I was moved by this particular quote from a letter this girl wrote to her brother:
"I always feel a little uneasy when things come to an end, like this pad of paper inevitably will. It feels like I'm losing a moment in time. I'm not a particularly materialistic person but I do find that possessions, like music or food, grant me access to memories that I may have otherwise lost" (Olivia Quinn Bibby) Edit: Forgot to mention I don't know this girl. Just happened to read the obits today, something I don't often do.
I was moved by this particular quote from a letter this girl wrote to her brother:
"I always feel a little uneasy when things come to an end, like this pad of paper inevitably will. It feels like I'm losing a moment in time. I'm not a particularly materialistic person but I do find that possessions, like music or food, grant me access to memories that I may have otherwise lost" (Olivia Quinn Bibby)
I was moved by this particular quote from a letter this girl wrote to her brother:
"I always feel a little uneasy when things come to an end, like this pad of paper inevitably will. It feels like I'm losing a moment in time. I'm not a particularly materialistic person but I do find that possessions, like music or food, grant me access to memories that I may have otherwise lost" (Olivia Quinn Bibby) Edit: Forgot to mention I don't know this girl. Just happened to read the obits today, something I don't often do.
Dale’s work was directly and mightily informed by the Arabic music that he listened to as a child. “My music comes from the rhythm of Arab songs,” Dale told the journalist George Baramki Azar, in 1998. “The darbukkah, along with the wailing style of Arab singing, especially the way they use the throat, creates a very powerful force.”
Dale was left-handed, and he preferred to play a custom-made Fender Stratocaster guitar at an indecent volume. (After he exploded enough amplifiers, Fender also made him a custom amplifier—the Dick Dale Dual Showman.) His version of “Misirlou” is gorgeously belligerent. Though it feels deeply American—it is so heavy with the energy of teen-agers, hot rods, and wide suburban boulevards—“Misirlou” is in fact an eastern Mediterranean folk song. The earliest recorded version is Greek, from 1927, and it was performed in a style known as rebetiko, itself a complex mélange of Orthodox chanting, indigenous Greek music, and the Ottoman songs that took root in Greek cities during the occupation. (A few years back, I spent some time travelling through Greece for a Times Magazine story about indigenous-Greek folk music; when I heard “Misirlou” playing from a 78-r.p.m. record on a gramophone on the outskirts of Athens—a later, slower version, recorded by an extraordinary oud player named Anton Abdelahad—I nearly choked on my cup of wine.)
WOW. I had no idea about Dick being from Boston or Misirlou's origin in the eastern Mediterranean. Great post—thank you!
Oh several. At least one politician in this state. Plus more locally we have an incredible fiddler teacher and mentor to young musicians by that name and and he lives on a corner lot at guess which streets...righty right. Can't make that up...
But the Scott Walker in question left an incredible legacy to experimental music for sure. Not to everyone's taste perhaps but he was a special artist.
Daleâs work was directly and mightily informed by the Arabic music that he listened to as a child. âMy music comes from the rhythm of Arab songs,â Dale told the journalist George Baramki Azar, in 1998. âThe darbukkah, along with the wailing style of Arab singing, especially the way they use the throat, creates a very powerful force.â
Location: Really deep in the heart of South California Gender:
Posted:
Mar 19, 2019 - 4:45pm
Coaxial wrote:
He was the glue that held so many of those songs together...A true legends in his own time and a good human being to boot.Thank you, sir, for your service to mankind.
The Muscle Shoals Rhythm Section, also known as the Swampers, is a group of American studio musicians playing soul, R&B, rock and roll and country, based in the city of Muscle Shoals, Alabama. They have appeared on more than 500 recordings, including 75 gold and platinum hits. Originally the house band at Rick Hall's FAME Studios, the group went on to found their own competing business, the famed Muscle Shoals Sound Studios. The group was inducted into the Nashville-based Musicians Hall of Fame in 2008 and into the Alabama Music Hall of Fame in 1995, "as four of the finest studio musicians in the world", also receiving the Lifework Award in 2008.
He was the glue that held so many of those songs together...A true legends in his own time and a good human being to boot.Thank you, sir, for your service to mankind.
Hal Blaine, the studio drummer who lent his signature sounds and structure to scores of Grammy-winning and chart-topping songs — from Frank Sinatra and Dean Martin to the Byrds and the Beach Boys — died Monday at the age of 90....
...Blaine was the drummer on 6 consecutive Grammy Records of the Year (and this has to be a record that will never be matched): Herb Alpert & the Tijuana Brass in 1966 for “A Taste of Honey,” Frank Sinatra in 1967 for "Strangers in the Night,” The 5th Dimension in 1968 for "Up, Up and Away,” Simon & Garfunkel in 1969 for “Mrs. Robinson,” The 5th Dimension in 1970 for "Aquarius/Let the Sunshine In,” and Simon & Garfunkel in 1971 for "”Bridge over Troubled Water.”
The Muscle Shoals Rhythm Section, also known as the Swampers, is a group of American studio musicians playing soul, R&B, rock and roll and country, based in the city of Muscle Shoals, Alabama. They have appeared on more than 500 recordings, including 75 gold and platinum hits. Originally the house band at Rick Hall's FAME Studios, the group went on to found their own competing business, the famed Muscle Shoals Sound Studios. The group was inducted into the Nashville-based Musicians Hall of Fame in 2008 and into the Alabama Music Hall of Fame in 1995, "as four of the finest studio musicians in the world", also receiving the Lifework Award in 2008.
Hal Blaine, the studio drummer who lent his signature sounds and structure to scores of Grammy-winning and chart-topping songs â from Frank Sinatra and Dean Martin to the Byrds and the Beach Boys â died Monday at the age of 90....
...Blaine was the drummer on 6 consecutive Grammy Records of the Year (and this has to be a record that will never be matched): Herb Alpert & the Tijuana Brass in 1966 for âA Taste of Honey,â Frank Sinatra in 1967 for "Strangers in the Night,â The 5th Dimension in 1968 for "Up, Up and Away,â Simon & Garfunkel in 1969 for âMrs. Robinson,â The 5th Dimension in 1970 for "Aquarius/Let the Sunshine In,â and Simon & Garfunkel in 1971 for "âBridge over Troubled Water.â
That's an amazing record... what a great collection of songs and sounds. His work with S&G was sublime in many ways.
