photographer unknown
Showing posts with label Titanic. Show all posts
Showing posts with label Titanic. Show all posts
May 6, 2024
February 5, 2023
1,000,001 CDs 20: Zeal & Ardor, Manuel Gagneux & Lexi
~
Zeal & Ardor CD front cover
Artwork ~ Noé Herrmann
Illustration ~ Nico Charon
photo of front cover by Styrous®
My wonderful Lexi of Titanic fame has done it again! Her Christmas present to me was a really kool CD by a heavy metal group I had never heard before, Zeal & Ardor.
Formed in 2013, Zeal & Ardor is a Swiss avant-garde metal band started and led by Manuel Gagneux, a Swiss-American musician who had previously created a chamber pop project called Birdmask. The group mixes sounds of African-American spirituals and other black music forms with black metal.
The
son of a white Swiss biologist who played percussion in Cuba and a black American jazz singer, he did not fit in. Not really Swiss, not really a black
kid, he wrestled with the feeling through his primary school years.
Perhaps it’s what is heard now in his music. He says he still doesn’t really know
where it came from – just that it was there.
Initially a solo project, the band signed with MVKA records in 2016 and
expanded to a full lineup, with Gagneux on vocals and guitar, backing
vocalists Denis Wagner and Marc Obrist, guitarist Tiziano Volante,
bassist Mia Rafaela Dieu, and drummer Marco Von Allmen. The project
started in New York City, but is now based in Basel, Switzerland.
Hunkering
down in the basement of the local bar he used to co-own (“a squat-y,
punky bar, full of tags and awful imagery, beer’s cheap”) he worked on
songs, including some he’d previously written for Eric Garner, a black
man killed in Staten Island after police put him in a chokehold in 2014.
Manuel Gagneux
photo by Matthias Willi
Gagneux posted his Birdmask music to 4chan, he said, "to get feedback because they're brutally honest and don't give a shit about you."
He would ask users for two musical genres to combine and create a song
in half an hour, as an experiment to expand his creativity. One of these users suggested that he fuse "black metal", while another suggested "nigger music"; in response, he started Zeal & Ardor, which features elements of both black metal and slave songs.
Billboard Magazine:
"If the Zeal & Ardor combination of Scandinavian black metal and black American slave spirituals seems contrived, that’s because it is — or at least, it was."
Manuel Gagneux - 2022
photo by Nat Wood
I pretty much like all the songs on the album but the ones in particular that have grabbed me are Bow, Golden Liar, Feed The Machine, Death to the Holy, Church Burns and Hold Your Head Low.
Zeal & Ardor ~ Zeal & Ardor
CD open front cover
Artwork ~ Noé Herrmann
Illustration ~ Nico Charon
photo of front cover by Styrous® Bow is the seventh cut on the CD but I like using it as the opening shot; it gives you a taste for what comes after. It is a very slow number with a very heavy beat; when I say heavy, I mean HEAVY! It has a great chorus back up which makes it SO rhythm 'n blues, with a bite!
Zeal & Ardor ~ Zeal & Ardor
CD & interior cover
Artwork ~ Noé Herrmann
Illustration ~ Nico Charon
photo of front cover by Styrous® Golden Liar
is mostly a guitar duet, a couple of male vocals, great understated percussion with a heavy beat,
tons of sonic effects, a quiet chorus and good lyrics. And it is
sensational! It's the fifth cut on the CD and I highly recommend
listening to it second. I feel it is a wonderfully delicate nuance of a
determined-to-get-there sound. It is VERY slow and its grandly pounding
bass drum tugs you along on its journey to wherever it is going.
Zeal & Ardor ~ Zeal & Ardor
CD & interior cover detail
Artwork ~ Noé Herrmann
Illustration ~ Nico Charon
detail photo by Styrous® Feed The Machine is another slow song with a driving beat and a treatment Marilyn Manson
would have given his eye teeth for. It is a blend of mid-seventies,
pre-disco, hip-grinding soul and way out there metal. It's a terrific
song to dance, if not, at least move to.
