Malcolm Mitchell Young
(6 January 1953 – 18 November 2017)
A tribute to the recently departed AC/DC Rhythm Guitarist 🤘🏼
Malcolm Mitchell Young
(6 January 1953 – 18 November 2017)
A tribute to the recently departed AC/DC Rhythm Guitarist 🤘🏼
Music comes in all guises but for us , we love most of all the rock and metal genres, which over time have produced some absolute masterpieces. This being said not all classic songs come in the form of a 4-5 minute tune, some can be over 10 minutes long while others push the time limit even further. To celebrate this I’ve put together just a few, in this post to celebrate my favourites that are over 20 minutes long. Hope you like them too.
Suppers Ready – Genesis
Echoes – Pink Floyd
2112 – Rush
Tubular Bells – Mike Oldfield
Karn Evil 9 – Emerson,Lake & Palmer
Atom Heart Mother – Pink Floyd
Shine on you Crazy Diamond – Pink Floyd
Gates of Delirium – Yes
Tarkus – Emerson,Lake & Palmer
Octavarium – Dream Theater
Lizard – King Crimson
Journey to the centre of the Earth -Rick Wakeman
In the Presence of Enemies – Dream Theater
Just a few glimpses of the new tunes and live performances that have happened from Classic recording artists and new acts in 2017
Music is and can be a soundtrack to life and over the years to me it’s been just that. Happy songs Sad songs all come together to help me remember good times and difficult time in my life. Be it on record,CD, cassette tape or even live listening to music has been a great source of inspiration for me in one way or another. At this moment I’m listening to a recently acquired live album by Mike Oldfield funnily enough called Exposed.
Last weekend we visited a record fair in Witham and for only £20 I picked up 4 compact discs and 4 LPs these being Noel Gallagher and Steve Winwoods solo debuts,Mike Oldfields 1979 live album ‘Exposed’ also a Elton John 1970s live album, two Jean Michel Jarre discs a Alan Parsons project album and Robert Plants outing with Alison Krauss on CD.
On the radio the BBC have a long running music based programme called Desert Island Discs which features celebrities choosing their favourite tunes.As a lover of music and after hearing a recent broadcast featuring John McEnroe, I decided to list my own treasured classic tunes.
Desert Island Discs is a radio programme broadcast on BBC Radio 4. It was first broadcast on the BBC Forces Programme on 29 January 1942.Each week a guest, called a ‘castaway’ during the programme, is asked to choose eight recordings (usually, but not always, music), a book and a luxury item that they would take if they were to be cast away on a desert island, whilst discussing their lives and the reasons for their choices. It was devised and originally presented by Roy Plomley.
Since 2006, the programme has been presented by Kirsty Young.
More than 3,000 episodes have been recorded, with some guests having appeared more than once and some episodes featuring more than one guest.An example of a guest who falls into both categories is Bob Monkhouse, who appeared with his co-writer Denis Goodwin on 12th December 1955 and in his own right on 20th December 1998.
Guests are invited to imagine themselves cast way on a desert island, and choose eight recordings, originally gramophone records, to take with them; discussion of their choices permits a review of their life. Excerpts from their choices are played or, in the case of short pieces, the whole work. At the end of the programme they choose the one piece they regard most highly. Guests are also automatically given the Complete Works of Shakespeare and either the Bible or another appropriate religious or philosophical work. They are then prompted to select a third book to accompany them. Popular choices include Charles Dickens and Jane Austen. Actress Judi Dench, who suffers from macular degeneration, was permitted to take an audiobook in place of a printed manuscript.
Guests also choose one luxury, which must be inanimate and of no use in escaping the island or allowing communication from outside. Roy Plomley enforced these rules strictly. He did, however, grant a special dispensation to Princess Michael of Kent, who chose her pet cat.The rules are, however, less strictly enforced today; for instance, Lawley allowed John Cleese to take Michael Palin with him, on the condition that he was dead and stuffed. Examples of luxuries have included champagne and a piano, the latter of which is one of the most requested luxuries.
