Michael's System

This is a great album with a interesting drum beat provided by Jay Bellerose using (quote)a "Slingerland Rolling Bomber kit, probably made in 1943 or 1944,” Bellerose says of his eye-catching vintage kit, which he played on Raising Sand “Because of the metal rationing during WWII, every drum company was forced to make a version of this kit. The lugs, lug casings, and rims are all made of rosewood, so it’s a very warm sound.

Indeed very warm sounding. I saw him live as previously posted using this kit here in Nashville with another group.

Michael, you are listening to many of my CDs this summer. All excellent choices.

well you guys know me

The last 18 or so hours has been goose pimples on-top of goose pimples, and now that I hear about the drum set, I'm literally getting chills, all in a good way.

I also didn't know that "Doc" wrote or co-wrote one of the songs, but more on those drums.

some info I'm now looking up to read

"If you caught Robert Plant and Alison Krauss on 2008’s Raising Sand tour, you couldn’t help but focus on the guy providing the heartbeat to the harmony-laden, roots-and-roll revue, Jay Bellerose. Not only was Bellerose’s drumming an inventive jumble of slinky grooves, tumbling fills, and graceful accents, his rig was a thing of ragtag beauty, from the vintage tubs on down to the shakers strapped to his ankles.

“The set was a Slingerland Rolling Bomber kit, probably made in 1943 or 1944,” Bellerose says of his eye-catching vintage kit, which he also played on the Raising Sand record. “Because of the metal rationing during WWII, every drum company was forced to make a version of this kit. The lugs, lug casings, and rims are all made of rosewood, so it’s a very warm sound.

Bellerose describes 2008 as “rewarding on so many levels,” and it’s easy to understand why. He played on one of 2007’s most critically acclaimed albums in Raising Sand and spent much of ’08 touring the album. He also appeared on Sam Phillips’ Don’t Do Anything (and subsequent tour), Loudon Wainwright III’s Recovery, and B.B. King’s Burnett-produced One Kind Favor, which found him drumming alongside Jim Keltner.

“Jim was the captain of the ship,” Jay insists, “as far as I’m concerned. Sometimes we were both playing the same thing; other times Jim would play a roll and I’d orchestrate more percussion-type stuff, which is kind of the way I play anyway. I basically just tried to contribute but not get in the way.”


ok back to the drums themselves (nashville)



Before the Raising Sand recording was ever done, I had a chance to tune up a drum room and guitar rooms for these sessions that I can't even remember where in Nashville. Everyone has a studio in Nashville and I was all-over the place doing stuff and taking in some of the music history and clubing (clubing in nashville means live music hopping). Garp BTW has become my hero when it comes to the live music scene there. During that time I was so into the recordings going on, I didn't even check in with my own office. I was in my recording past dreamland. Anyway this room had a great sounding "Rolling Bomber" in it. I can remember this because there was also a killer "VOX" guitar amp there that I put on one of my Amp Stands. The drums sounded fantastic and I remember the drummer was very particular about the rug positioning under the set. I wanted to go bare wood with small rug and he said no way (he was right and I was the student). We used floorstanding PZC's, and he sat behind the drums while I positioned the tunes untill he said "that's it", then the recording began, and as I stood in the control room (using my monitors BTW) I got to hear what he did, and it blew me away.

Now I have no idea who the drummer was or if there was anyway possible that this was the drumset used in Raising Sand, but hearing that sound again and Garp mentioning the set use, makes this experience even more meaningful to me.

Do we ever stop being students? Do we ever want to stop?

thank you

Moved on to Edie. It's been interesting watching her grow as an artist. When I first heard her I thought ok, another pop singer, but as time went on I had to go back and re-visit her style and talent.

you know what they say about the company you keep



Now I look at her music through different ears

Oh me Oh my, please guys, tell me you have this Stan Getz.




If so good for you, if not may I suggest it will go a long way toward filling out your Getz collection.

