Hear ‘Louder Than Words,’ Pink Floyd’s New Song on What’s Likely Their Last Album

louder than words

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On Novem­ber 10, Pink Floyd will unveil The End­less Riv­er. And, above, you can hear ‘Loud­er Than Words,’ the first track released from the album. It’s the only vocal track on an oth­er­wise instru­men­tal LP.

The End­less Riv­er is the band’s first album since 1994’s The Divi­sion Bell. And it’s appar­ent­ly going to be their last. In the sec­ond clip record­ed by the BBC, David Gilmour talks about the con­cept behind The End­less Riv­er, how they wrote “Loud­er Than Words,” and how, espe­cial­ly with the death of key­boardist Richard Wright, it’s going to be their last cre­ative effort. “I think we have suc­cess­ful­ly com­man­deered the best of what there is. I sus­pect this is it.”

The End­less Riv­er can be pre-ordered on Ama­zon or iTunes.

via Ulti­mate Clas­sic Rock/Rolling Stone

Relat­ed Con­tent:

Hear Lost Record­ing of Pink Floyd Play­ing with Jazz Vio­lin­ist Stéphane Grap­pel­li on “Wish You Were Here”

Pink Floyd’s David Gilmour Sings Shakespeare’s Son­net 18

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Watch Pink Floyd Play Live in the Ruins of Pom­peii (1972)

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John Lennon’s Solo Albums Now Streaming for Free on Spotify

double fantasy

I heard the news today oh boy…

As of today, eight John Lennon solo albums (and three Lennon com­pi­la­tions) are stream­ing for free on Spo­ti­fy. Here are the links to the albums: John Lennon/Plastic Ono Band (1970); Imag­ine (1971); Some­time in New York City (1972); Mind Games (1973);  Walls and Bridges (1974) Rock N Roll (1975); Dou­ble Fan­ta­sy Stripped Down (1980) ; Milk and Hon­ey (1984). Com­pi­la­tions include Gimme Some Truth, Sig­na­ture Box (find below), and Pow­er to the Peo­ple.  If you haven’t already, you’ll will need to down­load and reg­is­ter with Spo­ti­fy to play the music.

 

Image above by Jack Mitchell.

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Relat­ed Con­tent:

John Lennon’s Raw, Soul-Bar­ing Vocals From the Bea­t­les’ ‘Don’t Let Me Down’ (1969)

Hear John Lennon Sing Home Demo Ver­sions of “She Said, She Said,” “Straw­ber­ry Fields For­ev­er,” and “Don’t Let Me Down”

The Last Time Lennon & McCart­ney Played Togeth­er Cap­tured in the Boot­leg A Toot And a Snore in ’74

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Bruce Springsteen Plays East Berlin in 1988: I’m Not Here For Any Government. I’ve Come to Play Rock

And you thought Ronald Rea­gan sin­gle-hand­ed­ly brought down the Berlin Wall and end­ed the Cold War with his “Tear Down This Wall Speech” in 1987…. Well, a few oth­er things hap­pened before the wall final­ly came down two years lat­er, includ­ing Mikhail Gorbechev’s reforms, the protests of the East Ger­man peo­ple, and that whole nuclear arms race thing. But if we’re look­ing for anoth­er famous Amer­i­can to cred­it for reuni­fi­ca­tion, we should look to Bruce Spring­steen, who in July of 1988—one year after the aged Gip­per issued his famous com­mand to the Sovi­et President—played an out­door con­cert to 300,000 East Ger­man fans, “while mil­lions more,” reports The Guardian, “watched the shaky and dis­tort­ed trans­mis­sion on state tele­vi­sion.”

Spring­steen played 32 songs in an epic four-hour per­for­mance. But which song was it that sent the Wall crum­bling one year lat­er? Was it, per­haps, “Born in the U.S.A.” (top)—the song about a bit­ter, dis­en­fran­chised Viet­nam vet that the G.O.P. mis­took for a patri­ot­ic anthem?

More like­ly it was his cov­er of Bob Dylan’s “Chimes of Free­dom” (above). Before that song, writes The Guardian, Spring­steen gives “a pas­sion­ate speech, deliv­ered in a creaky but under­stand­able Ger­man.” “I’m not here for any gov­ern­ment,” he says, “I’ve come to play rock ‘n’ roll for you in the hope that one day all the bar­ri­ers will be torn down.” It could just as well have been “Promised Land” (below) that tore down that wall, or maybe “Cadil­lac Ranch”….

