…fast forward to week 5 of ‘scaping’…

I am in week 5 of scaping now, and I have just completed scape 785 in my latest session (much to my amazement – I mean, come on, how many other tools would let you capture 785 unique generative ambient compositions in under six weeks?).  it’s one of six variants, saved in six different moods, of a really interesting scape – no background, and, a set of randomly thrown out “E” shaped yellow note elements – this is a note that bends very strangely, and with about 30 of them in the mix, you get this wonderful, very fripp like dissonant cloud of bendy notes all blended together, arriving in dense, frippy-clusters of sound, and it’s so beautiful I could just listen to it forever.

fantastic notes…so bendy (up, down, sideways, every which way), so quizzical, so odd – so questioning.  never really resolving, just wandering in and out of the musical landscape in beautifully random clusters…

this is the single strangest scape I’ve ever made, it’s so dissonant, so random, the pitch is all over the place, yet, it’s so incredibly beautiful, too – I can’t quite come to terms with scape 785 !  at times, it fades out as the note clusters continue to collide and wander…fading almost to silence, then suddenly waking back up again, coming up to full volume one more time.

listening to this scape is kind of like drifting in and out of consciousness, it comes and goes, like a beautiful but strange dream that you are dreaming, which then goes away; – comes back – almost disappears; then re-appears, meanwhile, the note clusters get really strange, appearing at the oddest intervals, landing on top of each other, large spaces in between….it’s just one of the most unusual, and oddest, experiences I’ve ever had – and it took about five seconds to create.

I literally open the yellow note element area, grabbed the “E” shaped note, and dragged about 30 of them out into the workspace; randomly, onto the screen, totally at random – creating a jumble of notes filling most of the screen. no sense of order whatsoever, just randomly dispersed notes – but the overall effect, the sound of the resulting piece – is just wonderful.  sigh.

I am extremely pleased with this piece, although because of my backlog, and because this tool is so incredibly prolific, it may be a while before you hear this piece…I hope not too long.

lately, scapes have tended to be much more complex – although, sometimes I will still really strip things back and create some very sparse, minimalist scapes, because I now have so many tools, so many new backgrounds, new elements, I am always wanting to add in my favourites – a new descending arrowhead, the “quiet sun” bell, the buzzing two sided triangle/mountain, the new orange/blue mood – so quite a few of the last couple hundred or so have been very, very active pieces indeed.

I really wish there was a way I could instantly publish all 785 of my scapes onto the internet – I really do, because, having so far managed to put up just six of them, I feel very frustrated that you can’t hear the work I am doing right now – and, I am frustrated too that you can’t hear all the new sounds and sound combinations that I am coming up with, too.  all in good time as they say…

I began by publishing my first few scapes onto soundcloud, but of course with their two hour time limit, I am only maybe going to get 20 or so up there…so I decided, rather than add endless channels on soundcloud, to switch to youtube (leaving the soundcloud scapes up, of course!!!) – so for a while, there will be a parallel process – scapes will go up as audio to soundcloud, and as audio with some kind of “video” to you tube at the same time – but eventually, soundcloud will fill up, where as you tube will continue.

at this moment in time, scapes 1 through 7 are up on soundcloud; number 8 should go up tonight – while on youtube, since I started that project a bit later, just the first three are up; number four is ready to go up later today – and, I am working on the next three already as well, so I hope to get “caught up” soon….and I do just plan to continue as time permits – I will make very simple videos for the pieces (nothing fancy) and I will just keep uploading them to the purescapes channel on you tube – although other projects may mean that I have to take breaks from uploading scapes – but if I am able, I will always persist with this – this is one of the most remarkable collections of music I have ever recorded, but it’s also very frustrating, in less than five weeks, I have almost 800 pieces of music!!! it arrives so, so quickly, and so much of it is so, so lovely – but the quantity is staggering, and almost unmanageable in terms of recording and/or uploading the tracks – how long will it take me to make 785 scape videos, and then upload them?

and by the time I do – I will then have another 800 scapes recorded…and the cycle will never end!!!  I don’t think I’ve ever had an instrument that could create beautifully complete pieces of music, finished songs, at this incredible rate – it takes far longer to record them then it does to actually create them!

another thing that intrigues me about the app, something about scape that I am…unsure of…is the effect of visual symmetry on the sound output.  it does seem, that if I take a lot of time, and line up my objects into really beautiful symmetrical patterns, that the resulting sound of the scape is…more organised, more musical – than if I randomly disperse various elements without ANY sense of order or symmetry.  maybe.

but then something like scape 785 comes along, and knocks this theory on it’s head – a completely at-random, very hastily-assembled set of elements – with a beautiful output, as beautiful or more beautiful than the output of scapes that I spent far more time on, with lots of symmetry…so I just can’t tell – both very tidy, very carefully created scapes, and almost randomly created scapes – sound good!

so that theory is obviously no good, although I might say, that if you order your elements with precision symmetry, that this may make your scape sound particularly orderly and beautiful – possibly!   that’s about all I can say so far…

the other thing that really fascinates me about scape are the hidden, secret, internal “rules” – which for the life of me, I can’t really figure out any of!!!  events are triggered by events, actions taken based on how you set things up – but we really don’t understand much of it.

I’ve learned that you can create a scape that you like, and then save copies of it in “each” of the available moods. So for example, scape 785 is in the new orange/blue mood, however, I also saved it in several other moods, and, my ear can somewhat discern what those other moods “do” to the piece.

if I then shift to the “green” mood version of the same piece, scape 783, there is a different reverb, there is a short delay with several repeats, and the pitch of the notes is a few steps at least, lower.  so the same piece sounds quite “different” in green mood, but also it’s still recognisably the same piece.

if I then shift to the “pink/violet” mood version of the piece, scape 784, there is a much larger room reverb and a different short delay with a longer repeat – and the pitch is somewhere in between the pitch of the “orange/blue” and “green” moods.

but as far as the other “rules”, how instruments interact, what happens when you add a second bass note in, what happens when you “chain together” eight bells – I just don’t know.  and in a way, it doesn’t matter – because it works !! – they sound like pieces of music, as if composed by a human – but, they are in fact, generative – so only guided by a human.  I am, however, happy to be one of those human, to herd eno and chilvers’ samples into ever more sophisticated musical forms, in a seemingly endless variety of beautiful sound working with beautiful sound…

I can’t believe the intelligence and sophistication built into this instrument, it’s only the second generative tool I’ve tried over the years (I did work briefly with an early version of koan, but it was very, very primitive compared to scape), but I don’t know that I would want any other – until they come out with the frippertronics version, that is.  in the meantime…

happy scaping….

scape – week three – a new spoken language emerges…

another week with scape, the application…and somehow, not quite sure how, in such a short time, but I find to my astonishment that I now have no less than 502 scapes.

I hasten to add, though, that in a number of cases, if I ended up with a scape that I really, really like,,,that I might well save it multiple times – usually, selecting some or all of the different mood filters, so I can hear it in 7 or 8 different “ambiences” – or sometimes, I might leave the mood the same, and save it with different backgrounds or even combinations of backgrounds.

even so – even with these extra versions…there are still an astonishing number of unique, one of a kind scapes. what a remarkable instrument this is!!!

events this week, well, the usual musical ‘gifts’ have arrived – a new background, some new elements, and so on…and I find I look forward to their arrival with an almost childish delight…

two new elements have arrived in the “spiky blue elements” category, and these two are remarkable – one looks like the top of a music stand, the other, like an asterisk – but all of the blue spiky family of elements are especially cool – because they MOVE when they play back – they are animated!

these two in particular I am really liking, because I wasn’t sure about the first three in this series – they are a bit harsh, a bit more disturbing than any other elements to date. I really struggled to use those first three ‘spiky blues’ – I could and did manage to create interesting enough scapes with them, but – they are a bit…musically uncomfortable (??) compared to most. so it was with a bit of trepidation that I received spiky blue elements four and five – but I need not have been apprehensive.

In fact, unlike the first three, I think they are now becoming some of my very favourite elements of all – and I am living much more comfortably with the whole blue family of elements now as well. my initial discomfort is dispelled and I ‘get it’ now…

another really, really remarkable yellow note element also arrived, this one with the most amazing echo/delay pattern, vaguely something like a really clever delay set up by the edge, only using an eno synth sound instead of a guitar. it has a beautiful, pure tone, and if, for example, if you set just three of these into an empty mood – you get a really lovely cascading, echoing, delayed set of notes that I can just sit and listen to forever…

in fact, that element, and the last few elements (including the whole spiky blue element family!) have had really intricate, amazing delays – and used together, for example, a scape built with this new ‘the edge’ yellow note element and say, some spiky blue elements 4 and 5, yields a wonderful, cascading scape of great beauty,

then, the latest new element, an incredibly quiet, ambient and amazingly beautiful bass guitar sample – that again, on it’s own, just sound astonishing…this is a light grey coloured triangle with two vertical black lines in it – one of the most ambient of samples, has arrived right in the midst of all the dissonance and disturbance of the blue spiky family…fantastic!

last night, another new element made an appearance in the “bells” section, shaped and coloured uncannily like the sun in the painting which is the cover of phil manzanera’s band ‘quiet sun’, the album entitled ‘mainstream’…a really gorgeous delayed bell that I am now thinking of as ‘the quiet sun bell’…

which brings me to comment on eno’s strategy with this tool – everything is hidden. you can’t name your scapes, they are just automatically numbered, and the backgrounds, palettes, and elements don’t have names – so I find, as a user, that I have developed my own language to describe these musical objects. so where normally I might say ‘it’s a sort of basic sine wave synth sound with a lush and complex echo and delay’…

…instead, I find myself now saying “it’s one of the yellow note element family, a u-shape turned upside down, with a clear sine sound with a complex echo and delay…” so since there are no instrument or voice names, just elements represented by coloured shapes – the whole descriptive vocabulary of music changes – and it’s all about colour and shape, sound becomes almost secondary except as a point of reference – the bell sounds are all rounded, and all pinkish-red, where as the note sounds are all yellow, the bass sounds, all black, grey or white triangles – and so on.

when I write about scape, I find myself talking naturally in this strange new language, a scape language, and then I realise, probably, only another scape user will have any idea what I am going on and on about, when I talk about “spiky blue elements” – but if you are a user, you know exactly what I mean 😉

so – it’s been another brilliant week of scaping, a little uncomfortable during the early spiky blue element era, but it’s rounded out beautifully with all the amazing new tools that have arrived since then – and still, so much more to come – I cannot wait to see what will arrive next week…

keep on scaping…502 and counting 🙂

scape – week two – eno and chilvers’ masterpiece

well, I’ve now been working with scape for a couple of weeks, and I have to say, it’s been an absolutely remarkable experience.

I’ve never had a tool that “grows” as you use it, but scape not only grows but the new backgrounds, palettes, and elements that appear, just get better and better.

scape seems to be getting a very good reception, with some very positive press, such as this item from the guardian.

yesterday’s session was an absolutely mind-blowing one, with a new “spearhead” shaped tool appearing, that makes an incredibly complex synthesizer sound, and with the addition of this new tool, even though I am pretty sure there is quite a bit more to come – now, the scapes I can create, are just astonishing in their complexity.

and speaking of complexity – that’s one of three new “controls” that have recently appeared – “density” – “complexity” – and my personal favourite “mystery”.

I’ve always wanted a slider to control “mystery” – and now I have one.

 

new tools in the bass register are also a huge hit with me, and I can’t wait, each day, to press the “create new scapes” button and see what the next set of amazing tools will be.

this was already the most innovative ambient music creation tool I’ve ever used even in it’s basic, starting configuration.  I could have happily created many, many unique and beautiful scapes, ambient, sinister, active, strange, bizarre – with just the simple controls, backgrounds and sounds that I had during week one.  but each time you press the “create a scape” button – the app delivers more, new, and exciting, tools to you to use.

but now, now that I’ve been amazed over and over again at the new sounds and backgrounds that appear, I begin to realise just what a complex and clever creation scape is. this is fast becoming not just my favourite music application to create ambient music with, but in some ways, my favourite music application of ALL time.

using my own imagination, coupled with creating scapes based on eno and chilvers’ suggestions, I have, in two weeks time, created 146 individual scapes and several playlists, that, if recorded and played back in their entirety, represent many, many hours of music, and compositionally, for me, represent in some cases, what would equate to several complete albums of music – and all created in just two weeks of work, 30 to 60 minutes a day maximum.

 

and when I listen to scapes I’ve created, most of them work very, very well indeed, there are very few that I feel are “substandard”.  the scapes made in the last couple of days in particular, are so incredibly rich, complex and beautiful – and it’s not me, it’s the tool, of course – I am just putting the elements together, and then marvelling at the sound that comes out.

also – I find, I am starting to work visually.  creating landscapes, and not worrying about the sound until I am done, letting the vision of the elements drive what the sound is – and that’s a new experience for me.  I was always in control, I played THAT bass part or that synth or that guitar – with scape, you can just “paint” – just make pictures with mountains and the sun and notes hovering in the air…

I find myself creating scapes that are very…symmetrical, and those are often the most beautiful of all, but, even the most random visual effect can also translate into a piece of incredible beauty.  at one point, I created an empty backdrop, and then placed random sound objects in an ugly circle in the “air” – and it sounded really good.  so you can spend a long time, creating a beautiful painting, and get good results – or, work very quickly/randomly, and also get…good results.

I will say, I think the more I work on the visual aspect; the “better” the scape, but, even the most randomly created scapes still sound good.   sigh…

at this point in time, I am half of a mind to simply record each of my 146 scapes (note: now, over 200 scapes as of blog press time), and start loading them up to sound cloud, because I will never have the time, money or resource to bundle these amazing compositions into traditional albums.  and that would now be something like…20 albums.

I want people to hear scape, not so much for my compositions, but just to hear what it is capable of.

I do believe, that the scapes I’ve been creating, are working very, very well for a number of reasons.  the first and foremost, is the amazing, intuitive tool itself, and, the fact that you can “draw” a picture, and that then triggers an amazing piece of music…visually created music.  secondly, and important in my case – I’ve been creating ambient music myself since about 1989, and I really feel an affinity with this instrument, and it’s strange method of composition – as unique in it’s own way as “looping” was back in 1989.  I feel that my experience, makes me the right person to be using a tool like this, and I have worked very hard on my first 146 scapes, building them to the suggestions from the instruments’ creator; building scapes of my own design, but just flying, too, as I did in the looping days – you just push “record” and you go, and you start looping – and sometimes it works amazingly well, other times, you have to try again.

scape is no different, you start out with a blank palette, and you add elements.  usually, it works very, very well – occasionally, you have to scrap a scape and start over.  very occasionally.

so…in a way…scape is the looper of the “naughties”.  or is it the “tens”, now.

 

if you had asked me 18 months ago if I thought I was a likely candidate to be championing the use of ipad apps to make music with, I might well have laughed.  I am not laughing now – scape takes application music-making to a whole new level, and brian eno and peter chilvers, and opal, have done an AMAZING job with this “organically-growing-as-you-work” application.

just the idea that the app gives you oblique strategy-like “instructions”, the idea that, when you go to “create” – you are immediately rewarded with new, raw materials with which to create, that you did not have available the day before – that’s intelligent design, that’s startling – because suddenly, one day, you get, two or three new tools, and that…changes everything.

constantly evolving, constantly becoming more and more capable, and right now, I think I have the world class, the best of breed, the most remarkable, the most creative, the most flexible ambient music creation tool that there ever was – right here in my hands.

I’ve already done some experiments using scape as a “live backing” for live recording with guitar or guitar synth, and I can see a huge future opening up where I can play live…as scapes evolve organically, live, while I am improvising along. it’s really the ability to have “those” sounds, those amazing brian eno borne sounds, that makes scape so addictive and so wonderful to work with.

but – I can also see, in the recording studio, hybrid scape- and traditional- instruments blending really well together, using scape for entire ambient sections of music, overdubbing scapes with looped ebows – unlimited potential for both live performance and studio integration.

I can take looping, which I’ve been doing for so, so long, and blend it with this brand new ambient music creation tool – and I think the amount of flexibility that will give me, is going to be a game-changer.  I can imagine the kinds of hybrid music that will be available to me now, with tools like this…the mind reels at the nearly endless possibilities…

 

for me, one of the most exciting exercises was when I was given the instruction to “create a scape that works with another application”.  this was way back during scape week 1, when I barely knew what I was doing, but of course, I chose “itabla” – my other favourite music application, and I was quickly able to “tune” “itabla” down to c natural so it would work with scape, and I created a “tabla/tanpura” piece first, and then a scape to go with it.

when I play them back together…it’s bliss, pure, ambient, tabla, raga, ambient, bliss.  like no music I have ever heard.  this is a piece that I will be recording and presenting somewhere, because it’s just an astonishing piece of music – and, created by following the instructions/suggestions made by eno and chilvers.  I continue to use the instructions, even if they repeat, and as time goes on, my efforts to “create a storm” or “create confusion” or “work with colour” or “create contrasting textures” or “use only one type of element” – get better and better as the days go on.

some of the playlists I’ve developed, I’ve let play on repeat for many hours, and they sound like (funnily enough)…eno albums.  which is not surprising, given that the music within scape is mostly played by eno.  but – by intent or not – he has given us the actual DNA of his style of ambient music.

 

If I had designed a “dave stafford” version of scape, it would be all about ebows, ebows, and more ebows – you folk could construct “dave stafford”-sounding scapes out of recorded pieces of – energy bow guitar.  in fact, I’d love to do that, and I’d love it if you could get different “versions” of scape with different sample libraries – like the robert fripp version, which would have two modes: “frippertronics” and “soundscapes” – and you could “build your own” fripp soundalike pieces.  or the “ravi shankar” version, where you can create your own ragas, using real pieces of music from the master himself…

sometimes, I wish I were a developer – because I keep imagining these apps, but I can’t build them…

I don’t mean to, in any way, downplay this one, because the samples in this one are beautiful, really, really beautiful – but just imagine, a whole range of creation tools featuring sound bytes from all of the master musicians of the day – you could even do one based on jimi hendrix, so rock guitarists, who are not usually that much into ambient, could have a version to work with.  luckily, I happen to embrace both disciplines, being a rock guitarist turned ambient guitarist turned back to a rock guitarist – so I would be equally happy with the eno version and/or the hendrix version.

“scape” is like having a selection of the best sounds from “music for airports”, “thursday afternoon”, “neroli”, and any other classic eno ambient record you care to name, available for you to reconfigure into your own eno-like yet *not* eno-like pieces.

in fact, despite the fact that the samples are all played by eno or chilvers, it’s very easy to add in your own influence, by creating artistic, visual designs that they didn’t think of (or didn’t happen upon, is maybe a better way to put it) – and I’ve done some very, very strange visuals which created some very, very unique scapes – that I feel, in some cases, say more about my personality (I hope), rather than all sounding just like eno-soundalikes.  if you work at it, you can inject your own personality into the resulting sonic compositions.

I guess what I am saying is, if you just throw a few shapes onto the page, and push play – you will get eno and chilvers; chilvers and eno; eno and chilvers.  but if you take time to learn what each element does, and how the backgrounds and filters affect each scape, you can manipulate events, usually visually, to impart your own personality into the pieces.

by trusting in their suggestions, I’ve found that those suggestions often reward me greatly – they would know – and some of the best scapes are scapes based on the inbuilt suggestions. equally though, I find I can manipulate the visual palette to realise my own musical ideas – because I know, or at least I am learning – what to expect from the backgrounds, elements, and filters, so I can forge a “dave stafford” sound using “brian eno” elements – and further to that, if I then play live improvs along with a “dave stafford-ised” scape, or use same in studio works – I think the sky is the limit.