Hold Your Head Low
also like the above mentioned, Bow, is another very slow song with a great male chorus that definitely puts it in the R 'n B, mode; and terrific guitar
work during the quiet breaks; in spots it drives right through your head
like a rusty nail. It's a really great song with interesting lyrics.
Although it is also a moderately slow song, Death To the Holy
is pure dynamite! With great piano work,
it is a conglomeration of soul, rap and who knows WHAT! The video for
this song on YouTube (link below) cautions against subject.
Church Burns
begins like a blues song but breaks out into metal then back and forth.
Really beautiful vocal and guitar in the breaks.
It seems most of the songs I've talked about have been moderately slow ones but Headbangers have not been left out. Gotterdammerung, J-M-B and Run quite nicely fill that niche.
Gotterdammerung is VERY heavy metal, no doubt about it. It just starts FULL steam; no messin' 'round, no intro build up,
Run
does just THAT! It is a humdinger with furiously fast guitars followed
by equally fast tom-toms. There is a video for the song on YouTube (link below),
however, it is very frenetic and has a warning at the beginning that
warns one of possible seizures. Not sure if that is just marketing hype.
Tracklist:
Solve
1 Zeal & Ardor - 1:58
2 Run - 3:17
3 Death to the Holy - 3:08
4 Emersion - 3:35
5 Golden Liar - 3:44
6 Erase - 4:02
7 Bow - 2:14
Solve
1 Zeal & Ardor - 1:58
2 Run - 3:17
3 Death to the Holy - 3:08
4 Emersion - 3:35
5 Golden Liar - 3:44
6 Erase - 4:02
7 Bow - 2:14
Coagula
8 Feed The Machine - 2:39
9 I Caught You - 4:07
10 Church Burns 3:04
11 Gotterdammerung - 3:03
12 Hold Your Head Low - 4:43
13 J-M-B - 1:54
14 A-H-I-L - 2:36
Companies, etc.
Phonographic Copyright ℗ – Redacted GmbH
Copyright © – Redacted GmbH
Licensed To – Mvka
Published By – Chester Music
Manufactured By – SixtySix Productions
Manufactured By – www.sixtysixproductions.co.uk
Manufactured By – Optimal Media GmbH – AL64008
Recorded At – Hutch Sounds
Mixed At – Graphic Nature Audio
Mastered At – Graphic Nature Audio
Credits:
Artwork – Noé Herrmann, Zeal & Ardor*
Composed By – Manuel Gagneux
Drums, Performer, Photography By – Marco von Allmen
Illustration – Nico Charon
Mixed By, Mastered By – Will Putney
Recorded By – Manuel Gagneux, Marc Obrist
Notes:
Comes in 6 panel Digipak.
Recorded at Hutch Sounds.
Mixed and mastered at Graphic Nature Audio.
Special thanks to Schammasch.
© & ℗ 2021 & 2022 Redacted GmbH under exclusive license to MKVA.
All rights reserved.
Made in Germany
Barcode and Other Identifiers
Barcode: 190296780851
Label Code: LC 49967
Matrix / Runout: SixtySix66 www.sixtysixproductions.co.uk AL64008-01 manufactured by optimal media GmbH
Mastering SID Code: IFPI L578
Zeal & Ardor* – Zeal & Ardor
Label: Mvka – MVLP1049
Format: CD, Album
Country: Worldwide
Released: Feb 11, 2022
Genre: Rock
Style: Black Metal, Soul
Label: Mvka – MVLP1049
Format: CD, Album
Country: Worldwide
Released: Feb 11, 2022
Genre: Rock
Style: Black Metal, Soul
Viewfinder links:
Titanic LaserDisc
Net links:
AMP Playlist ~ Zeal & Ardor ~ Denis Wagner
LounderSound ~ Inside the mind of Zeal & Ardor mastermind Manuel Gagneux
Void Report ~ Deafheaven, Baroness, Zeal & Ardor (review)
YouTube links:
Death to the Holy (video)
Run (video)
Zeal & Ardor (opening song)
A-H-I-L (closing song)
Once again, thanks, Lexi!
