of theirs, so we went to the show with them.
Joe [Goddard] would tape down the notes on the keyboard to make it easier and I would play the guitar. Even now, the song is still with me and it seems to come back into Hot Chip. I started to research my country and my heritage and write from experience.
She was experimenting with electronics alongside acoustic instruments too, which really inspired me. It has everything you would want from a guitar band. They contrast soft, sweet tones with huge cascading guitar riffs throughout.
The vocals and style of these numbers often nod to Lennon, Cobain. The harmonies that punctuate these songs are so infectious it hurts. It introduced me to new possibilities straight away. It reminded me of local punk bands back in Grantham when I was a kid and it made me begin to value those things.
Its realism really got me. The electronic beats that start the album are like a warm blanket that instantly enveloped me as a listener. It ended up shaping my idea of what an album should be, and the sounds on this record started my appreciation for electronic music.
For me, this is a warm and human sounding album — the former not really being one of their hallmarks. There is still the melancholia, but without much of the anger and paranoia that grated with me previously. The arrangements, instrumentation and performances are as out-there as ever, but they really complement the intimate songwriting with gorgeous, expansive textures and tight organic rhythmic patterns that reveal themselves more with every subsequent listen.
This is for the lovers of slap bass, sophisti-pop, happy music with extremely dark lyrical undercurrents, and slap bass. You can hear the early influences of the genre so well, the best of garage, dub and grime. It felt so fresh to me. I also loved the space created in the music. The only other person I can think of who comes close is Nick Cave — his words are pure poetry. When I was a kid I was really into a Canadian punk Fly Away - Bread - Lost Without Your Love (Vinyl called Propaghandi and their bass player quit and formed his own band, which is The Weakerthans.
Not so much with production but with melodies and progressions. Its far too dreamy to want to pull it apart. The themes are weird and wonderful, and Gruff Rhys sings his beguiling lyrics in a voice that could only be his. I got it because I saw it at a record store when I was This album totally shattered my perception of what a punk band, or a rock band for that matter, was capable of. I was living in a small town in Utah and kids my age were into Korn and Tool, but I was on the other end of the spectrum.
I spent the end of my teenage years and the start of my twenties listening to old music — rockabilly music, stuff like that. Then I discovered folk music when I was 25, and that led me to Dylan. He totally blew me away with this. I believe the intension behind this work was not to alienate, but to avoid convention.
It was horrible, but Sound Effects Records was its crown jewel. I was so scared. I remember trying to be brave — I was only 11 or 12 — but, secretly, I kept hoping my mum would never buy a shower!
Eventually we did and I used to jump out at her, with a bread knife in my hand. It just made me feel like a new woman when I listened to it. It was my childhood, man. It sent me crazy. Razor-sharp text by Leonard Cohen, set to surging guitar, composed and sung by Buffy with her signature confrontational, aggressive vibrato, voice cut up and altered further with a Buchla oscillator— this less a song than a comet.
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