Sure, I’m being face­tious, but the con­cert did have sig­nif­i­cant after­ef­fects. His­to­ri­an Gerd Diet­rich remarks that “Springsteen’s con­cert and speech cer­tain­ly con­tributed in a large sense to the events lead­ing up to the fall of the wall.” Thomas Wilke, an “expert on the impact of rock and pop music in East Ger­many,” com­ments, “there was clear­ly a dif­fer­ent feel­ing and a dif­fer­ent sen­ti­ment in East Ger­many after that con­cert.” The sen­ti­ment, says Diet­rich, was an even greater desire for change. The Spring­steen con­cert “showed peo­ple how locked up they real­ly were.”

In this respect, it had exact­ly the oppo­site effect that the East Ger­man lead­er­ship intend­ed. Evi­dence from the Stasi archives tells us it was sup­posed to “assuage the country’s youth,” who were “still reel­ing” from the beat­ings they’d received from police the pre­vi­ous year when they’d tried to lis­ten in on David Bowie and the Eury­th­mics play­ing just over the Wall in the West. The Spring­steen con­cert, by con­trast, was delib­er­ate­ly sit­u­at­ed “in the depths of East Berlin,” far from the bor­der, to pre­vent “an impromp­tu rev­o­lu­tion.” So much for appease­ment.

So, were Rea­gan and Spring­steen work­ing togeth­er? Unlike­ly. Reagan’s attempt to co-opt “Born in the U.S.A.” for his 1984 re-elec­tion cam­paign may have, in fact, acti­vat­ed Springsteen’s latent lefty consciousness—or at least that’s what Pro­fes­sor Marc Dolan argues in the short video above and in this Politi­co essay. But even if the Pres­i­dent and the Boss took dif­fer­ent routes polit­i­cal­ly, there were “unde­ni­able sim­i­lar­i­ties” between them.

Both men liked to talk a lot to their audi­ences about free­dom, and both tend­ed to define that free­dom in terms of the agency of the indi­vid­ual. Both men instinc­tive­ly dis­trust­ed struc­tures and insti­tu­tions, pre­cise­ly because they saw them as lim­it­ing indi­vid­ual free­dom.

In that respect, they were the per­fect rep­re­sen­ta­tives of the U.S. East Ger­mans imag­ined, whether try­ing to hear Michael Jack­son through a wall of troops sta­tioned in front of the con­crete behe­moth that kept the West out, or wav­ing home­made Amer­i­can flags while Max Wein­berg pound­ed out the rous­ing drum­beat that announces “Born in the U.S.A.” Remem­ber­ing the con­cert years lat­er, Spring­steen said, “Once in a while […] you play a show that ends up stay­ing inside of you, liv­ing with you for the rest of your life. East Berlin in 1988 was cer­tain­ly one of them.”

Relat­ed Con­tent:

Bruce Spring­steen and Pink Floyd Get Their First Schol­ar­ly Jour­nals and Aca­d­e­m­ic Con­fer­ences

Heat Map­ping the Rise of Bruce Spring­steen: How the Boss Went Viral in a Pre-Inter­net Era

Bruce Spring­steen Stumps/Sings for Oba­ma: A Free Six-Song Set

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness.

Bill Murray Sings the Poetry of Bob Dylan: Shelter From the Storm

We’ve shown you Bill Mur­ray in full-blown lit­er­ary mode, read­ing long pas­sages from Huck Finn and poems by Wal­lace Stevens, Bil­ly Collins and Emi­ly Dick­in­son. (My favorite is the poet­ry read­ing at the con­struc­tion site.) Now it’s time to add Bob Dylan to that list. And, why not? Dylan is the undis­put­ed “poet lau­re­ate of rock ’n’ roll.” Who would argue with that?

The poem recit­ed — or rather mut­tered in Mur­ray’s inim­itable style — is “Shel­ter from the Storm,” found on Dylan’s 1975 album, Blood on the Tracks. The scene comes from the film “St. Vin­cent,” which you can find in the­aters on Octo­ber 10. “Shel­ter from the Storm” begins:

’Twas in anoth­er life­time, one of toil and blood
When black­ness was a virtue and the road was full of mud
I came in from the wilder­ness, a crea­ture void of form
“Come in,” she said, “I’ll give you shel­ter from the storm”

And if I pass this way again, you can rest assured
I’ll always do my best for her, on that I give my word
In a world of steel-eyed death, and men who are fight­ing to be warm
“Come in,” she said, “I’ll give you shel­ter from the storm”

Read along with the full poem here.