April 20, 2021
Kathy Bates articles/mentions
Thornton Wilder, Grace Wilder, Telegraph Hill & ButohDrawing
Titanic
Titanic
Kathy Bates - 1967
photographer unknown
March 27, 2021
20,000 vinyl LPs 281: Ferde Grofé ~ Atlantic Crossing
~
Ferde Grofé ~ Atlantic Crossing
vinyl LP front cover detail
cover design: Edwin Francis
detail photo of album cover by Styrous®
Today is the birthday of Ferde Grofé who was born on March 27, in New York City in 1892 to German immigrants. His extensive musical interests came from four generations of classical musicians in his family. His father, Emil von Grofé, was a baritone who sang mainly light opera; his mother, Elsa Johanna Bierlich von Grofé, a professional cellist, was also a versatile music teacher who taught Ferde to play the violin and piano. Elsa's father, Bernardt Bierlich, was a cellist in the Metropolitan Opera Orchestra in New York and Elsa's brother, Julius Bierlich, was first violinist and concertmaster of the Los Angeles Symphony.
Ferde Grofé ~ Atlantic Crossing
vinyl LP front cover
cover design: Edwin Francis
photo of album cover by Styrous®
Grofé became proficient on a wide range of instruments including piano (his
favored instrument), violin, viola (he became a violist in the LA
Symphony), baritone horn, alto horn and cornet.
This command of musical instruments and composition gave Ferde the
foundation to become, first an arranger of other composers' music, and
then a composer in his own right.
Ferde Grofé ~ Atlantic Crossing
vinyl LP front cover detail
cover design: Edwin Francis
detail photo of album cover by Styrous®
He left home at age 14 and variously worked as a milkman, truck driver,
usher, newsboy, elevator operator, helper in a book bindery, iron
factory worker, and played in a piano bar for two dollars a night and as an accompanist. He continued studying piano and violin while doing all this. He was 17 when he wrote his first commissioned work, Elks' Grand Reunion March & Two-step.
Ferde Grofé ~ Atlantic Crossing
vinyl LP front cover detail
cover design: Edwin Francis
detail photo of album cover by Styrous®
Beginning about 1920, he played piano with the Paul Whiteman
orchestra. He served as Whiteman's chief arranger from 1920 to 1932. He
made hundreds of arrangements of popular songs, Broadway show music,
and tunes of all types for Whiteman.
In 1932, The New York Times called Grofé "the Prime Minister of Jazz".
This was an oblique reference to the fact that Whiteman was widely
called "King of Jazz", especially after the appearance of the 1930 King of Jazz film which featured Whiteman and his music.
He most memorable arrangement is that of Rhapsody in Blue by George Gershwin,
which established Grofé's reputation among musicians. Grofé took what
Gershwin had written for two pianos and orchestrated it for Whiteman's
orchestra. He transformed Gershwin's musical canvas with the colors and
many of the creative touches for which it is so well known. He went on
to create two more arrangements of the piece in later years. Grofé's 1942 orchestration for full orchestra of Rhapsody in Blue is the one most frequently heard today. In 1928, Gershwin wrote a letter to ASCAP complaining that Grofé had listed himself as a composer of Rhapsody in Blue.
The dispute was settled, with Grofé receiving a portion of the music
royalties for the piece. Despite this misunderstanding, Grofé served as
one of the pallbearers at Gershwin's funeral in 1937.
He composed the The score for Rocketship X-M in 1950. It was the first science fiction movie to feature the electronic instrument known as the theremin.
Ferde Grofé died in Santa Monica, California, on April 3, 1972, and was buried in the Mausoleum of the Golden West at the Inglewood Park Cemetery in Inglewood, California. He was 80 years old.
