An instrumental of monumental brilliance. Mixing religious moods with tight beats and strings really seems to work for me. The track opens quietly with piano chords and a bass guitar. A slow, funky drum beat comes in, and after this the track goes on all kinds of journeys, building up and down with doomy strings and psychedelic guitars. A really incredible way to set a mood...
from Song of Innocence available on CD - 1968 to 1970 (Stateside)
04 May 01 ·tinks: and if you like this, you'll probably dig the work axelrod did on the electric prunes' "mass in f minor" lp, too. 08 Apr 02 ·tempted: Endtroducing... by DJ Shadow would've never happened without David Axelrod. Not the way it did.
Lord knows that I would never recommend a McKuen vocal, but this tight, jazzy little soundtrack instrumental is quite another matter. This cut moves along rather nicely, with a cool taut rhythm. The arrangement was written by Arthur Greenslade, a longtime collaborator of both Serge Gainsbourg and Alan Hawkshaw.
Nothing can truly prepare you for your first listen to Os Mutantes. All the hype in the world can only pique your interest...of all the countless reviews I've read, none have ever captured the essence of the band, and I'm not about to attempt it here. Any song from their first album could be my choice here...the psychotic carnie music of "Panis et Circensis", the drugged-out doo-wop of "Baby", the Ray Davies-informed songcraft of "Senhor F" or the Donovan meets Alistair Crowley creepiness of "Trem Fantasma". So I chose this, their best-known freakout. Go find out for yourself.
14 Mar 04 ·olli: this is great! i love panis et circensis...heard it a couple of years ago on norwegian radio, but i didnīt find out what the song was called until now...
by chance i just found out today that gil gilberto has licenced a lot of his work under the creative commons law... that means we're free to sample and build upon it!
Both shocking and extremely cool, this has to be heard to be believed - a 'rock' adapation of Rachmanninov's Prelude in C# minor which really does rock. Cy Coleman lays a huge funky breakbeat and a heavy bassline on top of the beautifully dark, doomy theme. A jazzy guitar comes in and out as the track builds. I've never heard anything quite like it (I mean that in a good way). I am now unable to hear the original piece without Cy Coleman's breakbeat!