Sorry Michael, don't have that one.
The Getz-Gilberto disc is the only one in my stash, very excellent though.

Hi Tim

As far as my favorites of Stan's it's hard not to love the original recording that put him into the mainstream and started the movement. Bossas and Ballads comes along later with more established recording techniques and practices, and for me helps to round out his talent as an overall artist. Stan Getz is one of those I enjoy following start to finish as he covered such a wide and important time spand.

His music through the years also shows, as with many in those days of creativity, the ups and downs of an artist not quite able to fit into the shoes of the socially norm.

I highly recommend adding Bossas and Ballads to the collection, not only for history sake but also for a very smooth ride. The air of his hushy sax was never better and maybe never repeated.

Next on the playlist



I have to put this quote up, cause honestly I don't know what I think yet in the way of reviewing this recording, except love/hate/why/ok

"Deceiver is quite a departure from the blistering instrumental bluegrass-esque leanings he cut his teeth on as a mandolin wunderkind. Deceiver also takes a bold, new route away from his subsequent solo work that featured his jazz/classical/progressive acoustic-style. In fact, Deceiver is the first Thile solo project to feature vocals, and only includes two instrumentals (palette cleansers). This album, exploring a rock direction, is the logical next step in the maturation of an artist who clearly heeds no boundaries and knows no limitations. "

Well, I couldn't do it any longer, I ran to get my "Into The Cauldron" so I could regain my sanity.



Ah, at last the Chris Thile I can deal with. Deceiver throws me this curve ball that I don't yet know how to deal with or if I'm able to allow Chris to go so far in this direction. As if it were up to me . Still I think if I can have "Into" or Nickel Creek near by I'll be able to take baby-steps into Chris's bolder world.

For now let me just tip toe a little around Mike & Chris before puting my ears on the permanent press cycle.

Been listening to a few things in passing and then the mood hit OH Brother, Where Art Thou, yes the soundtrack

Don't pick on me just yet , look at the line up

Don McLeese says

"The best soundtracks are like movies for the ears, and O Brother, Where Art Thou? joins the likes of Saturday Night Fever and The Harder They Come as cinematic pinnacles of song. The music from the Coen brothers' Depression-era film taps into the source from which the purest strains of country, blues, bluegrass, folk, and gospel music flow. Producer T Bone Burnett enlists the voices of Alison Krauss, Gillian Welch, Emmylou Harris, Ralph Stanley, and kindred spirits for performances of traditional material, in arrangements that are either a cappella or feature bare-bones accompaniment. Highlights range from the aching purity of Krauss's "Down to the River to Pray" to the plainspoken faith of the Whites' "Keep on the Sunny Side" to Stanley's chillingly plaintive "O Death." The album's spiritual centerpiece finds Krauss, Welch, and Harris harmonizing on "Didn't Leave Nobody but the Baby," a gospel lullaby that sounds like a chorus of Appalachian angels."

and now "without further adieu"



a treat for the ears

Inspired by Tim, this morning I'm playing



jammin

To round out my weekend listening I put on "departure"



Carla takes me back to a simple time and I love it. A singer that knows how to use her lungs, throat and entire body as she sings. This added to the positively beautiful flow. First time I heard her I could've cared less about the content of the lyrics (but listen to them). That voice against the backdrop of the instruments was all I needed to fall in-love. I find her music soulful and honest.

Well you've had an interesting musical weekend Michael, lots of great stuff.
Hope you enjoyed Jammekya as much as I do. It's not one I listen to very often but when I do I find myself immersed in it's unusual yet charming melody. Got to remember to revisit it more often.
Didn't get a chance to dive into some of the titles you mentioned as I had some sort of attack and spent most of the weekend in hospital. Will be recovering at home for a few days so will try to catch up for lost time.
Tim

Hi Tim, yes love the recording thanks Was hard to move on from it.

So are you OK?

If you don't want to share on-line I understand that's ok you can always email me if you like.

Hope it's something you recover from successfully, or if it's test they come out OK.