 

of course, I can, and have, and always will, build my own ambient pieces using the normal methods – synths, ebows, for me, mellotrons (reference: sky full of stars, an ambient album made entirely with the m-tron pro mellotron) – that goes without saying really.  however, having this sort of…purpose-built ambient music making machine, that can create lush, beautiful, enoesque tracks very, very quickly indeed, on the fly, live, or studio – well, that just is the icing on the cake, it gives me an amazing new vocabulary of ambient sounds to incorporate into my music, live or studio…OK, the method of creating the sound is visual, which is a change – but I learned to make music without keys or strings when I got my first kaoss pad – now, I can make music by creating visual works of art in the scape creation window – so that’s just the latest way to create music – I just add it to all the rest – nothing surprises me now, in fact, this visual method of creation, I think, is fabulous, and kudos to eno and chilvers for making it work so very, very well.

did I mention that I ***love***this application? scape is “the” ambient music application, and maybe, just maybe, my very favourite music application of all…we shall see.

I can’t believe how quickly you can conceive, execute, and complete new pieces, I can’t believe I’ve created 146 long form, ambient masterpieces in two weeks flat, the speed at which one can work with scape is incredible, and the results, sonically, are equally astonishing – words don’t do it justice, you have to hear it, see it, use it – and especially, use it – to experience the “growth”.

it looks great, it **sounds** great, and the way it “grows” as you work with it is undeniably an addictive and fantastic feature – wow.  each day – you get new tools with which to make ever-better, evolving, music.  because of this evolution – the pieces I made yesterday, are light-years, musically, beyond the pieces I made ten days ago.

 

and then… there was today’s session, the most productive of all, taking my total number of “scapes created” to over 200 – so about 50 created just today – and again, some, made to suggestions, some, made completely randomly, or based on newly-appearing elements – but, 200 + amazing pieces of ambient music, probably something like 20 full ambient albums made in just two weeks – that’s astonishing.

I love it.

scape – new ambient music application from Opal

today’s session, my second, with scape, the latest ambient music creation tool for the iPad,  was a real learning experience.  I have to say, brian eno and peter chilvers have done a great job on this – it’s miles beyond the very, very excellent “bloom” – eno’s previous application (which I also love!).

as I went to create new scapes, after I completed and saved each one, the app…began to give me advice, in writing !

here are a few of the instructions, or strategies for scape creation, that I noted as I worked…just a sample:

“make space”

“use only the extremes”

“find contrasting textures”

“use colour”

“create a storm”

“create a scape and watch from a distance”

“create a vast empty landscape”

“focus on the background”

“read a book. provide a background”

“as little movement as possible”

“clear skies above a troubled world”

”create three similar scapes and make a playlist”

“highs and lows”

so, I earnestly tried to do exactly what each one said – and I found that I could do what they suggested, in every case !  and the result, in each case, was a unique, vivid, living, breathing ambient atmosphere – a scape.

of course, this brings to mind, instantly, brian eno’s friend and colleague, peter schmidt, and the famous “oblique strategies” cards – and these are of course the kinds of “instructions” that we automatically associate with brian eno – and here they are, updated, but still totally relevant, in a 2012 app for an iPad – and for me, as a novice at creating scapes – I personally find them really helpful and useful, they actually help me to understand what shapes, configurations and VISUAL ideas, will create what sounds – which is invaluable.

and for me – it’s a reward system – I create the scape that the instruction suggests, it works, I listen to it – I save it – and my reward is…the next instruction.  that in turn, challenges me to create very many different types of unique scapes, each in a completely different musical atmosphere – thanks to the remarkable instructions.

and the process repeats – endlessly it would seem.  and I find I am really enjoying trying to do what the instructions suggest – although in most cases, I find it easy to do – you just use your imagination, and visually build what the instructions suggest you build – it’s easy, and fun, too !

if truth be told, maybe because I’ve been playing ambient music for a long time, I don’t know, and, often, I have if not a written set, at least a mental set of instructions for most ambient pieces that I create – if truth be told, for a few of the instructions, such as, ”create three similar scapes and make a playlist” – I had already done that yesterday, on scape day 1 🙂

so I “get” it – but I am excited, I can’t wait to see what other interesting developments there will be, apparently, more and more of the app’s  functionality is revealed as time goes on – which I think is fantastic in itself, I love a nice progression – and “scapes” startsout incredibly beautiful and take you…on a very unique and seemingly never-ending journey that I, for one, am utterly willing to go on – what a sound

I should also mention, the app features a complete album from eno and chilvers, which is a great introduction to “what can be done with scapes” – and, it’s a nice bonus to get a new eno-related album for free in an application!

 

I am looking forward to a time, when I have time to get back into the studio to make music (life, and “gone native”, have so far prevented me from doing so for many weeks, unfortunately) when I can set up “scape” as the live backing, and then loop ebow guitar, or guitar, or guitar synth over it – I think this will be the best combination of an app and guitar possible – better than animoog v guitar synth, better than kaossilator v guitar synth, even better than synth raga – iTabla via various app synths – I think “scape v dave stafford guitar/looping” is going to be so, so much fun – and hopefully, will result in some REALLY interesting, evolving pieces of live, accompanied-by-scape music.

 

looking forward…

 

 

…and I am currently drowning in lush, beautiful, peaceful, tormented, wonderful, ambient, disturbing “scapes” of all descriptions.

🙂

the music of the moment – the “fairlight 51” album – plus, 3 other amazing apps…

in a typical dave stafford multitasking way, even as one album project reaches fruition, another one is still in the creative, formative stages.

so even though I’ve been very involved in the work in support of “gone native“, at the same time, I’ve been reviewing in particular, my work created using applications, and I’ve also been working on application-based existing tracks, improving existing tracks, and, creating new ones.

before I speak about the upcoming “fairlight 51” project and the “fairlight pro” application, which is shaping up to be the next album release after “gone native“, I’d like to speak for a moment about three other applications that I have really been enjoying: “isequence“, “tabletop” and “nanostudio“.  I have not had much time with isequence, but I would have to say that I will be using it for music creation in the future, as a sort of alternative to nanostudio.  it’s laid out in a completely different way to nanostudio, but I really like the available voices, and the different GUI is challenging and fun – so even with just a couple of preliminary test tracks, I am really liking isequence a lot, and I am looking forward to using it much more over the coming months (and years!).

another application that is new to me is tabletop, which is yet again, a completely different layout to the other two, and with a lot of unusual and interesting instruments, many of which are free, and some of which are in-app purchases.  I’ve also done a couple of test tracks in tabletop, and I am equally excited about using it, and isequence, as time progresses.  these tools are so, so exciting to me, because of course each has it’s own synths, it’s own drum or percussion options and it’s just so exciting to hear some of the really sophisticated sounds that these tools can make – a lot of really fantastic sonic possibilities there, and I am excited about finding the best sounds, and using  them in compositions, and trying new combinations of sounds…the possibilities are nearly endless, with so many great tools to make music with…

finally, there is my old friend nanostudio, which was an early purchase, that I have worked with for a long time, and I have probably six or seven pieces in progress. a couple of those are nearly complete or essentially complete, and I went through a full review of the pieces and I am very excited about a couple of them, “atlantis rising” and “alien…or sutin” in particular – these feature the fabulous eden synth, which is one of my very favourite ipad synths, it just has so many amazing patches, and both of these pieces are dense, exotic and full of really interesting synth sounds, some of which are quite odd, but with nanostudio, it’s so easy to sound good – you just lay out a drum track, and then start playing synth parts…and very quickly, you have a really beautiful and complex piece of music built up.

I am thinking that what I might do is dedicate the works that I do on nanostudio, tabletop and isequence to my so-far empty soundcloud account, just so I can get them out there, although of course I will probably gather and compile them for another application-based album down the road…so hopefully, over the next few months, I can get at least my nanostudio work mixed and uploaded to soundcloud, and hopefully add some isequence and tabletop pieces into the mix a bit later on.

and then there is the “fairlight 51” album, the fairlight is one of the first applications I purchased, and I now have a months-long relationship with the fairlight, and I have a great working relationship with the device, and recently, the pieces are appearing almost by osmosis – I build a new instrument, I begin to create passages of music, and often, not always, I have a complete piece of music 30 – 60 minutes later…

over the past few weeks, I’ve created quite a few new pieces for the fairlight, some of which defy description – some of which utterly surprise me – some of which I really cannot even explain rationally. this tool…makes you think in a completely different way, it makes you compose slowly, bar by bar, taking care with every note, every percussion sound, every cymbal splash – and of course, being sample based, you are basically conducting a strange orchestra of eight pre-selected samples, in a bar-by-bar composition that at least for me, well, I really never quite never know what is going to happen with any given composition, until I hit “play”… and then these pieces of music just come to life, and it’s a strange dichotomy – you compose slowly, yes;  but sometimes, the process itself goes very quickly, and in the space of 20, 30 minutes – you’ve composed a very complete and intricate piece of music. as if by magic.  it just…happens.

over the past few weeks, new pieces have been arriving fast and thick – I can’t believe how many have appeared, and most of them, in a single session, an hour or less, and they arrive almost fully-formed.  sure, a few pieces need a bit of work the next day, but that’s the exception rather than the rule – most of them, arrive within 20 minutes or so, and that is pretty much their final form.  that never happens to me when I use normal compositional tools, when I play guitar or keyboard – but when I compose on the fairlight pro…it almost always happens.

and each time, I start with a completely different “instrument” – and the effect that has on the sound, the feel, the mood of the piece – if I select brassy, bold sounds, maybe a cheery, poppy melody will appear, if I choose wooshy synth sounds, maybe something dark and mysterious, and what is also remarkable is how each piece sounds SO different from the previous one!!  it’s as if each piece is a tiny island, a unique island, in a strange archipelago of sampled sounds – but the piece are so unique, and so far, with some 35 – 40 pieces recorded towards the project, there has been almost no repetition of anything whatsoever.

that’s astonishing to me, it really is – that you can create an instrument, then compose and execute a composition, then, the next day, when you repeat the process with a new instrument and a new composition – it comes out completely and wildly different. this is probably because you have eight utterly unique samples, that when “played together” as a virtual instrument, create one sort of “island” of sound; and then the next eight, create a completely different “island”, and so on…so you get this huge and amazing diversity that you wouldn’t think was possible.

over the past few weeks, I’ve been witness to the arrival of “mutant sheepish”, “monsoon season”, “long walk in the pouring rain”, “effective immediately”, “a passage of time”, “kiwi republic”, “the harold angels”, and over the past few days, “carbon life form” and it’s brother composition (which sounds COMPLETELY different) “silicon life form”.

I literally do not know where these pieces come from; each one has it’s own unique identity, and it’s getting to the point where the pieces just arrive almost automatically, I am just there to make sure they arrive safely…

I haven’t tried to figure out why, but recently, the name “fairlight pro” changed suddenly, to “peter vogel cmi” – and I actually don’t care about who owns the code or what the reasons for this change are, if peter vogel can’t use the name “fairlight” anymore – well, it’s been “the fairlight” to me for the past eight months, and I think it will always be “the fairlight” to me – and I am sure peter vogel will only make this app even better; I’m pretty happy with it now, and I am sure it’s only going to get better…

whatever name it goes by, the application formerly known as “fairlight pro” is one of my very favourite applications, of all time, and I can see myself continuing to work with it indefinitely…I love how surprising it is, how you literally never know what a piece is going to sound like until you hit “play” and the remarkable, unique sample set of the fairlight pro comes into play…whoever gathered those samples originally, really selected a remarkable and diverse selection of amazing sounds, such that, fast forward about thirty years from the original fairlight to the app version on the ipad – and those sounds still sound as fresh and otherworldly as they did when peter gabriel and kate bush and so many others made some of the most iconic music of the early 1980s using the £20,000 hardware version of the fairlight.

I could never, ever have afforded that, and as a guitarist, I never would have aspired to…but in december 2011, when I realised I could have that library of SOUNDS for a tiny fraction of the cost of a “real” fairlight – how could I say no?   as a guitarist, I’ve always had a great love of synthesizers of every description, and I’ve always enjoyed creating and composing on piano, organ or synth – but now, to have such a huge array of amazing synthesizers all shrunk down to tiny applications that deliver big sound for very little investment…

these application tools are going to give me so many sonic options, and already, some of my hybrid experiments, where I am driving two or three app synths from one key-press, means that not only can I use the unique and astonishing sounds of an extraordinary array of app synths, but if I want, I can use three or four at once – and that’s when the possibilities extrapolate out into an unknown universe of sonic madness.  and I plan on going there with them 🙂

dave stafford solo album, “gone native”, released, download only, worldwide on august 1, 2012

hello,

this is just to let everyone know that “gone native” is now live on both the pureambient store and on bandcamp, which means you have a broad choice of download formats, from the standard mp3 320 on up through FLAC and even WAV if you so desire.

a proper physical CD release is being prepared as we speak, which will be available later on in the year, but I really felt that these songs deserve to be out there where they can be enjoyed.

I’m very happy, too, that the tracks have been added to bandcamp, which is a great resource, and the bonus there is, you can listen to the album before you buy – always a big plus in my book.

I hope you will take a little time, and go and listen to some of these tracks – this is my dream album, by my dream band – and to make sure the parts were played right, I just played them all myself – another lifelong dream, to follow in the footsteps of todd rundgren and other musicians who “do it all” themselves…it was a joy to play, to be the drummer, to be the bassist, to play the mellotron – and then when the tracks were ready, to sit down and play the guitars.  ALL of them! including lots of energy bow guitar, lots of lead guitar, lots of rhythm guitar, lots of guitar synth – which meant, of course, playing oboes and flutes, as well as many very eclectic, strange and wonderful synthetic voices courtesy of the roland gr-55 guitar synth.

this record was an ABSOLUTE BLAST to make, hard work at times, painstaking effort went into the tracks, working out a precision ending for “open to anything” involving the most precise bass part I could conceive of, in fact, I spent a lot of time trying to achieve really excellent endings on several other tracks as well, it became a bit of an obsession – the lead guitar figure at the end of “force of nature” – even the title track, which features a sped up, super tempo bass, drum, guitar and mellotron finale – fun! (but not easy!).

I am very proud of this record, because it very nearly never happened – I was content, in 2008, to continue working on ambient, looping, ebow – but then I got the idea for “gone native” – starting with a remarkable “take one” live guitar part, which was “thanks, frank” – and from there, it was a real rediscovery of the joy of just playing the guitar!  I played that solo, and it seemed so complete, so right – that I really got inspired to do even better on the rest of the record. slowly but defiantly, I collected these tracks together, testing many mixes, making improvements – until I ended up with the 19 tracks that are on the final album today.

when I was a teenager, I played the music of my time – hendrix, clapton, cream, camel, zz top, zappa, nektar, king crimson, todd rundgren, etc. – all of that, and even though that was really just for about six or seven years of time, that music stayed with me, and I still played lead guitar, even if all my albums did go down either a crafty or an ambient path – that “lead guitar guy” was still there inside me. wanting to rock, wanting to play a little prog, wanting to just let go and have fun playing guitar – and, that is exactly what I did!

In 2009, then, inspired by the one take “thanks, frank”, I kitted myself out for rock guitar, and began to record – learning first sonar 4, then, sonar 8.5 in the process, and really coming to terms with digital recording and mixing – let’s face it, before that, I didn’t need to know how to mix, because I never worked multitrack – it was always “two live tracks – stereo” – I was playing live, loops, ebow, whatever, so there really was no “mix” per se.

but that all changed with “gone native” – and learn to mix I did.  “wettonizer” went through about 10 different major mix session over many weeks, until I was satisfied that it is at it’s very, very best – and it is.  tracks such as “sinuous thread” had very carefully orchestrated, layered mixes, and I really enjoyed both the process and the results.  I really feel now that sonar is the absolute equal of pro tools, and don’t let anyone else tell you otherwise! 🙂  it’s a great toolbox with a huge range of tools available for building, mixing and producing really high quality music. some of the plug ins are absolutely outstanding, and those tools really made a difference to the tracks with really dense mixes – I could mix a LOT of tracks together, but still have clarity for all of the instruments – brilliant!

I am so glad that I decided to have one more go at being a “lead guitarist” and writing “songs” (albeit all “instrumental” songs, but, songs nonetheless – as opposed to live, improvised loops) – it was very strange and surreal, to be building multi-track rock music, instead of just hitting record and doing a loop.  but I got used to it, and over 2009, built up the first half dozen or so tracks that eventually became the album.

in the meantime, I had acquired the guitar synth (in march, 2011) and I immediately began to incorporate it’s huge arsenal of amazing sounds into both the songs in progress, and into a number of new compositions made entirely with guitar synth, which, for the record, are: “caladan”, “sun willow quartet”, “junction”, “salusa secundus”, “desert power I – drone mix”, and “cinematique I” – although “caladan” and “sun willow quartet” also feature sonar’s “session drummer 3” on drums 🙂

I also incorporated some guitar synth into a couple of the earlier compositions, notably, the title track, as well as many guitar synth/atmospheric overdubs on the reverse-engineered 2009 guitar solo that is “this is a test”.  so the guitar synth really expanded my guitar vocabulary, and it was quite remarkable to be playing a flute part, or an oboe solo, or the dual “nylon string guitars” on a track like “caladan” – really an extraordinary experience.

and last but not least, I managed too, to incorporate two other more recent innovations into the project:  on “zencourage”, the korg kaossilator – hand-held x-y pad synthesizer, is the only instrument heard – it’s many kaoss pad loops all worked together into a larger composition; and then also, ipad applications – I used a guitar application called “ampkit+” to record one of the tracks, which is an active energy bow solo, entitled “wide open spaces”.

so this really is a remarkable batch of 12 songs and 7 sonic experiments, and if you want to hear an unusual rock album, with a definite ambient influence, then please visit the bandcamp site and have a listen…start at the beginning, and just let all the tracks play – it is my sincere hope that you will really enjoy this work.

three and a half years in the making, but really, 41 years playing experience went into the making, and here is it at last (well, the download version, for the moment! – the CD version is on it’s way…):  “gone native” by dave stafford.

happy listening!

dave

the music of the moment – recalling the piano and vocal repertoire

since february 2012, I’ve been working,  in earnest, on “re-learning” some of the piano and vocal repertoire that I used to play when I was…younger, and it’s been both challenging and rewarding – as well as sometimes, surprising.  this repertoire is mostly of progressive rock, with some pop thrown in for good measure, but it was mostly repertoire learned between roughly, 1971 and 1981, which I then played for the next ten years or so.

an example of a surprise would be: the fact that I could take one of my own songs, which was originally written on guitar, and quickly adapt it to become…a piano song.  that surprised me, and my song about the death of john lennon, “john” is a case in point; during one of my test piano and vocal sessions, I just gave it a go – and was so totally surprised that not only could I play it and sing it at the piano, but it actually works well arranged that way, for solo piano and voice – brilliant.

an example of a challenge would be…well, mostly, the challenges are twofold – a) getting my fingers to play what I do know in my brain, and then, b) if I succeed at that (questionable) getting my 54-year old vocal chords to reach those notes that seemed so easy to reach when I used to sing these songs…

getting both to happen during one performance – very difficult!

an example of a reward would be: when it all works, when I get a really quite good take of a really quite difficult song…such as “flying blind” by peter hammill.  it took a few tries, but in the end, I did get one – a good take!