Relat­ed Con­tent:

Bob Dylan Reads From T.S. Eliot’s Great Mod­ernist Poem The Waste Land

Bill Mur­ray Gives a Delight­ful Dra­mat­ic Read­ing of Twain’s Huck­le­ber­ry Finn (1996)

Bill Mur­ray Reads Great Poet­ry by Bil­ly Collins, Cole Porter, and Sarah Man­gu­so

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

Musician Shows How to Sing Two Notes at Once in Mesmerizing Video

Anna-Maria Hefele, a musi­cian based in Munich, has an unusu­al tal­ent. She can sing two notes at once. In the music world, it’s known as poly­phon­ic over­tone singing, and it’s believed that the prac­tice orig­i­nat­ed and still endures in Mon­go­lia. Above, Hefele offers a pret­ty cap­ti­vat­ing five-minute dis­play of her tech­nique. On her YouTube chan­nel, you can also find a series of lessons (sev­en so far) where Ann-Maria teach­es you the basics of poly­phon­ic over­tone singing here. Find the lessons here. Enjoy!

via io9

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Hear the Nazi’s Bizzaro Propaganda Jazz Band, “Charlie and His Orchestra” (1940–1943)

As you might expect from a vicious polit­i­cal move­ment front­ed by a frus­trat­ed illus­tra­tor, the Nazi par­ty had a com­pli­cat­ed­ly dis­dain­ful yet aspi­ra­tional — and need­less to say, unceas­ing­ly fas­ci­nat­ing — rela­tion­ship with art. We pre­vi­ous­ly fea­tured their philis­tine grudge against mod­ernism that led to the “Degen­er­ate Art Exhi­bi­tion” of 1937, their mega-bud­get pro­pa­gan­da film on the Titan­ic dis­as­ter that turned into a dis­as­ter itself, and their con­trol-freak list of rules for dance orches­tras. The Nazis, as you might expect, did­n’t much care for jazz, or at least saw some polit­i­cal cap­i­tal in open­ly denounc­ing it. Yet it seems they also saw some in embrac­ing it, turn­ing the quin­tes­sen­tial­ly free art form toward, as always, their own pro­pa­gan­dis­tic pur­pos­es. What if they could come up with their own pop­u­lar jazz band and, using long-dis­tance short- and medi­um-wave broad­cast sig­nals, turn the Allies’ own music against them? Enter, in 1940, Char­lie and His Orches­tra. Anoth­er Joseph Goebbels cre­ation.

“The idea behind the Nazis’ Char­lie cam­paign,” writes the Wall Street Jour­nal’s Will Fried­wald, “was that they could under­mine Allied morale through musi­cal pro­pa­gan­da, with a spe­cial­ly devised orches­tra broad­cast­ing mes­sages in Eng­lish to British and Amer­i­can troops.” The groups’ fea­tured singer, “Char­lie” him­self (real name: Karl Schwedler), would sing not just “irre­sistible” jazz stan­dards but ver­sions with anti-British, ‑Amer­i­can, and ‑Semit­ic lyrics. You can hear much of their cat­a­log in the clips here, includ­ing what Fried­wald cites as their “weird­est record­ings”: “Irv­ing Berlin’s ‘Slum­ming on Park Avenue,’ in which Schwedler, por­tray­ing a British pilot with a mock-Eng­lish accent, sings ‘Let’s go bomb­ing!’ ” and “So You Left Me for the Leader of a Swing Band” refash­ioned as “So You Left Me for the Leader of the Sovi­ets.” Ulti­mate­ly, not only did the out­side world prove to have bet­ter taste than the Nazis, their own fight­ers did too: “Not only did the Char­lie project fail to con­vert any Allies to the oth­er side, but even Ger­many’s own troops could­n’t bring them­selves to take Nazi swing seri­ous­ly.” It don’t mean a thing if it ain’t got that swing, I sup­pose — and Char­lie and his Orches­tra def­i­nite­ly did­n’t have it. More audio sam­ples can be heard over at WFMU.

via WSJ

Relat­ed Con­tent:

The Nazis’ 10 Con­trol-Freak Rules for Jazz Per­form­ers: A Strange List from World War II

The Nazi’s Philis­tine Grudge Against Abstract Art and The “Degen­er­ate Art Exhi­bi­tion” of 1937

Titan­ic: The Nazis Cre­ate a Mega-Bud­get Pro­pa­gan­da Film About the Ill-Fat­ed Ship … and Then Banned It (1943)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Electric Guitars Made from the Detritus of Detroit

When Frank Nor­ris plays a gui­tar made by Wal­lace Detroit Gui­tars, he says it “feels like home.” And maybe that’s because Wal­lace Detroit Gui­tars are made with reclaimed wood from aban­doned Detroit homes.

