Just thought I'd post a free link to some of my music. You can find 9 free tracks here.
Enjoy
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Saturday, 6 March 2010
Wednesday, 3 March 2010
Some Cool up-beat Folk/Acoustic Songs!
Langhorne Slim - In the Midnight
Peggy Sue - Yo Mama
Blind Pilot - One Red Thread
Johnny Flynn - Tickle Me Pink
Rosewood Thieves - Murder Ballad in G Minor (The EP version is brilliant.)
Noah And The Whale - Give A Little Love
Emmy The Grat - Dylan
Matt Costa - Sunshine
Mumford & Sons - Little Lion Man
Fionn Regan - Lord Help My Poor Soul
Johnny Flynn - Leftovers
Mumford and Sons - The Cave
Matt Costa - Mr Pitiful
I'll add more when I think of them/find more. If you have any songs you think should be up here let me know!
Tuesday, 2 March 2010
An Interview with Fly Lazurus Fly
North Wales musician, Fly Lazarus Fly is a label mate of mine on Binary Indy which led me to check out his music. Having been impressed by his recent debut EP 'The Rundown' I thought I'd ask him a few questions about how he goes about making his music.
So in the beginning, what made you want to write your own songs?
To be honest, I only really write for myself. If others like it and are interested then great! If not... no worries. I like to play around with sounds and chords and try and make something that I myself would be happy to listen to.
Who influenced you as you began writing?
I'd probably say the 'Britpop' generation of music was my biggest influence (Blur, Oasis, The Verve, Cast) - then gradually I became more aware of other artists through these bands.
To be honest, I only really write for myself. If others like it and are interested then great! If not... no worries. I like to play around with sounds and chords and try and make something that I myself would be happy to listen to.
Who influenced you as you began writing?
I'd probably say the 'Britpop' generation of music was my biggest influence (Blur, Oasis, The Verve, Cast) - then gradually I became more aware of other artists through these bands.
Do these people still influence you?
Do these bands still influence me?... hmmm... I would say only if they changed or varied their sound on each different album. Whichever band I listen to, I always hope that there is a different sound and 'feel' to each new release.
What’s you’re instrument of choice?
The guitar. It's the only one I'm averagely ok at. Looking back I wish I'd learnt to play the piano as well.
What do you say your muse is, what inspires you when you write?
Anything and everything. If there's something that I find particularly interesting then I'd try and incorporate it into something. Although at the moment, I would say there is a certain seasonal elements that influence the songs.
What’s you’re instrument of choice?
The guitar. It's the only one I'm averagely ok at. Looking back I wish I'd learnt to play the piano as well.
What do you say your muse is, what inspires you when you write?
Anything and everything. If there's something that I find particularly interesting then I'd try and incorporate it into something. Although at the moment, I would say there is a certain seasonal elements that influence the songs.
How do you approach song writing, do you find it is different each time or do you have a formula?
I generally just play around with different chords or sounds and try and fit words to it. It's a sloooow process though and can mean that sometimes it takes months to get something that fits and 'feels' right.
How would you describe your music, genre wise? A lot of musicians struggle or are reluctant to categorise their music.
I don't really know and don't really mind. If I had the production facilities I would certainly like to add more instruments, but for the moment, acoustic is probably what best describes the current E.P.
Thursday, 28 January 2010
Neil Young
Neil Young. His music has had an unprecedented impact on me. He creates vivid imagery with just a few lines and is undoubtably one of the Rock's rawest guitar players, often being sited as the Godfather of Grunge. His work transcends genre ranging from Folk to R&B, Country to Electronica & Blues to Rock & Roll. He has created a body of work which has confounded critics as he constantly reinvents himself often releasing music wholly different from what is expected of him. After the massive success of his best known album Harvest, the 'ditch trillogy' began; a complete u-turn in musical and lyrical terms.
