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neworderscans · 6 months

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Feeling Electronic: An Interview With Johnny Marr & Bernard Sumner

Despite having turned 40, Bernard Sumner still looks bafflingly boyish. Kitted-out in a close-cropped haircut, baggy T-shirt, jeans and chunky-soled canvas sneakers, he bounds into the bar of Manchester’s Midland Hotel with surprising enthusiasm. Surprising because, as the frontman with New Order, he was always renowned as the most reticent of interviewees. As he smiles and shakes hands, he has the air of a changed man about him. His partner in Electronic, ex-Smiths guitarist Johnny Marr— who at just 32 looks the older of the two — arrives early to Sumner’s late. Immediately he lives up to his reputation and is soon settling down to relaxed chit-chat.

Together, Sumner and Marr represent a fusion of two of the most influential and creative bands of the 1980s. As the musical foil to the lyrical musings of Morrissey, Marr created some of the most memorable guitar songs of that period. Since parting company in 1987, Morrissey has failed to scale the same artistic heights. And, many would argue, so has Marr. Sumner, meanwhile, spent most of the ’80s and part of the ’90s fronting New Order, a band which — unlike The Smiths, who under the influence of Morrissey took a defiant stance against the dancefloor — embraced the influences of hip-hop, New York’s gay club scene and house music, revealing the exhilerating possibilities of an open-minded approach to pop’s eclectic pantheon. New Order’s artistic and commercial peak came in 1989 with the album Technique, their first number one. At the close of that same year, Electronic released their first single, ‘Getting Away With It’, a collaboration with Neil Tennant of the Pet Shop Boys.

“You’ve got to remember I became a lyricist by default when Ian died. Before that point I never had a single dream or desire to become a singer or lyricist. Never!” Bernard Sumner

Unlike Marr, whose split from The Smiths was clearcut, unequivocal and very public, the situation with New Order — in keeping with much of the band’s career — remains uncertain, open-ended, unresolved. A recent interview with Sumner saw The Independent On Sunday describe the band as ‘now defunct’. Sumner offers a subtle variation on that statement. “The truth is that I didn’t say New Order were defunct, the journalist has made his own mind up about that. The situation with New Order is that we don’t have any plans to record together or play any gigs together, but we haven’t broken up. So,” laughs the singer mischievously, “make your own mind up about it.”

Marr, always eager to add some clarity to the cryptic mutterings of Sumner, adds his own slant on the lack of closure to the New Order story: “A band splitting up is a great thing to write about and a great thing to read about, but it’s not necessarily a great thing to be involved with. Events get carried away with themselves and before you know it there’s a lot of bad feeling and a lot of that is caused by outside influences.”

Different angles, different explanations, but the conclusion is the same: the past weighs heavily on the shoulders of both Marr and Sumner. They have a lot to live down, a lot to live up to. In the early days of Electronic they attempted to purge their music of anything that smacked of their previous exploits. That was before they became at ease with their history. Both, after all, are well versed in dealing with their very public pasts. When The Smiths dissolved, Marr’s response was to dive into a number of collaborations — with The Pretenders, The The, Kirsty MacColl and many others — gaining a reputation as a guitar for hire. “The period between The Smiths and Electronic was a matter of being phoned up by people who I really admire and being asked to make records,” he explains.

This time it’s Sumner’s turn to dig beneath the surface of his partner’s words. “After you’ve been in the confines of a band for a while like both of us had, you want to break the mould. As soon as you get out you do everything you couldn’t do within the group. So Johnny played with a load of different people because he couldn’t with The Smiths. I did a lot of remix work. It’s like with the first Electronic album [released June ‘91]: we put our photographs on the album cover because you couldn’t do that [before]. It was a phase we went through. But now Electronic is the main thing for us.”

For Sumner, of course, his whole career as a singer has been a case of shaking off and living up to the past. When Joy Division singer Ian Curtis committed suicide in May 1980 it left Sumner, the band’s guitarist, not only personally distraught but professionally cast adrift. After deciding to continue as a band and adopting the name New Order on the suggestion of their manager Rob Gretton, someone had to take over as singer. Sumner, a man who maintains that he had never written so much as a childhood poem beforehand, got the short straw: “You’ve got to remember I became a lyricist by default when Ian died. Before that point I never had a single dream or desire to become a singer or lyricist. Never!”

“The two of us expect a lot of ourselves and we just cut out the outside world while we were making the album.” Johnny Marr

Sumner’s lyrics have always been a matter of much scrunity, whether it be to ridicule them — lines like, “I would like a place I can call my own / Have a conversation on the telephone” from New Order’s sublime ‘Regret’ have provoked scorn from detractors — or to celebrate their quite touching ambiquity or autobiographical honesty. But Sumner maintains a quite workmanlike approach to the craft — lyrics, he explains, are written after hearing the finished music, and fitted in accordingly.

“Generally I don’t think, ‘Right, I’m going to write a song about this’. I listen to the music and I’ll see what it suggests to me. And lines or pictures — I’ve always thought in pictures — will pop into my head. If it’s a picture I’ll describe the scene.” Sumner is surprisingly self-critical of the results of this process. “Some of the changes in direction in my lyrics aren’t always welcome, sometimes I get it wrong,” he says, “but I write a lot of lyrics through a kind of subconcious flow.”