Tracklist:
Side 1:
Side 1:
A - Atlantic Crossing - 14:00
Side 2:
B - Atlantic Crossing (Conclusion) - 14:00
Companies, etc.
Credits:
Chorus – The George Mitchell Choir
Composed By, Conductor – Ferde Grofé
Cover – Edwin Francis
Mastered By – Pete Helffrich
Narrator – Anton Dolin, Ethel LeVane
Orchestra – The New Symphony Orchestra*
Sleeve Notes – Edward Applebaum
Notes:
Under the Everest seal, states: "A British Decca London Recording".
Cat.no. 3139 on front and back cover, S-2905 on back cover in smaller script.
Barcode and Other Identifiers
Matrix / Runout (Side A on label and runout): SDBR 3139 A
Matrix / Runout (Side B on label and runout): SDBR 3139 B
Viewfinder links:
December 7, 2020
1,000,001 CDs 18: Gavin Bryars With Tom Waits ~ Jesus' Blood Never Failed Me Yet
~
Two things happened on a December 7th; the bombing of Pearl Harbor in Honolulu, Hawaii, in 1941 and the birth of Tom Waits in Pomona, California in 1949. Both changed my life forever and we would never see the world the same way again.
I
first became aware of Waits when I was dancing on Broadway at the
hungry i in San Francisco (link below). Janice, one of the girls who danced there,
loved his songs and used them regularly. Then one night he actually came
into the club; Janice was in heaven and I got to meet him. He is an easy going, down-to-earth guy
and I liked him a lot.
Bryars made a loop of 13 bars; he was by that time teaching at Leicester Polytechnic and was able to make use of a small sound studio there. To preserve the delicate original, he recorded it on to a second machine, leaving the loop running while he went to fetch a coffee. When he returned, he found that the painting students in the various rooms around the studio had fallen silent and were listening sombrely to the old man’s voice. Someone was weeping in a corner. It’s an effect that audiences have been experiencing ever since.
Recognizing that his piano was in tune with the singer, began to
work on harmonization. He made a simple chordal arrangement, which in
later versions has developed into a rich ensemble sound with strings and
brass, weighted to the low end of the harmonic scale. There have been several versions of
the work from 1972 to 2019. This is the 1993 version and the CD has Tom Waits singing the hymn.
CD front & back
Design – David Lau
cover photos by Nick White
photo of CD cover by Styrous®
The piece was first recorded for use in a documentary which chronicles street life in and around Elephant and Castle and Waterloo,
in London. When later listening to the recordings, Bryars noticed the
clip was in tune with his piano and that it conveniently looped into 13
bars.
For the first LP recording, he was limited to a duration of 25 minutes;
later he completed a 60-minute version of the piece for cassette tape; and with the advent of the CD, this is a 74-minute version.
This is a very strange recording in so many ways, which is not unusual for neither Bryars nor Waits. I have a favorite track on any album; I don't on this one because although there are six tracks, the music runs from one track to the next. The tape loop of the homeless man (called The Tramp) plays with orchestral variations on the first four tracks but Waits doesn't actually come in until the fifth track when he accompanies the tape loop of "The Tramp". Waits then takes over on the sixth track which is VERY quiet and dreamy but his whiskey-and-cigarette flavored voice is unmistakable.
Gavin Bryars is an English composer and double bassist. He has worked in jazz, free improvisation, minimalism, historicism, avant-garde, and experimental music.
Tom Waits is an American singer, songwriter, musician, composer, and actor. His
lyrics often focus on the underbelly of society and are delivered in
his trademark deep, gravelly voice. He worked primarily in jazz during the 1970s, but his music since the 1980s has reflected greater influence from blues, rock, vaudeville, and experimental genres.
Jesus' Blood Never Failed Me Yet was shortlisted for the 1993 Mercury Prize, an annual music prize awarded for the best album released in the United Kingdom by a British or Irish act created by Jon Webster.
The prize when to Suede for their self-titled album.