I won't go on to write a complete biography of Young's life, you can find that on Wikipedia here, however if you're a fan you may be interested in reading Jimmy McDonough's biography Shakey, I've read it an I found it fascinating. Young's career began with Buffalo Springfield in the mid 60s, when the band split he began to work as a solo artist releasing 2 albums before collaborating with Crosby, Stills (who had also been in the Buffalo Springfield) & Nash in the early 70s. 1972 saw Young's seminal album Harvest, he continued to release albums throughout the 70s and 80s covering numerous genres from Rockabilly to Electronica. The 90s saw a resurgence in popularity as he toured and recorded with Pearl Jam. He has recently released an archives collection spanning the first 20 years of his career.
I don't pretend to like every song Young has ever released, I don't, but the vast majority of his music is worth delving into. The Songs I'm going to share with you here are among my favourite, I like far too many of his songs to post. If you have Spotify, you can find a playlist to accompany this post with all of my favourite Neil Young songs here.In Roughly Chronological Order:
Mr Soul
Cinnamon Girl
Down By The River
Tell Me Why
Southern Man
Helpless
Ohio
Heart of Gold
Old Man
Alabama
Walk On
My My, Hey Hey (Out of the Blue)
Like A Hurricane
Cortez The Killer
Keep On Rockin' In the Free World
I hope you've found this interesting, I've been meaning to write a post about Neil Young for a while now, I hope that you will watch a couple of the videos and find something you like. Young's music is well worth discovering.
You can find the Spotify playlist to accompany this post here.
Monday, 25 January 2010
Sky Blue Sky - Wilco (2007)
This is such a brilliant album, I've loved it for years, it's relaxing yet quirky. The lyrics are excellent and the arrangements and instrumentation is perfect. Nels Cline's guitar work is quirkyly exquisite. I listened to the whole album last night in bed, I hadn't listened to it in a few months. But it made me realise how great an album it really is.
One of my favourite songs from the album Impossible Germany:
Sky Blue Sky:
You Are My Face:
A great album I highly recommend it.
Wednesday, 20 January 2010
Musings on Musical Texture.
I realised last year that I could make my music far more interesting simply by making better use of texture. Some of the greatest songs ever recorded are examples of expert musical use of texture - the layering of instruments within a song. Now I’m no musical expert, even though I’ve never studied academic music, excluding music tech of course but I am a decent musician.
I was writing a song earlier and I was layering up harmonies and melodies, not the normal way I go about writing - I normally start simple and work up but I’m trying new things.
Anyway let me site a prime example of textural variation. ‘You Can’t Always Get What You Want’ by The Rolling Stones. If you don’t know it, find it. It’s classic Stones.
The song begins with a choral part but this subsides into Keith Richard’s understated acoustic guitar line. Then a French Horn, played by Al Kooper, comes in panned hard left with Mick Jagger’s vocals coming in a few bars later as the Horn part drops out. As the prechorus begins a shaker adds rhythm.
As the chorus comes in a gospel choir enters along with drums, percussion, Richard’s bluesy electric lead guitar line as well as Al Kooper playing the piano. As the verse begins a Hammond Organ, again played by the great Al Kooper, comes in riffing over the piano line. The song ebbs and flows. It climaxes with the return of the full choral chorus and it seems every possible instrument is layered into the song over the chord progression as the tempo doubles up.
This expert use of texture is what bakes the song so brilliant. There are hundreds of songs that also use the same technique. To name a few: Stairway to Heaven (most Led Zeppelin songs are texturally exquisite), Hotel California - The Eagles, the Phil Collins one of the Cadbury’s advert (R.I.P Cadbury) and many more, almost all good ballads. However saying that texture is just one aspect of a good song. There are many brilliant songs with very little textural variation.
I was writing a song earlier and I was layering up harmonies and melodies, not the normal way I go about writing - I normally start simple and work up but I’m trying new things.
Anyway let me site a prime example of textural variation. ‘You Can’t Always Get What You Want’ by The Rolling Stones. If you don’t know it, find it. It’s classic Stones.
The song begins with a choral part but this subsides into Keith Richard’s understated acoustic guitar line. Then a French Horn, played by Al Kooper, comes in panned hard left with Mick Jagger’s vocals coming in a few bars later as the Horn part drops out. As the prechorus begins a shaker adds rhythm.
