Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 23, 2010 17:26:33 GMT
A fella called Guy Manning has produced a rather nice prog rock album called Charlestown where he researched shipping and boats in Charlestown and then produced this rather nice CD about a boat that got into trouble. He's a character who speaks and sings with a lisp, but Jethro Tull lives on in this guy. Guy Manning. A really nice album that's worth a listen for the songs although the production level isn't as good as I'd like. Technically not a recording feat and the use of some (what I feel) are poor string sounds, but some good writing. It's the kind of album you feel could be excellent if it were made in a decent studio instead of what so many of these guys like Tinyfish and Manning do - work in poor conditions, not really supported by anyone and self-financing These people have to be very enthusiastic to do this!! Guy's been around for some time, but there is something I really like about these self-financed albums in spite of the recording crudities. Probably because their heart is really in it. I'd not heard any Manning before this so I got another that he's done called 'A Matter of Life and Death'. Anyone else heard of him? A big, slightly balding fella with a good outlook. Just shows yah - pop stars don't always look outrageous. He was a founder member of The Tangent. www.guymanning.com/2009site/index.html
|
|
|
Post by PinkFloyd on Nov 23, 2010 21:34:44 GMT
Anyone else heard of him? A big, slightly balding fella You mean this guy?
|
|
|
Post by PinkFloyd on Nov 23, 2010 23:50:42 GMT
Being a "night person" I'm off to bed... night night "people"
|
|
pjc68
Been here a while!
You dissin me?
Posts: 721
|
Post by pjc68 on Nov 24, 2010 0:27:58 GMT
I was a big fan of the HL in the early 80,s and had a poster of phil on my bedroom wall (you know the one with the 3 nipples) and my dad said to me one day "WTF are you doing with that fu***n puff on yer wall, get a page 3 bird up there will ye". Give him his dues he,s havin a go like, rather them than shite like take that and all them boy bands
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 24, 2010 5:55:47 GMT
I was a big fan of the HL in the early 80,s and had a poster of phil on my bedroom wall (you know the one with the 3 nipples) and my dad said to me one day "WTF are you doing with that fu***n puff on yer wall, get a page 3 bird up there will ye". Give him his dues he,s havin a go like, rather them than shite like take that and all them boy bands Yeah, I felt exactly the same myself. My Dad also wondered why I had a poster of him on the wall. The one I have now is much better now he's had his hair cut! That's a terrible song Mike!! I hope Phil doesn't forget his words. Well, it is five and a half minutes long. With an attention span of three, that song becomes very challenging. Look out for an album called, 'Credo'. I know I can't wait. They're also doing 16 shows from the end of November. What I don't get is who the target audience is other than old HL fans. (ie girls of 50 odd?) No teenager is going to link with that, it's just not sophisticated enough and a 50 year old is going to think it cruddy other than someone who thinks they're still 15 and needs a memory lane trip strong enough to make them buy a whole album that's due in 2011. I have no idea why HL went this route. Very silly. Still Radio 2 is helping out with references (normally attached to historical references) which makes me wonder if they actually have any quality control there!!
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 24, 2010 16:43:52 GMT
Guy wrote to me ......
> Slight lisp, yep! slightly balding, yep! big lad ..oh yes! > Tull-esque? Yes thats fair > > I record in my converted garage on a home PC so it's never going to be ABBEY ROAD :0) > String samples are the cheap ones I can afford really...would love to do real strings one day ! > > And please tell PinkFloyd that I am better looking that that other bloke he has posted!
I must admit, I laughed when I saw this!! A character. Which is exactly how he came across on a streamed radio show.
Seriously, I had another listen last night and it's a lovely album despite technicalities of studio recording. I only mention that because I have laser ears for production and permanently check stuff for problems all the time!!
The album has a nice overall 'tone and attitude' that comes over as kind of bubbly. It's something I've noticed quite a lot in English prog rock as opposed to the 'heavier' growlings and explosions of American Prog rock.
English bands have a lovely quaintness about them with bouts of real finesse and Guy's stuff also shows this. I love the references to English folk music and the use of old modes in it and the Jethro Tull like rhythms that suddenly come out in some of the songs in this album. Lovely 'picture painting' of two god like creatures meeting for a dance when they're at polar opposites. It contains some lovely ideas.