Tracklist:
1 - Tramp With Orchestra I (String Quartet) - 27:05
2 - Tramp With Orchestra II (Low Strings) - 15:16
3 - Tramp With Orchestra III (No Strings) - 4:48
4 - Tramp With Orchestra IV (Full Strings) 6:06
5 - Tramp And Tom Waits With Full Orchestra - 19:38
6 - Coda: Tom Waits With High Strings - 1:47
Companies, etc.
Phonographic Copyright (p) – Point Music
Copyright (c) – GB Records (2)
Copyright (c) – Mnemonic Records
Copyright (c) – Point Music-
Produced For – Euphorbia Productions Ltd.
Produced For – Philips Classics Productions
Manufactured By – PolyGram Classics & Jazz
Marketed By – PolyGram Classics & Jazz
Made By – UML
Recorded At – Prairie Sun Recording Studios
Engineered At – The Looking Glass Studios
Mixed At – The Looking Glass Studios
Produced At – Dave Hunt Studio
Produced At – Cedar
Published By – Island Records Inc.
Credits:
Alto Vocals [Chorus] – Elsa Higby, Katie Geissinger, Margo Grib*
Art Direction – Margery Greenspan
Baritone Vocals [Chorus] – Gregory Purnhagen, Jeffrey Kensmoe*, Peter Stewart (2)
Bassoon [Orchestra] – Kim Laskowski
Cello [Hampton String Quartet] – John Reed (3)
Cello [Orchestra] – Beverly Lauridsen, Clay Ruede, Jeanne LeBlanc, Jesse Levy, Mark Shuman, Semyon Fridman
Clarinet [Orchestra] – Allen Blustine, Steven Hartman
Composed By [Music] – Gavin Bryars
Conductor, Producer – Michael Riesman
Contrabassoon [Orchestra] – Jeffrey Marchand
Design – David Lau (2)
Double Bass [Bass] [Orchestra] – Barbara Wilson (2), Homer Mensch, John Beal
Engineer, Mixed By – Chris Ekers, Dante DeSole
Executive-Producer – Kurt Munkacsi, Philip Glass, Rory Johnston
Flute [Orchestra] – Michael Parloff
French Horn [Orchestra] – Ann Yarborough*, Ron Sell, Sharon Moe, Tony Miranda
Guitar [Orchestra] – Brian Koonin
Harp [Orchestra] – Karen Lindquist, Nina Kellman
Oboe [Orchestra] – Dorothy Darlington
Organ [Orchestra] – Michael Riesman
Percussion [Orchestra] – Frank Cassara
Photography By [Cover Photo] – Nick White (4)
Photography By [Photos (Inlay Card & Inside) Except Tom Waits] – Alastair Thain
Recorded By [Tom Waits' Vocals] – Mark "Mooka" Rennick*
Soprano Vocals [Chorus] – Kristin Norderval, Lisa Bielawa, Marion Beckenstein, Michele Eaton
Tenor Vocals [Chorus] – Eric Lamp*, Jeffrey Johnson, John Koch
Trombone [Orchestra] – James Pugh*, Keith O'Quinn
Trumpet [Orchestra] – Neil Balm, Wilmer Wise
Tuba [Orchestra] – Alan Ralph*
Viola [Hampton String Quartet] – Richard Maximoff
Viola [Orchestra] – Alfred Brown, Juliet Haffner, Olivia Koppel*, Paul Peabody
Violin [1st] [Hampton String Quartet] – Regis Iandiorio
Violin [2nd] [Hampton String Quartet] – Richard Henrickson
Violin [Orchestra] – Dale Stuckenbruck, David Nadien, Donna Tecco, Elena Barere, Eriko Sato-Oei*, Jan Mullen, Jean Ingraham, Laura Seaton, Matthew Raimondi, Max Ellen, Mayuki Fukuhara, Nancy McAlhany, Richard Sortomme, Sanford Allen
Vocals [Additional] – Tom Waits
Notes:
Original version © 1971 Gavin Bryars.