Still, despite this playing down of his lyrics — he says he finds it difficult to talk about them — last year Sumner was picked as a songwriter worthy of study by the psychologist Oliver James. In a BBC 2 programme, James sought to assess how the anti-depressant wonder drug Prozac affected creativity. Sumner was one of several participants, from artists to writers, who were put under the spotlight. Consequently the BBC cameras showed Sumner both at work in the studio putting together the new Electronic album as well as relaxing with his girlfriend and family.

“This quy from the BBC came to me and said, ‘Would you like to take Prozac? We’re doing an investigation into its effects on creativity.’ His theory was based on the idea that creative people were creative because basically they were fucked-up in some way, and he wanted to test out his theory, ie, you get all these people who are somehow fucked-up — and he obviously thought I was fucked-up in some way — you give them Prozac, they stop being fucked-up, does their creativity dry up? Which is very interesting.”

And? “I’m not fucked-up, I’m like everybody else; I have my up days and my down days. I found taking Prozac very interesting ‘cos it filtered out all the lows. I didn’t find that it affected my creativity in any way at all.”

Both Sumner and Marr were unhappy with the programme’s conclusions — Sumner was described as being depressed and suffering from ‘hyper-critical voices’. But the subject of Prozac does have relevance to the new Sumner, a man for many years renowned for his passionate embracing of Manchester’s nightlife and drug culture. These days he says he goes jogging every day — “It sharpens the mind” — and is cutting down on alcohol after stomach problems aggravated by an excessive intake of Pernod and orange (although he adds with a smile that he’s cured the ailment, so he can now get back on the Pernods). These lifestyle changes, partly the actions of a man coming to terms with his age, have a direct relevance to how Electronic make their music.

“It used to be a party ethic, now it’s a work ethic. We’d stay up all night and party and that’s how we’d come up with songs,” explains Sumner, describing a way of working which stretches back to both New Order and Joy Division. “But we’ve done that, and this is more challenging and more rewarding because you’re in the driving seat!”

Adds Marr: “It wasn’t that we weren’t getting results that way, we just wanted to do something different.”

In the past, most of Sumner’s lyrics were written under the influence of one stimulant or another, aiding the “flow of conciousness”. So how does the all-new Mr (nearly) Clean write his lyrics? “What do I do now? I sit in a fuckin’ room and beat my brains out,” laughs Sumner.

It doesn’t show. The new Electronic album, Raise The Pressure, is a finely-polished, well-balanced pop album, which, despite both Marr and Sumner’s claims to the contrary, has clear referance points to their work with The Smiths and New Order, particularly the latter. Their obvious desire to break from their musical pasts is wholly understandable, yet their inability to do so is not altogether a cause for concern. Raise The Pressure may bear some of the hallmarks of their ‘80s incarnations, but it sounds well-placed for the current pop climate, with its sparkling combination of guitar-pop and electronic house-inflected dance. Two years in the making, it is quite obviously a record constructed by perfectionists.

“All Bernard and I have cared about over the last few years is Electronic and our families, and the balance has shifted towards Electronic,” explains Marr. “That’s been our life. The two of us expect a lot of ourselves and we just cut out the outside world while we were making the album.”

“Ian Curtis turned me on to Kraftwerk in 1977 and when he did I thought it was the most fantastic thing I’d ever heard.” Bernard Sumner

Recorded in a studio in Johnny Marr’s old house — he moved his family into a new house because “it was easier to move my family out than to move Electronic. It just really suited us” — Marr explains that “we kind of designed the record.” Part of that design involved bringing ex-Kraftwerk stalwart Karl Bartos into the creative equation. He co-wrote some of the tracks and assisted with production. For Sumner, working with Bartos was another direct link to his musical past, taking him back nearly 20 years. “Ian Curtis turned me on to Kraftwerk and when he did I thought it was the most fantastic thing I’d ever heard. You’ve got to remember it was 1977 and everything was punk. Ian played me Trans Europe Express, which was like the total opposite, black and white.”

On the few occasions when Marr and Sumner emerged from the self-imposed isolation of their home-studio, they took Bartos on visits to ‘Flesh’ at the Haçienda, the pinnacle of gay clubbing in Manchester — “Which was interesting,” smiles Marr. All part of the Electronic masterplan, a plan which saw them whittle down 40 pieces of music to 16 songs, 13 of which appear on the new LP. The managing director of their label Parlophone claimed recently: “They don’t need our help to make an album, although we had to put a marker down otherwise they might have gone on forever refining it.” Fair comment?

“That’s bullshit that,” smirks Sumner. “No-one put down any markers.” “What, someone from the record company said that?” laughs Marr incredulously. “Neither of us have ever dealt with A&R people in our lives,” asserts Sumner.

The pair say they have total freedom to get on with making records as and when they want. And despite moving from the fiercely Mancunian and fiercely independent Factory for their first album to the London-based major Parlophone (part of EMI) for their second, nothing much has changed. “For us the situation is no different than when we were on Factory,” says Sumner. “During the whole two years we never saw anyone from Parlophone. In fact, I don’t think we’re actually signed to any record label. We’re signed to our production company which then licences product to Parlophone.”

