Jump to content


Šta se sluša ?


den!s

Recommended Posts

61wOHtml9fL._SS280.jpg

Atomga - Black Belt

 

Nekakav moderan kanadski afrobeat band, slušljivo je i zanimljivo. Miles Davis je rekao da je afrobeat muzika budućnosti, možda i bude tako, pratim i sviđa mi se šta se radi.

Maltene uvek kad ovde dajem predloge padne mi na pamet činjenica kako da nije interneta ja ne bih imao mogućnosti ni da čujem da muzika koju ovde predlažem uopšte postoji. Toliko o tome da je internet "ubio muziku". Muzika nikad u istoriji (opa, pozajmljujemo rečenice...) nije bila bolja, može da priča ko šta hoće, onaj ko stvara muziku je oduvek imao krajnji cilj da ga drugi čuju a sada je to omogućeno više nego ikad ranije.

Link to comment
Share on other sites

On 1/9/2016 at 2:01 PM, trotter said:

61wOHtml9fL._SS280.jpg

Atomga - Black Belt

 

Nekakav moderan kanadski afrobeat band, slušljivo je i zanimljivo. Miles Davis je rekao da je afrobeat muzika budućnosti, možda i bude tako, pratim i sviđa mi se šta se radi.

Maltene uvek kad ovde dajem predloge padne mi na pamet činjenica kako da nije interneta ja ne bih imao mogućnosti ni da čujem da muzika koju ovde predlažem uopšte postoji. Toliko o tome da je internet "ubio muziku". Muzika nikad u istoriji (opa, pozajmljujemo rečenice...) nije bila bolja, može da priča ko šta hoće, onaj ko stvara muziku je oduvek imao krajnji cilj da ga drugi čuju a sada je to omogućeno više nego ikad ranije.

Apsolutno se slazem da muzika nikada nije bila bolja. Ustvari, nase iskustvo nikada nije bilo bolje. Secam se vremena kada sam kod KST-a pazario desetine presnimljenih piratskih kaseta, danas je to sve na dohvat ruke. I sad, ko nije gadljiv na ovakav i onakav kvalitet, tu je YT. A onda, sve sto je bitno moze da se nabavi u bilo kom formatu, digitalno vinil, cak i mikrokasete i reel tape (u Americi ima dosta proizvodjaca reel traka, sada su cak i kvalitetnije nego ikada pre).

Ipak, problem ostaje savremena produkcija. Ona kao da pokusava da ode sto dalje od izvornog zvuka. Sve je procesirano, svuda reverbi i bojenje tonova. Balansi glasa i instrumenata su neprirodni, basovi naduvani, a o dinamickom rangu i da ne pocinjem. Secam se kada sam kupio svoje prve slusalice, prvo sam slusao neka dzez izdanja koja sam imao na raspolaganju. Fantasticno, razlika u odnosu na moje Philips slusalice, koje sam valjda dobio uz vokmen, je bila fenomenalna. Ali kada sam poceo da slusam nesto sto je tada bilo in, hteo sam da ih penzionisem, sve je bila jedna bezoblicna zvucna papazjanija, tada jos nista nisam znao o tehnici snimanja i kompresiji. I dan danas, dosta materijala koji inace volim, ponekad tesko odslusam do kraja, jer mi postane naporno.

Link to comment
Share on other sites

Uz Slava mu za mene najbolji:

https://www.youtube.com/watch?v=cuC4XwjIL4k

 

David Bowie had planned to use producer Tony Visconti on the album, as the two had worked together on Bowie's previous four studio albums. However, he chose Nile Rodgers for the project, a move that came as a surprise to Visconti, who had set time aside to work on Let's Dance. Visconti called [Bowie's personal assistant] Coco and she said: "Well, you might as well know - he's been in the studio for the past two weeks with someone else. It's working out well and we won't be needing you. He's very sorry." The move damaged the two men's relationship and Visconti did not work with Bowie again for nearly 20 years (until 2002's Heathen).[6] Rodgers later recalled that Bowie approached him to produce his album so that Bowie could have hit singles.[7]

Bowie, having just signed with EMI Records for a reported $17.5 million, worked with Rodgers to release a "commercially buoyant" album that was described as "original party-funk cum big bass drum sound greater than the sum of its influences." The album's influences were described as Louis Jordan, the Asbury Jukes horn section, Bill Doggett,Earl Bostic and James Brown.[1] Bowie spent three days making demos for the album in New York before cutting the album, a rarity for Bowie who, for the previous few albums, usually showed up with little more than "a few ideas."[8]Despite this, the album "was recorded, start to finish, including mixing, in 17 days," according to Rodgers.[9]

Stevie Ray Vaughan met Bowie at the 1982 Montreux Jazz Festival in Switzerland. After Vaughan's performance, Bowie was so impressed with the guitarist he later said "[he] completely floored me. I probably hadn't been so gung-ho about a guitar player since seeing Jeff Beck with his band the Tridents." Of Bowie, Vaughan said, "to tell you the truth, I was not very familiar with David's music when he asked me to play on the sessions. ... David and I talked for hours and hours about our music, about funky Texas blues and its roots - I was amazed at how interested he was. At Montreux, he said something about being in touch and then tracked me down in California, months and months later."[1] In a contemporary interview, Vaughan described the recording sessions for the album:

David Bowie is real easy to work with. He knows what he's doing in the studio and he doesn't mess around. He comes right in and goes to work. Most of the time, David did the vocals and then I played my parts. A lot of the time, he just wanted me cut loose. He'd give his opinion on the stuff he liked and the stuff that needed work. Almost everything was cut in one or two takes. I think there was only one thing that needed three takes.[10]

Unusually, Bowie played no instruments on the album. "I don't play a damned thing. This was a singer's album."[1]

A few years later, Bowie discussed his feelings on the track "Ricochet" (which Musician magazine called an "incendiary ballroom raveup")[1] from this album:

I thought it was a great song, and the beat wasn't quite right. It didn't roll the way it should have, the syncopation was wrong. It had an ungainly gait; it should have flowed. ... Nile [Rodgers] did his own thing to it, but it wasn't quite what I'd had in mind when I wrote the thing.[11]

 

 

images.jpeg

Link to comment
Share on other sites

22 sati ranije, zbrujic said:

Uh! Više od "zanimljivo", a mnooogo više od očekivanog. Jako dobro! 
Razmišljam... Od "berlina" nije bilo bolje njegove ploče. 

Drago mi je da delis moje misljenje, tj. da ja delim tvoje odusevljenje albumom. Jbg, ostaje da lebdi u vazduhu ono, ko zna sta je Bowie jos mogao da nam priredi....u stilu, sta bi bilo da Hendrix nije umro i napravio plocu sa Milesom... :)

Link to comment
Share on other sites

Uh,ja sam bio baš lud za Bowiem.Imao sam kao tinejdžer čitav jedan zid sobe za bowie-a.Kad izađe nesto u stampi kopi se dva para novina,jene za zid druge za arhivu i ponovno citanje.Ground control to Major Tom...Čak sam krenuo da pustam kosu za Ziggy Stardust frizuru,pojavi se onaj lik bajaga i kaže mi jedna devojčica "Jao jel ti to hoćeš da praviš frizuru ko bajaga"...al je radila masinica berbera Joce tog popodneva,majko mila.Mamu joj njenu blesavu nikad ne saznah dal bi završio farbanjem u crveno.Možda mi i učinila uslugu,izbacili bi me iz skole il ko zna sta već,al' vredelo bi...

Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.

Loading...
×
×
  • Create New...