As the chorus comes in a gospel choir enters along with drums, percussion, Richard’s bluesy electric lead guitar line as well as Al Kooper playing the piano. As the verse begins a Hammond Organ, again played by the great Al Kooper, comes in riffing over the piano line. The song ebbs and flows. It climaxes with the return of the full choral chorus and it seems every possible instrument is layered into the song over the chord progression as the tempo doubles up.
This expert use of texture is what bakes the song so brilliant. There are hundreds of songs that also use the same technique. To name a few: Stairway to Heaven (most Led Zeppelin songs are texturally exquisite), Hotel California - The Eagles, the Phil Collins one of the Cadbury’s advert (R.I.P Cadbury) and many more, almost all good ballads. However saying that texture is just one aspect of a good song. There are many brilliant songs with very little textural variation.
Saturday, 16 January 2010
LiverpoolAcoustic.co.uk
Liverpool Acoustic is a brilliant central resource for anyone interested in acoustic music in the Liverpool & Greater Merseyside. I originally found out about the site while looking for gigs for my band CGW last year. The site has a comprehensive diary of open mic nights, gigs and festivals happening in and around Liverpool, well worth a look if you're a musician or not!
Friday, 18 December 2009
Wonderwall Music
It must have been 2007 when I first listened to this album, I can't exactly remember where I found it, it's not widely known or available, but it might have been through my guitar teacher we used to exchange a lot of different kinds of music that we both used to buzz off so it might have been him. But regardless of where I came across this album it opened up a whole new avenue of music to me.
The album's cover.
George Harrison's Wonderwall music is perhaps the most interesting concept album I've ever heard. Recorded partially in 1967 in England and then partially in 1968, during the Beatles' trip to India and released on the Beatles' own label Apple. When I first found it I was amazed by the sound of the thing, the Opening track 'Microbes' is awash with Sitar drones and as the album progresses the styles move through Russian folk music mixed with traditional Indian Sitar & Tabla music to farcical movements of music inspired by Cowboy movie soundtracks complete with Tack piano.
Harrison probably more so than the other Beatles' embraced Indian music, above he's being taught to play by Ravi Shankar, a Sitar maestro, Indian classical music played a large part in the later Beatles albums and Harrison can be credited bringing the Sitar and other Indian instruments into western music.
Wonderwall Music is a concept album made up of mostly instrumental tracks, some of it verging on what might be classed as Psychedelia, but I'd say the album touches upon more musical bases than 'Revolver' or 'Sgt. Pepper' did. Many of the familiar techniques from the Beatles' albums can be heard such as the reverse Guitar & Sitar solos.
However the album isn't all Indian music, 'Party Seacombe' is quintessential Revolver era Beatles all it's lacking it John or Paul's vocal line. In fact the only track with any vocals on is 'Dream Scene' which features an Male/Female duet sung by Indian singers.
The album reaches its "conceptual" peak on the 1.16 minute track 'Crying' as a screeching drone begins, that sounds a lot like crying, but it abates into a melancholy melody. This, probably the least 'mainstream' track of the whole album, gives way to 'Cowboy Music' a plodding homage to Cowboy movie soundtracks complete with Harmonica and Lap steel guitar.
'On the Bed' features Flugelhorn over a piano drenched in a chorus effect, while a weaving guitar solo is played over the top of it, as the drums swell in the mix and push the song along.
The album ends solemnly with 'singing omm' which is exactly what it does over a droning Harmonium and a beautiful melody line from a Flute.
George Harrison teaching Micheal York in January 1968
This was Harrison's debut album, not exactly a mainstream offering, but then again I don't think Harrison was trying to get in the Charts. (It actually reached #49 in the USA in 1969, the height of the Psychedelic era.) I think this concept album is a testament to a musician who made the music he wanted to make. That's maybe what impressed me most when I first heard it, I realised that you could make whatever music you wanted, as long as you liked it. Listening to this album opened up me up musically, I hadn't heard Indian music at all before and hearing a Sitar for the first time amazed me. It was the catalyst for a major interest in Classical Indian music but I hadn't listened to this album in over a year until today. I don't know what made me put it on but I'm glad I did and I thought I'd tell you about it.
I've embedded some links in the titles of some of the tracks I mentioned but here is one track I didn't mention called 'Gat Kirwani'.