I persist, that is what I do – I persist.  the “easier” songs – well, those come back quickly, and I find them easy enough to play – maybe something like “vision” by peter hammill: it’s in an easy key, the vocal is not demanding – this, I can manage. few of the songs I know fall into this category, and even some of the lighter pop music I know, is actually quite complex – for example, early todd rundgren – it sounds simple, but actually, it’s full of complex chords with odd interval bass parts (which is part of what makes those early songs so sonically appealing). so something like “a dream goes on forever” from the “todd” album (1974) sounds pretty easy, but the intro is actually very, very difficult to play well.  I am getting it – it’s coming back to me, but, it’s more difficult than you might imagine.

but playing that song isn’t the problem – it’s singing it.  most of the verses, I can sing fine, but, there is one section that has a very high vocal part – and I just can’t hit those notes anymore…which is heartbreaking, it means I will perhaps have to satisfy myself with whatever historical recordings I have of me playing that song when I was a young man – but those will have their own issues, poor sound quality and so on.

now, I have devised a method whereby I drop the vocal to the low octave for that one verse – but in practice, a) it’s very difficult to “switch octaves” during a live take and b) it sounds a bit strange, to suddenly go for these very low notes, just so I can hit the few high ones – and then switch back up an octave again a few seconds later – it’s not really working.  so I may have to scratch “a dream goes on forever” from the list of possible songs for “a black box”…

speaking of todd, there are a number of pieces that I used to play by todd: “believe in me”, “be nice to me”, “sweeter memories”, “real man”, “black maria”, “couldn’t I just tell you”, “lucky guy” and many, many more, so over the coming weeks, I will begin looking at these pieces to see what is involved in relearning them. of course, a couple of those are guitar songs, and there are some todd guitar songs that I would REALLY like to learn – for example, I know huge chunks of “number one lowest common denominator” on guitar, but I’ve never learned it properly…so maybe I can invent a giant todd guitar medley – black maria/no. 1 lcd/couldn’t I just tell you…something like that.  if only I had time…

so I did learn and play a lot of todd and utopia songs – including the big utopian anthems, both “just one victory” and “sons of 1984” – todd was a big influence for a long time, and I can remember spending weeks trying to perfect my version of “lucky guy” – I even recorded a version of it with borrowed grand piano, and then overdubbed my vocals – as well as a painstaking re-creation of todd’s dual ebow solo in the middle – I really love that song, and I may have to have a go at it again now – it’s the highlight from “hermit of mink hollow” (1978) and it was a real joy to learn, sing and play that – a great piece of beautiful pop music.

if todd was my biggest pop influence, then peter hammill was my biggest prog / dark side / influence – and I am not sure I can even list all the peter hammill songs – of both van der graaf generator and “solo” variety – that I have learned, forgotten, relearned and re-forgotten…so, so many, from “man-erg” to “still life” to bits of “a plague of lighthouse keepers” to “vision” to “the birds” to “my room (waiting for wonderland)” to “the undercover man” to “the siren song” to “w” to ever more obscure items from the hammill canon “forsaken gardens”, “out of my book” (that’s a guitar song right enough, not a piano song) or “mirror images”…so again, as with the todd catalogue, there are so many songs that I used to sing and play, and I think while I can often quickly re-learn how to play the songs, it’s going to be the vocals that challenge me – every time.

I do hope that with some rehearsal (and I am never big on rehearsing, I just expect that I can sit down and play these songs, and that’s expecting too much!) – I hope that with a few weeks of recording and rehearsal, that my voice will loosen up, and maybe I can recover enough extra range to at least once, capture the odd good take of one of these songs.

over the past four months, my facility to sing and play these songs has slowly, painfully slowly, improved – where previously, two months ago, I could not even “get through” a full take of a complex song like “still life” (the title track of the album of the same name) or “the siren song” – now, at least, I can get through, although so far, with too many errors to make any of the takes “good” – but, I can at least, now PLAY the songs.  the good take – well, it’s always the elusive thing, I did version after version of “flying blind”, I even went so far as to master one version, make a video of it – then decide it was just not good enough, and, by re-recording it again on june 1st, got a far, far superior version – so my intuition was correct, it wasn’t good enough, while the june 1 version, is.  so I need to learn to be more patient – I am impatient, I wish I could just sit down and reel out perfect versions of each and every song I’ve named here – and a host of others – I used to play so many different songs on the piano, everything from roxy music “a song for europe” or “pyjamarama”  to steely dan’s “charlie freak” or “doctor wu” – “charlie freak” being the first piano piece I ever learned by actually reading the notation – note by note, because I couldn’t figure it out by ear.

most of these songs, I learned completely by ear, by playing along to the album – and I mean the vinyl album (or if not, a cassette of the vinyl album) – this was the way I learned.  so something like hammill’s “man-erg” – it would start with me recognising one or two chords, realising there was a progression with a descending bass line, playing that bit, then working out the whole verse – but it would take deeper study of the album to learn the strange “middle part” or the long and complex chord progression at the end.  I would play along with the record, and write down the chords, and eventually, after days and days or even weeks of work, I could play the whole song.  but “charlie freak” had no chords, it was entirely composed of notes, so I had to use my limited sight-reading skills, and work it out from the sheet music.  I can’t play it now – I’ve completely forgotten how it goes I am afraid.

king crimson – yes, a few, not many, because songs by this band – they are not easy, but certainly “islands” in an abbreviated piano version (although I cannot touch keith tippett’s original arrangement – a fantastic pianist!), “exiles” in an all-piano arrangement – on guitar, a few others: “lady of the dancing water” (on nylon acoustic), “red” (on electric, obviously), “one more red nightmare”, “larks’ tongues in aspic part II”; fragments of “easy money”, “21st century schizoid man” and even entire fripp solos like the infamous lead solo from “easy money” live on the USA album – I learned that note for note on guitar, because I love that solo so much.

there are others from the golden era of prog – genesis – I learned several, the only ones that I learned well were “the carpet crawlers” and “anyway” – both from “the lamb lies down on broadway” – and then there was gentle giant, the only piece I ever learned (and this was actually more recently, NOT back in the day) is the very, very beautiful “aspirations” from “the power and the glory”.

where available, I would and do use song books to get the basic structure, although when I was younger, I just learned them without the song book – and of course, for things like van der graaf generator and peter hammill – there IS no song book! (maybe I should publish one – 10 easy peter hammill songs for piano!) so you are forced to learn them totally, totally by ear. it seems crazy to me, now, to spend that much time learning a song, but I’m glad I did – because the chords and notes I took then, actually enable me to remember the tunes, using my 35 to 45 year old documentation – all neatly typed up on a manual typewriter !

so I have help – I have the chords, I have the lyrics, but as far as actually playing the pieces, I actually “make up” the bass parts and the melodies, I just “pick them out” as I work on the song.  so for example, hammill’s “still life” has a section at the end, where the voice follows a piano note, so I had to learn every single note in that sequence by heart, so I could sing that climactic section with conviction, yet follow along on the piano, note by note, to the heartbreaking end.  “still life” is one I am determined to get on tape, because I never, ever captured it on tape back in the day – so if I don’t manage to record myself playing and singing this song, there will be no dave stafford version of it left behind – and it was such an important part of my hammill repertoire.

over time, sometimes, with additional “listens” to the originals, these “made up” bass parts and melodies and chord inversions actually start to very closely resemble what peter hammill or hugh banton played – it just takes time, and practice, and persistence – and being able to listen really well, and “hear” every note…sometimes, if a piece is too complex, I cannot “get it” by ear – most classical music falls into this category – it’s too complex to learn by ear – but popular music, even prog rock, is not – because it’s mostly just chords, lots of chords, with sometimes, melodies or bass lines – much easier to learn than classical music.

it’s great when there is written sheet music, because that gives me a great head start, I can sight read, very slowly, very painfully, so if I have to, I will resort to the sheet music, but it’s tough when it comes to a king crimson or a peter hammill song.

growing up in the 70s, when progressive rock was at it’s height, peaking in 1975-1976 and ramping very quickly downhill from 1977-78 onward, I was so, so lucky because I basically learned every song I could learn, not really realising at the time just how difficult, just how complex this music was – but to me, it wasn’t “prog” it was just – music, the music I listened to, the music I loved, the music I wanted to play.

as you then grow up and become adult, there is less and less time available for things like practicing your piano repertoire – I eventually got rid of my upright piano and hammond organ, so the piano repertoire fell by the wayside for quite a few years.

now, in 2012, well, albeit slowly – it is coming back.  I’ve had such an amazing time these pasts weeks and months, playing pieces like “my room” and “the siren song” – what a remarkable experience, it is actually amazing that I can remember them at all, but – they are on their way back, if only I can be patient, can keep practicing, if I am very, very fortunate – one or two of them might end up on a rolling tape.  I hope…

“dreams, hopes and promises…fragments out of time…”

what we’re listening to – the innocence mission (a guilty pleasure)

in the 1990s, since joni mitchell was already in semi if not full retirement, there was only one female singer that filled that gap (for my money, anyway) – big shoes to fill – and that was the innocence mission’s karen peris.

I discovered this band in a really strange way, I used to videotape mtv’s 120 minutes, which ran from midnight to two am, I would go off to bed and watch the tape the next day, on the off chance that an interesting or good video would be shown (and usually, I was disappointed) but on one of the tapes one night, there was this strange video for an even stranger song called “black sheep wall”, by a group I had never heard of – the innocence mission.

the singer was a shy looking girl with long brown hair, with a lovely soprano voice, but what got to me was the song itself – it was strangely compelling, and I liked the arrangement, which has some sort of reverse reverb backing vocals, and I really liked the instrumentation and the guitarist.

I did something completely uncharacteristic – the next day, I went out, and bought the album on the strength of that one song.  and this was an accident, I never did that – but for some reason, I did.  and I loved the album – it’s an absolute classic, and “black sheep wall” is just one of many great songs on that debut record.

I didn’t know it then, but this was the start of a long love affair with this band, this singer…these SONGS – delicate, fragile, beautiful, sensitive (all the things that most music of the 90s was not) and I was lucky enough to see the band live a couple of times as well, usually in a very small club in san diego. on one of those occasions, I even got to speak to don and karen, and they were just absolutely welcoming and wonderful people – I had a really nice chat with don, told him I liked the way he would go out on a limb with his guitar playing – which he did all the time, his riffs, bordering on the strange, his use of the whammy bar, very peculiar indeed…but wonderful, refreshing – unusual.

a huge component of my admiration for this band IS the guitar playing of don peris – he pretty much never uses distortion, always plays it clean, plays it straight, uses a lot of bright, chorus-y sounds…but can also play so, so powerfully when the need arises.

of course, it wasn’t just don’s guitar, karen’s ability as a vocalist, pianist and synthesist cannot be overstated, of course, really, this is in some ways, “her” band – mainly because it’s her songs – her piano. again, this always impresses me – I am not normally fond of singers who cannot play an instrument – but karen sings lead, sings harmony, play piano, plays synthesizer, plays acoustic guitar – whatever is needed, and she is a musician first and a singer first, as well – now, for a lot of people, it might be difficult to deal with her voice, because it’s one of those really powerful sopranos that some people don’t like, but if you listen to the words, the stories she tells – and then her vocal arrangements – for example, the arrangement on “black sheep wall” is absolutely stunning – as if joni mitchell and kate bush had a magic love child, and her name was karen peris.

as one of the few husband and wife teams out there in the world of popular music, the peris’ had a long and fruitful, albeit low-key, career – and it’s interesting, if you look at the series of recordings they made at the time, starting with their debut “the innocence mission”, moving on through “umbrella” and onto the phenomenal “glow”…but what was interesting was that at first, it was a real band, with bass, drums, guitar and piano – with karen at the centre of it all, those amazing songs, and don supporting her with his world class super clean, melodic, chiming guitars – those guitars!

but, as time went on, first the drums disappeared, and then eventually even the bass, leaving karen and don right back where they started – full circle, so that the last couple of “innocence mission” albums were really just karen and don – and therefore, a lot more acoustic than the earlier records – but the songs never suffered, and in fact the more minimal approach on the later albums actually works very, very well indeed.

early songs such as “clear to you” and “black sheep wall” – are just so, so beautiful, and even now, so many years later, the distinctive sound of karen’s voice, and those beautiful band arrangements, just resonate so beautifully – nothing has changed, even though…everything’s different now.

 

“when it’s…when it’s clear to you, I’ll be near to you – I will be around…

“when it’s…when it’s clear to you, I’ll be near to you – I won’t let you down…”

 

I really admire the amazing talent of these four people, of course, it’s all about karen’s songs, karen’s amazing voice, those kate bush/threatening background vocals, and don’s amazing, concise, careful, clean and sometimes daring guitar playing – and the songs are good, they are solid, the writing is good, the lyrics are intense and meaningful and joyful, the melodies are beautiful – and the band supports karen in an amazing, yet delicate way.

when I spoke to karen and don, I was struck by just what…almost withdrawn, quiet people they were, totally introspective, and when karen spoke, it was in an absolute, barely discernable whisper, almost as if she were afraid to speak aloud (she was probably just saving her voice for the next gig) – and some of her songs are like that too, fragile, you can’t believe something that fragile can exist, something that beautiful – but they do!

so these are definitely not your normal “rock stars” – there was no posturing, no nonsense, just come out, sing and play the songs (and don has a great harmony voice, you could tell that he and karen have been singing together for many, many years) and I was amazed that they then came out to speak to us after the show instead of “off to the hotel” – that was a really nice thing to do, and I haven’t forgotten that conversation even after all these years – I was wanting don to let me overdub one of their songs with layers of ebows – but that idea never came to anything (at least, not yet!) – there is something fairly hypnotic about a lot of the songs, and I had done some experiments where I looped live as the album played – so I could hear it in my head anyway…

 

I really think it’s such a shame that this band was not well known, here, we have real talent, real song writing ability, a great pianist and singer, a fantastic, accurate, clean, quality guitarist – and of course, they were largely ignored in favour of musical atrocities such as…shudder…tori amos.  tori amos was compared to kate bush, but the real talent, the woman who really should have been compared to the vaunted kate b., is our own karen peris – if you ask me, there is a holy trinity of female singers: mitchell, bush, peris – NOT amos, never amos.

 

even new female artists like joanna newsome…OK, I get it, but for me, no one has yet to touch the beautiful, fragile, yet strangely powerful songs of karen peris – they are tops, and it will take someone really, really amazing to replace her place in my heart – I love this music, I’m forever going over black sheep wall and karen peris is taking me there…

sometimes, the band builds up to an amazing frenzy of layered, chiming, beautiful guitars, with multiple karen peris overdubbed vocals lending themselves to this musical frenzy – there is a part in “that was another country” from the “glow” album that never, ever fails to give me goose bumps, as karen’s voices vie with don’s guitars for “most beautiful” or “most chilling” – a really musical, really creative build up of layers, and “that was another country” is a masterpiece, albeit an unknown one – if I had to take just one innocence mission song to my desert island, that might be it…

as I mentioned before, they start out very much “band” and end up very much “acoustic duo” which is a strange career, almost like a career in reverse, the most number of fully arranged, upbeat songs being on the debut, and then, fewer and fewer tracks with band as time goes on.  I love both, and there are also a few tracks that are mostly about karen’s piano and voice, and it’s then that comparisons to both mitchell and bush are totally unavoidable…obviously, she is influenced by both (in fact, mitchell was an actual mentor on the first album, which was produced by mitchell’s then husband, larry klein – as was the second album, “umbrella”, as well) but totally has her own identity, and I love that she is such a strong songwriter, and that the boys in the band – originally, mike bitts on bass and steve brown on drums, along with don and karen peris – they all contributed to the material, but peris is, and always will be, the principal songwriter and is the quiet, gentle, shy driving force behind this band and it’s incredible music.

there is no other like it. an early single, “wonder of birds” has a driving drum beat and a glorious orchestral arrangement that support karen’s massed vocals – and then don starts to layer in his “chorus guitars” – and the whole thing is away, flying, literally flying away – and what kind of band writes about how wonderful birds are – in fact, one of their later albums is actually called “birds of my neighbourhood” – so twitchers (birdwatchers/ornithologists) everywhere, including myself, can rejoice, karen peris and co. are still singing the praises of our avian friends…and that was even a minor hit, with a successful MTV video – can you imagine, a song about birdwatching, an MTV hit??? it doesn’t get more unlikely…

their second album, 1991’s umbrella, starts with an incredibly beautiful, upbeat song called “and hiding away” – with the most glorious guitars, picked chords flying, trying to keep up with karen’s voice, which is soaring so high, so far – and then it’s all don, amazing guitar break, I really cannot express in words what a good guitarist don peris is, you just have to listen – none of it is gratuitous, there is nothing excessive, nothing unnecessary; there is just what the song needs, no more, no less – pop masterpiece minimalism, and “and hiding away” is a perfect example of a great, great pop song – I love it!

I prize the cloudy, tearing sky
for the thoughts that flap and fly.
for staying in and reading by.
for sitting under.

I read a book of madeline
and her friends in two straight lines,
in paris, in a house with vines
over its old face.
far, far is paris…
and the sky is dark with mystery.

try, catch the thoughts that flap and fly
in the cloudy, tearing sky,
that touch and stir and won’t be tied-
and try to speak them.

I think of my old flower sky.
of us, when we thought we were spies.
of bobbing eggs in easter dyes.
of walks in london.
try, try to hold my love for you,
it knows no measure.

this is a day for hearing bagpipes
somewhere playing.
this is a day for hearing sarabands
and hiding away.

sky, I hold my tears if you do.
starling thoughts, go over me

 

and then, from pure, unadulterated joy, the album moves to unspeakable sorrow, with the dirgelike, slowly evolving “ sorry and glad together” with it’s perfect four-note george harrison style slide guitar break – the world’s shortest, best slide solo – so beautiful, a very moody song, that moves from sorrow to joy and back again, and even if this album only had these two songs on it, it would be a masterpiece, “umbrella” is a really, really lovely record.

I love the first three records perhaps a bit inordinately much, and for some reason, I am also very fond of the third album, “glow” – I don’t know why, there are so many good songs, great songs even, across the now-substantial canon of this great, unknown band – and whenever I hear them, I am taken back to the time when these songs were brand new, and I had a secret, I was into one of the best kept secrets ever, the beautiful experience that was being a fan of, and seeing play, a totally real, totally honest songwriter, who would sit down to an absolutely hushed audience, sit at the piano, and pour her heart out without opening her eyes, as don and the band quietly supported her – I will never forget that as long as I live – the venue was a tiny club, and you could hear a pin drop as karen sang…

I feel very, very fortunate that I stumbled across this band by total, total accident; that I took a chance and bought their first CD, that I kept buying their albums (and was rewarded time and time and time again with an even better record than the last one), that I went to see them play and supported them – so many bands are just hype and nonsense, all bluster and no talent, but this incredibly honest couple, with their beautiful, truthful songs, really touched me in a strange way, the songs get into your head and your heart, and you find yourself singing them days and days after hearing them…

“I can see you
I can feel you

I can see…see

you”

normally, I would never buy a CD based on the strength of hearing just one song that I liked – but in this case, I am so, so glad I did, because there after followed 23 years of enjoyment, and I class this band in a very unique category, a rare category, where the quality of the songs and the delivery of the music is such a pure, undamaged thing – even the record companies, the record industry, could not spoil this, and this band always did work on their own terms – they had it their way, even when that way was probably commercial suicide, and for that determination, they have my undying admiration and love.