I also like Guy's voice. Yes, he has this slight lisp but it actually adds to the vocal work. His harmony singing is really lovely - he's multi-tracked himself in places and it has this kind of English, drunken exhuberance. (Was it Dexy that also had a lisp?)
I'll do a more detailed write up of the songs in this album because I really like it since there is an English quirkiness to it that is quite lovely.
It's people like this that keep the English prog rock scene going and these fellas are truly enthusiasts and I love their exhuberance.
I'll do a description and maybe some of you guys might like to wander into the quaint world of english prog rock........
This album is worth listening to.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Nov 24, 2010 17:57:04 GMT
1. Charlestown
This is a marathon track of 35 minutes; and yet, when you listen to it, you just don’t feel as though it’s as long as that. It’s a story which is rather nice about a boat getting itself into troubles.
Guy opens with the statement, ‘Coming home’ and echoes with sweeping string sounds, synth sweeps and gorgeous guitar bursts reminiscent of Mike Oldfield’s sound. (Gibson?) It turns into a two chord chorus (D and G) of ‘Coming Home’ which introduces us to a rising scale of D which becomes a kind of motif that guy has retained for the song. I do wonder if he’s recorded this in E and changed the pitch to D. Not sure. The bass guitar throbs out some low D’s which is a tone lower than they are normally tuned but then again, easy to tune them down. The strings play this scale which kind of points out the quality of sounds that he used on the album, but this would be so gorgeous with real strings. The problem is that the samples Guy has used have a slow attack and once you use them on a melody, it kind of lags because the main body of sound develops slightly later. It’s like a delay. Up a tone for nice rhythmic passage with a strummed acoustic guitar and claps. (Slight tinge of Jethro here) A smoother passage with strummed acoustic, guitar, organ and synth and then another burst of the opening passage.
New section led by piano melody and synthesised choir in the background. Everything so far all smooth and happy. Guy sings about the lights from the harbour and starts to add detail to the picture painting. The emotion of being out on the boat and seeing the lights. He tells the story of setting out for Bristol in good weather. This section is lovely with its exhuberance and a difficult to play linking passage as the ship goes on its way. Then the pitch falls a semi-tone and it starts to go through key changes with organ and guitar dialogue over the top. You can kind of hear that the boat is on its way in the music.
Then a flute section with strings and a pedal in the bass followed by a lovely folk type tune on the flute and low bass synths and a wailing sound above. Really early Jethro here!! I love the spaces that Guy has put in for instrumental picture painting. You don’t feel pushed or rushed and can just sit in the mood or atmosphere of going to sea on an old boat. A guitar solo wails over little ostinato patterns and melodies, stopped by the strings. (This is where I feel the need for real strings) Some lovely harmonies.
Pause and a dramatic chord before: A kind of funky section with a bass riff, wailing guitar, paino and synth. You can hear the boat is now it’s on its way. Guy describes the captain contemplating the profit for the cargo at Bristol. I love the instrumental interjections between comments. A lovely folksy chorus sung just by Guy. I love the doubling of sax and synth at this point.
I can’t believe we’re 10 minutes into the track by now. Electric violins add to the folksy sound followed by a guitar solo, nicely played with enthusiasm linked to an organ solo over a riff. Slightly bluesy followed by the lovely unison sax and synth. There’s also a great rumbling bass line under all this. Lots of textures going on. Very full. Another rousing chorus, but this time decorated.
Sax solo over a riff. The ship is well under way now. Again, Guy is letting the music tell the story. I think this is a great idea. A link takes us to a synth over the top of some musical stabs. It almost sounds like the sea is getting rougher because the music isn’t as smooth as it was.
Then this lovely riff which reminds me of Jethro Tull big time. Especially with the flute swoops. (Almost sounds like sailors pulling ropes) Guy describes what they can see from the boat punctuated by this lovely riff. The captain pulls against the tide. Another chorus in harmony, talking about crashing waves and rocks and that riff. The way of life and references to the dangers with their children lying asleep on shore. Now the music is more animated so you kind of know that they’re out on open sea.