“‘We finance everything ourselves because we want to keep control of everything,” adds Marr. “We take care of the sleeves, we just deliver the whole thing to Parlophone and they sell it.”

This desire to maintain their independence is closely guarded, and is reflected in their continued strong links to Manchester, despite both having good reason to have broken their connections with the city. Originally from Ardwick, Marr saw his childhood haunts demolished to make way for new developments when his family was shipped off to Wythenshawe. Sumner’s Salford childhood was disrupted in a similar way, and the dislocation felt following the flattening of the terraced street he grew up in still surfaces today, the song ‘Second Nature’ on the new LP being an autobiographical appraisal of that early experience.

“We’ve got an office in London [they are managed by Marcus Russell, Marr’s manager since 1988 and now also looking after Oasis] but we hardly ever go there,” says Marr. After touring the world with both of their previous bands, it seems that Electronic are happiest when back home. And as with New Order, whose unconventional approach to promotion surely stopped them becoming U2-style huge, it could prove an obstacle to Electronic’s progress. Despite claiming that they will be playing live to promote Raise The Pressure, long tours are out of the question, says Sumner. “I don’t want to do 28 dates in America and end up in Kansas on a Sunday night, pulling my hair out and wanting to be in Manchester.”

Welcome home, Electronic.

#bernard sumner #johnny marr #electronic #text #1996 #interview is just copy/pasted w/ minor edits for clarity - source w/ full text is linked!

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odk-2 · 1 year

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Steve Earle with The Pogues - Johnny Come Lately (1988) Steve Earle from: ”Copperhead Road” (LP)

Country | Alt. Country | Celtic | Celtic/Country

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Personnel: Steve Earle: Lead Vocals / Acoustic Rhythm Guitar The Pogues: Shane MacGowan: Banjo / Bodhran / Backing Vocals Phil Chevron: Guitar / Backing Vocals Terry Woods: Cittern Jem Finer: Banjo James Fearnley: Accordion Spider Stacy: Tin Whistle / Backing Vocals Darryl Hunt: Bass Andrew Ranken: Drums

Neil MacColl: Mandolin

Produced by Steve Earle / Tony Brown

Recorded: @ The Livingston Studios in Wood Green, London UK 1988

Album Released: on October 17, 1988

Uni Records

#Copperhead Road #The Pogues #Steve Earle #Country #Alt. Country #Celtic #1980's #Johnny Come Lately #Uni Records

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thekylemeredith · 20 days

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Tonight I'm hanging with Hamish Linklater to talk about his portrayal of Abraham Lincoln in Apple TV's #Manhunt!

David Wax Museum and Good Looks will also be dropping in & you'll hear favorites from Neil Young, Kirsty MacColl, The Smiths, Scarlett Johanson, etc

6p Et on 91.9 WFPK

#hamish linklater #manhunt #manhunt apple tv #john wilkes booth #tobias menzies #edwin stanton #adam nagaitis #father paul #father paul hill #bev keane #father pruitt #monsignor john pruitt

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fipindustries · 17 days

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tagged by @st-justt-just these are always an issue for me because i dont have a "Playlist" of any kind, i just let youtube put together playlists on my recomendations page so with that in mind, lets see what comes up.

Bradinsky on violin - [tetris tengen] by bradis fuller - funny thing about this, you may hear it and think "ah yes, a song inspired by classical russian folk music". in reality is a fully original song made by the composer. hence the BRAD-insky.

Ya te vas a mejorar (speed up) - el cuarteto de nos - i like this version of the song about a guy who gets brain damage and becomes a chainsaw murderous maniac over the original. is not quite nightcore but its certainly more energetic.

Aikendrum - Ewan Maccoll - i got this out of a cute webcomic about jekyll and hyde. i have no idea what this song is about but i sure do love the scottishness of it all. aikendrum aikendrum is a great catchphrase.

As your father i expressly forbit it - Neil cicierega - the theme of this song is so weird for a neil cicierega song. is about such a intimate, mundane topic and the double punch of this and earn my life is actually kind of brutal to hear in spirit phone.

Noches de boda - Joaquin sabina - i fucking love the intro of this song by chavela vargas, i remember when i first heard this song i thought it was some old guy but no it was one of the most famous female singers from mexico. as an argentinian there is something delightful about hearing a spaniard and a mexican singing together like old friends. great fucking song to sing drunk out of your ass at 4 in the morning

El cisne que ladra - maria elena walsh - my love for children songs continues undaunted, specially the songs by elena walsh. there is something very otherverse about this song in particular because its about a thieving swan who goes to a lake one night and steals a treasure hidden in that lake. then the next morning when the sun comes out you cant see the treasure anymore because the swan stole it but it turns out the treasure were the night stars being reflected on the lake, its just so beautifully poetic

California heaven [mashup of california girls by kathy perry and heaven by envy, plus a bunch of other songs] - Jason rollins - i just discovered this guy a few weeks ago because he just started doing this a few months ago and he turned out to be such an incredibly strong entry in the genre of weird, deep fried, dense mashups. i highly reccomend to listen to the rest of his channel

Octopus garden -the beatles - i saw a documentary about why the beatles broke up recently and knowing that this song was composed by ringo as the team was going through deep tensions and fights about to separate makes this song so much more heartbreaking. ringo just wanted for him and his friends to get along and be happy on an octopus garden beneath the sea. jesus dude, me too.