 

“(I’ve got) clouds in the upstairs, clouds in the memory…

clouds in the upstairs…I still remember…I remember me…”

“clouds in the memory…”

 

 

karen and don – keep making that beautiful music !

 

 

addendum:

 

early period innocence mission playlist – killer tracks

if I had to just take 14 tracks with me…

 

 

black sheep wall

clear to me

you chase the light

wonder of birds

and hiding away

sorry and glad together

now in this hush

someday coming

keeping awake

bright as yellow

that was another country

happy, the end

go

everything’s different now

where does the time go?

snow

moon river

 

 

 

beautiful pop heaven playlist…

 

bliss.

the music of the moment – a new kind of dave stafford music ? – “synthraga orchestra”

well, by complete accident, I think I have created a new kind of music for myself, a kind of music that I’d really like to do a lot more of, work out this new process really well, so that I can play pieces that are truly beautiful and inspiring. the good thing is, technology is making it possible for me to play this music live, so that is even more exciting – live performance, with tanpura drone and tabla drums – and it’s wonderful fun to do!

in my head, I am thinking of this new kind of music as a “synthraga” – and that’s because on may 19, 2012, I set up a scenario where I could have an application, itabla pro, providing both tanpura drone and tabla percussion, and then I also set up between one and three apps, synthesizers, that I could use separately, or ganged together, to play melodies on top of this beautiful rhythmic “bed” of indian sound.

when I was playing the pieces – six of them, all of substantial length, I wasn’t convinced that it was really “working” – I had my doubts if a synthesizer was a valid melodic device to play over an indian rhythm.  however, when it came time to listen back to the tracks, my opinion changed completely – it works really, really well indeed, which surprised me greatly – I would have thought that synth + tanpura + tabla might have been a disaster, but really, all six takes succeed, one or two of them need a little bit of attention, and a few of them are just exquisite right out of the box – thanks mainly to the genius app that is itabla pro.

the first take, “felled trees float rapidly down river” starts with a ghostly, lone synth melody, that plays for about a minute, then the tanpura enter, then the tabla – the piece continues – then I bring in a second synth, and play a lot of very strange melodies, including violent up and down sweeps of the pitch bend wheel…and then, I switch back to synth one, the ghostly one, and continue with the pitch bend antics but in a more subdued way.  for me though, it’s the tabla that make the piece – constant, beautifully recorded – they are just lovely.  the tabla stops; but the drone continues, the ghostly soloist returns, then suddenly, the tanpura and melody just fade away – and a new kind of dave stafford piece is borne.

take two could not be more different; two synths are operating at once, one a stuttering, chattering beast, the other a slow, long, wah sound, the two play together for several seconds, with lovely oscillations and delays – then, the tanpura enter – which just sounds amazing on top of these two wildly moving synth voices, and it begins to set a mood, the soloing on the dual synth voice is just wonderful, the drone of the tanpura really enhancing it – then, suddenly – the tablas enter, and we are away. “branches splaying flying outward – powerful gusts of wind” – once the tablas start going, the chattering synth melody begins to move up and down the keyboard, following it’s own melody line, up and down the scales, then ending up in the high registers – the tablas stop, some amazing synth sounds happen thereafter – then, it’s just tanpura – and we are gone.  another remarkable piece of music from nowhere, I had no plan, I just set up the instruments and just…played.

the third piece starts with a strange, half-strangled square-wavish sound, as usual by now, the drones enter first, always, to set the mood, while the synth melody plays alone, the drones envelop it and make a lot of beautiful noise.  a heavy bass note emerges, then repeats – the tablas enter – and then the strangest thing ever happens, a sort of extreme, in your face wah based synth plays a short sequence – surprisingly – then disappears – then – reappears thirty seconds later, just the most unlikely synth voice you could imagine, it’s arpeggiator based, but it’s the sudden starts and stops – while the original voice continues to play melodies, in fact, it now goes solo, including several interesting pitch wheel motions – then, back to the extreme arpeggiated voice, which if at first was almost irritating, you now can’t help but really like it, and it’s the unusual justaposition of this weird solo voice with the lovely drone/tabla backing, it’s SO unlikely – that it actually works, really, really well. “rustling of leaves turns to rattling, then back to rustling, then, to silence” is a very strange, but very wonderful piece of music, unlike anything I have ever created.

our fourth piece here, “hailstones rattle down the hillside, into the empty riverbed” starts with a mysterious, minor key solo synthesizer that is more fender rhodes than synth, but it sounds wonderful with the tanpura drone and tabla, and most of this piece is taken up with this subtle instrument, it gently plays a lovely melody atop the perfect rhythm kept by the tablas, courtesy of course of the remarkable itabla pro application (which just underwent a fantastic update) – then suddenly, a technological disaster, by accident, the volume increases dramatically, some strange musical events occur, then it goes back to normal – and then, the middle section synth solo comes in (and, the “loud” section can be normalised in post-production, so it’s not a problem) – with again, a most unlikely voice, a very squelchy modified sine wav with a lot of glide, a lot of delay, and a lot of insane pitch wheel bending from the synthesist – that’s me!.  again, a sound I would never pick to go with an indian backing – it shouldn’t work at all – but, it works really well !!! – then returning to the rhodes-like sound and quickly dissolves into nothingness….

track number five (“thousands of leaves fly into the air, borne upwards on rising thermals”) again has a lovely, rhodes-like beginning, very mellow, really nice melodic playing as first the tanpura drone, then the tablas enter, just waiting for that completely out of control, mad, glide and delay, brash synth solo – in fact, this track uses exactly the same set up as track four, so it’s a second attempt to control this mad scenario of controlling multiple synth apps from one keyboard – it works, but the solo section is quite insane, but still, a lot of fun, with amazing pitch bending going on – and it’s wonderful to hear the crazy, brash voice AND the beautiful rhodes voice jam through the long, improvised mid-section – in the end, resolving down to just the rhodes-like sound…and through that lovely outro, tabla stop, continuing rhodes-like melody, and eventual drone fade and ending…beautiful stuff!

a third and final attempt using the same set up, track six, the final take of the session – entitled “the moon lights the heavens reflecting on the forest canopy below” – each time, the sound balance a little better, the transition from the rhodes-like beginning and end sections from/to the louder, brash/crazy middle section is more balanced – the piece begins to really, really  work, although the beginning of the middle section is STILL a shock, in terms of increased volume; the strangeness of the voice, etc. – although lots of great X-Y pad action makes that voice very, very interesting – a long, descending riff works beautifully – and the arpeggiation is just fantastic!  I love this solo I think best out of the three, it’s sudden, like the other two, but it’s very fluid, and it has a very crazy atonal section with lots of VERY warped pitch bend and X-Y manipulation – beautiful.

the inevitable return to just the rhodes-like voice is welcome after the extensive solo, but I believe that I can find a way to balance this out – I think that the right reverb may smooth this somewhat awkward transition between middle solo and the beginning and ending sections.  a beautiful, calm, rhodes-like solo finishes the piece, and the series…of course, fading to just solo and tanpura, and then fading away completely…

as I mentioned, when I was actually doing these, I was not sure if any of them was “working” – there are certainly some strange combinations of odd-synth-voice-choice to backing, but the way I played the parts, as if it were “supposed” to be that way – really makes the pieces just work somehow.  I would say off hand, that all six are imminently release-able – which is amazing, really – OK, maybe I should only release the first three plus which ever out of takes 4, 5 or 6 is “best” – so, four great takes, two very good takes – but it’s the concept here, the idea of playing synthesizer as the melodic instrument on top of tanpura and tabla – it sounds weird on paper, wonderful on tape. (or on digital, actually!).

I wanted specifically to recount this session, because I believe that I will be trying several more along these same lines, although I may incorporate the guitar synth rather than the keyboard synth – although to be fair, both is probably the best idea.  I could certainly command a larger “orchestra” to play over my indian backing tracks…I can forsee playing live on both keyboard synth(s) and guitar synth, using itabla pro as the rhythmic and drone backing – I believe that, over time, I can expand and perfect the “synthraga orchestra” concept, technology, and set-up – maybe even eventually do live streaming performances of synthraga pieces – why not?.

 

all I know is, I am loving this new sound, kinda found it by accident, but that is what I would call a very, very happy accident, because it’s given me yet another unique kind of dave stafford music to play, along with my ebow loop set up, or my various guitar synth string orchestra set ups, I now can add “synthraga” to the menu – and the best thing of all, they are all LIVE performance set ups – no other way to go if you ask me!

what we’re listening to – the ravi shankar collection – 10 CD – 2012

I have always had a soft spot for indian classical music; for me, it started, as it did for so many young musicians, when beatle george introduced us to a remarkable young musician named ravi shankar around 1966 .  I am so, so fortunate in that I actually got to see ravi play on three occasions, once, in 1974, when a massive indian orchestra was the opening act on the george harrison tour – and that was absolutely brilliant, I had never seen indian music performed live, and to see and Indian orchestra led by ravi shankar as my first experience – that was truly remarkable, and again later, at a special concert held at ravi’s home…and finally, again, a few years after that in a more formal setting, I was very fortunate to have seen ravi in concert with his daughter anoushka – and that was truly something to behold, father and daughter, master and student – but I will tell you what, anoushka’s ability on sitar has skyrocketed so incredibly much, that her playing sometimes challenges those positions of “master” and “student” – I believe that in the fullness of time, that anoushka may be an even greater player than ravi – and that is saying something.  time will tell.

so it began with ravi shankar, his influence on the beatles at first, hearing those strange, strange indian instruments in the george harrison song  “love you to” from revolver – of course, everyone cites “norwegian wood” as the watershed moment, but actually, for me, I always felt that was just a bit gimmicky, it’s not serious – but, as with all things george harrison, it became really serious, really quickly – and “love you to” is the first – the drones on “tomorrow never knows” are the second – and then the masterpiece, “within you without you” – which is absolutely brilliant.

then for me, when it really hit me just how good this music really, really is – was hearing, and seeing the film of, the concert for bangladesh. the main piece from that opening act of the film and the concert, “bangla dhun” is an amazing piece of music, and it’s melody haunts my brain to this day, I love the incredible musical interplay between shankar on sitar, and the master of the sarod, ali akbar khan – “bangla dhun” is a duet of the two then-masters of indian classical music.

but we are not here to talk about george, we are talking today about indian classical music, that 3000 year old oral tradition – that to me, makes the entirety of western music seem like a tiny blip on the screen when compared to the rich tradition of the “rag” or “raga” – which have been handed down, from teacher to student, for over 3000 years.  western music has nothing to even compare to that…

it wasn’t until I was an adult that I started collecting the music of ravi shankar, and it was slow going – there wasn’t much readily available, but I did start to build my collection.  and because I’d seen ali akbar khan play at the concert for bangladesh, I also became very interested in the music of the sarod, which is the sitar’s lesser known cousin, and I began to collect both shankar and khan CDs in earnest.

other styles of indian classical music also came into the mix, including some of the master players and performers:  pandit hariprasad chaurasia, an amazing flute player, probably the master of the bansuri, the Indian bamboo flute, is a favourite of mine, and I also have a love for both Indian vocal music, or the very hauntingly beautiful music of the indian violin as played by master musicians such as dr. l. subramaniam.

but for me, it was the holy trinity of ravi shankar, the master of the sitar, the undisputed master; ali akbar khan, the undisbuted master of the sarod; and alla rakha, the undisbuted master of the tabla.  hearing them play together at an early age (I was a young teenager when the concert for Bangladesh took place) left an indelible impression on my young brain, and I’ve been enjoying their music ever since.

few have arisen to challenge these three; for ravi, his only competition, in my opinion, is his own student and daughter, anoushka, otherwise, no other sitarist has come along to challenge his superiority, I don’t know of any challenger to ali akbar khan who simply reigns supreme on the sarod, and maybe, at a stretch, you could say that young bikram ghosh is at least holding a candle to alla rakha’s ability on the tabla – I’ve seen ghosh play (in ravi shankar’s living room, but that is definitely a story for another blog…) and I can tell you he is an extraordinary player – whether he is alla rakah’s equal or possibly better, I don’t know, I doubt it…but it’s a close raise, both men are insanely skilled with the very complex and intricate rhythms – which are often delivered at a breakneck pace!

so the other day, when I got one of those “pre-order this brand new collection by ravi shankar” emails – it was a bit of a no-brainer, especially when I realised that for a mere twenty quid, I would be adding no less than ten full CDs worth of shankar music to my collection – how could I not order it?

it arrived a few days ago now, and I was able to get the first five discs ripped and named and onto my ipod so I could listen to them earlier today, and what a pleasant day it was, too, because of this music.  a few days later, discs 6 – 10 joined them, and it was then that I could really immerse myself in this massive body of work – I can’t get enough of it at this point.

some of the music is familiar to me already, because I already own the very, very beautiful “in celebration” box set, so there is some overlap, but that is hardly an issue – I’m actually pleased that this collection is ten CDs, because at that quantity, you can actually begin, just about, to get an idea of the amazing career, and the amazing talent, of the man named ravi shankar.

it’s all here – solo ragas, duets with other Indian musicians, and the obligatory east-meets-west (probably my least favourite I would have to say) – including shankar’s first two concertos for sitar and orchestra in their entirety – and they are fantastic, it’s a star-studded disc too, zubin mehta, andre previn, yehudi menuhin as guest violinist, rampal as guest flautist, and so on…the usual suspects – but, all at their best under the challenge of trying to play along with a master like shankar – and the result of that challenge is some truly amazing collaborations, with some pretty terrifyingly fast and remarkable playing.

 

now, I really feel like these collaborations do need to be here, and some of them are absolutely essential, and absolutely musically stunning – shankar instinctively knows how to use the orchestra as a gigantic music foil for his sitar, and both of the “concertos” are well worth your serious consideration – I think they are brilliant.

but for me – no offence to anyone – for me, my personal preference is when the musicians are all traditional indian classical musicians.  I think the “east-meets-west” experiments are necessary, and, they would have been an essential tool in introducing this strange instrument, the sitar, to uncertain western concert goers and classical music enthusiasts – and I am sure that by working with the great western conductors, composers, and players (and shankar has worked with so many great names, including people like phillip glass) that shankar advanced the cause of indian classical music from totally unknown to a high degree of recognition – and it’s stayed that way – you hear indian music everywhere, in films, on television, and I believe that all-pervasive presence can be directly traced to the work that shankar did in the 50s and 60s promoting indian music to the great western masses – it worked – he succeeded.

so while I really enjoy the orchestral works, and in fact, some of them are nothing short of amazing – for me, it’s just the “ordinary” ragas that I crave, where you have ravi on sitar and (usually) one tanpura player providing the drone – and then just let this young man play!

and what can I say about his playing that hasn’t already been said a million times, I feel singularly unqualified to even comment – all I can say, as a guitarist, brought up in the western tradition, my admiration for the unending skill that ravi possess, the knowledge in his head – the knowledge in his fingers – he is truly the master of the instrument.

if you watch the opening section of the concert for bangladesh, you can see it, you can hear it – the best player in the room, of the whole night, despite the presence of all of the great western players there – is undoubtedly ravi shankar.  he is a good three or four times faster on his instrument for starters – leaving harrison, clapton, preston, russell and crew in the dust – and harrison himself later remarked that after ravi’s set, that the western music seemed dull, lifeless – and as excited as I was and am about the first post-beatles performance by george – he is right, it really does seem quite lifeless after “bangla dhun” – and it’s in the players’ attitudes too – you watch ravi shankar and ali akbar khan as they play, and they are transcendent, smiling, joy flying from mind and fingers – it’s a celebration of a beautiful folk melody of bangladesh, it’s playing that raga with everything they had, with so much love and so much obvious joy – and then, when the western section of the concert starts – everyone has their head down, no one is smiling, the band is not really in tune, not really in time, and not exuding anything except perhaps weariness.

of course, there were problems for some of the western players, clapton was in the middle of his heroin years, and was hastily cleaned up for the show (where he does not play spectacularly well, if I am honest), george himself was having anxiety and panic from having to go onstage again after NOT having had to since 1966 – he was vomiting before the show – so it’s quite a down, dour affair – which is such a shame!

don’t get me wrong, I love seeing george playing tracks like “wah-wah” live, seeing and hearing him play his best beatles songs and especially, seeing him play songs from the amazing “all things must pass” album – that’s awesome in itself, but I am afraid that ravi really stole the show before the harrison section of the night ever began.  and I am sure that for george and the others, listening to ravi and ali play, and then having to go out there and recreate the “hits” – that must have been disheartening. for me, after the performance that shankar and co. give on that night – well, no one should have to follow something so bloody good – it’s just not fair.

I guess I am saying, if you have not heard/seen the amazing duet between ravi shankar and ali akbar khan that is “bangla dhun” from the concert for bangladesh, hasten ye to do so now – it’s fracking remarkable.

normally when we do a “what we’re listening to” blog, I try to single out certain pieces and talk about them, in this case, that is nearly a futile idea, because I don’t have the requisite language to even describe this music – it’s ravi shankar!  the only pieces I can even talk about with any sense of understanding are the east-meets-west pieces, and to my mind, they are not the highlight here – the highlight is whenever ravi puts his fingers to the strings of his sitar – any time he does this.  when he begins to play, my attention immediately focuses sharply on what he is doing, the scales, I try to think about the uncanny fact that for each rag, there is a specific basic scale – which is one series of notes when ascending, and another when descending!

that idea in itself – well, OK, the western equivalent is “modes” – so it would be as if you played in D dorian mode in the ascending and in D phrygian in the descending – but, there would be hundreds of combinations – and of course, within each rag, there will be standard deviations – and non-standard ones taken by more experienced players – that idea, to me, is just mind-blowing, it’s so, so clever – because that means that the mood of the raga can be controlled – if one scale, say the ascending one, has a “positive” mood, then the piece can be positively influenced by doing a lot of work with ascending scales.  conversely, if the descending scale has a “negative” mood, that might then allow for wistfulness or sadness or even downright heartbreak, simply by accentuating the descending scales.

in practice, since everything sitarists learn is passed down orally from teacher to student, what happens is that the student…”just knows”, just as the master “just knows” a) what notes to play in the ascending b) what notes to play in the descending and c) when to deviate from this and how much deviation is allowable.

for me, it’s all I can do to play a C major scale with a sense of quality, and having to deal with the almost microtonal intervals that occur in some of the bending in sitar music – I would be utterly lost – I can’t readily “imagine” how they “know” what to do – I really can’t.  it is an art form, a pure and absolutely amazing art form – and it’s unlike any other music I know.

but – somehow – this oral tradition, where the “rules” for each type of raga are known and are passed down from teacher to student over the centuries…it just works!  it works well.  because, the emotion, the joy, the sorrow – well, for a player at the level of ravi shankar – all of these are available, and he expresses all of them with consummate skill.  I also have always loved the idea, which would be odd in western music, that each raga has one scale for ascending patterns, and a DIFFERENT scale for the descending pattern – I think that’s wonderful.  and, each raga has a “time of day” – morning, afternoon, evening, night – and while that might seem whimsical and a bit overly simplistic, the weird thing is – if you listen – you can HEAR this mood, you can “tell” when it’s an afternoon raga.  I don’t know why, although I am sure there are certain rags, certain scales, meant for different times of the day, so by selecting the correct raga, you set the piece in the correct time of day. it’s a brilliant system!

now well into his 90s, ravi has over the past several years, tutored his daughter anoushka in sitar, and has in a very short time comparatively speaking, turned anoushka into a stunningly powerful musical force.  I’ve seen her play a couple of times, and the confidence that she exudes when she plays, well, she knows her stuff, and you know she knows it – is really something to witness. but then she did have the best possible teacher!

she is very much her father’s daughter – she reminds me so much of ravi when she plays (and how could she not!) but she also brings two things to the table that ravi does not: her youth, and her femininity.  the energy that she puts out when she plays is phenomenal, and since I don’t believe that ravi really performs much more these days himself, I very much recommend that you go and see anoushka is you possibly can – she’s at least her father’s equal when it comes to skill and command of that most difficult of instruments, the sitar.

listening to this new collection, I realise, even with the space in time that ten compact discs gives us, that it’s still only a drop in the ocean, it’s only a tiny part of what ravi shankar has accomplished over the past several decades, what he did to publicise and popularise indian classical music, but mostly, for me, the music that he played – the music that he plays with such obvious joy and brilliance.

