By Peter J. Silvester
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Pavement wrapped up at Easley Recording in Memphis. They combined the tracks and recorded overdubs in manhattan. They took a step again and assessed the cloth. It used to be a wild scene. that they had totally fleshed-out songs and whispers and rumors of half-formed ones. that they had songs that a hard-to-gauge inner common sense.
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Additional info for A Left Hand Like God: Study of Boogie-woogie
Of course, covering of musical materials is a long-standing tradition which was not invented solely for disco medleys like Stars on 45: For example, when Mozart's Marriage of Figaro was presented in Prague in 1786, local buskers quickly produced their own arrangements of the popular arias. 33 There are a host of examples of audio re-purposing, from Caruso's 1907 recordings re-mastered with a new orchestral backing (c. 1930), through Elvis re-made for art in James Tenney's Collage #1 (“Blue Suede”) (1961), The Adventures of Grandmaster Flash on the Wheels of Steel (1981), Martin Rushent's obsessive remixing project for The Human League Unlimited Orchestra (1982) (2,200 main edits and 400 small edits for repetition effects),34 or Jive Bunny's grossly commercial samplings.
26– III. Title. 7 – dc23 2012050086 ISBN 978-1-107-01093-2 Hardback ISBN 978-1-107-64817-3 Paperback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Contents List of illustrations List of tables Acknowledgments Chapter 1 Introduction Chapter 2 Recording technologies and music Chapter 3 New sounds and new instruments: Electronic music up until 1948 Chapter 4 The post-war sonic boom Chapter 5 From analog to digital Chapter 6 Into the mainstream Chapter 7 Synth pop Chapter 8 Electronic dance music Chapter 9 Continuing the classical?
In a 3 May 1932 editorial for the New York Times, “Stokowski Testing Singerless Opera,” the conductor observes that the soprano “may sing like a nightingale, but she looks like an elephant…Electricity will change her. We can take her voice and record it on a disk. Then we can select a beautiful lady who really may be accepted by the audience for a Venus. ”40 Lip-syncing and other dishonesties have come home to bite many times since, from the Monkees to Milli Vanilli, and now into the age of Auto-Tune.
A Left Hand Like God: Study of Boogie-woogie by Peter J. Silvester