You are in my thoughts and prayers my friend.

rest and get well

Can't be ill, there's to much music for us to listen to

When you think about it, we are rich with great female singers. Today I moved on to another one of my sweet ladies. Another very warm recording.



great miking:!:

Hi Michael,

Carla Werner one of my very favourites she has a very unique voice. Her vocals and the mood she brings to her music is very involving and emotional and full of deep meanings.
I got to know her from this single by "Roger Shah feat. Carla Werner - One Love"  

Regards,

TJ

Rachael Yanagata, hadn't heard of her before so I went on line to check it out. What a huge vocal dynamic range, I'll be putting her on my MUST HAVE list, just excellent ! Thanks Michael, which albums should a newbe start with?
Lots of her vid's on U-Tube for others who want to check out this great artist. WOW.


P.S.
Yes I'm doing ok now Michael.
Your pal
Tim

Hi Tim

So happy your OK

I like everything Rachael and wouldn't be surprise if you decide to pickup most of her goodies, but maybe start with "Happenstance". She's an artist where the one I'm listening to becomes my favorite at the time.


Let me know what you get

Been doing the Tom Waits thing

Want to share another michael's must haves.

You guys are going to love this recording if you don't already have it.



One of my favorite vocals.

For those not familar you might know "October Project" .

Mary Fahl, another of my favorite female vocalists. She has a sweet voice but with some power.
She sounds a lot like someone else but I can never seem to put my finger on who.

Hi Tim

Hope your felling well.

Sometimes Mary reminds me of Lisa Gerrard. Probably not who you were thinking of.

have fun!

Hope everyone had a great weekend of listening

I'm doing some Temptations tonight. love those old studios

Today's listening



Girth and gutts, with deep rich body

Hi Guys

It's good to see listeners joining the site. Do you know about a hundred new members have joined since this time last year. That's nothing compared to the big forums, but it is kinda cool to know every 3 days someone is getting involved in our community. The archives, which is the first tuneland forum still has people signing up at a fever pitch approaching 300,000 members. That's twice the size of Stereophile forum. It's wild how the internet works.

Did you guys know that between 100-300 people browse this forum every day. As many as 50 people are up here at one time, and the highest number at one time was 145. That's pretty cool when you think about how many people are interested it what you are doing as fellow listeners.

We are in a new era of this industry and hobby and TuneLand has a part (hopefully big part) in the way the future is shaped. Every day somewhere there is someone that learns that they have more control over their system. Everyday someone learns that there is more on the recording than one point of view. The listener is becoming more secure with their knowledge, and most importantly the guilt factor of the hobby is starting to disappear. This one factor alone will change everything. Self proclaimed experts will not be able to throw the distortion card and listeners will take more responsability for their own sound.

A friend of mine in the business has always told me it's not about a method, but about products. Someday I would like to take him out to diner and say, it's not about products but a method. This industry started about a method, and this is what made it special, exciting and fresh. Every listening session was about the music first, and a method to make it better "more tuned in". This hobby took a shift, when the product somehow took on more importance, and over half of this hobbies members said goodbye and good luck, probably many more than this. As compelling as reviews were, awaiting at the door for the latest was only going to last until something (the internet) replaced it. The faithful generation will keep subscribing, but to what effect remains to be seen. As the newspaper goes by the wayside, perhaps so will the monthy journals. This puts the internet magazines, forums and blogs front and center. This also means the internet will continue to become the relied on source for better or worse.

What you do on these pages with your tuning journey is mabye the most important, certainly the most truthful accounts in this hobby. I hope the outside continues to take notice, and I want to thank you all again for making this hobby a little closer to music than it was even yesterday.

Today in my listening I have started off with



have a great day of listening my friends

Rounding out my day with



This recording is worth it just to hear "think about your troubles" Nilsson.

There are mixed reviews about this recording some, but it makes me wonder what these people were listening on. For me the subtle approach is what brings the magic. It puts me around the camp fire with my cousins.