Fol­low­ing the finan­cial cri­sis of 2008, per­haps no Amer­i­can city fared worse than Detroit. The city found itself with 10,000 vacant homes. And even­tu­al­ly the city pur­chased entire blocks and razed the hous­es to the ground. Accord­ing to the Detroit web site Mod­el D, a lot of the wood [from these struc­tures] has­n’t gone to waste. The wood can be found, they write, in “trendy cof­fee hous­es, in table tops, even in the frames of sun­glass­es.” And now high-end elec­tric gui­tars.

Wal­lace Detroit Gui­tars just launched its new web site two days ago, and its first gui­tars, made of cen­tu­ry-old wood, can now be yours.

If you like play­ing gui­tars made of found objects, you might also want to check out anoth­er new com­pa­ny — Bohemi­an Gui­tars. They’ve start­ed build­ing elec­tric gui­tars made of vin­tage oil cans, tak­ing inspi­ra­tion from South African musi­cians who turn used mate­ri­als into playable instru­ments.

via Coudal

Relat­ed Con­tent:

Bri­an May’s Home­made Gui­tar, Made From Old Tables, Bike and Motor­cy­cle Parts & More

The Recy­cled Orches­tra: Paraguayan Youth Play Mozart with Instru­ments Clev­er­ly Made Out of Trash

Artist Ken But­ler Turns One Man’s Trash Into Anoth­er Man’s Quirky Stringed Instru­ment

Oxford Scientist Explains the Physics of Playing Electric Guitar Solos

You’ve heard it before. A pow­er bal­lad from the 1970s or 1980s is play­ing and there, smack in the mid­dle, is a face-melt­ing gui­tar solo that seems to go all over the place before blow­ing your mind with sheer awe­some­ness. Think Jimi Hen­drix. Think Eric Clap­ton. And espe­cial­ly think Eddie Van Halen. Unlike the piano, which can only play dis­crete notes, the gui­tar can, in the hands of some­one like Sir Eddie, bend notes. It’s a qual­i­ty that recalls the human voice, and it’s most like­ly what has made the elec­tric gui­tar the go-to instru­ment for pop­u­lar music over the past 50 years.

Enter Dr. David Grimes of Oxford Uni­ver­si­ty. While by day he might be work­ing out math­e­mat­i­cal mod­els of oxy­gen dis­tri­b­u­tion to help improve can­cer treat­ment, by night he, too, likes to shred on his elec­tric gui­tar. So, at some point along the line, he decid­ed to apply a lit­tle sci­en­tif­ic rig­or to the instru­ment he loves. “I want­ed to under­stand what it was about these gui­tar tech­niques that allows you to manip­u­late pitch,” he said in an inter­view.

In the name of sci­ence, Grimes was forced to make some pret­ty bru­tal sac­ri­fices. “I took one of my old­est gui­tars down to the engi­neer­ing lab at Dublin City Uni­ver­si­ty to one of the peo­ple I knew there and explained that I want­ed to strip it down to do this exper­i­ment. We had to accu­rate­ly bend the strings to dif­fer­ent extents and mea­sure the fre­quen­cy pro­duced. He was a musi­cian too and looked at me with abject hor­ror. But we both knew it need­ed to be done – We put some nails into my gui­tar for sci­ence.’

Grimes end­ed up writ­ing an aca­d­e­m­ic paper on the top­ic called “String The­o­ry — The Physics of String-Bend­ing and Oth­er Elec­tric Gui­tar Tech­niques.” “It turns out it’s actu­al­ly rea­son­ably straight­for­ward,’ said Grimes. “It’s an exper­i­ment a decent physics under­grad­u­ate could do, and a cool way of study­ing some basic physics prin­ci­ples. It’s also poten­tial­ly use­ful to string man­u­fac­tur­ers and dig­i­tal instru­ment mod­ellers.”

You can read Grime’s paper here or, if your idea of fun does not include wad­ing through a lot of com­plex equa­tions, you can watch the brief video pre­sen­ta­tion above on his research. And below is a ridicu­lous­ly sweet gui­tar solo from Van Halen. While you watch pon­der the total­ly awe­some physics involved.

via Oxford Uni­ver­si­ty

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

Relat­ed Con­tent:

Take First-Class Phi­los­o­phy Cours­es Any­where with Free Oxford Pod­casts

The Physics of Guin­ness Beer Demys­ti­fied

The (Beau­ti­ful) Physics of Adding Cream to Your Cof­fee

The Physics of Cof­fee Rings Final­ly Explained

The Physics of the Bike

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