Desaparecido - Manu chao - weirdly political song for what i usually listen to. a song about the experience of illegal immigrants living in the united states without papers. one funny thing about manu chao is that he is famous for many spanish songs that talk about the hardships of the latin american experience and the guy is fucking french. i genuenly could not have been able to tell just from listening to him.

Brindo por las mujeres - Los rodrigez - just a fantastic song by one of my favourite singers from my country, andres calamero. another great fucking drinking song to yell drunk off your ass with friends at 4 in the morning and frankly a great way to end this list

honestly i am rather proud of how incredibly ecclectic is this list, i think this is a pretty good crossection of the wide range of my musical tastes

im tagging @not-terezi-pyrope @ericvilas and @mrcatfishing

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aquariumdrunkard · 1 year

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The Lagniappe Sessions :: Fruit Bats

On the heels of their exceptional tenth LP, A River Running To Your Heart, Eric D. Johnson’s long-running Fruit Bats return to AD with their second Lagniappe Session. While the 2014 entry found Johnson and co. covering the likes of Richard and Linda Thompson (along with ’80s avatar Joe Jackson), this new installment pays tribute to both the lyricism of Ewan MacColl and Fred Neil as well as the enduring nature of the chosen pair of tunes. Giants, both.

#fruit bats

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gameofrassilon · 6 months

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The Dead Have Come Claim A Debt From Thee

Cave:

I remember standing side of stage at the concert in Dublin for Shane’s 60th birthday, and feeling kind of agitated and nervous about performing. I was surrounded by all of these artists doing beautiful versions of Shane’s songs and, I don’t know, I guess I was also feeling a bit out of sorts that evening. I saw Sinéad O’Connor standing slightly separate from everyone else, half hidden by the curtain, gazing at the floor, looking fierce and intense.

Pierce:

Shane MacGowan was, if he was nothing else, a brilliant wordsmith, Pete Townshend's equal as a storyteller, and Neil Young's equal as an alchemist of styles and musical colors. He wrote songs in which Irish mythology was put to hilarious good use ("The Sickbed of Cuchulainn"). He wrote songs about emigration and immigration, often in the same song, ("The Body of an American," which David Simon brilliantly used to close out The Wire.) He wrote tender songs ("Pair of Brown Eyes") and angry songs ("The Boys From The County Hell"). He and the Pogues covered, tipsily but reverently, traditional folk songs, most notably Ewan MacColl's "Dirty Old Town," and old Irish tunes like "The Parting Glass." They finished the show I saw with that ancient heartbreaker, and the depth of feeling there was fathomless.

There’s magic in music, that’s for sure. My twenties were ensorcelled by these fallen angels. They led me to strange nights and beautiful dayscreams. I never have the fucking words at these times. But yeah, I owe them. I do.

#Pogues #Popes #Sinead #Nick #Charles

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whatilistenedtoatwork · 6 months

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From November 27th to November 30th, 2023

27-11-23

MEGAN HENWOOD “Making Waves”; OLIVIA RODRIGO “Guts”; THE TOADIES “Rubberneck”; THE SURFRAGETTES “Roller Fink”; ELLA FITZGERALD & LOUIS ARMSTRONG “Ella & Louis”; LEONARD NIMOY “Leonard Nimoy Presents Mr. Spock’s Music From Outer Space”; NEIL YOUNG “Tonight’s The Night”; TELEVISION “Marquee Moon”; LE TIGRE “Feminist Sweepstakes”; SPINAL TAP “Back From The Dead”; KIRSTY MacCOLL “Tropical Brainstorm”; THE GOODIE MOB “One Monkey Don’t Stop No Show”; ALY BAIN “Aly Bain & Friends”

28-11-23

THE NITTY GRITTY DIRT BAND “Will The Circle Be Unbroken”; KISS “Alive!”; TOM WAITS “Blue Valentine”; JANELLE MONAE “The ArchAndroid”; LOS LOBOS “La Pistola Y El Corazon”; SLEATER-KINNEY “The Woods”; SLEEPER “The It Girl”; KATE AND ANNA McGARRIGLE “Pronto Monto”; ELVIS PRESLEY “From Memphis To Vegas/From Vegas To Memphis”; SHADOWY MEN ON A SHADOWY PLANET “Dim The Lights, Chill The Ham”

29-11-23

MILES DAVIS “At Plugged Nickel Chicago, Volume 2”; TOM LEHRER “That Was The Year That Was”; WORLD PARTY “Goodbye Jumbo”; WAS (NOT WAS) “What Up Dog”; EURYTHMICS “Be Yourself Tonight”; SUZANNE VEGA “Days Of Open Hand”; SUPERGRASS “Life On Other Planets”; HERBIE HANCOCK “Empyrean Isles”

