�sound and instrumentation:Slightly garage-sounding psych rock with Portuguese lyric- creative use of 1960s sound processing methods to give a somewhat spacy aspect. This is one of the more commercially rocking tracks from a very creative and groundbreaking psychedelic rock group.
from Os Mutantes (Omplatten/Polydor) available on CD - Everything is Possible: The Best of Os Mutantes (Luaka Bop)
Adolfo and Gaspar strike again with one of their biggest hits, this time performed by their own band, a sort of home-grown space-age answer to Brasil '66, with an early Fender Rhodes providing counterpoint to the two female vocalists' ethereal and spacy tones. Irresistibly catchy and with an intriguing overall sound, this sounds like the music the Jetsons would be listening to if they were Brazilian.
This is one of those songs that really sounds nothing like any of the artists' other songs. This is off Lani's first solo album "Sundown Lady" and was produced by her husband and label executive Herb Alpert. The song is the first song on the album and sets the tone with a nice easy bass line accented by the tinkling of an electric piano. The real money is the combination of Lani's impassioned vocals with whoever (maybe Herb?) singing a simple male vocal complement during the chorus. The song is effortlessly funky, understated and oh-so-deep. I haven't played this song for someone who hasn't loved it.
delicado: By coincidence I picked up a compilation CD of Lani's work (a 25 year A and M anniversary disc that came out in 1987!) just yesterday, and this track and 'we could be flying' were the ones that really stood out. I'm a big Brasil 66 fan but had never picked up her albums. Strange that you happened to recommend this track today! scrubbles: You're right -- this is a lovely, understated yet passionate song. That male singer might possibly be Burt Bacharach, since the tune was included on a Bacharach collection.
spacy female vocal-based sadpop, perfect for cold weather and sunday afternoons. these guys pioneered this kind of music, if you're familiar with white noise,
os mutantes or even broadcast this album is your jackpot.
it's one of the more calm and mellow tracks on the albums, and one of my favourites.
absolutely gorgeus chorus, totally wide, deep string based arrangement.
..And dig the gentle, almost non-audible rhythm track.
If someone would have asked me say ten years ago what artist's oeuvre I would take with me to a desert island, I would with dead certainty have answered: everything by Joni Mitchell, please. I'm not so sure anymore, although it could well be that I, when push comes to shove, would still make that choice. So it may not come as a surprise now that for a long time my all time best album was one of Joni's, Don Juan's Reckless daughter, where her cooperation with Jaco Pastorius
really took off, for instance on this song where she's questioning her love for a man who's new sweety has already moved in while still keeping poor Joni (assuming the song is sort of autobiographical) on the side as his Off Night Backstreet. Jaco's warm bass carries the whole song and is almost like a second voice to Joni's singing, it blends marvelously with her cold metal guitar, some nice echoey and
spacy flageolets too, great additional vocals - "Backstreeeeeeeeeeeeeeeeeet!"- by JD Souther and Glenn Frey, drums by John Guerrin, subtle and tight.
PS Be warned that the soundfile is quite big (500 Kb).
Sinister and spacy, slightly discordant, gospel-inflected soul groove, with a murderous, high-powered bassline. Gene Simmons and Paul Stanley of Kiss apparently sing background vocals on this artist self-titled album, and strangely enough it's their backing that makes this sound sort of reminiscent of a gospel session, but in space maybe. Begging lyrics and tripped out reverb enhance the strange, infectious hold of this song. This is a very heavy, mournful, and unique sound experience. Recommended.
In an easy listening mood today.
From the oft-panned disk two of the frank black francis release, comes this brilliant reinterpretation of the holiday song from the Pixies' glory days.
This version is driven by dubby, spacy trumpets and echo effect, with a lone guitar taking the back seat. I like how Frank's voice is mixed way in front, and the overwhelmingly happy tone of the whole thing. The Pixies for cocktail parties.
great electronic effects-laden psychedelia from their 1969 album "an electric storm". a spooky and beautiful track with lots of echo and spacy non-melodic digressions. oddly, it stays quite coherent despite all the insane stuff going on in the background. Female singer, beautyful breathy voice, kind of a "nico light-" thing going on.
the track "firebird" from the same album is also highly recommended.
by the way, i�m pretty sure each member of broadcast have their own copy of this album. The song "marooned" on wire's 1978 album "chairs missing" shares some melodic qualities with this track. would probably sound great if mixed together..
(if you're interested in aquiring the whole album, it�s pretty hard to come by, at least in vinyl form. i think it's been reissued on cd by some obscure label, but as i only have a cd-r copy, i'm not sure. side a is very good, but from what i heard they ran out of studio time, forcing them to make side b a bit more...shall we say, "experimental" in order to make it lp lenghth...)
from an electric storm
standish: My dad's prog-rock friend brought this album over when my dad got his first proper stereo in 1972 and played us the scary side... These days, I love "Firebird" and "Here Come The Fleas". Quirky UK electronica by (BBC Radiophonic Workshop) Delia Derbyshire and David Vorhaus.