Current version © 1993 Mnemonic/(MCPS/PRS).
℗ © 1993 Point Music / a joint venture of Euphorbia Productions, Ltd. and Philips Classics Productions.
Manufactured and marketed by PolyGram Classics and jazz, a division of PolyGram Records, Inc., New York, NY.
Printed in the U.S.A.
Engineered and mixed at The Looking Glass Studios, NYC.
Tom Waits' vocals recorded at Prairie Sun Recording, Cotatti, CA.
Pre-Production/Tape Preparation: Dave Hunt Studio, London; Cedar Audio, Cambridge; Nick Gilpin, Autograph.
Tom Waits appears courtesy of Island Records, Inc.
Total Time - 74:43
Barcode and Other Identifiers
Barcode (Scanned): 028943882323
Barcode (Text): 0 289-438823-2 3Tom Waits
Matrix / Runout (Burned on Master): 438 823-2 02@
Matrix / Runout (Pressed on Stamper - Variant 1): E
Matrix / Runout (Pressed on Stamper - Variant 2): D
Label Code: LC 6042
Rights Society: MCPS/PRS
Other: PG 925
Other: PTH
Matrix / Runout (Pressed on Stamper - Variant 3): G
Gavin Bryars With Tom Waits – Jesus' Blood Never Failed Me Yet
Label: Point Music – 438 823-2
Format: CD, Album, Reissue
Country: US
Released:
Genre: Electronic, Classical
Style: Abstract, Contemporary, Minimal
1 - Tramp With Orchestra I (String Quartet) - 27:05
2 - Tramp With Orchestra II (Low Strings) - 15:16
3 - Tramp With Orchestra III (No Strings) - 4:48
4 - Tramp With Orchestra IV (Full Strings) 6:06
5 - Tramp And Tom Waits With Full Orchestra - 19:38
6 - Coda: Tom Waits With High Strings - 1:47
Companies, etc.
Phonographic Copyright (p) – Point Music
Copyright (c) – GB Records (2)
Copyright (c) – Mnemonic Records
Copyright (c) – Point Music-
Produced For – Euphorbia Productions Ltd.
Produced For – Philips Classics Productions
Manufactured By – PolyGram Classics & Jazz
Marketed By – PolyGram Classics & Jazz
Made By – UML
Recorded At – Prairie Sun Recording Studios
Engineered At – The Looking Glass Studios
Mixed At – The Looking Glass Studios
Produced At – Dave Hunt Studio
Produced At – Cedar
Published By – Island Records Inc.
Credits:
Alto Vocals [Chorus] – Elsa Higby, Katie Geissinger, Margo Grib*
Art Direction – Margery Greenspan
Baritone Vocals [Chorus] – Gregory Purnhagen, Jeffrey Kensmoe*, Peter Stewart (2)
Bassoon [Orchestra] – Kim Laskowski
Cello [Hampton String Quartet] – John Reed (3)
Cello [Orchestra] – Beverly Lauridsen, Clay Ruede, Jeanne LeBlanc, Jesse Levy, Mark Shuman, Semyon Fridman
Clarinet [Orchestra] – Allen Blustine, Steven Hartman
Composed By [Music] – Gavin Bryars
Conductor, Producer – Michael Riesman
Contrabassoon [Orchestra] – Jeffrey Marchand
Design – David Lau (2)
Double Bass [Bass] [Orchestra] – Barbara Wilson (2), Homer Mensch, John Beal
Engineer, Mixed By – Chris Ekers, Dante DeSole
Executive-Producer – Kurt Munkacsi, Philip Glass, Rory Johnston
Flute [Orchestra] – Michael Parloff
French Horn [Orchestra] – Ann Yarborough*, Ron Sell, Sharon Moe, Tony Miranda
Guitar [Orchestra] – Brian Koonin
Harp [Orchestra] – Karen Lindquist, Nina Kellman
Oboe [Orchestra] – Dorothy Darlington