I would heartily recommend this collection to anyone interested in the music of ravi shankar, I cannot speak highly enough of him, except to say that his music changed my life, his music inspires me, his playing is transcendent, and I would give anything to be 1/100th of the guitarist that he is a sitarist – 1/1000th.

the speed – it’s devastating, burst of notes so quick that you might not be able to say what they are – guitarists rarely achieve speeds close to this when playing, and I think that the best guitarists in the world would all step back, respectfully, when faced with ravi at his fiercest, most flying solos – when ravi is on fire, the whole building starts to burn – and in the case of the aforementioned “bangla dhun”, I firmly believe that the way ravi played that night, the speed, the strength, the clarity – I believe that pushed ali akbar khan to play a blinder himself.  so the two greatest stringed instrument players that India ever produced, made each other play faster and better than they ever had before – and it’s also because of the joy, the flying joy, in the room – that’s also a huge factor in this – but that’s something you have to feel, you can’t see it, you can only sense it – but for me, I sensed it, and I followed, and I listened – and I’ve been nothing but rewarded for my trouble.

I am so, so glad that I started seriously listening to indian classical music so many years ago, it’s also had an influence on my own music, and I hope it has helped me to not be so rigid in my playing.  I wish now that I’d started playing an Indian instrument when I was young, but since I never did, all I can do now is listen – but the joy of that alone is enough to light up a room.

ravi shankar lights up every room that he walks into – every time.  you will not be disappointed…hearing ravi “trade riffs” with yehudi menuhin – wow, that is just unbelievable, something I never dreamed I would hear, and again, ravi’s presence spurs menuhin onto the performance of a lifetime – and hearing these two masters, sitar and violin entwined in an ever-growing musical intertwining – playing against each other, playing in unison, playing is sequence – the precision, the speed – it’s just dizzying, and the tabla player is hard put to keep up with these two!  what a performance (“swara-kakali” – based on raga tilang) – this piece is new to me, and it is a mind-blowing demonstration of musical proficiency and skill – it really is.

due to my schedule, I split the listening of the set into two, first, I listened to discs 1 – 5, which contain some of the more obvious feats of musicianship, and include a lot of east-west fusion, which is normally a curse word, but here, in this context, bringing ravi’s sitar into a western orchestra setting, or pairing him against the best western violinists or flautists – is an inspired idea.

discs 1 – 5 blew me away completely; a massive number of tracks; huge variety, and collaborations that are out of this world.  but then…I started listening to discs 6 – 10.   while there are still some collaborations, you also start to get what I always crave: pure ragas, the longer the better.  and there are some amazing ones in the second half of this set; ragas you can sit back and really get stuck into, where the players play for 56 minutes (!!) if they feel like it, developing the themes, just creating such an extraordinary atmosphere – the tanpuras, those random drones, just put me in such an amazing mood, those gently caressed notes that drone endlessly in the background as ravi and co. take centre stage…

I even made a playlist of the longest ragas, so I could hear ravi, ahem, without western accompaniment, and just by tossing in the longest of the “regular ragas” – I ended up with a playlist over six hours in length!  I can’t wait to hear it…

one piece in particular from the second half struck me, and I am sure ravi included it because he remembered and realised what an amazing performance it is, is a piece that features ravi’s regular tabla player, alla rakha – and drummers, sit up, pay attention, you can learn more about rhythm from one alla rakha tabla solo than any number of drum solos by ginger baker or carl palmer – and the man plays with his hands, not with sticks!  to say this is a great drum solo – that doesn’t even begin to describe it, it FLIES, and you just have to hear it to believe it, you really do! I am so pleased that this piece has been included – because it’s absolutely brilliant “tabla solo in ektal”.

back in the mid-nineties, I had the good fortune to attend a concert by ravi and anoushka at ravi’s home in encinitas, california (near where I lived at the time) and it was there that I got to see the modern day holder of the crown of the “hottest young tabla player around” – the amazing bikram ghosh, and his performance that evening, along with ravi and anoushka, was unforgettable – simply the best drummer I have ever seen in my entire life – full stop.  faster, by far, than any western drummer, more rhythmically advanced, just amazing to see and hear – and you could not see, because his fingers flew so incredibly fast.

the down side to this set?  if you ask me – too many orchestral pieces, not enough traditional ragas – but that is quibbling, that’s my personal greed for straight ragas – I cannot get enough of them – because the orchestral pieces are uniformly astonishing, and I would miss them if they were gone – so really, no, no down side – it’s all up sides – ten of them!

wait – I HAVE thought of a down side – it’s not long enough – it should really be 20 discs.  there – I knew if I thought long enough, I would come up with some kind of negative…

another one? not enough collaborations with Indian classical players, not enough appearances by ali akbar khan on the sarod, the aforementioned alla rakah on tabla, but these are minor, minor quibbles indeed – there are so many positives that they absolutely outweigh these almost negligible “negatives” – please ignore me. 🙂

for two pounds a disk, you are getting some of the best indian classical music ever recorded, and, you are getting a great introduction to the music of the man who started it all for indian classical music.  a note of appreciation too for ravi’s great, great friend george harrison, who helped to bring attention to ravi shankar and the music of india, this excellent classical tradition that predates the entirety of “western music” – now, when I hear the phrase “classical music” – THIS is the music I think of this is the “real” classical music – western classical music is something that came along much, much later….

not that sound quality is really an issue in these performances, but most of the tracks on the ten discs are digital remasters, albeit done at different times and compiled here from many, many sources – but the end result, is a set of discs containing some of the most amazing music I have ever, ever heard – all from the skilled hands of mr. ravi shankar, the undisputed master of the sitar.

I love it!

a milestone is reached – videos past, present, and future

on may 29th, a personal milestone passed, which I noted in passing – this was the one year anniversary of my very first music video – where I recorded an unaccompanied guitar-synth “oboe” solo – “st. alia of the knife”.

 

I then spent a couple of months fighting with the technology of youtube (who are NOT ready for 1080 50i/50p video) and learning my video craft, and eventually, two months after it was filmed, in july, 2011 – that first video, made on may 29th, a year ago as close as dammit, was posted onto the pureambientHD channel.

if you had told me then that in one year, I would have six channels and close to a hundred videos I would have laughed and said “yeah, right” – but, one year has passed, and I do have six channels and around one hundred videos:

pureambientHD – featuring my main ambient music work, plus active music as well

applicationHD – featuring music created with applications on the ipad

synthesizerHD – featuring music created on a full-sized, 88-key synthesizer, playing either MIDI synths (software synths – “softsynths” or VSTs); or driving applications on the ipad; or, using the voices of the actual keyboard – or, combinations thereof

kaossilatorHD – featuring works on the amazing X-Y pad synth, the korg kaossilator – a handheld looping synthesizer

ablackboxHD – the “anything goes” channel – for piano and vocal work, normal songs, strumming the acoustic guitar, covers of songs by the bands I love performed on piano and vocal (including peter hammill, todd rundgren and others), or, performed on electric guitar/guitar synth (some jimi hendrix covers are in the planning stages) – anything and everything that is unsuitable for one of the “official” dave stafford music channels – you will find it here on ablackboxHD – named in honour of the tenth peter hammill solo album (opening June 2012  – any minute now!)

bindlestiffHD – featuring the work of my ambient looping duo (1991 – 1997), “bindlestiff”, bryan helm / dave stafford

at the same time, today, june 2, 2012 – marks my 50th blog post – something else I would not have believed a year ago!!

when I began making music videos in may 2011, I was simply interested in capturing live performances that demonstrate the kind of music that I enjoy producing – so, that’s mostly completely live, using the looper to provide counterpoint, which of course gives me the ability to “play” several guitars or synths at once.  very, very occasionally, I produce a video for a pre-recorded song, but probably well over 95% of the time – what I play is completely, 100% live.

of course, over time, the pureambientHD channel in particular has expanded to include a broad range of music videos, from straightforward live performances such as “st. alia of the knife” ranging on up to old-style loop pieces, or energy-bow loop pieces, or in one case, I actually performed an entire album, “the haunting”, on video, before the album was released late in 2011.

I’ve gone on to make a wide range of videos, most of which are of live performances – of ambient works, animoog and guitar synth duets, active pieces looped using the guitar synth – an endless variety of musical approaches, which will only diversify further as time goes on…

so the original idea of putting up a few music videos has changed, and over time, what I have realised is that, due to some personal, physical limitations that make performing live quite difficult for me – because of that, I’ve only played three gigs in the last 8 years – that I can use youtube as a replacement for live performances – which would allow a broader audience to hear and see me perform my music, while making it possible for me to continue to perform “live”.

this was really a fortuitous accident then, a method whereby I could still bring live performance to an audience, but where I didn’t have to undergo the rigours of the road, travel, equipment setup and teardown, that my physical body struggles with – being free of that – I now have a world stage to work on, so I hope that I will be able to provide a lot of great live performances over the coming years for people to hopefully enjoy.

the other channels evolved out of new instruments and new ways of working that emerged beginning in december, 2011, when both the korg kaossilator and the ipad with it’s endless, amazing music applications, both arrived, and, both soon become part of my sonic arsenal – that then demanded new channels be created to accommodate this new content.  so “kaossilatorHD” and “applicationHD” came into being.

finally, in february, 2012, I replaced my 35 year old yamaha synthesizer with a modern, 88-key m-audio keyboard, and I very quickly realised that I can control my amazing ipad synthesizer apps from the 88-key controller – meaning I can play the larger keyboard, but make sound changes and utilise the mind-warping capabilities of the X-Y pad within each of the synth apps (most of them feature an X-Y pad). this meant then that “synthesizerHD” had to come into being to present these pieces.

the arrival of the full sized keyboard also means that I can resume playing the piano “songs” that I’ve played all of my adult life, so I am currently re-learning (slowly, painfully in some cases) much of my old repertoire, which includes extensive numbers of songs by peter hammill, both solo and his work with van der graaf generator; as well as songs by genesis, daryl hall, steely dan, split enz, king crimson, and, dave stafford – all of this material, once recorded, will go on the new “ablackboxHD” channel.

this really neatly solves a long-standing problem, OK, primarily, I am an ambient looping guitarist.  so, I have a pureambient channel, “pureambientHD” to present that music – that’s fine.  but what happens when I want to perform a live version of a jimi hendrix song, or sing a peter hammil song sat at the piano, or play a wild synth solo on my korg kaossilator or on the 88-key synth – so these additional channels allow me to perform ALL of the different kinds of music that I perform, not just the most well known, ambient one – so that’s definitely a win-win situation…prior to this, I had no place to go to play hendrix, hammill or rundgren, or any of my non-ambient works.

I think that the next couple of years we will see all of these channels mature, as more content is added to each one, and hopefully, eventually, this will truly represent the many, many styles of music that I can and do play, and hopefully, it will begin to demonstrate the broad range of performance styles I can and do embrace – I don’t know yet, but I am very encouraged by all the positive responses and comments from everyone, and I am looking forward to producing more, not fewer, videos, as time goes on, for your listening and viewing pleasure.

not saying I can absolutely do them, I will try if it’s possible – so – are there any requests?

also on the table – as an adjunct to the broad range of live performance videos on the six dave stafford content channels – inspired by my friend har’s live broadcasts on stillstream, I am considering the idea for myself – starting off slowly, perhaps, a live show once a quarter; if they go well, then I would consider to moving them to something like monthly – I do like the idea of a live streaming show, because while I am very, very happy indeed to create and present all of these live music videos, I do miss the audience, and even if I can’t “see” them, having an audience to work with again would be great, I would really enjoy it.

so – live videos will absolutely continue – possibly, with the added feature of live streaming ambient concerts on something like a quarterly basis.

I think that video is a great medium for live music, because it allows me to present the performance, sure, that’s one aspect, but I can also add in a creative aspect, by making films and integrating not just other footage (usually, that I have filmed myself) but pertinent transitions and effects, I can take an 8 minute music video and (try to, at least!) make it into a piece of art, with both a performance and the ability to tell a visual story to go with it, so I am developing as a filmmaker as well as a musician.

during the last year and a half, an enormous amount of technology has emerged that has really, really changed the way I record, perform and present my music. I am so excited about this, and I am really looking forward to what the next several years has to offer – right now, I am blown away by what is possible, I am barely scratching the surface in terms of really using my tools and applications to their utmost, but – I am learning, and as I learn, I will share the successful experiments here on one of the six dave stafford channels.

at the same time, audio recording continues on several fronts, and we will also of course continue to offer normal albums and tracks at the pureambient store, at the moment, we are featuring a sale on the two newest dave stafford albums, “the haunting” and “sky full of stars” which are normally £5.99, they are on sale until the end of June for just £3.99, so this is your chance to pick up two great ambient albums at a special reduced price.

if you are not sure you are ready to “take the plunge”, you can always check out our two free album downloads; in either ambient or active “flavour” – download either or both completely free, in high quality 320 kbps MP3 format. (please note, to download either or both of these, you do need to enter your details, but they are absolutely not shared with any third party whatsoever, they are strictly kept to identify our customers and for statistical analysis of the store’s performance only – your details will NOT be sold, given away, loaned or otherwise – under any circumstances at any time).

 

meanwhile, I am off to compose post 51 🙂      and play some guitar !

applications-based music – the allguitar / oneguitar / dreamguitar app – cantor is the beginning…

well, last night, I bought an application for £1.49 that I think is a bit of a game-changer; I really like micro-tonal synthesis anyway, and this is from the same developer who created “mugician” – which is a great app to emulate indian music on, and since I really liked “mugician” a lot – when I saw this brand new app, released to the store on may 26th, I did not hesitate – “cantor” was downloaded and installed.

“cantor” is to electric guitar what “mugician” was to mock sitar – so this is an ipad tool for guitarists – and having just had a brief try of it last night, I think it’s going to be fantastic for live performance, useful in the same way mugician is useful when you want to play something microtonal on your ipad, but now, purpose-built for guitarists.

at first look, it’s a fantastic app, you have control over everything: the tone of the instrument, reverb, distortion, etc. as well as being able to configure the playing area (the “strings” as it were) in a number of ways, it even has a looper which I found a bit tricky, but I did get it to work in the end – plus, audio copy and paste (which I couldn’t quite get to work, but never mind, the app is only four days old!).

but for sheer “fun factor” – it’s fabulous, and I think it will rapidly become one of my most loved and most used apps, because while it’s not exactly a guitar, it’s damnably close in terms of it’s sound, it’s playability – I found that you can even press down three or four notes at once and get a pretty convincing “power chord”…brilliant!

the developer has placed a link to a site where you can look at tutorials, and has provided his contact details (this always impresses me) and he seems devoted to making the product be all that it can be – and I really hope he keeps developing this one, and gives it more functionality, more features (MORE distortion please, different distortions – please!) – but, out of the box, I already love it, it’s truly fun to play and I think it could turn out to be an awesome musical tool for myself and many other musicians needing a guitar-like tool on the ipad.

I could dream this thing into something really amazing – now he’s already got the basic guitar functionality (and I could do trills, I could do “tapping”, it works really well!) going, I would really love to see some enhancements – such as, what if…I think it would be fantastic if you could run this thing in tandem with one of the better guitar effects apps, such as ampkit+ – so we would need a way to feed the audio output of cantor to the input of ampkit+.

or – conversely, build a “better ampkit” – guitar effects, and lots of them – and none of this “you have to buy this pedal, then this pedal, then this pedal” crap – that’s nonsense – charge more for the app, sure, but don’t rape the customer once he’s bought it) – just one massive playground of effects boxes. and later, a rack mount section too.

it’s strange, we’ve had a lot of effect-based apps, but not too much in the way of input devices except for plugging a real guitar into these effects.  now that cantor gives us, effectively, “a virtual guitar”, I’d love to see it coupled with the effects apps somehow – either externally by being able to route the output of cantor to the input of ampkit+ – or by building an entire effects module right into it…one way or the other. after some initial discussions with the developer, I think this needs to be more about apps working together rather than building one giant guitar app that does it all – but either way – I can still dream, right??

once I’ve played with the app for a couple weeks I am sure I will have some SENSIBLE suggestions, but right  now, I am more excited about this app than I’ve been excited about any app since fairlight pro.

I would say, even some simple effects, chorus, flanger, phaser, wah, would be a good place to start – they don’t have to be super fancy, but just so we can alter the tone quite a bit more – nothing like a bit of chorus on a clean sine wave guitar; or a bit of flanger on a very distorted rhythm guitar…

or you could just go insane and build in a complete guitar synthesizer, something like my roland gr-55 but for the ipad – call it my dream cantor-55. please do!!

