a certain amount of paranoia is useful, I guess, when the official story smells fishy and you're looking for more likely alternative stories...
like wingrove pollard in William Gibson's "pattern recognition"...
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She remembers her father's views on paranoia.
Win, the Cold War security expert, ever watchful, had treated paranoia as though it were something to be domesticated and trained. Like someone who'd learned how best to cope with chronic illness, he never allowed himself to think of his paranoia as an aspect of self. It was there, constantly and intimately, and he relied on it professionally, but he wouldn't allow it to spread, become jungle. He cultivated it on its own special plot, and checked it daily for news it might bring: hunches, lat-eralisms, frank anomalies.
Is Prion's presence on this plane a frank anomaly?
Only, she decides, if she thinks of herself as the center, the focal point of something she doesn't, can't, understand. That had always been Win's first line of defense, within himself: to recognize that he was only a part of something larger. Paranoia, he said, was fundamentally egocentric, and every conspiracy theory served in some way to aggrandize the believer.
But he was also fond of saying, at other times, that even paranoid schizophrenics have enemies.
That's terrible... but let's see what Morgon brings... and I'll tighten up that guitar, if anxiety and hopelessness doesn't paralyze me totally today.
well now, I didn't post that song as a reflection on your version of "left behind"... I just liked the song and it seemed to fit into the thread somehow ..."entropy", "running out of energy", alternative narratives of 9/11 and whatnot...
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maybe I was wrong... or maybe your paranoia has slipped its leash again
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sousaphone? ...hell, try anything... if it works, keep it
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Last edited by flickervetigo; 03-17-2015 at 01:30 AM.
I'd love some more live instruments - guitars are covered, bass and drums will do for now... trombone? Fiddle? A trombone that toots roots and fifths would go a long way... the fiddler may be drunk... noodling away and back again... for some reason, I can hear horns on this one... like a slow marching funeral blues band, old school.
I always liked Sixteen Tons with CCS... you could do something like that, too... that'd be massively cool... again, you'd need the horns. Or maybe not...
This is a pretty "filled up" mix as it stands - not too sure there's much room for any additional "parts" without it getting very busy, however......
IF someone were wanting to contribute... and IF said someone didn't know wtf he was doing as far as adding a track, because he had never done any type of online collaboration - being an old fart from R to R days, and who tends to be a hermit; what kind of instructions do you suspect might be helpful to this person as far as uploading said track, etc., in order that he could, IF he was so inclined, add a track of, say... well, you just may have to wait and see.
Would this person record along, then somehow upload just the newly recorded track, or what? That is, IF he were so inclined?
to clear up any possible misunderstanding, that poem "the second coming" that opens with the falcon and falconer was written by an irish poest, William butler yeats, in 1919...
the interesting part is when you consider that, until then or shortly before. the enforcement arm of the brit empire, the brit navy, had been fueled bybrit coal, but their coal production had peaked in 1913... and besides that, oil was a better buel for warships, anyhow
in 1918, the brits declared their intention to sponsor a jewish state in Palestine... this intention is called "the balfour declaration", and it was int he form of a letter to lord Rothschild in1918...
apparently the brits figured they'd reinforce their foothold in the middle east oil patch by starting a jewish colony in Palestine
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this is another case where it's really hard to tell how paranoid to be, isn't it? ...but you got to wonder about the "rough beast" yeats saw slouching towards bethlehem
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@Jorgen...
you seem to be making headway, at least to my ears
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Last edited by flickervetigo; 03-17-2015 at 06:12 PM.
This is a pretty "filled up" mix as it stands - not too sure there's much room for any additional "parts" without it getting very busy, however......
IF someone were wanting to contribute... and IF said someone didn't know wtf he was doing as far as adding a track, because he had never done any type of online collaboration - being an old fart from R to R days, and who tends to be a hermit; what kind of instructions do you suspect might be helpful to this person as far as uploading said track, etc., in order that he could, IF he was so inclined, add a track of, say... well, you just may have to wait and see.
Would this person record along, then somehow upload just the newly recorded track, or what? That is, IF he were so inclined?
No layers... counter-point, I'd say... I use key pads from the start to keep track of the changes/harmony, and to give me something to pitch against, when I lay down the audio...
I was thinking barrel house, or New Orleans style, laid back, a little drill here and there, steady as she goes... the song has a strong 2/4 feel right now, I suggest you add to it, make what's already there more pronounced... your style would be perfect, I think.
edit - for mixing, naturally, a single file containing piano is preferable.
Now, coolest would be if real keys could replace my programming, but stick to what they play/my programming/arrangement... says I, demon-producer... but feel free to do whatever you see fit. Experiment.
And I got a really cool idea for the solo round... Morgon, you around? The three of us could do something pretty neat, taking turns or something... display a little solo from each player... just need some organizing, no probs. How about that?
edit agin - regarding uploading for sharing, I've been using drop-box, which seems to be pretty common these days, and I've had no problems with it. You have to download and install the thing, but it's pretty straightforward to use. Or you could zip the (raw) file and mail it to me... we'll see, no probs.
I redid that solo [rapture] mentioned before, will post it tomorrow, atm its alongside the gtr intstrumental part thats already there.
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With Prudence Id been working 2 different project files until yesterday, combined them, its going well I think, its like Karbo says about the most of the tracking gets done way faster than the finishing.
