Why would anyone remix one of the most important and influential albums of all time? Giles Martin explains how and why he did it for Sgt. Pepper’s Lonely Hearts Club Band.
Tagged with “mix” (25)
~ LEONARD COHEN AND THE APOCALYPSE ~ ~ ~ ~ ~ Really You Tribute Episode ~ ~ ~ ~
Tacoma • Manhattan • War • Avalanche • Darkness • Everybody • Fire • Miracle • Wanted • Future • Treaty • Partisan
thanks for everything, Len good luck, America
Original video: https://www.mixcloud.com/flaneur/really-you-ep-33-apocalypticohen/
Downloaded by http://huffduff-video.snarfed.org/ on Tue, 15 Nov 2016 22:22:24 GMT Available for 30 days after download
What kind of year has it been?
This is not a Best of 2013 list; it’s just that this year was different. I don’t listen to a lot of contemporary music because everything was better last century, and since music is not social for me, there’s nothing to keep me current. I listened to a lot of college radio this year, and through it I discovered a lot of new music and new-to-me music. Crucially, I was able to support many of them on Bandcamp, and now I’m addicted to Bandcamp like people are addicted to Kickstarter.
I’m just sharing these, and not trying to convince you that they’re the best because this is not that. So instead of reminding you again for the nth time this December that The National released an album this year that is a great name for a racehorse, I’m going to anachronistically mention that I heard some songs on the radio so I made a mixtape and, like, support your local scene.
- Wicked Game by Chris Isaak
- Cattle and Cane by The Go-Betweens
- Alex Chilton by The Replacements
- Thirteen by Big Star
- Love Vigilantes by New Order
- Pineapple Face (Big Day Out mix) by Revenge
- Getting Away with It by Electronic
- Rearrange Me by Criminal Hygiene
- Sea of Love by The National
- The Mercy Seat by Nick Cave & The Bad Seeds
- Never Again by Slumber Party
One night, in seventh grade, I stayed late into the night waiting to record “Another Brick In The Wall” onto a cassette. That year, it was all the rage and I wanted to be able to play it at will. Over and over. As the deejay droned on and Pink Floyd never seemed to some play, I began to randomly tape the songs I liked.
Thirty-four years later, I’m still connecting the musical dots. Enjoy.
While many have described the new world of remix culture where “nothing is original,” few have provided practical advice for those of us who find ourselves living and making things in it. Join filmmaker Kirby Ferguson (creator of the video series EVERYTHING IS A REMIX) and artist Austin Kleon (author of NEWSPAPER BLACKOUT and STEAL LIKE AN ARTIST) as they show clips from Kirby’s work and discuss how one best goes about being a creator in the digital age.
Fritz von Runte redesigns classic Bowie tracks and Kubrick’s 2001 and join them together as BOWIE2001.
- Pretty in Pink by Psychedelic Furs covered by The National
- Fuzzy by Grant Lee Buffalo covered by Hazeldine
- This Corrosion by Sisters of Mercy covered by Lambchop
- Vapour Trail by Ride covered by Trespassers William
- New Dawn Fades by Joy Division covered by Salter Cane
- Please Please Please Let Me Get What I Want by The Smiths covered by The Lancaster Orchestra
- Pretty In Pink by The Psychedelic Furs
- Kiss Me On The Bus by The Replacements
- You Get Me by The Broken Family Band
- All Her Favorite Fruit by Camper Van Beethoven
- Bachelor Kisses by The Go-Betweens
- Slow Show by The National
- Let Me Lie To You by Afghan Whigs
If the term sample reminds you more of a cheese tasting than music making, this video is for you. DJ, music producer and clothing designer Aaron LaCrate walks us through Sampling 101—taking a snippet of a song and repurposing it in another work. LaCrate explains the process but doesn’t sample in his own music — to "clear" a lifted beat for use is complicated, and expensive.
Musicians have always borrowed from others — tunings, vocal styles, distinctive phrasings. But the advent of the sampler in the 80s brought borrowing into the digital age. Today, "sampling," or lifting a snippet of someone else’s work — anything from a horn hit to a drum beat — is mainstream. But how to credit and pay those earlier artists for their contribution is where things get thorny. How much of someone else’s work should artists be able to use? How much should they pay for it? Is copyright law stuck in the age of analog?
Page 1 of 3Older