OK, I have to go there: here is what I would absolutely dream it would do:  full on guitar synth, with as many presets as possible (and configurable sounds), including all of the “classical” instruments; full on guitar modelling so your basic guitar can be a strat or a les paul or a 12-string (plus the ability to blend/combine/shut off synth/guitar models/amp models); full on amp modelling so you can have a fender twin or a marshall or a line 6 or whatever; and finally, a complete effects family, in two sections; one, a full on stomp box (similar to ampkit+) and two, a rack mount as well, with more complex effects devices, especially a big, beautiful reverb with some massive rooms in it – no one builds decent reverbs!

call it “allguitar” or something like that – everything you need, no actual guitar required (although it would be good if you COULD play your real guitar through the synth, guitar models, amp models, and stomp box/rack mounts too) – that would be way cool.  you would never need another app – everything could be done with the one app.  maybe “oneguitar” is better, I don’t know – don’t care about the name, just want the app that does it all….

so I see it sort of like this:

cantor (or, real guitar or synth, plugged in to input)> imaginary cantor added-in guitar synth > imaginary cantor guitar modelling > imaginary cantor amplifier modelling>

note – all are switch-able, so you can have:

guitar synth only

guitar modeller only

cantor unprocessed

any 2 of the above

all 3 of the above

then, from any of these stereo chains into…

two parallel effects chains

imaginary cantor stomp box wonderland, like ampkit+ but better and NO “in-app” purchases please! >

imaginary cantor rack mount wonderland, like guitar rig for ipad, but better and NO “in-app purchases please!>

note – these are switch-able, so you can have:

stomp box effects only

rack mount effects only

both

none

then, from any of these three stereo chains > summed back into one rich stereo output > noise gate + reverbs **

** all stomps and rack effects can be “pre”, “mid” or “post” – so:

immediately after cantor (or real guitar or synth input)

immediately after the guitar synth but before the guitar models

immediately after the guitar models but before the guitar synth

immediately after the guitar models but before the amp models

immediately after the guitar synth but before the amp models

immediately after the amp models

immediately after the final output of stomp box or rack mount or both

you know, I don’t have the time to ever do or learn something like developing apps, I also don’t have the patience or the temperament unfortunately, but sometimes, I wish I were a developer. I would love to design apps (but not have to build or maintain them!) – all the glory, none of the pain!  of course, I realise that what I’ve just described would probably be far too large and clunky for one app, and it would probably be best to do this with two or more apps, but hey – I can dream (and I am dreaming, with THIS description….).

maybe it should be called “dreamguitar”…but whatever they call it, I want someone to build it, so that ***I*** can play it…sigh.

note to all developers: please ignore this, I realise that it’s absolute fantasy but who knows, maybe some day…

🙂

what we’re listening to – neil young – archives vol. I

I hadn’t heard this for a long time, and I suddenly thought, oh, I really, really need to hear that right the way through.  my wife had surprised me with it, brought it home with her from glasgow, this extraordinary box full of the mysterious earliest history of someone who was, and still is, a huge influence on me – neil young.  like every kid, I had harvest, but then I started buying more of neil’s records, and over time, I ended up with quite a few – but I was never prepared for the mass of material presented in this exquisite first archive box.

so I started at disc 0 track 1, and I’ve been slowly moving through neil’s earliest years, and it’s such an amazing trip – right now, he’s playing lead guitar in an instrumental surf number “kahuna sunset” from buffalo springfield,  but at any given moment, you might find neil young almost anywhere – with an orchestra, behind a piano singing, with his acoustic guitar, singing early versions of “nowadays clancy can’t even sing” or rocking the lead guitar on the electric version of “mr. soul” from the underrated, under appreciated buffalo springfield.

the double lead guitar attack of stephen stills and neil young was unstoppable, and on “mr. soul” they trade solos just to prove it – with neil taking a strange, almost indian raga kind of solo at the end of the middle section – beautiful!

or you get something grand and orchestral like “expecting to fly” – so uncharacteristic, I think neil is channelling brian wilson on this number, the orchestration is very, very reminiscent of wilson’s “let’s go away for a while” – a tune that we know young favours, since it’s the closer on his “journey through the past” album. this piece is on such an epic scale, with it’s mournful mood and even more mournful vocal – but, this is and was miles beyond a boy from canada strumming his guitar, it’s neil using the studio and orchestra like a giant song dream machine, taking an ordinary song and re-imagining it in an incredible way, I love the strings in “expecting to fly” and if neil is channelling brian wilson, I don’t care – that’s a GOOD thing in this case.

another very interesting piece from this time is the very oddly constructed “broken arrow” – a great song, broken up with circus organs and other silly things – but a really nice tune, with a little waltz bit in it – it’s genius. “did you see him….? ….did you see him in the river, he was there to wave to you, could you tell that the empty quiver, brown-skinned indian on the banks that were crowded and narrow – held a broken arrow?”

it’s a weird, weird pastiche of sound effects, strange interludes, it’s very weird, but it does keep returning to the beautiful waltz time section with neil’s plaintive vocal just cutting across all the strangeness – determined to tell the story in between the madness – next strange section – some clarinet jazz with piano…making no sense with the rest of the song – but, great piano solo…and then it just fades away – the end – but not, then, it’s an amplified heartbeat – and that is the end!  what a weird song!  but I love it.

of course, there are lots of “normal” songs like the lovely, naïve, “I am a child” – a really, really beautiful piece of music, gentle, beautiful vocal, wonderful lyrics, nice shuffling beat – classic neil young, and when I think of neil, it’s often “I am a child” that comes to mind – anything from his first album, like “I’ve been waiting for you” – things like that.

then you also get wonderful things like “previously burning” – more instrumental guitar music, but with a full orchestra – probably the same orchestra that’s on “expecting to fly” – but this lovely piece is really just a guitar backing for an unfinished song I’d say.  really nice mood, doesn’t sound unfinished – just sitting there waiting for a lyric that never arrived.

it’s quite a wild ride, but what it is constant, is that voice – and the songs – and that amazing lead guitar style.  I used to say that north America only really produced two truly great guitarists: frank zappa and neil young!  each has an idiosyncratic, instantly recognisable sound, and both are really amazing players – who both grew enormously as musicians during the late 60s and early 70s – to the point where no one could touch them.

my two favourite american (I know, neil is canadian – it’s in north america already!) guitarists then, zappa and neil young – and I listened to them both a lot, and learned a lot from both as well…probably more from neil, since when I was a young guitarist, learning zappa was a bit beyond what I was capable of.  later, I did learn a few zappa tunes, but neil young – he was easy to imitate.

I always enjoyed neil’s playing more than his greatly lauded partner/companion/friend/competitor? stephen stills.  stills is a great guitarist – I know, because I’ve seen him live – but for my money, neil is the more interesting guitarist, and, the most consistently good lead player in the buffalo springfield and in CSNY – for me, it was always neil young. you always knew when neil took a solo!

disc 1 starts with a very odd, acoustic guitar filled version of “everybody knows this is nowhere” – which is just so, so cool.  a very different arrangement to the version we know and love on the album, but I love it when artists do this – they have two or more completely different versions, and somehow, they pick one to put one there album.  this on has something like a flugelhorn solo in the middle of it, and synthesizers where the background vocals should be – it’s totally bizarre, but really wonderful.

and then we get to the songs from the first solo neil young album, starting with a song that hits me so, so hard, “the loner” – the attack of the guitars, the beautiful, whammied lead guitars – the perfect Hammond organs and then those guitars that I believe have been run through the organ’s leslie speaker – creating an amazing sound.

but the song itself “know when you see him, nothing can free him – step aside, open wide…it’s the loner…” and then you get the gentle little acoustic guitar melody with beautiful strings accompaniment – then back to the very, very hard verses with all their beautiful guitars, guitars upon guitars, with the strings in the left channel only, acoustic guitar in the right – that lovely 60s complete separation – fantastic.  I could listen to “the loner” all day long..

archives is so full of surprises, such amazing alternative versions of songs that are very familiar – for example, there is a very different version of the song “birds” – which ended up on the “after the goldrush” album many years later, but this early version is charming, simple and very, very beautiful.

another odd thing is neil’s voice – it’s not that wonky! It’s pretty normal on a lot of the songs, serious, no dramatics, he just sings the songs in a really beautiful way – no effects, just neil.

even that strangest of neil young songs, “last trip to tulsa” is enjoyable, it’s a stoner’s dream – a long, long story about chopping down a palm tree – what’s not to like?

then we return to electric music, and the sublime, beautiful, flanged, slow-panning slow motion thick as molasses guitar solo in the centre of “I’ve been waiting for you” – which is such a beautiful song anyway – my one complaint about the song – it’s not nearly long enough – fantastic leslie guitars along with buzzing lead guitars start us out, a chorused electric guitar accompanies neil’s beautiful vocal, bass and piano support perfectly – drums build tension to that beautiful chorus…”I’ve been waiting for you…and you’ve been coming to me….for such a long time now…” and then that SOLO, that amazing solo that wanders slowly from left to right and back several times as it flies through your brain…I love this song!!!

the stereo lead guitars during the fade out are just so urgent, full of life, warped and crying out “such a long time now” just as much as his voice is…beautiful.

maybe his best early work.

then the very serious songs, that are almost awkward in their seriousness – “the old laughing lady” being a case in point – nothing funny about this song; you need to be in a serious listening mood if you are to “get” this number – it’s serious!  another lovely orchestration though, lovely, lovely strings.

a song like “here we are in the years” is so pastoral, so normal, just wonderful in it’s innocence…the slow beauty of the country, how the stupid city slickers can’t relate to the slower pace of life in the country – a fantastic little piece of music…a synthesizer appears to play a few notes, then back to neil’s story, complete with beautiful strings, harmonies and chiming guitars…I love this song, it’s just so full of hope and sorrow and acceptance…here we are, in the years…and then it just fades away as if it isn’t done, but it needs to go…

“I’ve loved her for so long” – an amazing, high pitch vocal, and an orchestra from heaven, then a strange gospel choir appears, but neil’s vocal is so good that it doesn’t really bother me – when he sings in this register, it’s just unbelievable – really lovely.  A really weird arrangement, bass, drums, electric piano – and then the screaming choir in one speaker, the massed strings in the other…it’s just strange – but cool.

archives vol. 1 contains so much amazing material that I would have to write a novel to even describe it approximately, so I am literally picking a few highlights to try and describe – and the one I am listening to now is just astonishing, a previously unreleased live version of “broken arrow” – just neil and his guitar, and it’s an absolute revelation – this is the song, stripped of it’s odd orchestrations and overdubs, and in this simple, unadorned form, with a beautiful, melodic vocal, you get the true essence of “broken arrow” – it’s just astonishing, I’ve always loved this song, but this version, to my mind, is actually superior to the released buffalo springfield version, because the vocal is better, and despite the fact that I love all the weird overdubs on the studio version, it’s this one that I cherish – the surreal, acid-like lyrics, but it’s just the simplicity of the arrangement, straight chords, pure vocal – it’s really a thing of beauty.

the same set of live tracks, “live at the riverboat 1969”, from disc 2, contains other “solo” versions of songs that we know well from the Springfield catalogue, including a similar revelatory version of “expecting to fly” – another one that works far better with the orchestras and overdubs removed – I guess this means I like my neil young without overdubs, just the songs – and it’s the songs that really are so, so powerful “if I ever lived without you, now you know I died – if I ever say I loved you, now you know I tried – babe…now you know I tried…babe…now you know I tried”.

disc 3 propels us into a stark and amazing future, the carefully harmonised, beautifully arranged studio version of “cinnamon girl” is a far cry from neil and his guitar at the riverboat – a man, and a band, transformed, in just a year’s time – a mutation as startling as the beatles evolving from the dylanesque bits of “rubber soul” straight into the full-tilt psychedelic aspects of “revolver” – neil was undergoing a very, very similar transformation – picking up crazy horse as his band, an incredibly shrewd move, and then there is that heavy, heavy guitar solo at the end of cinnamon girl – which I can remember at the time really surprised us, the song was over – but the song wasn’t over, until neil had a little fling with his guitar…

so this third disc is more about crazy horse, and neil as band leader, and it includes songs from “everybody knows this is nowhere” and “after the goldrush” – so some of the most familiar of neil young material, but when I compare this in my mind to the material on the first two discs – the distance that neil young travelled musically, from say, 1968 to 1970 – is indeed comparable only to something like the transformation the beatles underwent.

a brilliant short version of “birds” by crazy horse is followed by “everybody’s alone” with a great vocal, and here comes that neil young guitar tone, the whammied, distorted guitar that we would come to know and love – sweet chord progressions, a totally earnest vocal, but when he takes one of those solos, you just stop, it’s so, so pure, so raw, a great guitar sound, and a sound that I never tire of…

disc 3 also includes one of my favourite neil young songs, performed by crosby, stills, nash & young – featuring Stephen stills on lead guitar, with neil on organ – and singing harmony with graham nash, close harmony – brilliant harmony – I love everything about this tune – “all I need is your sweet, sweet lovin…fill my life with happiness, all I want is your heart – everytime I think of you – mine falls apart” – this track was originally on the woodstock sound track, but I feel it never got it’s due – it’s a cracking little number.

another forgotten masterpiece, “country girl” by crosby, stills, nash & young is included here, and it’s a very formal arrangement, with the four-part vocal harmony to the fore – but despite being slightly over-produced, it’s still a very, very beautiful song – a very powerful song I think – I’ve always loved it “no time to stay the same…too young to leave…” – more neil young lyrical magic “find out that now was the answer to answers that you, gave later – she did the things that we both did before now, but who – forgave her?”.

a surprisingly heavy guitar ominously appears in the last section, playing single low notes on top of the chords…and then suddenly that positive, beautiful chorus “country girl, I think you’re pretty…” with neil’s voice now suddenly to the fore – a great revolving coda with, bizarrely, a reverb-drenched harmonica solo! of all things playing the chorus out…perfection.

the end section of disc 3 features the somewhat rough but very wonderful live at the fillmore east – crazy horse live – including the title track of “everybody knows this is nowhere” – which is a huge highlight for me, love the song, love the fantastic whitten & young lead guitars – they both rock “gotta get away from this day-to-day runnin’ around – everybody knows this is nowhere” – crazy horse are just perfection here, they just play the song – the spark comes from young’s lead vocal and lead guitar – as always, he’s chosen the perfect foil the perfect instrument – to play his songs.  crazy horse never overplay, they never get in the way – they just PLAY.  It’s rock and roll perfection if you ask me, the bass and drums support the rhythm and lead guitars – that’s how a four piece rock band SHOULD work – and despite being top-heavy with the very talented neil young on lead vocals and lead guitar, that formula still operates beautifully – I love this band, live or studio – either way.

this also includes “winterlong” – a tune from this time that never ended up on a studio album, so having it here is nice – it was part of the live show, and the vocal harmonies are fabulous for live and for the time – it’s pretty cool! but for my money – of course – it’s the renditions of the songs we know – including not only “everybody knows…” but also, “down by the river” and “cowgirl in the sand” – with their lovely guitar workouts, when we first heard that “I’ll just play one note over and over again” neil young lead guitar style – and it’s fantastic, in a way, neil young is really an incredibly innovative guitarist – he plays like no one else, he has an utterly distinctive, instantly recognisable sound – as much the “neil young sound” as frank zappa is “the frank zappa guitar sound” – you just know it, and it was during this period that young really started to push his own boundaries, and only he could make playing one note, over and over and over, sound really, really good!  it works…and it’s refreshingly different to the way most guitarists play lead guitar.

I am the first to admit that overall, I prefer british and european guitarists to american guitarists – but there are three american guitarists that I really, really admire (yes, I know he’s Canadian, I mean north American guitarists, of course!): neil young, frank zappa, and todd rundgren.
zappa was utterly unique, and outside almost any conversation involving normal music and normal songs, and of course, both rundgren and young were huge anglophiles, with a well known love of british music – so maybe that’s why I like them, because they were trying to BE british!

disc 3 continues with the lovely songs from “after the goldrush” notable for the strange concept of a young guitarist named nils lofgren being drafted into the band – and then being told to play the piano – an instrument he barely knew – but neil young knew, he knew that this would work – and my god, does it ever work.  the title track, with it’s prominent, blocky piano chords – is so instantly recognisable, so “just right” for the song – and what a song, that sci-fi, dream lyric, the incredibly high pitched lead vocal – I will always love that song.

another huge favourite song of mine is here, “only love can break your heart”, with it’s heart-stopping vocal harmonies on the chorus – I always felt this should have been a huge, huge hit for neil young, kinda like his version of todd rundgren – pop perfection, like “hello it’s me” or “I saw the light” – but it was destined to remain just another brilliant album track from the very, very popular and successful “goldrush” album.

a tour of the songs of this time has to end up with the amazing, immutable “southern man” – another work of guitar genius, this is so intense, and really fun to play – I used to jam on this for ages, I remember one gig where I was a stand-in lead guitarist, and we didn’t know any songs – so I taught the band “southern man”, and we then played it for 25 minutes – that amazing progression from D minor to Bb to G – great to solo over, and on the record neil plays an incredibly fast and spastic solo that is pure genius – of course, live, csny used to jam out on this one too, but whatever the version – “southern man” is a song of genius, with a great lyric, a beautiful, incredibly beautiful vocal harmony – and then – THOSE GUITARS!  This rocks.

“lillie belle your hair is golden brown, I’ve seen your black man, coming round – swear by god I’m gonna, cut him down – I heard screaming, and bullwhips cracking, how long – how long?” – that is just intense, the imagery, and the fierceness of young’s lead vocal takes you by surprise – he is singing with a passion heretofore unheard of – and it’s amazing to behold.

“when will you pay them back?” – probably never, I am afraid.

and then – another pop masterpiece, another should have been a rundgren-style number one: “when you dance, I can really love” – my god, I just love this, harmonies on the verses are brilliant, distorted guitars throughout – but that lovely, harmonised vocal is such a shining, beautiful thing – then, some great chiming lead guitars, and then back to more of the most beautiful vocals on the planet – “I can love, I can really love, I can really love…”.  an insistent piano, an ominous bass and guitar chordal pattern near the end – and then it fades away as quickly as it first appeared.

“when you dance…I can really love” – a simple message, with awesome guitar breaks between each verse – what a cracking tune.  another totally under-appreciated pop masterpiece – at this point in his career, neil could really do no wrong.

now – things turn political, things get very serious – but to neil young, watching soldiers gun down innocent students at kent state was just too fecking much – so we have the really frightening “ohio” – “soldiers are cutting us down…” a shivering testament to a horrific incident – peaceful protesters, shot down for no reason “what if you knew her, and found her dead on the ground”.

apparently, this was written very, very quickly – and was released just days after the incident, young was so incensed, so angry that such a thing could happen, that he really wanted to point the finger – and he does – at richard nixon, at the senseless death of innocents – heavy, heavy stuff – but you know what, I am not normally a fan of mixing politics and music, but in this case, it actually works in an incredible, shivering way – “why? why? how many more?”… an impassioned david crosby can be heard, seriously lamenting, meaning every word…during the outro of this incredibly powerful song.

a live version of “only love can break your heart” with crosby and nash comes out just beautiful, acoustic guitar, bass and three-part harmony – shivers – this is just so, so beautiful, and a great reading of a great song – I absolutely melt when I hear this incredibly beautiful vocal arrangement – these three voices just work – and the song…”what if your world should fall apart?”…it doesn’t get better than this, this is real music – it’s just the song, with neil’s heartbreaking lead vocal prominent, but the exquisite harmonies of crosby and nash make this into a sublime, remarkable musical happening – they really get it, and the whole effect is just stunning – what a thing to witness or to be a part of…sigh.

similarly, a live version of “tell me why” again with crosby and nash – just works so, so well, these two tracks almost put the “official” album versions to shame – especially in the vocal department, where, amazingly, the live vocals are better and more inspiring than the studio ones…excellent!  this song never knocked me out on the album, but hearing this live version totally changes my opinion of the song – it’s brilliant – but, it has to be THIS live version…no other!

speaking of david crosby – you also get the strange live rave-up/mess that is “music is love” – a song from one of crosby’s solo album, that heavily features neil young – and despite the stoned hippie approach to the performance, it’s still kinda cool – although ultimately, this song is more about crosby than young – I quite like it, it’s like a messy, stoned raga – “everybody’s saying that music is love” – a bit obvious.  a strange but essential addition to this disc…

then we move back to something of such delicate, transcendent beauty – a very underrated but very beautiful song – one of my all time favourites of neil’s – done solo at the piano, live – “see the sky about to rain” – this is one that you just have to hear to believe, such a lovely melody, just an incredibly pleasant, wistful, almost mournful song.

as disc 3 comes to a close, we get “on the way home – live” – and from the applause at the beginning of the track, it really hits you what a huge, huge star neil young had become – and here he is, just a few years on from the buffalo Springfield years – playing one of their songs on acoustic in front of a huge audience.