30-11-23

THE PAJAMA GAME “Original Cast Recording”; DUKE ELLINGTON “The Blanton-Webster Band”; HERBIE HANCOCK “Mwandishi”; ERIC BOGLE & JOHN MUNRO “When The Wind Blows”; JOAN JETT “Bad Reputation”; BRITNEY SPEARS “Circus”; SPICE GIRLS “Spice”; HOT TUNA “Burgers”; DONNA SUMMER “Four Seasons Of Love”; NED’S ATOMIC DUSTBIN “Bloodbrainvolume”; THE SLITS “Return Of The Giant Slits”; SCOTT BRADLEE’S POSTMODERN JUKEBOX “PMJ & Chill”; VASSAR CLEMENTS “Once In A While”; CEE LO GREEN “The Lady Killer”; ERIC B & RAKIM “Follow The Leader”

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countrymusicandcher · 3 years

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There is just something so magical about Peggy Seeger. Just look at this video where she performs the song "Invisible woman" from her forthcoming album First Farwell with her sons, Neil and Calum Maccoll.

youtube

#peggy seeger #neil maccoll #calum maccoll #Youtube

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hector-leznod · 4 years

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Guy Garvey and the MacColls - The First Time Ever I Saw Your Face

#guy garvey #neil maccoll #collum maccoll

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araekniarchive · 3 years

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could you do things related to stars and love?

Sarah Williams, Twilight Hours; ‘The Old Astronomer’

Keith S. Wilson, Heliocentric

Titanic (1997) dir. James Cameron

Take That, Rule The World

Taylor Swift, Mary’s Song

The Heart Nebula, photographed by Daniel Marquardt

Matthew Stover, Revenge of the Sith Novelisation

Neil Gaiman, Stardust

Vincent van Gogh, Starry Night Over the Rhône

Doctor Who (2005–), 2x13: Doomsday

Coldplay, Yellow

Ewan MacColl, The First Time Ever I Saw Your Face

Şenay Cüce, sketchbook details

Richard Siken, Snow & Dirty Rain

Keith S. Wilson, Heliocentric

William Shakespeare, Romeo and Juliet

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jungleindierock · 5 years

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Jungle Indie Rock - Time Machine - Vol.2

Well here is volume two of the Time Machine Playlist, 100 mixed tracks from any genre, any year!! You will maybe hear something new on here and then investigate the artists back catalogue!! Even now i am still discoving bands / artists from the past, that i have missed, or maybe is my taste in music is changing, whatever the reason, just play this, share it but most of all enjoy it !!

Tracklist

Dick Dale And His Del-Tones - Misirlou

Pennywise - Bro Hymn

Bob Dylan - Knockin' On Heaven's Door

Pat Benatar - Hit Me With Your Best Shot

The Yardbirds - Heart Full Of Soul

Wall Of Voodoo - Mexican Radio

Editors - Munich

David Bowie - Modern Love

Interpol - If You Really Love Nothing

New Order - Age Of Consent

Vampire Weekend - A-Punk

Bruce Springsteen - Born To Run

Soundgarden - Black Hole Sun

The Rakes -1989

Garbage - Stupid Girl

Kings Of Leon - Molly's Chambers

Arthur Brown - Fire

Roxy Music - Love Is The Drug

Eddie And The Hot Rods - Do Anything You Wanna Do

The Animals - We Gotta Get Out Of This Place

Bob Marley And The Wailers - Jamming

Florence + The Machine - Dog Days Are Over

Morrissey - The First Of The Gang To Die

Helmet - Unsung

Neil Young And Crazyhorse - My My, Hey Hey (Out Of The Blue)

Electric Light Orchestra - Livin' Thing

The Temptaions - Papa Was A Rolling Stone

Ram Jam - Black Betty

Ssimon And Garfunkel - The Boxer

Nena - 99 Luftballons

Def Leppard - Pour Some Sugar On Me

Whitesnake - Here I Go Again

Howlin' Wolf - Smokestack Lighnin'

Johnny Kidd And The Pirates - Please Don't Touch

The Mock Turltes - Can You Dig It?

The Racontuers - Steady As She Goes

The Holloways - Generator

Ladyhawke - My Delirium

Marc Cohen - Walking In Memphis

Ini Kamoze - Here Comes The Hotstepper

Joan Osborne - One Of Us

The Godfathers - Birth, School , Work, Death

Echo And The Bunnymen - The Cutter

The Gun Club - Sex Beast

Bobby "Blue" Bland - Ain't No Love In The Heart Of The City

Duane Eddy - Rebel Rouser

George Jones - White Lightning

Otis Redding - (Sitting On) The Dock Of The Bay

Jefferson Airplane - White Rabbit

Pink Floyd - See Emily Play

The Bees - A Minha Menina

Queens Of The Stone Age - Feel Good Hit Of The Summer

I Am Kloot - To You

Super Furry Animals - Juxtaposed With U

Hot Hot Heat - Bandages

The Cult - She Sell Sanctuary

Nirvana - Love Buzz

The Housemartins - Happy Hour

Sonic Youth - Teen Age Roit

Kraftwerk - Pocket Calcultor

Bow Wow Wow - I Want Candy

The Pretenders - Kid

Peter Tosh - Stepping Razor

Max Romeo - War Ina Babylon

Them Crooked Vultutres - New Fang

Clinic - Welcome

Radkey - Basement

The Nips - Gabrielle

The The - Armageddon Days (Are Here Again)

Woody Guthrie - Tear The Facists Down

Richard Thompson - 1952 Vincent Black Lightning

Badly Drawn Boy - Silent Sigh

Lou Reed - Dirty Blvd.