Power chord on guitar, choir – a bit more power going on now. Punctuated by short drum bursts and lots of sounds going in and out of the mix. Lead synth takes over followed by guitar. You can hear the power of the sea and suddenly –
It drops. The sea has gone totally still. An edgy ostinato on an electric piano consisting of two notes. You can hear something is up and the ostinato gets played over and developed. This part is modal and has string sounds in it. There is a violin solo with ‘squidgy’ sounds underneath and this ostinato pattern. The melody has a strange interval in it so sounds slightly uncomfortable but I think it’s something to do with the story. The ostinato is totally on its own. Very nervy.
Rumbles and a storm. Slightly heavier sounding. Two power chords answered in the left and right stereo. Over the top a great organ and electric guitar dialogue with the sound of rain. The boat is in a storm. Thunder sounds and the texture clears to allow you to really hear the rain sounds before going into another riff. Again, Guy is letting the music tell the story.
25 minutes and it seems like so much less!! Rain on its own followed by a quiet piano riff and the music changes to the major mode and an off beat pedal. A G minor chord with the choir lets you know something is amiss. This is using an old English music trick of using a major and minor chord in the same sequence. (D major and minor)
Guy describes the devastation with men clinging to the wreckage. I love his voice here. It is so like Jethro Tull. There is a gorgeous heart wrenching chorus about waiting for the wind. This sounds so tragic – especially as they are so close to shore. Flute solo takes over with a cello and a kind of Clavichord sound. (Very old fashioned and tudorish sounding)
Major key with some hope and a surge below with a rising tide. The sailors seeing the lights from shore.
They are washed with the tide towards home. Reflecting the opening ‘Coming Home’ they sing ‘Going Home’. The major scale theme returns with the choir and there is hope again in the music. This track is full of description and washes of sound. If you can get past the production quality, there is some really good descriptive and heart felt music here. Auld Lang Syne appears; a bit corny but there is genuine relief for the sailors. I feel for Guy with the absence of a full orchestra. This piece is crying out for a big orchestra in order to produce the big ‘sweeps’ of sound that he produces in this song. For me, it’s interesting compositionally. I would love to arrange it if I could get the resources. For me it’s quite a touching song but shows where Guy is trying to get by with a lack of resources so common to the guys who work in this field.
That’s just track 1!!!
The thing is, this is English prog and it hasn't got the aggression or heaviness of American prog. It doesn't try to be flashy. It's good honest picture painting with a sense of English gentlesness; even in the storm that is really lovely.
I would have loved to have heard this with a full live orchestra because it's crying out for it. (Or at least top quality samples) For me, it has tinges of Mike Oldfield, Jethro Tull (especially vocally) and Rick Wakeman in it's story telling. It's kind of epic and could be fully developed into something huge and orchestral.
|
|
|
Post by hellediemagnussen on Jan 9, 2011 16:25:21 GMT
Wow its an amazing album/song. Just heard it in The European Perspective (top 10 album episode) Will defenitely hear it again!! Have you heard the episode btw? I have heard the Haken album some times now - read about it here: www.dprp.net/reviews/index.php . So much music - so little time. I think I am gonna listen a lot to this podcast. Good trivia as well. Now i know why I liked the drumming from the Philidelphia experiment - it's the drummer from Spocks beard Thank you for tuning me in to this podcast!!
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jan 9, 2011 17:49:24 GMT
It's a great podcast - a bit variable with content but a good listen. Wilf is the guy who answered me here in RG when I mentioned the 'Big Red Spark' (He's on it in the form of a voice). Guy Manning emailed me when he saw my review.
Actually, he's very prolific and extremely talented. I only feel sorry that he couldn't get real strings or better samples for the album, but that's because I work in keyboards and samples etc myself!!
Talking f synths and samples. I heard an excellent remake of Tarkus today and I just wish I could work out who it is. It is really lovely on modern synths. A really good piece that Kieth Emerson and co produced way back. This recording was really good.
