A fantastic piece. Ry’s slide playing is amazing.
Let’s say you somehow got someone foolish enough to do your every bidding, whatever it may be.
You take him to your studio, grinning, and you force him to do one job, and one job only: you have him hold on to a volume knob for dear life, and every time the sound volume goes above a certain predefined threshold, he should turn the volume down by twisting that knob you chained him to. You instruct him to do so only after a certain time has passed after the threshold was reached – you call this time interval the attack, because you tell that poor man to “attack” the knob to bring down the volume.
Some high-quality prog metal right here, folks. The fun fact about this band, sadly extinct now, is that it incorporated two certified demons, a Texan on guitar, by the name of Rusty Cooley, and a demon from Brasil, known as Carlos Zema, seen here casually delivering the verses on a lofty D#/E in the 5th octave (a clear proof of his non-human nature), where not many of the best high singers dare venture except the for the climactic part of the song.
An amazing, if utterly over the top performance.
Dig the lyrics, too:
A short, simple, yet very poetic aria, presenting no particularly dramatic problems to the soprano. But is does demand a certain timber and a certain sense of prosody. In summary, an aria easy only on the surface. Here’s the performance that satisfies me the most, of those I could find in the public domain:
This is the foxtrot tune guiding the dance steps of Harry Haller and Hermina in Herman Hesse’s Steppenwolf novel. Listening to it adds another dimension to the book.
A charming recording from 1925.
This is a superb little composition with origins that remain pretty obscure (despite Wikipedia), aside that it belongs to an Italian musician by the name of Carlo Marrale.
The two renditions below are almost opposite in vocal performance dynamics, from the canonical bel canto approach, by a two-tenor duet, to the unorthodox approach of a great metal singer (if not the greatest), who’s actually a baritone, but whose flawless technique allows him to reach those impressive tenor highs with unbelievable accuracy and beauty.
See which you like most.
Most of the great music out there is just a little bit too interesting” in terms of composition, to ever appeal to mainstream audience. Most mainstream stuff is way too dull to be worth listening to repeatedly. This song, from one of the truly groundbreaking, game-changing, and best albums of all times (Love – Forever Changes, 1967), manages to grab your attention instantly, while at the same time featuring an awesome, strange, off-beat composition. Arthur Lee is no more, his music lives on.
George Clinton (on LSD) apparently told Funkadelic’s guitarist Eddie Hazel to play this solo as if he just received the news of his mother being dead, and then found out his mother was actually still alive.
The result is a mind blowing solo, almost 10 minutes long, that shoots straight into immortality. All other instruments were dimmed during mixing, when Clinton heard Hazel’s outlandish take. Enjoy.
Brian Eno plus Robert Fripp (of King Crimson fame) equals genius. One of the best face-melting guitar solos you’ll ever hear. This piece is featured as played by (some members of) Radiohead in Velvet Goldmine.