Mekons - Where Were You

Kirsty MacColl - Walking Down Madison

The Blue Aeroplanes - Colour Me

The Von Bondies - C'mon C'mon

The Undertones - Here Comes the Summer

The 101ers - Sweet Revenge

Wilson Pickett - Mustang Sally

The Monkees - I'm A Beliver

Small Faces - Tin Soldier

Stiff Little Fingers - Tin Soldiers

Patrick Fitzgerald - Safety Pin Stuck In My Heart For You

Yeah Yeah Yeahs - Maps

Band Of Horses - The Funeral

Dire Straits - Sultans Of Swing

No Doubt - Don't Speak

The Ting Tings - That's Not My Name

The Fratellis - Whistle For The Choir

Sleeper - Sale Of The Century

The Zombies - She's Not There

Roy Orbison - Oh, Pretty Woman

Darwin Deez - Radar Detector

10,000 Maniacs - My Mother The War

Fine Young Cannibals - She Drives Me Crazy

Aztec Camera - Oblivious

Love - Seven And Seven Is

Johnny Thunders - You Can't Put Your Arms Around A Memory

The Smiths - Hand In Glove

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peach-salinger · 5 years

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✧･*ﾟscottish surnames

→ link to my scottish female name masterlist → link to my scottish male name masterlist

under the cut are 733 scottish surnames. this masterlist was created for all in one breath rp at the request of lovely el, but feel free to link on your own sites! names are listed in alphabetical order. ❝mac❞, ❝mc❞ and ❝m❞ are split into three sections because i mean... look at them. please like♡ or reblog if you found this useful.

abbot(son), abercrombie, abernethy, adam(son), agnew, aikenhead, aitken, akins, allan(nach/son), anderson, (mac)andie, (mac)andrew, angus, annand, archbold/archibald, ard, aris, (mac)arthur

(mac)bain/bayne, baird, baker, balfour, bannatyne, bannerman, barron, baxter, beaton, beith, bell, bethune, beveridge, birse, bisset, bishop, black(ie), blain/blane, blair, blue, blyth, borthwick, bowie, boyd, boyle, braden, bradley, braithnoch, (mac)bratney, breck, bretnoch, brewster, (mac)bridan/brydan/bryden, brodie, brolochan, broun/brown, bruce, buchanan, budge, buglass, buie, buist, burnie, butter/buttar

caie, (mac)caig, (mac)cail, caird, cairnie, (mac)callan(ach), calbraith, (mac)callum, calvin, cambridge, cameron, campbell, canch, (mac)candlish, carberry, carmichael, carrocher, carter, cassie, (mac)caskie, catach, catto, cattenach, causland, chambers, chandlish, charleson, charteris, chisholm, christie, (mac)chrystal, (mac)clanachan/clenachan, clark/clerk, (mac)clean, cleland, clerie, (mac)clinton, cloud, cochrane, cockburn, coles, colinson, colquhoun, comish, comiskey, comyn, conn(an), cook, corbett, corkhill, (mac)cormack, coull, coulthard, (mac)cowan, cowley, crabbie, craig, crane, cranna, crawford/crawfurd, crerar, cretney, crockett, crosby, cruikshank, (mac)crum, cubbin, cullen, cumming, cunningham, currie, cuthbertson

dallas, dalglish, dalziel, darach/darroch, davidson, davie, day, deason, de lundin, dewar, dickin, dickson, docherty, dockter, doig, dollar, (mac)donald(son), donelson, donn, douglas, dorward, (mac)dow(all), dowell, (macil)downie, drain, drummond, (mc)duff(ie)/duff(y), duguid, dunnet, dunbar, duncan, dunn, durward, duthie

E, F

eggo, elphinstone, erskine, faed, (mac)farquhar(son), fee, fergus(on), (mac)ferries, fettes, fiddes, findlay, finn, finlayson, fisher, fishwick, fitzgerald, flanagan, fleming, fletcher, forbes, forrest, foulis/fowlis, fraser, fullarton, fulton, furgeson

gall(ie), galbraith, gammie, gardyne, (mac)garvie, gatt, gault, geddes, gellion, gibb(son), gilbert, gilbride, (mac)gilchrist, gilfillan, (mac)gill(ivray/ony), gillanders, gillespie, gillies, gilliland, gilmartin, gilmichael, gilmore, gilroy, gilzean, (mac)glashan, glass, gloag, glover, godfrey, gollach, gordon, (mac)gorrie, gourlay, gow, graeme/graham, grant, grassick, grassie, gray, gregg, (mac)gregor(y), greer, greig, grierson, grieve, grimmond, (mac)gruer, gunn, guthrie

hall, hamill, (mac)hardie/hardy, harper, harvie, hassan, hatton, hay, henderson, hendry, henry, hepburn, herron, hood, hosier, howie, hugston, huie, hume, humphrey, hunter, (mac)hutcheon, hutcheson