The album's cover.George Harrison's Wonderwall music is perhaps the most interesting concept album I've ever heard. Recorded partially in 1967 in England and then partially in 1968, during the Beatles' trip to India and released on the Beatles' own label Apple. When I first found it I was amazed by the sound of the thing, the Opening track 'Microbes' is awash with Sitar drones and as the album progresses the styles move through Russian folk music mixed with traditional Indian Sitar & Tabla music to farcical movements of music inspired by Cowboy movie soundtracks complete with Tack piano.
Harrison probably more so than the other Beatles' embraced Indian music, above he's being taught to play by Ravi Shankar, a Sitar maestro, Indian classical music played a large part in the later Beatles albums and Harrison can be credited bringing the Sitar and other Indian instruments into western music.
Wonderwall Music is a concept album made up of mostly instrumental tracks, some of it verging on what might be classed as Psychedelia, but I'd say the album touches upon more musical bases than 'Revolver' or 'Sgt. Pepper' did. Many of the familiar techniques from the Beatles' albums can be heard such as the reverse Guitar & Sitar solos.
However the album isn't all Indian music, 'Party Seacombe' is quintessential Revolver era Beatles all it's lacking it John or Paul's vocal line. In fact the only track with any vocals on is 'Dream Scene' which features an Male/Female duet sung by Indian singers.
The album reaches its "conceptual" peak on the 1.16 minute track 'Crying' as a screeching drone begins, that sounds a lot like crying, but it abates into a melancholy melody. This, probably the least 'mainstream' track of the whole album, gives way to 'Cowboy Music' a plodding homage to Cowboy movie soundtracks complete with Harmonica and Lap steel guitar.
'On the Bed' features Flugelhorn over a piano drenched in a chorus effect, while a weaving guitar solo is played over the top of it, as the drums swell in the mix and push the song along.
The album ends solemnly with 'singing omm' which is exactly what it does over a droning Harmonium and a beautiful melody line from a Flute.
George Harrison teaching Micheal York in January 1968This was Harrison's debut album, not exactly a mainstream offering, but then again I don't think Harrison was trying to get in the Charts. (It actually reached #49 in the USA in 1969, the height of the Psychedelic era.) I think this concept album is a testament to a musician who made the music he wanted to make. That's maybe what impressed me most when I first heard it, I realised that you could make whatever music you wanted, as long as you liked it. Listening to this album opened up me up musically, I hadn't heard Indian music at all before and hearing a Sitar for the first time amazed me. It was the catalyst for a major interest in Classical Indian music but I hadn't listened to this album in over a year until today. I don't know what made me put it on but I'm glad I did and I thought I'd tell you about it.
I've embedded some links in the titles of some of the tracks I mentioned but here is one track I didn't mention called 'Gat Kirwani'.
- "Microbes" – 3:42
- "Red Lady Too" – 1:56
- "Tabla and Pakavaj" – 1:05
- "In the Park" – 4:08
- "Drilling a Home" – 3:08
- "Guru Vandana" – 1:05
- "Greasy Legs" – 1:28
- "Ski-ing" – 1:50
- "Gat Kirwani" – 1:15
- "Dream Scene" – 5:26
- "Party Seacombe" – 4:34
- "Love Scene" – 4:17
- "Crying" – 1:15
- "Cowboy Music" – 1:29
- "Fantasy Sequins" – 1:50
- "On the Bed" – 1:05
- "Glass Box" – 2:22
- "Wonderwall to Be Here" – 1:25
- "Singing Om" – 1:54
Friday, 4 December 2009
An Interview with Aclaimed Norwegian Songstress Ragz
The first musician I spoke to for my series of interviews, songwriter-to-songwriter, was Norwegian born Ragz Nordset. Based in Liverpool she has recorded two EPs Little Stings & Love You Still and played with the likes of Laura Marling, Mumford and Sons & David Ford. Critically aclaimed, described by Liverpool.com as 'Startlingly original' and The Fly Magazine has described her as an artist who bares her "soul through beautifully crafted songs", she gave me the chance to see what inspires and drives her to make music.
Starting at the beginning, what made you want to start writing your own songs?