Organ [Orchestra] – Michael Riesman
Percussion [Orchestra] – Frank Cassara
Photography By [Cover Photo] – Nick White (4)
Photography By [Photos (Inlay Card & Inside) Except Tom Waits] – Alastair Thain
Recorded By [Tom Waits' Vocals] – Mark "Mooka" Rennick*
Soprano Vocals [Chorus] – Kristin Norderval, Lisa Bielawa, Marion Beckenstein, Michele Eaton
Tenor Vocals [Chorus] – Eric Lamp*, Jeffrey Johnson, John Koch
Trombone [Orchestra] – James Pugh*, Keith O'Quinn
Trumpet [Orchestra] – Neil Balm, Wilmer Wise
Tuba [Orchestra] – Alan Ralph*
Viola [Hampton String Quartet] – Richard Maximoff
Viola [Orchestra] – Alfred Brown, Juliet Haffner, Olivia Koppel*, Paul Peabody
Violin [1st] [Hampton String Quartet] – Regis Iandiorio
Violin [2nd] [Hampton String Quartet] – Richard Henrickson
Violin [Orchestra] – Dale Stuckenbruck, David Nadien, Donna Tecco, Elena Barere, Eriko Sato-Oei*, Jan Mullen, Jean Ingraham, Laura Seaton, Matthew Raimondi, Max Ellen, Mayuki Fukuhara, Nancy McAlhany, Richard Sortomme, Sanford Allen
Vocals [Additional] – Tom Waits
Notes:
Original version © 1971 Gavin Bryars.
Current version © 1993 Mnemonic/(MCPS/PRS).
℗ © 1993 Point Music / a joint venture of Euphorbia Productions, Ltd. and Philips Classics Productions.
Manufactured and marketed by PolyGram Classics and jazz, a division of PolyGram Records, Inc., New York, NY.
Printed in the U.S.A.
Engineered and mixed at The Looking Glass Studios, NYC.
Tom Waits' vocals recorded at Prairie Sun Recording, Cotatti, CA.
Pre-Production/Tape Preparation: Dave Hunt Studio, London; Cedar Audio, Cambridge; Nick Gilpin, Autograph.
Tom Waits appears courtesy of Island Records, Inc.
Total Time - 74:43
Barcode and Other Identifiers
Barcode (Scanned): 028943882323
Barcode (Text): 0 289-438823-2 3Tom Waits
Matrix / Runout (Burned on Master): 438 823-2 02@
Matrix / Runout (Pressed on Stamper - Variant 1): E
Matrix / Runout (Pressed on Stamper - Variant 2): D
Label Code: LC 6042
Rights Society: MCPS/PRS
Other: PG 925
Other: PTH
Matrix / Runout (Pressed on Stamper - Variant 3): G
Gavin Bryars With Tom Waits – Jesus' Blood Never Failed Me Yet
Label: Point Music – 438 823-2
Format: CD, Album, Reissue
Country: US
Released:
Genre: Electronic, Classical
Style: Abstract, Contemporary, Minimal
Viewfinder links:
Net links:
The Cross-Eyed Pianist ~ A mesmerising musical experience
The Cusp Magazine ~ Bryars' famous work performed at Tate Modern
Gavin Bryars ~ Memorial service for those who died homeless
The Guardian ~ Anthem for the homeless
Opuszine ~ Jesus’ Blood Never Failed Me Yet
Pitchfork ~ Jesus' Blood Never Failed Me Yet
Gramophone ~ Jesus' Blood Never Failed Me Yet
YouTube links:
Jesus' Blood Never Failed Me Yet (1 hr., 14 mins., 43 sec.)
Jesus' Blood Never Failed Me Yet (edit w/Tom Waits)
Jesus' Blood Never Failed Me Yet (interview)
“ . . . the tears of the world are a constant quality.
For each one who begins to weep,
someone somewhere else stops.”
~ Samuel Beckett
~ Samuel Beckett
Tom Waits (front), Gavin Bryars (rear)
Subscribe to:
Posts (Atom)