Author Topic: "What are you listening to now"... take three... (Read 26881 times)

Gnu Ordure · « **Reply #696 on:** October 07, 2011, 10:29:09 AM »

Bert Jansch died a couple of days ago. So it goes.

As Wiki says: His work influenced such artists as Al Stewart, Paul Simon, Johnny Marr, Roy Harper, Bernard Butler, Jimmy Page, Nick Drake, Graham Coxon, Donovan, Neil Young, and Fleet Foxes.

This is a duet with John Renbourn from his second album in '65:

With Pentangle (and Renbourn again), inventing jazz-folk in '68:

From his first album:

And the opening song of that album, done by Nick Drake:

Gnu Ordure · « **Reply #697 on:** October 07, 2011, 10:57:30 AM »

In 1969 Jansch was going to sue Led Zeppelin for copyright infringement; he thought Jimmy Page had copied his arrangement of the traditional song Black Waterside off '68's Jack Orion and put it on Zeppelin's first album as Black Mountain Side.

His lawyers thought he had a case, but he didn't have the money to sue, so he dropped it. What do you reckon?

rev45 · « **Reply #698 on:** October 07, 2011, 02:32:59 PM »

Because I wish I could drum like this.

Timo · « **Reply #699 on:** October 07, 2011, 10:27:06 PM »

My old school partner's uncle (RIP) doing his thing.

Mr. Blackwell · « **Reply #700 on:** October 08, 2011, 12:15:27 AM »

Thank you Gnu. Never heard of Burt.

I sometimes wonder what kind of life I am providing for my kids. What kind of memories will they have?

kin hell · « **Reply #701 on:** October 08, 2011, 01:42:08 AM »

Quote from: Gnu Ordure on October 07, 2011, 10:57:30 AM

In 1969 Jansch was going to sue Led Zeppelin for copyright infringement; he thought Jimmy Page had copied his arrangement of the traditional song Black Waterside off '68's Jack Orion and put it on Zeppelin's first album as Black Mountain Side.

His lawyers thought he had a case, but he didn't have the money to sue, so he dropped it. What do you reckon?

..........definitely

I have just witnessed the law protect total scum blatantly ripping off a mate, knowing that he did not have the $ wherewithal to pursue justice in court, and is way too much of a nice guy for jungle justice measures.

How galling for Bert every time he'd hear that Led Zep track. I must say it's a bit disappointing to be introduced to this news given Led Zep definitely being minor deities in my mythology.

Gnu Ordure · « **Reply #702 on:** October 08, 2011, 06:16:12 PM »

Quote

I must say it's a bit disappointing to be introduced to this news given Led Zep definitely being minor deities in my mythology.

It's not that bad, kin. Reading more about it, the legal point was that Jansch didn't claim authorship of the song on his album - he attributed it as 'Traditional'. So he had no real basis for claiming copyright infringement...

But Page had a lot of problems with that album - he originally credited 'You Shook Me' to Willie Dixon alone, when it was co-written with JB Lenoir. And he credited 'Babe I'm Gonna Leave You' as 'Traditional, arranged by Page', when it was written only ten years previously by Anne Bredon. These errors were corrected in later editions.

It wasn't really his fault with regards to 'Babe I'm Gonna Leave You', as he learned it from a 1963 Joan Baez album, which also erroneously attributed the song as 'Traditional'.

Her (live) version is fairly awesome:

And Page's version:

Babdah · « **Reply #703 on:** October 08, 2011, 06:56:35 PM »

Black Sabbath \m/

Past the stars and fields of ANCIENT VOID
Thru the shields of darkness WHERE THEY FIND
Love upon a LAND A WORLD UNKNOWN
Where the sons OF FREEDOM MAKE THEIR HOME
Leave the EARTH TO SATAN AND? HIS SLAVES
Leave THEM TO THEIR FUTURE IN THEIR GRAVES
MAKE A HOME WHERE LOVE IS THERE TO STAY
PEACE AND HAPPINESS IN EVERYDAY

Gnu Ordure · « **Reply #704 on:** October 08, 2011, 08:30:28 PM »

Kin, Page did seriously mess up on the next album though. They took credit for 'Bring it on Home' for themselves, which was silly. Willie Dixon sued and won his case.