I can’t remember how old I was, but at some point as a young girl, I started writing. It was just this emotion or vibe inside me and it somehow made sense to make that into songs. As silly as it may sound, it has the same effect as hunger or thirst. If I feel hungry, I eat and if I feel a certain way, I write.
Who influenced you as you began writing?
I grew up listening to my dad’s vinyl collection which contained everything from led zeppelin to Motown and think that was already in me when I started writing my own songs. It’s hard to say what bands or which music influenced me early on, but I actually think the biggest influence was just my big brother. He played guitar and that’s how I started too.
What is your instrument of choice? Do you find that playing other instruments inspires you differently?
My instrument of choice will always just be my voice. Guitar and piano comes as a joint second. Even though I love playing both piano and guitar, they are still just a way for me to carry or inspire motions in my voice. It would be the same way with any instrument really, they trigger different emotions in me and that way inspire different kinds of melodies and songs.
What would you say your muse is, what inspires you when you write?
My muse... I suppose my muse is my life. It’s all based on pure emotion – any changes in myself or people around me will, if it’s significant enough, almost force me to write. The need to tell, express, release or scream about something will, more often than not, become a song.
How do you approach song writing, do you find it is different each time or do you have a formula?
I wish I had a formula, but the only thing that is always the same is the decision and need to sit down and start something. The melody, if I’m patient enough will come alive through the chords I try. I never know how it’s going to pan out, but I hear that is a normal observation for most songwriters.
You're Norwegian, so I was wondering did you start writing/singing in your own language and then switch to English? Did you find this difficult when writing?
I’ve sang both Norwegian and English songs whilst growing up, but I’ve always written in English. I suppose that’s because most popular music was in English in Norway when I grew up. I never thought ‘bout it till a little over a year ago and decided to change my approach a little. I only wrote my first Norwegian song last Christmas, whilst visiting family in Norway. I’m trying to write in both languages now, but it’s still easier in English. Ask me again in ten years and that might have changed.
You've supported the likes of Laura Marling & Noah and the Whale - artists coming from the London folk scene. Do you see yourself as having a lot in common with them style wise?
This is a bit of a difficult one as I still struggle to find artists that I feel I properly share ground with. Regardless of where I am, I stick out like a sore thumb, style wise. This because my music might look folk based (girl with acoustic guitar), but I actually don’t think I fit the folk genre in its traditional sense. On a personal level I feel like I’ve connected with many artists from different scenes. Style wise, I’m still developing.
Are you writing at the moment?
I haven’t written a song for a few weeks now, due to touring and travelling, but there are a few brewing at the moment.
What's coming up for you, any gigs or recording?
We’ve just finished a tour, but there are some northwest based gigs coming up for ‘Liverpool Music Week’ and other events. As for recordings, I reckon early 2010 will bring some studio time for us.
A lot of musicians struggle or are reluctant to categorise their music. How would you describe your music, genre wise?
It’s always about the song for me, which sometimes makes it hard to categorize, but at the moment I would refer to it as acoustic pop/rock. You never know though, as soon as we get the right producer involved, this might change depending on what suits and completes the songs. We shall see.
Ragz' music can be heard on her myspace: myspace.com/ragzmusic. Her EPs Little Stings & Love You Still are available to download, you can find the links on her myspace. Her finely crafted songs coupled with her brilliant voice make her well worth a listen.
I hope you enjoyed this first installment, the next interview will feature liverpudlian singersongwriter Rob Clarke.
Starting at the beginning, what made you want to start writing your own songs?
I can’t remember how old I was, but at some point as a young girl, I started writing. It was just this emotion or vibe inside me and it somehow made sense to make that into songs. As silly as it may sound, it has the same effect as hunger or thirst. If I feel hungry, I eat and if I feel a certain way, I write.
Who influenced you as you began writing?
I grew up listening to my dad’s vinyl collection which contained everything from led zeppelin to Motown and think that was already in me when I started writing my own songs. It’s hard to say what bands or which music influenced me early on, but I actually think the biggest influence was just my big brother. He played guitar and that’s how I started too.
What is your instrument of choice? Do you find that playing other instruments inspires you differently?
