Other Mixes By ian1
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Heartbeat - Disc One
Artist | Song | |
Brian Eno | Unfamiliar Wind (1982) | |
Dave Brubeck | Fujiyama (1964) | |
Can | Spray (1973) | |
Bob Marley | Them Belly Full (1974) | |
Yoko Ono | Greenfield Morning (1970) | |
Semar Pegulingan Club | Gambang (1972) | |
Tom Waits | Swordfishtrombones (1983) | |
Colin Newman | I Can Hear You (1986) | |
Syd Barrett | Late Night (1970) | |
John Cage | Music for Violin & Harp, No. 4 (1957) | |
Bob Dylan | Moonshiner (1964) | |
Pere Ubu | Dub Housing (1978) | |
Herbie Hancock | Watermelon Man (1973) | |
Terry Riley | Poppy Nogood (1968) | |
Faust | Party 1 (1971) | |
Fela Kuti | Shakara (1970) | |
Pop Group | Thief of Fire (1979) | |
Roxy Music | 2HB (1972) | |
Bjork & Brodsky Quartet | Anchor Song (1999) | |
Comment:
Download here: http://s62.yousendit.com/d.aspx?id=3RTGAYS73ZMX618U8F6HN7UBL1Feedback:
Great stuff on both mixes. How about some description? That's kind of the thing that makes it interesting (I think). The download option is great, I might try it for my next mix... Anchor song, that's just perfect.
Description? Well. . . I was determined to try to make a mix only of the songs that have especially stuck with me over the years--to avoid the avoidance of "old faves" that is easy to fall into with mixes. So almost every one of these tracks I've mixed before. The aim was to suss out a certain strand of sound, staging, production, atmosphere, texture that seems to run through many genres I enjoy--something more elemental than genre. It's not *the* sound that guarantees I'll love something--but it seems to be a very frequently present thread (as difficult as it may be to pin down in descrpitive terms). So I spent more effort on context and sequencing, or at least less on song selection, than I usually do. Frequently I'm making a mix for a friend who already has pretty extensive knowledge, so I tend to go toward the more obscure (old mixes posted here don't really reflect this). Here, I was making a mix only for myself, free to use songs I've been mixing for eight or nine years in some cases. I feel that I succeeded in capturing the sound--percussive, frequently marked by bright tones like bells or vibes, deep bass, closely microphoned and dry (non-live sounding). Whether it conveys the breadth of this feeling--I doubt it. Desire to maintain a consistent level of audio fidelity meant that a lot of African music and pre-War music that has the same emotional didn't work.
The inspirations were things like 'In a Silent Way,' gamelan recordings, Steve Reich, Tony Conrad, Can, Modern Jazz Quartet, Bill Evans Trio. But I wanted to include brighter things that fit, like the Fela and the Stevie, the warmer side of the same world.