I, J, K

(mac)innes, irving, iverach, ivory, jamieson, jarvie, jeffrey(s), johnson, johnston, jorie, (mac)kay, (mac)kean, keenan, keillor, keir, keith, kelly, kelso, keogh, kemp, kennedy, (mac)kerr(acher), kesson, king, kynoch

laing, laird, (mac)laine/lane, lamond, lamont, landsborough, landsburgh, lang/laing, larnach, laurie/lawrie, lees, lennie, lennox, leslie, lindsay, little(son), lithgow, livingston(e), lobban, logan, lorne, lothian, lovat, love, loynachan, luke, luther

MAC-

mac ruaidhrí, mac somhairle, mac suibhne, macadam, macadie, macaffer, macainsh, macalasdair, macallister, macalonie, macalpine, macanroy, macara, macarthy, macaskill, macaskin, macaughtrie, macaulay, macauslan, macbean, macbeath, macbeth(ock), macbey, macbriden, macbryde, maccabe, maccadie, maccaffer, maccaffey/maccaffie, maccalman, maccambridge, maccann, maccance, maccartney, maccavity, maccaw, macdowell, maccheyne, maccodrum, maccomb(ie), maccorkindale, maccormick, maccoll, macconie, macconnachie, macconnell, maccoshin, maccoskrie, maccorquodale, macclaren, maccleary, macclew, maccloy, macclumpha, macclung, macclure, macclurg, maccraig, maccrain, maccreadie, maccrimmon, maccrindle, maccririe, maccrone, maccrosson, maccuaig, maccuidh, maccuish, macculloch, maccurley, macdermid/macdiarmid, macdougall, macdui, macduthy, maceachainn, maceachen, macelfrish, macewan/macewen, macfadyen, macfadzean, macfall, macfarlane/macpharlane, macfater/macphater, macfeat, macfee, macfigan, macgarrie, macgarva, macgeachen/macgeechan, macgeorge, macghie, macgibbon, macgillonie, macgiven, macglip, macgriogair, macgruther, macguire, macgurk, machaffie, macheth, machugh, macichan, macinnally, macindeoir, macindoe, macinesker, macinlay, macinroy, macintosh, macintyre, macisaac, maciver/macivor, macilherran, macilroy, macjarrow, mackail, mackeegan, mackeggie, mackellar, mackelvie, mackendrick, mackenna, mackenzie, mackerlich, mackerral, mackerron, mackerrow, mackessock, mackettrick, mackichan, mackie, mackilligan, mackillop, mackim(mie), mackinven, mackirdy/mackirdie, mackrycul, maclafferty, maclagan, maclarty, maclatchie/letchie, maclaverty, maclearnan, macleay, maclehose, macleish, maclellan(d), macleman, macleod, macleòid, maclintock, macllwraith, maclucas, macluckie, maclugash, macmann(us), macmaster, macmeeken, macmichael, macmillan, macminn, macmorrow, macmurchie, macmurdo, macmurray, macnab, macnair, macnally, macnaught(on), macnee, macneish/macnish, macnicol, macninder, macnucator, macpartland, macphail, macphatrick, macphee, macphedran, macpherson, macquarrie, macqueen, macquien, macquilken, macrae/machray, macraild, macrob(bie/bert), macrory, macrostie, macshane, macsherry, macsorley, macsporran, macsween, mactavish, mactear, macturk, macusbaig, macvannan, macvarish, macvaxter, macvean, macveigh/macvey, macvicar, macvitie, macvurich, macwalter, macwattie, macwhannell, macwhillan, macwhinnie

MC-

mccabe, mccain, mcclelland, mcclintock, mcconell, mccracken, mccune, mccurdy, mcdiarmid, mcelshender, mceuen, mcewing, mcfadden, mcgeachie/mcgeachy, mcgowan, mcilroy, mcinnis, mcivor, mckechnie, mckeown, mclarty, mclennan, mcneill(age/ie), mcowen, mcphee, mcpherson, mcwhirter

maduthy, magruder, mahaffie, main(s), mair, major, malcolm(son), malloch, manson, marr, marno(ch), (mac)martin, marquis, massie, matheson, mathewson, maver/mavor, maxwell, may, mearns, meechan, meiklejohn, meldrum, mellis(h), menzies, mercer, micklewain, milfrederick, millar/miller, milligan, milliken, milne, milroy, milvain, milwain, moannach, moat, moffat, mollinson, moncrief, monk, montgomery, moore, moray, morgan, (mac)morran, morrison, morrow, morton, mossman, mucklehose, muir(head), mulloy, munn, munro, (mac)murchie/murchy, murchison, murdoch, murphy

N, O, P, Q

nairn, naughton, navin, neeve, neil, neish, nelson, ness, nevin, nicalasdair, niceachainn, (mac)nichol(son), nicleòid, (mac)niven, noble, ochiltree, ogg, ogilvy, o'kean, oliver, omay/omey, orchard(son), orr, osborne, park, paterson, patrick, patten, peacock, peat, peters, philp, polson, power, purcell, purser, qualtrough, quayle, quillan, quiller, quinn, quirk