I'm going to have a look for it.
|
|
|
Post by hellediemagnussen on Jan 10, 2011 20:19:49 GMT
It's a great podcast - a bit variable with content but a good listen. Wilf is the guy who answered me here in RG when I mentioned the 'Big Red Spark' (He's on it in the form of a voice). Guy Manning emailed me when he saw my review. Actually, he's very prolific and extremely talented. I only feel sorry that he couldn't get real strings or better samples for the album, but that's because I work in keyboards and samples etc myself!! Talking f synths and samples. I heard an excellent remake of Tarkus today and I just wish I could work out who it is. It is really lovely on modern synths. A really good piece that Kieth Emerson and co produced way back. This recording was really good. I'm going to have a look for it. Sounds interesting I just listent to the episode 100.1 - a lot of good music, but the quality isn't always in top. But you get to listen to a lot of music you never would have heard of. It's great I really dont know the emmerson lake crew. What headphones do you use when you listen to prog - the k701??
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jan 10, 2011 21:54:00 GMT
At home, I use the Senn HD650 on podcasts like this. Adds weight and smooths over any rough edges.
Mobile, I use the HD25 pro or Klipsch X10 or wandering around the house, a Portapro. If the telly's on and I'm listening I use Beyer DT770 pro.
Just depends how the mood takes me to be honest.
|
|
|
Post by hellediemagnussen on Jan 11, 2011 9:43:59 GMT
At home, I use the Senn HD650 on podcasts like this. Adds weight and smooths over any rough edges. Mobile, I use the HD25 pro or Klipsch X10 or wandering around the house, a Portapro. If the telly's on and I'm listening I use Beyer DT770 pro. Just depends how the mood takes me to be honest. Do you use the 650's with the panda? I have heard it pretty much on the go with the ath m-50's. They are okay for that,
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jan 11, 2011 11:45:04 GMT
I use both the HD650 and the K701 on the Panda. Both work really well with different presentations.
If I'm honest, I love the bass weight and attack of the HD650. I know that some people think they''re fat and bloated etc, but I find them to be very fast and punchy.
The K701 is more analytical and is a good match with the Panda. You get more bass slam from them via this amp.
However, My preference (I think) is the familiarity and warmth of the HD650. If I want less warmth, I tend to use the HD600.
It also depends on what I'm listening to as well though.
|
|
|
Post by hellediemagnussen on Jan 11, 2011 13:18:20 GMT
I use both the HD650 and the K701 on the Panda. Both work really well with different presentations. If I'm honest, I love the bass weight and attack of the HD650. I know that some people think they''re fat and bloated etc, but I find them to be very fast and punchy. The K701 is more analytical and is a good match with the Panda. You get more bass slam from them via this amp. However, My preference (I think) is the familiarity and warmth of the HD650. If I want less warmth, I tend to use the HD600. It also depends on what I'm listening to as well though. Cool. I thought you only listened to the 701 . But I like the 650 as well for this genre. Have you tried any of the Grado models for prog? A lot of people believe its the best can for rock/prog. I haven't listent to other Grado cans than s60 i think. Thought the "comfort" was rubbish. So they have never been of my interest. But recently they have caught my attention.
|
|
Nigel
Been here a while!
Watching over Gotham City keeping us safe
Posts: 2,064
|
Post by Nigel on Jan 11, 2011 23:50:46 GMT
I used to use the Grado SR225's for listening & thought they were decent but had concerns about going deaf in the long run.
|
|
|
Post by hellediemagnussen on Jan 12, 2011 8:45:12 GMT
I used to use the Grado SR225's for listening & thought they were decent but had concerns about going deaf in the long run. Hehehe... What are you using now then?
|
|
Nigel
Been here a while!
Watching over Gotham City keeping us safe
Posts: 2,064
|
Post by Nigel on Jan 12, 2011 11:03:59 GMT
First choice would be listening through the loudspeakers but when it gets late in the evening I use the AKG K1000.
|
|
|
Post by hellediemagnussen on Jan 12, 2011 13:57:25 GMT
First choice would be listening through the loudspeakers but when it gets late in the evening I use the AKG K1000. I have to try them one day
|
|
|
Post by guym on Mar 2, 2014 9:09:58 GMT
"A big, slightly balding fella with a lisp!" Could you make me sound any more attractive I agree overall about the production thing...sadly its not my strength (I am a song writer really) and I get no budget from the record label to help me out in that department...so I carry on regardless...brave or foolhardy...who knows? Glad you like the songs though...that is the main thing for me! ...and NO (for those that asked) I was NOT the Main singer in the Tangent and I left the band because I felt they did not need me anymore and I had my own things to do
|
|