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If FV is reading this Ive redone the rhythm gtr trk for Lord what a morning and fixed the lead track quite a bit that I'll soon send to Hamish, the new rhythm track sounds way better with an appropriate feel and no clashing of notes, a big step in the right direction at least.
Cool runnings. This one - Rapture - needs more voices, fx-voices during the solo... imo... some muttering will do... sounds, noises... Or something more elaborated, something funny, just some small thing. Something human. Something Lennon could think of doing...? "And that was the end of the world news"...?
Sam, flicker, you're welcome to try out your harmonies... or anything.
Yeah, I hear you... question is, will it work with the accordion? Maybe. I could take out my part, it was never supposed to be anything else than a filler scratch thing, anyways... but the accordion sounds good with it... ah, what to do...? Well, you get it on, and I fix it in the mix... hohoho... nobody will know.
Just listened RMs solo, its ace! Yes of course I would keep that as it is, its a full on solo and solo means solo. I would paste my gtr solo further on after another verse/chorus or two.
We'll see... sometimes, I have a feeling that the small details escape me... the ear candy... the funny stuff, hand-claps, finger-snaps, noises, voices... I like those sorts of things, but never come round implementing them.
Just listened RMs solo, its ace! Yes of course I would keep that as it is, its a full on solo and solo means solo. I would paste my gtr solo further on after another verse/chorus or two.
Didn't see this... okay, let's try it. Can you send me a file, and I paste it in, see what happens. And yeah, the accordion is fab.
edit - I leave it up to you - I've listened back a bit, and the accordion puts a nice ending to it. Putting a solo there afterwards may or may not work, but I don't miss it... so to speak.
It occurred to me that I could make the gtr solo two gtrs each with their own sound, panned left and right in the call and response manner, the phrases lend themselves to that approach, I could do that pretty quickly tomorrow [late pm here atm] and send both versions...
Now I didn't see this... this forums updates like I don't know what... sure, why not? Still, I feel the ending is fine... but it sounds like a cool idea - what if we could use the git along with something else - the last verse? The accordion makes a really nice build-up, upwards in the register, you did something similar in your solo...?
RM, I have to redo my second guitar to better match your stuff - a few things here and there... hope Flicker is pleased so far. You're a hell of a player. I'm practically born and raised on popular accordion/harmonium music... it was THE pop and dance music before Elvis and all that... instrumental, naturally, equilibrists in an entertaining way, big heroes of their times... it held out, or lasted, until the early 1970's. The wheels of time.
RM, I have to redo my second guitar to better match your stuff - a few things here and there... hope Flicker is pleased so far. You're a hell of a player. I'm practically borne and raised on popular accordion/harmonium music... it was THE pop and dance music before Elvis and all that... instrumental, naturally, equilibrists in an entertaining way, big heroes of their times... it held out, or lasted, until the early 1970's. The wheels of time.
Wellll... thanks there, Jorg. Apologies for the schloppiness - fingers ain't what they used to be (neither is the brain, for that matter).
Did you use "Flicker" and "Pleased" in the same sentence!?!
Upon re-listening today, sounds like I may have taken a slight left turn into Tex-Mex. Ah, well... at this rate we'll all end up as Jorgen Sandberg and the Texas Playboys. I gotta' warn you guys, though - my "on the road" days are over. Studio only!
... Tex-Mex. Ah, well... ....Jorgen Sandberg and the Texas Playboys...
no horns yet... horns would fit, I guess, with the tex/mex... or they could be de-tuned to sound like a salvation army band... we got heavy metal guitar... or we could add fiddles and wind up with a klezmer classic... that'd be good
...or maybe not so good, after all
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somebody's got to emake up their mind where this damn thing is going
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Last edited by flickervetigo; 03-19-2015 at 03:33 PM.
what is this video about? ...in the context of "left behing blues" and our discussion here?
the song itself is kind of a run-of-the-mill love song... run-of-the-mill except for ariana's voice, face and haunches...
again, it's hard to tell how paranoid to be... is this song a deathwish Christian recruiting tool?
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it gets pretty complicated when you find out ariana rejected Catholicism because the pope wont back down on his anti-homosexual stance... ariania's borther apparently being gay
so instead of switching to some brand of Christianity that toerates homosexuality, she becomes a student of kaballah...
Wellll... thanks there, Jorg. Apologies for the schloppiness - fingers ain't what they used to be (neither is the brain, for that matter).
Did you use "Flicker" and "Pleased" in the same sentence!?!
Upon re-listening today, sounds like I may have taken a slight left turn into Tex-Mex. Ah, well... at this rate we'll all end up as Jorgen Sandberg and the Texas Playboys. I gotta' warn you guys, though - my "on the road" days are over. Studio only!
You're welcome! Guess we need to re-think our driving-schedule - I don't have I license, but you just show me the ropes... Now, I have dug up a few bass trombone samples - let's see if I can build an instrument in rs5000 - I believe I tried that some time ago, didn't go too well, but it should be doable, right? Only 4 or five samples.
Come on, I know there are horn players around - just do something for the last two rounds, after the solo... just follow RM's playing in form/intensity, enhance what's there. Even if you just stick to roots and fifth's or move along with the bass or whatever... Please? Let's experiment.
Or - omg, wet dream, a jazzy flute. Flowing free. Or muted trumpet. AFTER the solo. And out.