If I were to appear on the show I’d choose these fine tunes
1. The River Live 1973-1984-Bruce Springsteen
2. Sunflower-Paul Weller
3. Wind of Change-The Scorpions
4. Nothing Else Matters – Metallica
5. Deja Vu – Roger Waters
6. Shine on you Crazy Diamond (Full version) – Pink Floyd
7. Tubular Bells Part 1 – Mike Oldfield
8. Baba O’Rielly – The Who
As for the book I’d take my copy of: Inside Out: A Personal History of Pink Floyd by and the luxury that’ll be a Solar Powered Digital Radio.
I don’t know if it’s the same for everyone but I’m personally going through a period of time where nothing much seems to be happening and I am suffering from a definite lack of enthusiasm. The time for real naturism (the spring & summer) has been and gone,the plants are ready to either go into hibernation for the winter or be composted (if they’re annuals),so I feel kind of in the middle. This week during the “October Oblivion” (another weeks holiday) I managed to build another raised bed out of scraps,cut the grass (one last time) but other than that I’ve felt the need to rest.
Monday wasn’t restful though as we took the time to travel into London(on the District line from Upminister) to see the marvellous Alter Bridge performing with a orchestra at the Royal Albert Hall.On the 2nd and 3rd October, Alter Bridge played their most ambitious gigs in their long history at The Royal Albert Hall in London, accompanied by The Parallax Orchestra; a full 52 piece orchestra.We were there at the first of these shows,high up (if not quite up with the gods)with this being the first time that Alter Bridge had ever attempted a show like this. There were of course question marks over how everything would go and how it would received by the band’s loyal fans.
Thousands more travelled to London (from all over the world) for these two shows, and with them they brought high expectations. Such a level of hype has been earned by Alter Bridge over the years, but this was a step into the unknown – understandably, knowing the pressure to deliver would be even higher for a show like this, there was a level of anticipation like never before.
At the end of the night there wasn’t really a single bad thing that could be said about this performance and the band and orchestra were congratulated with a standing ovation. Alter Bridge at the Royal Albert Hall was a stunning display in every way and an experience that every person involved should be proud of.
It was filmed and band member Mark Tremonti said recently “We’re touring through the end of the year but we’ve got a big project going on – in October we’re playing with a 52-piece orchestra at Royal Albert Hall [in London] for two nights and we’re gonna’ film that and make it a DVD ” which hopefully will be available in time for Christmas !
The set was:
Slip to the Void
Addicted to Pain
Before Tomorrow Comes
The Writing on the Wall
Cry of Achilles
In Loving Memory (first since 2008)
Ties That Bind
The Other Side
Brand New Start
Ghost of Days Gone By
The Last Hero
The End Is Here
Words Darker Than Their Wings (live debut)
Wonderful Life (acoustic)
Watch Over You (acoustic)
This Side of Fate
Open Your Eyes
A couple of weeks ago we visited the Pink Floyd exhibition at the Victoria & Albert museum in London and thoroughly enjoyed looking at artefacts and memories from one of our favourite bands. I took many photographs most of which are found here on this post. I could never do justice to this exhibition by writing about it but this journalist did. You can read the article by following the link at the bottom of this post.
” The Pink Floyd Exhibition: Their Mortal Remains review – look, a Flying Pig ! “
Written by Alexis Petridis – Tuesday, 09 May 2017
“Liverpool Street Refreshment”
The refracting prism, the businessman ablaze, the giant inflatable pig: they may be pop’s most anonymous band, but Pink Floyd’s artwork is instantly recognisable – as this stunning V&A show proves.Virtually the first thing the visitor to Their Mortal Remains sees is a quote from the late John Peel regarding Pink Floyd’s legendary anonymity: “They could have joined the audience at one of their own gigs without being recognised.” On the face of it, that should preclude Pink Floyd as a band on which to base a V&A exhibition in the blockbusting vein of 2013’s David Bowie Is, 250 million albums sold or not. Then again, as the exhibition makes clear, few bands in rock history have ever been as creative in their attempts to distract attention from themselves.
