Nice! The MiniMoog still rocks.
My favorite Blue Oyster Cult track is “Last Days of May”:
The whole live album is great.
Nice! The MiniMoog still rocks.
My favorite Blue Oyster Cult track is “Last Days of May”:
The whole live album is great.
I have a “last days of may” birthday myself, and like to enjoy the live (OYFOOYK) version each year around that time. (…tho… I’m not sure that the events described in that song could rightly be characterized as a “party…” )
from the first album! my favorite album.
…A giant passes from the scene
I was just trying to remember this guy’s name earlier today, and now I see your post. Thanks universe!
Erik Satie - Gymnopédie No. 3 but it’s more about the watching. A movie in Kinemacolor from 1906 (interpolated)
I’m very familiar with No.1 , two and three sound like someone is playing No.1 with the sheet music up side down. And no matter what year or colour, clowns should NOT be filmed.
She will be much missed.
I have now
I have heard this before, because I’m a big fan of both men. What makes it special is the implausibility of these two guys recording together.
Any other Steve Roach superfans here? I listen daily. Possible Planet is a favorite. From 2005 and the early days of Eurorack. I love Steve’s description of his process:
Possible Planet was created completely on a modular analog system which I assembled over a five-month period. As the sonic life forms were evolving, the system that I was creating was evolving as well. In order for the changes to occur, a new module would arrive that day and by that night it was absorbed into the system. This was also a great metaphor for the themes of the emerging cellular life forms I was dreaming into. In order to remove the reliable and familiar modes of working, I eliminated a few basics: no MIDI, keyboards of any kind It was all about twisting knobs, feeling it in my fingertips and coaxing the current into the desired direction. Possible Planet was recorded during three live sessions. Each session would start after several days of creating and learning the nuances of a ‘living’ patch I had created, from which the soundforms were drawn.