This is the Dixon version done by Sonny Boy Williamson in '66:

And Zeppelin in '69:

But while we're talking about Willie Dixon, he wrote some great songs, and played a mean bass. He wrote this for Muddy Waters (and does the bass on it):

The Doors' version of Dixon's Back Door Man, from their first album in '66:

Cream doing Spoonful, from their debut album, also in '66:

Jeff Beck's version of I Ain't Superstitious, from the '68 debut album of The Jeff Beck Group (can you spot a pattern here?):

Dixon wrote Diddy Wah Diddy for Bo Diddley. This is Captain Beefheart's version:

Written for Elmore James:

And the man himself on his double-bass:

(Sorry, got a little carried away there. But that's what music does...)

kin hell · « **Reply #705 on:** October 08, 2011, 11:45:36 PM »

thanks Gnu

I just lost myself in tangential trawling following online paths chasing the the different facets of your fantastic post

And don't ever apologise for passion about music bloke .........wonderful wonderful stuff.

And yes I can see a pattern, Willie Dixon obviously spent worthwhile time trading beside a crossroad,

truly amazing body of work.

What timing and influence, a true strange attractor between traditional blues sensibilities and r'n'r.

lotanddaughters · « **Reply #706 on:** October 09, 2011, 08:33:52 AM »

Quote from: Gnu Ordure on October 07, 2011, 10:57:30 AM

In 1969 Jansch was going to sue Led Zeppelin for copyright infringement; he thought Jimmy Page had copied his arrangement of the traditional song Black Waterside off '68's Jack Orion and put it on Zeppelin's first album as Black Mountain Side.

His lawyers thought he had a case, but he didn't have the money to sue, so he dropped it. What do you reckon?

From 4:15-4:33 sounds like the intro to "Ramble On". Is that Jansch getting revenge on Page by stealing Page's riff, or did Page rip that one off Jansch as well? Or, is that a traditional piece that they both decided to use?

curiousgirl · « **Reply #707 on:** October 09, 2011, 08:26:49 PM »

curiousgirl · « **Reply #708 on:** October 09, 2011, 08:39:25 PM »

curiousgirl · « **Reply #709 on:** October 09, 2011, 08:46:41 PM »

kaziglu bey · « **Reply #710 on:** October 09, 2011, 10:07:58 PM »

I am listening to Tyr, from the Faroe Islands. The song is Ormurin Langi, which means "The Long Serpent", and is about the cruel Christian king of Norway Olav Tryggvason, his mighty warship Ormurin Langi, and his defeat at the hands of Viking badass Eirik Hakonarsson. The lyrics are all in Faroese. Tyr are interesting because their leader, Heri Joensen, is openly Atheist while also showing a deep admiration for the pagan traditions of Europe.

Viljið tær hoyra kvæði mítt,
vilja tær orðum trúgva,
um hann Ólav Trygvason,
hagar skal ríman snúgva

Rustybeatz · « **Reply #711 on:** October 09, 2011, 11:11:59 PM »

Quote from: rev45 on October 07, 2011, 02:32:59 PM

Because I wish I could drum like this.

I love VaDrum! He has a great imagination when it comes to playing in odd meters, unorthodox drum songs, etc. He does some cool Dream Theatre covers, but I honestly like all things he does with theme show music, cell phone ring tones, and cartoon/video game music. The Super Mario tune is the best! Ahh, makes me want to go practice.

Timo · « **Reply #712 on:** October 10, 2011, 03:37:21 AM »

A surprisingly effective track on the off chance that anyone is DJing for over 30 crowds. Put this in your fast rap set. The fact that people probably won't know the record is utterly irrelevant.

And I, too wear the Prime Meridian around my wrist.

Timo · « **Reply #713 on:** October 10, 2011, 03:42:29 AM »

You can then cut to this one to make the cipher of dope white boy rap complete.

On a side note, I sometimes use the instrumental track of this record to teach children how to count bars. True story.

Timo · « **Reply #714 on:** October 10, 2011, 03:56:27 AM »

But forget not, my dear DJ, to play actual Old School rap in your damn throwback set. If possible though, try to avoid the obvious choice. Case in point, I know you might want to play Ego Trippin, but instead you should perhaps try:

But actually, Ego Trippin is never a bad choice. (Even if you're using it to interrupt a slow jam. It is, in fact, the jam...at least as far as I'm concerned.)

To anyone interested in the development of street slang, note the original, dare I say proper, use of the word "hellof" at around 2:10. I mean I love the Bay and I love my Bay Area people but you did not invent this word. It's an old Black contraction, not unlike "finna."

Peace