In truth, a certain anonymity seems to have clung to Pink Floyd from the start, even when they were fronted by Syd Barrett, a man as photogenic and pop-star pretty as he was talented: an early cover feature on the band in Town magazine doesn’t feature them on the cover at all, opting instead for a female model with the band’s psychedelic light show projected over her face.
Nevertheless, they endured a brief moment of old-fashioned pop stardom in the summer of 1967, replete with appearances on Top of the Pops and in the teen magazines (“Syd is 5 foot 11 inches tall, with black hair and green eyes – the mystery man of the group and a gypsy at heart”). By all accounts – including the testimonies from band mates and friends featured in a heartbreaking exhibition video – it was an experience that seemed to wreak almost as much havoc on Barrett’s fragile psyche as the vast quantities of LSD he consumed, hastening his decline.
The exhibition plunges visitors into the psychedelic world of the 60s from which Pink Floyd emerged. After Barrett’s irrevocable descent into mental illness, a combination of survivors’ guilt, English reticence and bloody-mindedness forged in the aftermath of their frontman’s departure – when almost everyone, including their own managers, appeared to give Pink Floyd up as a lost cause.
It seemed to drive the band’s retreat from the limelight. Barrett’s replacement, guitarist and vocalist David Gilmour, had all the right ingredients for rock god status except the character: for all his brilliance as a guitarist, he seemed even more reserved than his new band mates.
Pink Floyd never appeared on one of their own album covers again after 1969’s Ummagumma, and seem to have spent almost as much time devising ways of diverting their audience’s gaze as they did making music. A groundbreaking quadraphonic sound system built at their behest got almost equal billing on their gig posters, although Their Mortal Remains reveals that the grandly titled Azimuth Co-ordinator looked suspiciously like something knocked together in someone’s shed.
At one show, a roadie was obliged to appear on stage dressed as a Tar Monster, complete with a penis fashioned from a washing-up liquid bottle that squirted black fluid over the front rows. The 1972 tour on which they debuted a nascent version of The Dark Side of the Moon was promoted in the press with a photo of the band with their backs to the camera. Come and see us live, but don’t look at us: that seemed to be the message.
Their masterstroke came with The Dark Side of the Moon’s release the following year. Early 70s rock was filled with striking images, from Bowie’s lightning flash makeup to Led Zeppelin’s mystical Zoso symbols, but few had quite the same lasting impact as the refracting prism design that Pink Floyd’s longstanding visual team Hipgnosis came up with for that album’s cover. An entire room of the exhibition is devoted to it, and rightly so.
In cynical modern parlance, it was a brilliantly simple piece of corporate branding; 44 years on, it remains the image that first springs to most people’s minds when the name Pink Floyd is mentioned – although Hipgnosis’s designs for their subsequent albums were scarcely less iconic: the photograph of two businessmen shaking hands, one in flames, for 1975’s Wish You Were Here; the shot of a giant inflatable pig floating above Battersea power station for 1977’s Animals, a giant neon replica of which fills another of the exhibition’s rooms.
The Dark Side of the Moon made Pink Floyd global superstars, but the bigger they got, the more Pink Floyd themselves seemed to recede. A 1974 tour programme attempts to elicit information on the band members via a questionnaire, to no avail: “Personal likes: ‘Not much.’ ‘Too personal’.” On stage, they were dwarfed first by a giant circular screen showing specially commissioned films, then by enormous inflatables and vast parachutes in the shape of sheep.
By the time of 1979’s The Wall, they were sending other musicians on stage in their place, wearing rubber life-masks based on their faces, and performing behind 40 feet of cardboard bricks onto which Gerald Scarfe cartoons were projected. Their Mortal Remains makes an intriguing attempt to link their ever-more complex stage designs with Roger Waters, drummer Nick Mason and keyboard player Richard Wright’s background as architecture students, although others at the time took what you might describe as their elaborate reticence for haughtiness and pomposity: one wall of the exhibition is devoted to their one-time label mates the Sex Pistols, with Johnny Rotten’s I HATE PINK FLOYD T-shirt at its heart.
