Unsomnambulist
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The Clash - Safe European Home (1978)
What are you listening to? April 2025
- Thread starter Unsomnambulist
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Zeeba Neighba
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The Tibiae - Chutes Too Narrow (2003)
Zeeba Neighba
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Herbie Hancock - Head Hunters (1973)
Zeeba Neighba
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Roxy Music - Avalon (1982)
Unsomnambulist
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Chime Oblivion - s/t (2025)
Already available on Bandcamp. New effort with John Dwyer of Osees and David Barbarossa of Adam and the Ants and Bow Wow Wow.
Already available on Bandcamp. New effort with John Dwyer of Osees and David Barbarossa of Adam and the Ants and Bow Wow Wow.
Unsomnambulist
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The Velvet Underground - The Best Of (1989)
Zeeba Neighba
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Talking Heads - Stop Making Sense (1984)
axolotl
Nunquam non paratus
Unsomnambulist
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Melvins - Thunderball (2025)
Unsomnambulist
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Beirut - A Study Of Losses (2025)
Unsomnambulist
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Tunde Adebimpe - Thee Black Boltz (2025)
Unsomnambulist
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Salif Keita - So Kono (2025)
Ojai Sam
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Pauline Alpert - Keyboard Wizards of the Gershwin Era: Vol. 1 (rec. 1927-44, Pearl comp. 1995)
George Gershwin has always been difficult for me to appreciate. Too pretentious for pop, too casual for classical and surely not jazz, even in that prehistoric kingdom that crowned Paul Whiteman its king. Recently I stumbled across this series from Pearl Records that helped me to understand Gershwin's musical milieu. Pauline Alpert (1905-1988) was one of many "novelty pianists" who deployed their classical training on popular songs, which they "embellished". For good reason, Alpert was called "The Whirlwind". Her sparkling solos energized familiar Broadway tunes (including Gershwin's "Fascinating Rhythm"), new pop instrumentals and even the occasional classical favorite. Pauline even went so far as to perform as "The Flying Pianist" suspended (along with her piano!) on a pulley above the audience.
Her style, while not improvisational, is highly individualistic and interpretive. Like a lot of other early popular forms, the "novelty piano" was swept aside by the swing era, leaving Pauline to record primarily mood music for the company that created "Muzak" and a few stray small label 78's. But her output is well worth digging out today for a glimpse at a long lost musical world.
George Gershwin has always been difficult for me to appreciate. Too pretentious for pop, too casual for classical and surely not jazz, even in that prehistoric kingdom that crowned Paul Whiteman its king. Recently I stumbled across this series from Pearl Records that helped me to understand Gershwin's musical milieu. Pauline Alpert (1905-1988) was one of many "novelty pianists" who deployed their classical training on popular songs, which they "embellished". For good reason, Alpert was called "The Whirlwind". Her sparkling solos energized familiar Broadway tunes (including Gershwin's "Fascinating Rhythm"), new pop instrumentals and even the occasional classical favorite. Pauline even went so far as to perform as "The Flying Pianist" suspended (along with her piano!) on a pulley above the audience.
Her style, while not improvisational, is highly individualistic and interpretive. Like a lot of other early popular forms, the "novelty piano" was swept aside by the swing era, leaving Pauline to record primarily mood music for the company that created "Muzak" and a few stray small label 78's. But her output is well worth digging out today for a glimpse at a long lost musical world.
Unsomnambulist
Staff member
The Re-Stoned - Revealed Gravitation (2010)
axolotl
Nunquam non paratus
Unsomnambulist
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Yes. The Hellacopters sounded too much like hair metal.
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