I am sure that part of him could not believe it was really happening, the huge success of csny took all four of it’s members by surprise, and they didn’t deal well with it.  I think of the four of them, neil weathered the strange storm of adulation and nonsense that is being a part of the record industry programme – they had become huge stars at this point, the audiences were huge, and with it, came all the responsibilities and problems of anything that grows far too big far too fast – I think that really, neil kept his head pretty well, all things considered – he just kept doing what he did best, playing that acoustic guitar and singing.

this section is live from massey hall, so neil’s on home territory here, playing in Canada – and as well as “on the way home” he plays “new” songs, and in this case, one of those, “old man”  is presented, and neil’s awe of the song’s subject, the ranch foreman of his ranch, is clear – he respects the man’s knowledge – and how odd is that – writing a song about a guy that works for you, a 70 year old man – and comparing your 24 year old self to him.

the whole thing must have been quite, quite surreal – 24 years old “live alone in a paradise, that makes me think of two…” – having so much money that he could just buy a huge ranch in california “old man take a look at my life, I’m a lot like you…” – I think writing about something real, helped to keep neil grounded – and “old man” is a brilliant piece of music, very deserving of praise – one of many great, great tunes from the very popular harvest album – which was brand new at this point in time.

to be so hugely successful at age 24, but to still be able to write clear, concise, meaningful songs about very real things – the level-headed neil young sticks to the programme – keep it real.

beautiful – and this live version just sparkles – and gets such a respectful, wonderful hand of applause – sensational.

a live version of “helpless” gets a great reception, because of course, it mentions canada, which, of course, makes the canadian audience at massey hall respond like mad – but it’s a lovely song, even without the trademark csny harmonies – it’s a beautiful song.  somewhere, I have an amazing cover of this song done by yukihiro takahashi and bill nelson – it’s absolutely fantastic – they trade vocals, each taking a verse – wow! a great cover of a great, great song.

a long rambling story about an imaginary neil young movie prefaces a rare live showing of one of the most heartbreaking of all of neil young’s songs, the beautiful, exquisite “a man needs a maid” – a tale of loneliness, sadness, and real heartbreak – on the harvest album, with a fantastic orchestral score – but here – just neil and his piano…and the lyrics are not all there yet, because he sings “a man feels afraid” – instead of the final version “a man needs a maid” on the album.

“when will I see you again” he asks plaintively, as this very, very sad tale unfolds – “a maid…a man needs a maid” – [crashing imaginary orchestra] – but on the piano, stark, naked – it’s even better for all the vulnerability that’s on show – then, it segues effortless into a piano version of “heart of gold” – that’s one odd medley!

“cowgirl in the sand” on solo acoustic is just as beautiful as “cowgirl in the sand” live with the raucous but wonderful crazy horse – I love it either way, and here, he pulls these amazing guitar notes on the acoustic – this one note, he keeps playing, in the middle of strumming – this note keeps appearing – it’s just fantastic, a hint of what the electric version holds.

one great thing about archives, is that you do get to hear truly alternative versions of songs, sometimes, you get the same song in three or four completely different guises – and that is fantastic in the case of neil young, the different versions are rarely similar, in fact, usually they are totally different, and often, surprisingly so – I love hearing the “what ifs…” and neil is a master of this, reinventing song with completely different instrumentation and arrangements – and that is brilliant in itself, but it also shows just how good the songs are – because in most cases, they easily can withstand the varying treatments – they are, quite simply, really, really good songs – and they sound great in solo acoustic settings, band settings, pump organ versions – you name it – it all works.

two of the sets in archives vol. one were also released separately – the live crazy horse set, and the live at massey hall concert, but they are essential to this set, and coupled with the rest of the amazing material on offer here – this is one of the best introductions to the genius of neil young, early period, that you could ever want.

“don’t let it bring you down – it’s only castles burning…”

what we’re listening to – the quiet zone / the pleasure zone – van der graaf

1977 was such a pivotal year in music, sure, in ’76, we had the beginnings of punk, the uncertain rumblings that said “this is gonna change…” and, soon enough, it did all change.

but the established artists of the day just kept working on music, and let the punk tide wash over them and around them – but, critically, importantly – just kept going.

that’s exactly what young peter hammill did – he kept going.  the classic four-man organ-based van der graaf generator had broken up for good after a series of disasters, including a disastrous yet successful “tour” of north america and canada, but hammill, as standard-bearer, decided to reinvent the band – completely.

with guy evans still present on drums, [always present thank god], hammill proceeded to and managed to completely change van der graaf’s sound; he even removed the “generator” to give the band a more stripped down identity in this year of great change: they would henceforth be known as “van der graaf” – no longer  “van der graaf generator”.

with the organ, bass and horns slots all empty, hammill started from scratch: bass player – he retrieved van der graaf’s original bassist, nic potter, so that was sorted; he brought in graham smith on violin, from string driven thing – and immediately, that became the core of the new van der graaf.

so suddenly, those beautiful church organs were gone, and hammill’s stark piano and acoustic guitar songs were now framed by violin solos, strings, real bass – fuzz bass! and these changes completely altered the fabric of van der graaf’s sound.  in a very, very good way…

a new year; a new band; a new album “the quiet zone/the pleasure dome” by the new, string-driven, stripped-down van der graaf.  this one…rocks!

the album’s opener, “lizard play”, an acoustic guitar-driven vocal and violin extravaganza, sets the scene for the entire album – a supremely well organised sound, fantastic and very complete vocal overdubs – a great bass’n’drums rhythm section with snapping hi-hats, slithering bass, tight drum rolls, fabulous drum fills…and peter’s voice begging, begging “will you dance with me…?” – and then the secret weapon appears – david Jackson, the on-again off-again member, makes an appearance in the very last moments of this song on sax – so really, you have three of the original “classic lineup” – but the presence of potter and smith manage to change the sound of the band so completely, you would almost never know – so, a very similar band, a very different band – but – a really completely unusual, unique album in the hammill canon, unlike ANY other – I am adamant about that.

we move on to “the habit of the broken heart” – a listless, sad violin accompanies a lonely acoustic guitar, but then guy comes in with a steady drumbeat, and nic joins in with a very accurately repeated sequence – the perfect background for hammill’s vocal, and, on this tune in particular, I think it is lyrically really cool “I’m so sorry that he hurt you, but don’t throw yourself away”…and “you’re so special, such sadness seems a shame” – a straight ahead little rocker, with a central solo section of banshee-wail-smith-violin, just to make sure you are still with us…the violins are used then after the solo, as a sort of drone to build and build tension, the drums go mad at the end, guy is breathtaking on this piece – it’s worth it just to hear the drum part!

“the siren song” is next, and is, perhaps, the most beautiful song here, an epic poem, with fantastic nautical allusions, “lashed to the mast” – done only as hammill can do, but, utterly sincere, utterly heartfelt, and very, very beautiful indeed – I spent many, many hours teaching myself to play this song, and I will tell you, as an amateur pianist of no mean skill – this song is really, really difficult to play and sing – it’s very, very well written.  I love every word, every chord, every sound in this song – I could play “the siren song” over and over and over again, because it has an absolutely unique “feeling” unlike any other song I know – and that’s the genius of peter hammill at work.  the vocal – half-whispered at first, then, stronger and stronger and more and more full of agonised passion – “laughter – in the backbone – laughter – impossibly wise – that same laughter that always comes, every time I flash, on that look in your eyes…” that is brilliant!

“and time, will smash every theory I devise” – “nothing really matters, NO, nothing really matters very much….” – shivers.

then, oddly, a fast section, a lovely little piano bit with a nice, clean violin solo on top, this shouldn’t really work but it works really well, it doesn’t seem likely, but there it is, a nice length, a full run-through of a nice long chord sequence, ending up in a great little electric guitar riff (those AMAZING flangers again) and then … somehow, back to the original song’s theme, back to an almost dead stop, and a final, heartbreaking verse, with tinkling electric piano and more passionate violin helping it along until the very, very end.

it helps that these songs are good, really good, some of ph’s best – like “the siren song” – sure, that helps, but the band – they just sound fantastic.  guy is totally on form, underpinning the songs with his powerful, yet musically rich and complex drum parts, there is no other drummer that could have done these songs justice – it had to be guy.

and it’s on the rocking numbers that guy comes to the fore, propelling the songs forward – “last frame” is the first track that’s wholly electric in nature, featuring some beautiful distorted, thick-sounding lead guitars from hammill – but it’s guy’s drumming that draws me back to this song over and over again – nic’s contribution on distorted bass is awesome, and then hammill and smith handle all of the totally insane soloing necessary (the extended solo section, with it’s multiple overdubbed violins and multiple lead guitar melodies, is a true masterpiece of prog heaviosity – it’s a must-hear solo section).

“last frame” is a real sleeper, you don’t really notice it’s power, but then weeks and months later, you find it’s in your head – a really, really powerful song, using the idea of photography as an analog to a relationship, with hammill in various stages of alienation and grief, “hanging back from that last frame…in case it doesn’t show you, the way I used to know you…” – in hindsight, one of the best tunes on this record, but as I say, you tend to take it for granted.  “there you are – your eyes laced with secret pleasure – saying that you’re on the way – to change – devouring, in inordinate measure, every diversion that’s arranged….”.

The final allusion to photography “but then, I only have a negative of you…” gives way to a great descending coda, that quickly fades away into the distance…

smith is quite a furious player, and on this record, he mostly demonstrates a very powerful, very loud, very electric style of violin playing – which is fabulous – except when suddenly, he reaches deep and produces clean string parts of startling beauty – such as the violins within “the siren song” (perhaps my personal favourite track from the album) or the string parts for “the wave” – so not a one-trick pony, sure, the manic, mad, crazy, insane high speed distorted violin solos on this record are brilliant, but I tend to like the quiet songs even more, and smith does a brilliant job of switching between these two totally opposite styles – impressive.

if we hark back to the vinyl version, “last frame”, track four on our CD, would have been the end of “side one” of our vinyl, meaning that track five of our CD is track one on “side two” of our vinyl, and that is the very, very beautiful “the wave” – which never used to knock me out for the longest time, it seemed perhaps too obvious, but now – I consider this to be a hugely important track, with amazing violin overdubs filling out all the spaces of this piano ballad – and a heartbreaking, truly beautiful vocal from hammill – the drama of his lyrics brought into technicolour presence by smith’s amazing, shuddering overdubbed violins – sudden burst of acoustic piano filter through, and in the background, as always, nic and guy pinning this remarkable little piece of music down into a final form.

on both the “loud” songs and the “quiet” songs, the tension built up by the use of the violin (as opposed to the beautiful, melodic organ playing of the now-departed hugh banton) is stunning, and hammill uses the instrument to make these hard-hitting songs pack even more weight than they do as “just songs” – the arrangements on this album, to me, are just top notch, he’s taken everything he learned in the previous incarnations of the band – and distilled them into this remarkable album.

the other standout rocker on this song, is the absolutely amazing “cat’s eye/yellow fever” – a fantastic piece of distorted guitar/fuzz bass/string section that has to be heard to be believed.  hammill’s super flanged electric guitar is balanced by nics crazed fuzz bass octave parts, while guy is flying across the skins at an absolutely impossible speed…then hammill layers on the background vocals creating an incredibly lush and complex vocal arrangement that stems from his angry, powerful lead vocal – it bounces between the power and the glory, all the while, graham smith is sawing away, soloing, building and releasing the musical tension – then, a quiet, minor key section appears, multiple, heartbreaking gypsy solo violins appear as the chord progression is carried forward mostly by nic (guy stops completely to allow this serious piece of music play out) which slowly winds down to the end…this song, out of all the songs on this record, is such a powerful piece of music, and I think it’s one of hammill’s best songs of all time – bar none.

“the sphinx in the face” has long been one of my very favourite hammill/van der graaf songs, in part because of this fantastic lyric “I’m gonna head to the island when the summer’s out, I’m gonna do all the stuff that I can – drink like a fish in a waterspout…” – that’s genius! beginning with an awkward but cool guitar riff, when the rhythm section enters, with nic potter’s fuzz bass full of confidence, ploughing on through – I love that sound! this is one of those songs that just gets stuck in your head for days.  it has a heavily overdubbed vocal chorus, which hammill uses later in the reprise version “the sphinx returns” – as “the sphinx in the face” fades out, the instruments gradually disappear, leaving the multilayered falsetto led vocal harmonies – a great effect.  and they then begin the reprise version, giving us really good sense of continuity, despite being separated by “the chemical world”, it’s as if this song were playing the whole time in the background.

“the chemical world” – this is one of the strangest songs hammill has ever done, and it takes a while to warm to.  it’s quite…odd, and it also contains a fast section with some very, very heavily warped vocal effects, which makes it end up sounding like a lost transmission from the planet klingon during that section.  But over time, I’ve realised that it’s a really, really well done piece of music, with a great acoustic guitar/gypsy violin part that recurs – and then there are those strange, strange vocals! Weird as green milk, but really, nothing else would suit – and then when the “normal “ vocal returns it sounds awesome – a great back and forth between the totally alien and the relatively normal J  it’s a chemical world … after all.  and it’s gonna blow up in your face…  graham smith is extremely excellent on this with some otherworldly violin playing and effects, this song is so effects laden that it’s not funny, but they are done in a tasteful and wonderfully experimental way – there is no other song on earth like this one!  none.  it’s just the drug … it doesn’t last.

the aforementioned “the sphinx returns” as noted, begins where “the sphinx in the face” left off – in reverse, beginning with the naked vocal harmonies, the band comes back in, but this time, at a furious pace with an insanely beautiful, screaming david jackson sax solo – it is phenomenal! Jaxon is only on this record in a few places, but I think even hammill realised the importance of keeping just a little bit of the “signature” van der graaf generator “sound” in his new generator-less “van der graaf” – and including jaxon here, particularly on this song – is an inspired act of genius, because he takes this piece to another level – it already rocks, just because when you have multiple overdubbed peter hammills, vocals and guitars, on top of that very powerful rhythm section, nic and guy; when you add jaxon to that equation – it really just ROCKS – that’s the only way I can explain it – this is just a very brief reprise, with sax, of one of the very best tunes on the record – no wonder hammill decided to put it on twice!

the remastered CD then brings us an absolutely delightful rarity: the studio version of “door”, a song we’d only ever previously heard on 1978’s live album “vital” – and one of the few studio tracks featuring what was to have been the next incarnation of van der graaf – “vital”, and this track, and the studio version of “ship of fools” – that’s most of what is available from the expanded band, which included synthesizer wizard charles dickie (and his work on both “vital” and on the two aforementioned singles has to be heard to be believed – it’s brilliant) as well as an expanded string section.  it’s such a shame that they didn’t go on, and in 1978, van der graaf ceased to exist after only a two-year run, producing exactly one studio album and one live album.

“door” in the studio is absolutely fantastic, it has a very similar heavy feel to it as does the “ship of fools” single – which sounds like proto-metal to my ears – I love the direction this band was going in when it suddenly disappeared.  stay away from the door…

the penultimate track on the re-master is an alternate version of “the wave” – with no vocal, and stripping away the layers of vocal reveals a remarkable sensitive and beautiful basic track, with a great, great peter hammill piano part, and then there are those strings…another graham smith masterpiece if you ask me. “the wave” has always been a dark horse, the song that I never thought that much of – until you hear it like this – it’s truly, truly one of the most beautiful songs on the album, in either incarnation.

finally then, we come to the holy of holies, the studio version of “ship of fools” – this song very nearly leaves me speechless, you just have to hear it to believe it, an impossible, convoluted but incredibly powerful guitar riff is central, that goes without saying, but you have never, ever heard hammill play – or sing – like this…he is on fire! – it’s just out there,  the vocal and lyric is incredibly powerful – a bizarre slapback echo on the drums, the best bass part nic potter ever played – and hammill, hammill, hammill finally coming into his own as a shockingly powerful rock rhythm guitarist and a surprisingly good lead guitarist too – sure, we’d heard the live version of this on “vital”, which is really, really good – it opens that record – but this, this is a song that I can’t get enough of – “dispensing platitudes and junk”…”there’s no rules”.

no rules.

this then, in 1978, out rocks, out punks, most of what punk itself was putting forward.  we all know the story about how john lydon idolises peter hammill – well, this song is one reason why he probably does – “ship of fools”, live or studio, is the perfect blueprint to start a punk revolution from – just copy this, or any of the similarly punk-like songs on hammill’s fifth solo album, “nadir’s big chance” – and you got yourselves a musical movement.

this song is a powerful argument for the concept that it was really peter hammill, not john lydon, who started the punk revolution – although it was via lydon – who loved the music of van der graaf and peter hammill – he just channelled hammill in his own way – and a genre was born!  when you hear “ship of fools” – you will know exactly what I mean J

it’s rare that a bonus track becomes my favourite song on an album, but in this case, it’s probably a draw between the remarkable “cat’s eye/yellow fever” and this stunning, last-gasp-of-this-van-der-graaf single, “ship of fools” – these songs rock hard, have brilliant lyrics and vocals, heavy, heavy guitars – everything a boy or girl needs to have fun.

1978 was a bad, bad year for prog rock – but by 1977, with the release of “the quiet zone/the pleasure dome” hammill showed us, over two years, two albums, and these amazing singles – that not only had he already moved on, but he was creating a startling, new, heavy kind of music that possibly was key as an influence on none other than johnny rotten – that’s quite an accomplishment for someone who would have been classed by those self-same punks as a “prog rock dinosaur” – hammill shed that skin, and grew a brand new one – and walked away unscathed from the punk revolution – one of the very, very few proggers to survive it.

it’s a ship of fools.  (there’s no rules!!)

“I was looking for something good, clean, straight – but instead I found – the bunker wall – and gate”.

the music of the moment (and the music of the past)

work on the backlog of audio continues, I’ve actually made some pretty good progress on several different fronts, unfortunately, not so much progress on others, but there is a lot of music beginning to emerge:

from january 2nd, 2012 session, I’ve now mastered the final version of “signs of winter” and after a lot of trials and tribulations, the video has been rendered and uploaded and is available for your watching/listening pleasure now.  this is one of the longest version of this improv, and it’s really a good one, it has a really long and very cool animoog intro, and a great looped and live strings session following – this might be my favourite of all the versions of this song so far.  I’m also happy that this session is now complete, because that means I can move on to assessing newer sessions – so that is exciting, too!

I am continuing to work on recovering a set of animoog audio-only recordings that fell prey to the overloaded IRQ-created pops and clicks, and I de-clicked and de-popped the first seven of twenty tracks, and it looks like at least two of those seven are “takes” – and just hearing these again, and hearing them without pops, the animoog is a very, very capable synth with some great, great presets, but it’s ability to customise that I am looking forward to – creating variants of presets that sound even better/stranger, it’s hugely fun to play with, and then of course full x-y pad capability, so I can alter as I play too…love that instrument!  so – fourteen more to clean up, using adobe audition, I don’t quite know what I am going to “do” with these tracks, perhaps some of them might be suitable for the orsi-stafford album, and/or, part of yet-another-unplanned-but-there-it-is album of synth music by yours truly.  the last track I did, which happened to be track 19, had the most amazing tone, it sounded kind of like a modified, textured motorcycle, but the resulting track just sounds fantastic – I love the sound of the animoog, it’s such a nice synth!