R, S

(mac)ranald(son), randall, rankin, reid, reoch, revie, riach, (mac)ritchie, roberts(on), rose, ross, rothes, roy, ryrie, salmon(d), scott, selkirk, sellar, shannon, sharpe, shaw, sheen, shiach, sillars, sim(son/pson), sinclair, skene, skinner, sloan, smith, somerville, soutar/souter, stein, stenhouse, stewart/stuart, strachan, stronach, sutherland, (mac)swan(son/ston), swinton

T, U, V, W, Y

taggart, tallach, tawse, taylor, thom(son), todd, tolmie, tosh, tough, tulloch, turner, tyre, ulrick, urquhart, vass, wallace, walker, walsh, warnock, warren, ward, watt, watson, wayne, weir, welsh, whiston, whyte, wilkins(on), (mac)william(son), wilson, winning, wright, young

#names #masterlist #surnames #last names #name masterlist #rph #scottish surnames #scottish last names #roleplay help #roleplay #rp #mine #my stuff #surname masterlist #last name masterlist

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diceriadelluntore · 5 years

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Storia di Musica #76 - Bert Jansch & John Renbourn, Bert And John, 1966

Già all’epoca erano considerati dei maestri, ma a distanza di oltre 50 anni si può tranquillamente affermare che Bert Jansch e John Renbourn sono stati due tra i più grandi chitarristi acustici di tutti i tempi. Maestri del fingerpicking e del recupero della tradizione folk, amanti del blues e delle melodie, i due incrociarono la loro vita artistica nei fenomenali Pentangle, uno dei più affascinanti e favolosi gruppi del folk rock inglese di metà anni ‘60. Jansch e Renbourn erano pubblicato dalla stessa etichetta discografica, la Transatlantic di Nat Joseph, una delle prime etichette indipendenti inglesi. La quale divenne la casa del folk britannico grazie al successo, inaspettato, di tre dischi non musicali: tre lezioni di educazione sessuale su Lp che produssero scandalo ma anche oltre 100 mila copie vendute, cosa che portò l’etichetta a produrre, oltre che i due nostri, anche i The Dubliners, Alexis Korner e molti altri. Il nostro duo prima di fare un disco insieme aveva già pubblicato da solisti: Jansch, più eccentrico, stravolge le regole del folk revival ed è uno di coloro i quali, prendendo esempio dalla rivoluzione di Davey Graham, porta alla ribalta il famoso arpeggio aperto DADGAD (re-la-re-sol-la-re) che diventerà la base di partenza per la successiva schiera di chitarristi inglesi, primo fra tutti Jimmy Page che riterrà Jansch uno dei suoi maestri spirituali. Renbourn invece è sempre stato il più chiuso, e molto più legato al blues. Jansch esordì nel 1965 con l’omonimo Bert Jansch, che oltre alle sue già grandiose doti di virtuoso segnano anche una certa verve di autore, con ben 14 canzoni autografe, cantate con la voce ruvida e fumosa da scozzese quale è. Seguono prima It Don’t Bother Me (1965) e lo storico e suggestivo Jack Orion (1966), favoloso disco che ripesca ballate e canzoni della tradizione folk delle isole britanniche, con perle assolte come la spettrale Jack Orion ( da 9 minuti, molto alla Dylan), Nottamun Town (che lo stesso Dylan usò come base di partenza per Masters Of War) la meravigliosa The First Time Ever I Saw Your Face di Ewan MacColl. Renbourn nel 1966 esordì in duo con Dorris Henderson nel disco There You Go: una intelligente lettura di folk e gospel, ma soprattutto blues, con particolare amore per i grandi sconosciuti del Delta, (Big Bill Broonzy, Josh White e altri). I due collaborano per la prima volta in My Lover da It Don’t Bother Me di Jansch e l’anno successivo sono in studio per Bert And John. In scaletta originale 12 pezzi, a cui nelle ristampe recenti furono aggiunti due altri pezzi (le bellissime Along The Way e The Times Has Come) Sono piccoli momenti di fraseggi, quasi di dialogo, tra i due maestri, in pezzi quasi tutti strumentali, ricchi di magie, atmosfere e delicata soavità. Apre il disco il ritmo spagnoleggiante di East Wind, ma si passa per la magia del fingerpicking che è Tic-Tocative o Red’s Favourite. I due padroneggiano ogni stile, dal country americano in Stepping Stones, agli omaggi sentiti e meravigliosi al jazz, prima con Piano Tune e la ripresa della leggendaria Goodbye Pork-Pie Hat di Charles Mingus, che la scrisse in omaggio al da poco scomparso Lester Young che era solito portare un cappello pork pie. Altro gioiello è il rincorrersi gioioso di No Exit, che anticipa quello stile che diventerà celeberrimo nei Pentagle, che i critici chiameranno folk-baroque. I due continueranno la carriera solista anche durante il periodo di militanza nei Pentangle, con risultati sempre elevati, ma non suoneranno mai più insieme in un disco, Dei due, Renbourn rimarrà sempre il più schivo e lontano dal mondo musicale, mentre Jansch con il passare del tempo diventerà una sorta di icona della chitarra, tanto che Neil Young lo descriverà come l’Hendrix della chitarra acustica. Ascoltate la loro magia per credergli.

#bert jansch & john renbourn #bert and john #1966 #recensione

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