Masks worn by a four-piece ‘surrogate band’ who opened The Wall live show each night. Waters’ acrimonious mid-80s departure from the band is tactfully skirted around, although keen students of Pink Floyd’s endless icy, passive-aggressive internal struggles might note with interest the glaring disparity in space afforded Waters’ last album with the band, The Final Cut, and their first without him, 1987’s A Momentary Lapse of Reason.
The latter gets a whole room, which seems less a reflection on its contents – curiously more dated-sounding now than the music they made in 1967 or 1973 – than on the vast, box office-busting tour it spawned, which tellingly saw Pink Floyd reprising not just their greatest hits, but their most famous visual effects. To the evident fury of Waters, who considered himself the band’s creative genius, it didn’t seem to matter to audiences whether he was there or not, as long as it sounded like Pink Floyd and an inflatable pig floated over the crowd: such is the downside of carefully cultivated anonymity.
Or perhaps it did matter. There’s something touching about the way Their Mortal Remains concludes not with The Endless River – the largely instrumental album Gilmour and Mason constructed in tribute to Richard Wright, who died in 2008 – but with footage of the quartet’s solitary reunion, at Live 8 in 2005. Their performance ends with a slightly uneasy group hug, which one band member has to be visibly coerced into joining: Pink Floyd were awkward in the spotlight until the last.
superb exhibition charting the successes and failures of a quintessential England band. Set to music and clips of all band members this exhibition shows the boundaries they pushed. Best of all the “Money” mixing desk where you can hear the song without bass,vocals, guitars etc etc. There’s also the fame Syd Polaroid from 1975.
We had a good day looking around a few drinks and a curry afterwards before setting off for home. The exhibition only runs till October 1st so chances are if you’re reading this you have probably missed out.
Photography by Our World Photographics
Original text can be found here Guardian Article
The Joshua Tree, released in 1987, is U2 at their biggest: 11 sweeping, aching anthems to self-doubt, humanity, hope and America-focused anxiety – all straightforward and pop-savvy enough to propel them from arenas to stadiums. It was the fastest-selling album in U.S. chart history when it topped Billboard in 1987, and currently sits at 10 times platinum.The songs are iconic to most music fans and it’s so amazing that it is in fact 30 years old.
I personally love the album but what did Rolling Stone magazine think of it 30 years ago ?
Album review by Steve Pond
April 9, 1987
The stakes are enormous, and U2 knows it. Its last album, The Unforgettable Fire, contained “Pride (In the Name of Love),” its biggest-selling single ever, and last year the band was the musical heart of Amnesty International’s Conspiracy of Hope tour. Now, it seems, U2 is poised to rise from the level of mere platinum groups to the more rarefied air above. For a band that’s always specialized in inspirational, larger-than-life gestures — a band utterly determined to be Important — The Joshua Tree could be the big one, and that’s precisely what it sounds like.
That’s not to say that this record is either a flagrantly commercial move or another Born in the U.S.A. The Joshua Tree is U2’s most varied, subtle and accessible album, although it doesn’t contain any sure-fire smash hits. But in its musical toughness and strong-willed spirituality, the album lives up to its namesake: a hardy, twisted tree that grows in the rocky deserts of the American Southwest. A Mormon legend claims that their early settlers called the Joshua tree “the praying plant” and thought its gnarled branches suggested the Old Testament prophet Joshua pointing the way to the Promised Land. The title befits a record that concerns itself with resilience in the face of utter social and political desolation, a record steeped in religious imagery.
Since U2 emerged from Dublin in 1980 with a bracing brand of hard, emotional, guitar-oriented rock, its albums have followed a pattern. The first and third (Boy and War) were muscular and assertive, full of, respectively, youthful bravado and angry social awareness; the The second and fourth studio albums (October and The Unforgettable Fire) were moody and meandering and sometimes longer on ideas than on full-fledged songs.
But The Joshua Tree isn’t an outright return to the fire of War. The band ruled that out years ago: Songs like “Sunday Bloody Sunday” and “New Year’s Day” hit with driving force on the 1983 album and subsequent tour. But U2 saw itself in danger of becoming just another sloganeering arena-rock band, so the group closed that chapter with a live record and video. The band swapped longtime producer Steve Lillywhite for Brian Eno and Daniel Lanois and, with The Unforgettable Fire, declared its intention to no longer be as relentlessly heroic.
