What's Spinning Tonight?
- Thread starter MylesBAstor
- Start date
Bob Dylan
The Freewheelin' Bob Dylan
Release Date May 27, 1963
Duration50:13
Genre
Pop/Rock
Folk
Styles
Contemporary Folk
Folk Revival
Political Folk
Singer/Songwriter
interesting information about the cover here: https://en.wikipedia.org/wiki/The_Freewheelin'_Bob_Dylan#Artwork
He sounds so old on this, sort of old for his age. A very good record. Lyrics up there with the best of any artist.
Bob Dylan
The Freewheelin' Bob Dylan
Release Date May 27, 1963
Duration50:13
Genre
Pop/Rock
Folk
Styles
Contemporary Folk
Folk Revival
Political Folk
Singer/Songwriter
That one ? and Blood on the Tracks are my two Dylan's favorites. ...On LPs, CDs, SACDs.
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For me, Blonde on Blonde is one of the 5 greastest lp's ever released.
But he did so much great work from 1963 to 1975, any one album can be held in the highest of esteem.
Dean Hurley Anthology Resource Vol. 1 (Sacred Bones Records)
For those curious, Hurley has operated David Lynch’s Asymmetrical Studio for the past 12 years. Anthology Resource Vol. 1 is a collection of Hurley's original sound design and musical compositions used in the third season of Twin Peaks: The Return, of which Hurley has served as the show's Sound and Music Supervisor.
It's really good.
For those curious, Hurley has operated David Lynch’s Asymmetrical Studio for the past 12 years. Anthology Resource Vol. 1 is a collection of Hurley's original sound design and musical compositions used in the third season of Twin Peaks: The Return, of which Hurley has served as the show's Sound and Music Supervisor.
It's really good.
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Redbook (CD)
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Avant-Garde, Classical, ... music genre (1996).
"The title piece from this album falls into line with many of Bryars' compositions after 1985 or so. In this case, it's a cello concerto with Julian Lloyd Webber in the soloist's role, but the music is generally quite similar to works by Bryars on recordings such as After the Requiem or The Last Days, which is to say broodingly romantic with a strong melancholic tinge. The music evokes perhaps a "northern" sensibility in terms of a bittersweet bleakness, and does this very well, but one gets the impression that the composer has long since mastered this particular genre and wishes that, with all his great talents, Bryars would move on. The intriguingly titled "One Last Bar, The Joe Can Sing," written for and played by the percussion ensemble Nexus, also reminds the listener of prior works by Bryars, in this case those featured on his album Hommages. Again, however, little new ground is covered and, indeed, a softness bordering on blandness seems to have settled in. "By the Vaar," featuring the great bassist Charlie Haden, rounds out the disc and, unfortunately, also disappoints. Haden's rich, soulful pizzicato playing is out front throughout and is a joy to hear, but the accompaniment is so relentlessly dreary, almost lugubrious, that it manages to drain the work of all the energy and vitality that Haden might infuse. However, parts of the composition are surprisingly reminiscent of Keith Jarrett's pieces for Haden on Arbour Zena; though Bryars is generally the superior composer, Jarrett was better able to make use of the bassist's creativity."
It's not for everyone; it is extremely smooth, melo, creative, on the edge of peace. ...Serene and sane @ the same time.
Charlie Haden's bass is well recorded, you can feel it with prominence under the floors of your soul's foundations.
There is nothing magic or majestic here, it is simple and super smooth, and slow.
Recording: 6.3
Music: 6.7
Overall: 6.5 (out of a personal 10)
? echantillon:
Avant-Garde, Classical, ... music genre (1996).
"The title piece from this album falls into line with many of Bryars' compositions after 1985 or so. In this case, it's a cello concerto with Julian Lloyd Webber in the soloist's role, but the music is generally quite similar to works by Bryars on recordings such as After the Requiem or The Last Days, which is to say broodingly romantic with a strong melancholic tinge. The music evokes perhaps a "northern" sensibility in terms of a bittersweet bleakness, and does this very well, but one gets the impression that the composer has long since mastered this particular genre and wishes that, with all his great talents, Bryars would move on. The intriguingly titled "One Last Bar, The Joe Can Sing," written for and played by the percussion ensemble Nexus, also reminds the listener of prior works by Bryars, in this case those featured on his album Hommages. Again, however, little new ground is covered and, indeed, a softness bordering on blandness seems to have settled in. "By the Vaar," featuring the great bassist Charlie Haden, rounds out the disc and, unfortunately, also disappoints. Haden's rich, soulful pizzicato playing is out front throughout and is a joy to hear, but the accompaniment is so relentlessly dreary, almost lugubrious, that it manages to drain the work of all the energy and vitality that Haden might infuse. However, parts of the composition are surprisingly reminiscent of Keith Jarrett's pieces for Haden on Arbour Zena; though Bryars is generally the superior composer, Jarrett was better able to make use of the bassist's creativity."
It's not for everyone; it is extremely smooth, melo, creative, on the edge of peace. ...Serene and sane @ the same time.
Charlie Haden's bass is well recorded, you can feel it with prominence under the floors of your soul's foundations.
There is nothing magic or majestic here, it is simple and super smooth, and slow.
Recording: 6.3
Music: 6.7
Overall: 6.5 (out of a personal 10)
? echantillon:
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