I also mastered a 45-minute session by holding stafford & corriere, from 1977, and it was fascinating to look back at this session, made when prog rock was at it’s height, and hearing myself as a 19-year old prog guitarist wannabe is a strange experience now.  when I hear those three 19 year old men play, I see a big prog future for them, but the reality was even stranger, ted holding went on to play in pop / top 40 bands, I went into prog briefly but then took a sharp detour to crafty acoustic/ambient/ebow/looping and never really got back into prog until the last ten years or so… and I have no idea where our drummer, rick, ended up – the last time I saw him was at an allan holdsworth concert in san diego.

it’s exciting hearing these improvised pieces again, I really enjoyed mastering this tape, especially because I had the very powerful hum, hiss and noise reduction capabilities of adobe audition to help me – something you will always need with a tape of this age.  I was able to make the performances sound as good as they can, I am very thankful indeed that ted holding did such a great job of miking up the session, with his carefully-placed stereo drum mikes on rick’s kit – everything sounded great, but with the help of the clean up audio tools in audition, and the mixing tools in SONAR, I think this is one of the best efforts so far as far as cleaning audio for the pureambient blog audio companion page.

the tracks went up this past saturday, a week ago today, so I hope you’ll have a chance to download and listen to this improvised session, it’s forty minutes plus of great prog rock, performed live in the studio by yours truly and my two best junior high school pals – it’s a fun session, but it’s also a serious stab at playing in the style of the day – and it succeeds on a number of levels – including a 17-minute plus prog opus that I really enjoy, complete with almost ambient creepy organ break and tony banks-style warped organ sound at the beginning, entitled “resolution” – not to be missed.

there are four songs, six tracks: three takes of the first piece, “propulsion”, each of which has improvements and alterations over the previous one, we are clearly trying to work out the piece – and by take three (which interestingly, is twice as long as take 1 or 2 – they are about 3 minutes plus each, while take 3 runs a full seven and a half minutes), it has taken a pretty decent form; then there are three unique tracks: “revolution” – which has a kind of heavy guitar bit in it that I quite like, it’s a nice little jam – followed by the remaining two pieces…

“resolution” is the aforementioned super-long prog rock extravaganza, and for my money, it’s the most interesting thing here musically.  it begins with something planned, and then the rest is just made up – but that start – I have something really detuned going on (despite the absence of a whammy bar, somehow I do this) while ted is turning the power of the hammond off and on to get this weird, warped sound (and what a sound it is!!) that hammmonds famously make when you shut them off and on while playing – and it sounds amazing, a totally beautiful effect from the organ and guitar, and rick is furiously playing something akin to freestyle jazz on the drums, which gradually resolves into a rock beat – so the song starts like a staggering drunk man, who gradually gets up and starts to walk a nearly straight line. I can say without reserve that this is probably the best single “beginning” of a song that I’ve ever been involved in, I remember cooking it up with ted, and it just worked phenomenally well – excellent work.

I think it’s remarkable to realise that, the beginning of this song was “planned” literally seconds before we did it, we would discuss the upcoming piece just prior to starting it, and I can remember this surreal conversation – “let’s start this one out really strangely and then move into the piece…” – and that is exactly what we did!  but then – how did it evolve into a more than seventeen minute long prog masterpiece?  that was not planned – but, we just kept playing.

it then transforms from that strange, detuned beginning into a really nice long jam – with lots and lots and LOTS of guitar solos and organ solos, and a beautiful “quiet” section from ted too, that I really like – just a nice piece of work, considering that only the beginning is planned, and the next 16 minutes are totally conjured up out of nothing, on the spot, by the band!

to close the set, the final piece “evolution”, is quite unique in that it was built to a strange concept that I came up with:  I could see that the cassette was nearly full, with just a few minutes left, so I said “ok guys, let’s play in E major just as FAST as we possibly can” – so we start off at a furious pace, and indeed, play until (and beyond, no doubt) the tape runs out – and we manage, somehow, to keep that relentless pace (I can audibly hear rick struggling to keep the drum beat going at this tempo!) up for a full three minutes – a really nice way to end the set I think.

so much more music is appearing that I find that I don’t have time to document it all, however, suffice to say that I did four different recording sessions today, that went something like this: five experiments involving running soundprism pro from the sono 88; eight tracks working with the itabla pro application and one or more application synths playing along with it; nine tracks involving the korg electribe drum machine (this thing is genius!) and various other synth apps; and finally, ten tracks made using “pinkie” – the original korg kaossilator.  That was a good day of recording, and I look forward to hearing some of this material back…especially the kaossilator session, which was completely unplanned, and an enormous amount of fun – what a brilliant device!!!

I learned a lot about just how much you can get away with in layering synth apps and drum apps when triggering from the 88 key keyboard, and I think that among all that was recorded today, that there will be a number of releasable items – I am sure of it.

I now return to the land of removing clicks and pops…

what we’re listening to – anthology (40th) – the move – movements (30th) – the move

it’s no secret that I am a fan of roy wood and his first very successful band, the move, and over the years, I’ve collected first move records, then move CDs, but I must say, that the two large anthologies released more recently get a lot of airplay with me.

“movements” (30th anniversary compilation) was the first – three CDs including quite a few most excellent rarities – and for me, some of them are just precious beyond belief, such as an early version of “curly” that is just fantastic, the Italian version of “something” and so on – a really, really great set.  I was and am extremely happy with “movements”, because it’s a really good overview of the band, but they also included enough rarities, alternate takes, and so on, for fans as well – another first is the full length ending/fade-out of “omnibus”, which has always been truncated on every other release, and finally saw the light of day on “movements” – and just to hear roy’s actual guitar playing during this full outro is fantastic – any recovered roy wood guitar is so, so worthwhile if you ask me.

I feel that roy is one of the most underrated guitarists of all time, and if you have doubts about that, I would refer again to the new “live at the fillmore west 1969” cd which proves to me that roy was the george harrison of the move, but he was also the john lennon – he did it all, rhythm guitar, lead guitar, lead vocals – and his lead playing I feel is fantastic.

he’s also the only other british guitarist besides george harrison (well, that I know about any way – only “famous pop guitarist” I should probably say) to seriously learn indian music, and the banjar solo in the middle of “fields of people” on the new live album is a fantastic demonstration of his skill in this area.

ten years after “movements” was released, came the four-disc “anthology” (40th anniversary compilation) – and if I thought “movements” was good – this record is unbelievable.  in some ways, if you have these two releases, these seven discs, then you have what you need to understand the move completely and utterly.  “anthology” has even more amazing rarities than “movements” did.

an early version of “fire brigade” that features piano over guitar, an alternate version of “I can hear the grass grow”, various un-dubbed and partially dubbed songs that you know but in different guises – and perhaps best of all, a fully restored and repaired version of the live marquee show which is just fantastic – this show was always damaged, but they found a way to repair it properly, and it now also features all of it’s tracks instead of just some, and they have also thrown in a couple of the original live mixes as well for a couple of the tracks – ALL of disc 2 is live tracks, from the marquee in 1968.

add those to the tracks from the new live album, and you have a lot of great live move performances!

of course, if you are a completist like me, then you need to pick up the 40th anniversary re-masters of the original albums as well, because on those – you guessed it – you get STILL MORE bonus tracks and rarities.  My favourite of these remasters is probably “shazam” – an amazing record in it’s original incarnation, but this one has some real beauties hidden away in the bonus tracks – including an amazing, amazing alternate version of my favourite move b-side “this time tomorrow” – with a vocal from carl wayne (instead of david morgan, who sings the original version) – a beautiful, beautiful song – arranged in a completely different way from the “official” version – and I love hearing things like this, it’s kind of like roy thinking “well, what if it went like…this”.  Or…this.  Or….this?

so after 40 years has passed, that single I bought way back in 1969, of “curly” on the a side, and “this time tomorrow” on the b-side, is now on CD, and I get an alternate version of both songs to contemplate and enjoy – I would have never dreamed of this amazing set of extra, rare, behind-the-scenes material back then!!!!

of course, I didn’t really get a good sense of the move just from having that single, that’s just how I started, and when I returned to the US after four years in africa, all I could find were compilations – and the vinyl version of “something else” – which was the truncated, bad sound quality live album from the marquee. for years, that was all I had for years…you just couldn’t get “real” move albums.

so I felt like I was missing out for a long, long time, eventually, I tracked down things like “message from the country” and so on, and then finally, over the past few years, I collected the 40th anniversary stuff – and I probably play “anthology” much, much more often than many, many records I have – and it’s fantastically arranged, too – do I want early move? disc 1.  do I want rough and ready live move? disc 2.  do I want psychedelic mid-period move? disc 3. do I want late period/jeff lynne move? disc 4.

I really seriously feel that the move got such a bad deal in the press, and their releases were in a shambles for years, and while those have been sorted, the damage to their reputation hasn’t been, which to me is a huge, huge shame.  I absolutely feel that the move SHOULD have been as big as the beatles, the stones and the kinks were – because musically, they were equals.  roy wood was like lennon, harrison, mccartney, brian jones and ray davies all rolled into one. a quintuple threat, he could write, he could sing, he can play lead guitar, rhythm guitar, piano, organ, drums, sitar, sax, oboe, banjar, banjo, bagpipes – ANYTHING.  the beatles, the stones and the kinks – none of those bands had a single person capable of all that.

if you listen to roy wood’s solo albums, where in the main, he plays every single instrument (doing a “todd rundgren” before todd rundgren did a “todd rundgren”) you can’t fail to note what an incredibly capable and talented man roy really is – I recommend both “mustard” and “boulders”, I love those records, and I really think that todd took a leaf out of roy’s book – I think that the move was a huge influence on todd and the nazz, it obviously was, because todd did indeed cover “do ya” on his live 1975 utopia album, “another live” – and roy also liked todd, because the move had not one but two nazz songs in their live 1969 set list – so it’s difficult to say who influenced who – but both todd and roy are the master of walking into a studio, and playing every part themselves, and creating amazing pop and rock music out of thin air.

on the “boulders” album, there is an amazing song called “all the way over the hill (an irish loafer and his hen)” which is a perfect example of…pop perfection, with amazing background vocals, drums, bass, guitars – including harrison-like lead guitar – but then in the middle of the song, out of nowhere, a brief but astonishing sitar solo that mutates into a reverse guitar and then…back to the song – I would give anything to come up with songs half as clever as this one…and then at the end, roy plays live strings, cello, viola, violin – and does this whole irish jig /outro thing – again, where does this stuff come from – like five little songs all rolled into one four minute song.

from the “mustard” album – well it’s just strange, surreal, the title track is some kind of 20s track with female voices (or sped up roys?) featuring a great horn solo from roy, I love this little song, it’s so bizarre…but it’s the second track that I truly love “any old time will do” – piano based, great drums – another one that would have fit right onto any early todd album – a song of unrequited love, roy singing from the heart, perfect background vocals, a beautiful melody – and every note, every sound made by roy.  the guitars, the slide guitars…are bliss, this song just bursts with pop joy, it’s such a shame that these albums never made much impact on the charts – because if you like the move at all, then roy wood solo is like getting to the man behind the scenes – I really wish roy had made more solo albums, I wish he would make an old-style pop album right now.

I felt so, so fortunate, a couple years ago now, I had the chance to see the roy wood band live, and it was sublime, it was really, really good – the band was great, straightforward, crack players – and of course, even though I didn’t expect him to, he did six or seven move songs – so I was able to see and hear him play those amazing riffs, like that really strange one from “I can hear the grass grow”, and for me, that was just as special, and just as utterly surreal and unbelievable – as seeing george harrison (one of the BEATLES ffs!) play in 1974 – to me, those are my top two live british guitarist sightings, more enjoyable than things like…eric clapton in 1975, who just underwhelmed me – but george and roy – both did fantastically live.  george had lost his voice – but his guitar playing was astonishingly good – as was roy’s.  I can’t believe that I actually got to see roy wood play – I waited a long, long time for that one!

but, if you don’t have any of the move’s albums, and you want to hear the most under-appreciated pop band that SHOULD have been the “other beatles”…hear them properly – then you cannot, cannot go wrong with the 40th anniversary package – and it’s a beautiful, beautiful disc – I love the packaging, it’s totally deluxe, but more importantly, it really gives a very complete overview of the band and it’s music, and I could listen to just those four discs over and over and over again – I never tire of the music of roy wood and the move – and I should say too, what an amazing singer the move had in the late carl wayne, his performances in the studio, and on stage (as proved beyond a doubt on the new live album) are just remarkable, so that gave the band a great live vocal sound – because they had not one but two very, very strong lead vocalists (kinda like that other pop group, what was their name again?) and the live harmony vocals were a move trademark, they took their vocals very, very seriously indeed – and sounded great for the extra effort they made.  so carl’s contribution to the band should absolutely not be overlooked – roy wrote the songs – and sang some of them, but carl drove the band forward, and sang most of the time, so roy could concentrate more on guitar – so that’s a win/win situation if there ever was one.

I am not quite sure why the music of the move resonates so strongly with me, possibly because I associate it with my childhood in africa, a happy time, I don’t know, but they always were, and probably always will be, my favourite pop/rock combo just below the beatles – or maybe, just beside them 🙂

the music of the moment – application-based music

because I have currently have a large backlog of audio and video that was recorded / captured, but never mixed or mastered, my work habits have altered to accommodate this – when I am in the studio, I work exclusively on the backlog (occasionally on the new orsi-stafford album as well) so making new music has temporarily moved exclusively to the more portable ipad.

 

it seems that each week, somehow, I manage to write and sequence yet another piece for my ever-growing library of unusual music that is the fairlight pro collection – in other words, the tracks that will become “fairlight fifty” – at least once a week, other times, maybe even twice a week, and the past week was no exception.

 

the current fairlight pro piece is as usual, quite different from all previous fairlight pro pieces – this time, featuring a strange, almost creepy accordion as the lead instrument, utilising a sound call “submarine” as my rhythm keeper, along with the odd pitched-up or pitched-down (never normal pitch) crash cymbals – the instrument I built is part drone machine part melodic accordion and percussion, and I so, so pleased with the outcome – the piece is currently titled “seagulls” and it has two sections – the original creepy accordion melody (recently improved) and a second section that has a strangely-altered rhythm from the first section, so even though the instrumentation is the same, the second section has a completely different rhythmic “feel” to it so it sounds like a big change – but it isn’t really!

 

it also features a different melodic voice, with a beautiful “humans” voice, voxfemme11, which was previously part of the drone accompanying the accordion section, taking over from the fairground/horror accordion in part two, and it’s even creepier when the accordion returns briefly…

 

so “seagulls” has been my lunchtime project this week (and part of last, it was actually begun then) it’s taken a little bit longer to get this one to fruition, but, well worth the extra work I’ve done on it the past few days – because I believe it’s finished now.  today’s addition was a brand new “middle section” – featuring the bass being removed, and the lead now taken over by a sped-up high-pitched talking drum, which give this third section a completely unique character of it’s own – so now I have three distinct sections, each characterised by a different melodic lead instrument: accordion, female voice, talking drum.

 

it sounds strange on paper, but it’s working really well on the fairlight, and that’s all that matters!

 

 

I am creating so many of these pieces that if I keep going at this rate, “fairlight fifty” will be done in no time.

 

the only slightly frustrating aspect of this is that I am not moving forward on all fronts, because all of my studio time has to be dedicated to clearing the backlog, which means, mix, mix, master,  then, mix and master – and if I am not mixing or mastering, I had better be fixing clicks and pops in recorded pieces and then get on with … mixing and mastering, so this means that I simply do not have any time available for guitar synthesizer, working on album tracks for any of the albums in progress- including collaborations, doing more sessions with the kaoss pad, doing new sono 88 synth sessions (although I have managed a few of those, since the setup is very easy).  there is just no time!

 

don’t get me wrong, there is almost nothing I love more than working with apps on the ipad at the moment, it’s absolutely fascinating to me to be able to make good music on a very portable device, and in learning all these apps and making recordings in several different apps – I have many, but am recording seriously with about 8 or 9 of them at the moment – maybe more – and new ones about to be added – it’s absolutely great fun and I am compiling a lot of good music for future use – including the fairlight fifty album.

 

there will also absolutely be at least one other application-based album, and that will be pieces made in nanostudio – which could not be more different than the fairlight pieces if they tried – two completely different instruments means two completely different sound palettes – and the pieces are distinctive to “their” synth – and, eden synth in nanostudio is a very different beast to fairlight samples.

 

nanostudio itself – that’s just a great tool, so easy to learn, great drum sequencer, super high quality drum sounds, great synth – I have created some really good pieces in nanostudio, so I will actually need to get those mixed and mastered along with the fairlight fifty, so there will eventually be large number of app-based pieces presented in at least two albums, if not more – including a few very ambient pieces as well as more active drum-based pieces.

 

 

speaking of that backlog, my business partner ken mistove found me a viable solution for removing pops and clicks, adobe audition, most distressingly; a set of carefully-prepared synth pieces that were intended to be the first tracks presented on the new video channel on youtube, synthesizerHD – all ended up quite damaged due to clicks and pops, so the opening was delayed until the first pieces could be repaired – thankfully, that is now all OK, and the new channel is up and running with the first two tracks now up.

 

so as well as trying to save those tracks (and others damaged by pops and clicks earlier on, as well) I have begun working through the other tracks from the same sessions (in this case, an ipad synth session from april 7th with nine tracks on it and a sono 88 keyboard/ipad synth session from april 9th with 15 tracks on it) – both, with pops and clicks, but a few of the tracks have escaped totally unscathed – so I am mastering those now.

 

I made a start last night, selecting tracks 8 and 9 from the april 9th session to start with, and those two tracks bear startling witness to the quality of one app in particular, a synthesizer app that is fast becoming one of my very, very favourites – addicitive synth – I love the sounds this thing makes, and playing it from the full size keyboard is the icing on the cake.  it has many, many amazing voices, but it’s best feature is a truly astounding set of preset arpeggiators, some of the most intricate, clever and creative I’ve ever heard – not to mention the facility to create your own arpeggiators – something I can’t wait to try!

 

It was a lot of fun play synth with arpeggiators again, it’s been a long, long time since I’ve done that, but what I try to do with them is hopefully atypical, most people use them to play really fast parts that they can’t actually play with their fingers, usually accomplished by holding down one note, then another, then another, and letting the arpeggiator do all the work.  I don’t go that way – I just play normally, or, rather, I adapt my normal playing style – and I play a combination of notes, chords, bass notes, and mixtures of the same – to try and get the arpeggiator to create unique music.

 

I like to fool the arpeggiator, by not allowing it to fully trigger, by playing short notes or chords that only fire off part of the arpeggiation, and I am already re-triggering it before it finishes – I try to use it as a musical tool, instead of leaning on it because of a lack of actual playing skill.

 

I think I succeed with this, I really don’t want to use arpeggiators as a gimmick, at the same time, I think some of the very creatively-programmed arpeggiators in addictive synth are extremely musical, and they allow me to play challenging pieces with unexpected and wonderful results…I haven’t yet watched the footage yet, so I am actually not 100 percent certain how I made these tracks, but, that will become clearer in time – I just know that in mastering the audio, the result I got for tracks 8 and 9 at least, and a few others I know, is very musical indeed and I hope is a valid way of using the device to make music, not letting the device control me.  I hope!

 

I finished track 8 last night (working title “externalisation”), creating mixes for audio and for video (all video mixes now get a standard six seconds of silence added at the start, and 21 seconds of silence added at the end, for ending reverb, titles and so on) – I just find that makes things much simpler, instead of customising each one – I always target six seconds pre- and twenty-one seconds post-audio when creating audio for video use – and of course I usually edit that 21 seconds down to something shorter, depending on the configuration of the end section of the video.

we always want to be in charge of our machines, rather than the other way around, but on some days I do feel like technology in general gets on top of me, and sometimes the machines win – and it’s then that I remember the phrase “watched over by machines of loving grace” – maybe that’s another album title – I don’t know!