On the new album, U2 retains Eno and Lanois, brings back Lillywhite to mix four songs and weds the diverse textures of The Unforgettable Fire to fully formed songs, many of them as aggressive as the hits on War. U2’s sonic trademarks are here: the monumental angst of Bono’s voice, the driving pulse of Adam Clayton’s bass and Larry Mullen Jr.’s drums and the careening wail of the Edge’s guitar. But for every predictably roaring anthem there’s a spare, inventively arranged tune, such as “With or Without You,” a rock & roll bolero that builds from a soothing beginning to a resounding climax.
The band still falls into some old traps: Bono’s perpetually choked-up voice can sound overwrought and self-important; some of the images (fire and rain, say) start to lose their resonance after a dozen or so uses; and “Exit,” a recited psychodrama about a killer, is awkward enough to remind you that not even Patti Smith could regularly pull off this sort of thing.
More than any other U2 album, though, The Joshua Tree has the power and allure to seduce and capture a mass audience on its own terms. Without making a show of its eclecticism, it features assertive rock (“Where the Streets Have No Name”), raw frenzy (“Bullet the Blue Sky”), delicacy (“One Tree Hill”), chugging rhythms (“I Still Haven’t Found What I’m Looking For”) and even acoustic bluesiness (“Running to Stand Still”) — all of it unmistakably U2.
But if this is a breakthrough, it’s a grim, dark-hued one. At first, refreshingly honest, romantic declarations alternate with unsettling religious imagery. Then things get blacker.
The raging, melodramatic “Bullet the Blue Sky” ties Biblical fire and brimstone with American violence overseas and at home. In the stomping, harmonicaspiked rocker “Trip Through Your Wires,” what looks like salvation could easily be evil seduction; “One Tree Hill” is a soft, haunting benediction on a U2 crew member who died in a motorcycle accident; and “Red Hill Mining Town” echoes Peter Gabriel’s “Don’t Give Up” in its unsparing look at personal relationships savaged by economic hardship — here, the aftermath of the largely unsuccessful British miners’ strike of 1984.
But for all its gloom, the album is never a heavy-handed diatribe. After the first few times through “Running to Stand Still,” for instance, you notice the remarkable music: the wholly unexpected blues slide guitar, the soft, Nebraska-style yelps, the ghostly harmonica. It sounds like a lovely, peaceful reverie — except that this is a junkie’s reverie, and when that realization hits home, the gentle acoustic lullaby acquires a corrosive power that recalls “Bad,” from the last LP.
The Joshua Tree is an appropriate response to these times, and a picture bleaker than any U2 has ever painted: a vision of blasted hopes, pointless violence and anguish. But this is not a band to surrender to defeatism. Its last album ended with a gorgeous elegy to Martin Luther King Jr.; The Joshua Tree closes with a haunting ode to other victims. “Mothers of the Disappeared” is built around desolate images of loss, but the setting is soothing and restorative — music of great sadness but also of unutterable compassion, acceptance and calm. The Unforgettable Chill, you might call this album, and unforgettable is certainly the right word.
Country gardener nurturing people, plants - and wildlife
A blog on veg, seed savings and plant tips.
The life and loves of a time-poor plantsman
For the love of gardening is a seed that once sown never dies, but always grows and grows to an enduring and ever-increasing source of happiness - Gertrude Jekyll
A Vegetarian | Nature Lifestyle Blog
if your garden is bigger than a courtyard, but smaller than an acre
Sharing hints, tips and gardening triumphs!
Life and Style
My lovely life by the sea in Cornwall
Conscious living with a twist of the taboo
If you like plants, allotments, gardening & real talk, you're in the right place!
NO CLOTHES? NO WORRIES!
Encouraging people to think critically about everything.
Growing and harvesting a bounty of blessings in my potager.
Blogging about my hedgehog hospital and how to help hedgehogs. I also make handmade silver jewellery inspired by nature and wildlife and blog about my craft.