My instrument of choice will always just be my voice. Guitar and piano comes as a joint second. Even though I love playing both piano and guitar, they are still just a way for me to carry or inspire motions in my voice. It would be the same way with any instrument really, they trigger different emotions in me and that way inspire different kinds of melodies and songs.
What would you say your muse is, what inspires you when you write?
My muse... I suppose my muse is my life. It’s all based on pure emotion – any changes in myself or people around me will, if it’s significant enough, almost force me to write. The need to tell, express, release or scream about something will, more often than not, become a song.
How do you approach song writing, do you find it is different each time or do you have a formula?
I wish I had a formula, but the only thing that is always the same is the decision and need to sit down and start something. The melody, if I’m patient enough will come alive through the chords I try. I never know how it’s going to pan out, but I hear that is a normal observation for most songwriters.
You're Norwegian, so I was wondering did you start writing/singing in your own language and then switch to English? Did you find this difficult when writing?
I’ve sang both Norwegian and English songs whilst growing up, but I’ve always written in English. I suppose that’s because most popular music was in English in Norway when I grew up. I never thought ‘bout it till a little over a year ago and decided to change my approach a little. I only wrote my first Norwegian song last Christmas, whilst visiting family in Norway. I’m trying to write in both languages now, but it’s still easier in English. Ask me again in ten years and that might have changed.
You've supported the likes of Laura Marling & Noah and the Whale - artists coming from the London folk scene. Do you see yourself as having a lot in common with them style wise?
This is a bit of a difficult one as I still struggle to find artists that I feel I properly share ground with. Regardless of where I am, I stick out like a sore thumb, style wise. This because my music might look folk based (girl with acoustic guitar), but I actually don’t think I fit the folk genre in its traditional sense. On a personal level I feel like I’ve connected with many artists from different scenes. Style wise, I’m still developing.
Are you writing at the moment?
I haven’t written a song for a few weeks now, due to touring and travelling, but there are a few brewing at the moment.
What's coming up for you, any gigs or recording?
We’ve just finished a tour, but there are some northwest based gigs coming up for ‘Liverpool Music Week’ and other events. As for recordings, I reckon early 2010 will bring some studio time for us.
A lot of musicians struggle or are reluctant to categorise their music. How would you describe your music, genre wise?
It’s always about the song for me, which sometimes makes it hard to categorize, but at the moment I would refer to it as acoustic pop/rock. You never know though, as soon as we get the right producer involved, this might change depending on what suits and completes the songs. We shall see.
Ragz' music can be heard on her myspace: myspace.com/ragzmusic. Her EPs Little Stings & Love You Still are available to download, you can find the links on her myspace. Her finely crafted songs coupled with her brilliant voice make her well worth a listen.
I hope you enjoyed this first installment, the next interview will feature liverpudlian singersongwriter Rob Clarke.
The Harmless Musician Type.
This is a brand new blog about music but more precisely a blog about making music. I write songs, it's my hobby and I've always been interested in how other people write theirs. So I've begun this blog which will feature interviews with musicians and songwriters. I personally love to find out the inspiration and stories behind songs. And I'm hoping you do too.
When ever I tell people I write songs they often say "I'd love to be able to write songs" and personally I think there is very little that really stops people. Short of being tone deaf of course. Playing an instrument or being able to sing are not a prerequisite, I'm a prime example of the latter. So I'm hoping to find out what makes some of the North Wests singer/song writers tick, why they write, what inspires them and how they do it.
I hope this blog will introduce you to some great unsigned people that are writing and playing in the North West right now. As well as discover how the art of songwriting is approached by the people who have a passion for it. Maybe you'll be inspired too.
When ever I tell people I write songs they often say "I'd love to be able to write songs" and personally I think there is very little that really stops people. Short of being tone deaf of course. Playing an instrument or being able to sing are not a prerequisite, I'm a prime example of the latter. So I'm hoping to find out what makes some of the North Wests singer/song writers tick, why they write, what inspires them and how they do it.
I hope this blog will introduce you to some great unsigned people that are writing and playing in the North West right now. As well as discover how the art of songwriting is approached by the people who have a passion for it. Maybe you'll be inspired too.
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