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#Steve hogarth
danbenzvi · 4 months
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On The Jukebox: Trevor Horn - "Echoes: Ancient And Modern"
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Bit of a different spin on a covers album as it's been put together by a producer, not an individual artist. As such, the album features a variety of vocalists. This feels very much like a "not to everyone's taste" kinda project and the reviews have been all over the place. Track listing as follows:
Tori Amos - "Swimming Pool (Drank)" (originally performed by Kendrick Lamar)
Seal - "Steppin' Out" (originally performed by Joe Jackson)
Rick Astley - "Owner Of A Lonely Heart" (originally performed by Yes)
Lady Blackbird - "Slave To The Rhythm" (originally performed by Grace Jones)
Marc Almond - "Love Is A Battlefield" (originally performed by Pat Benatar)
Iggy Pop and Lambrini Girls - "Personal Jesus" (originally performed by Depeche Mode)
Steve Hogarth - "Drive" (originally performed by The Cars)
Toyah Willcox and Robert Fripp - "Relax" (originally performed by Frankie Goes To Hollywood)
Andrea Corr and Jake Lukeman - "White Wedding" (originally performed by Billy Idol)
Jack Lukeman - "Smells Like Teen Spirit" (originally performed by Nirvana"
Trevor Horn - "Avalon" (originally performed by Roxy Music)
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j-tillow · 1 day
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socalledmixtapelife · 11 months
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Steve Hogarth - The Whole of The Moon
Best cover I’ve heard of this song
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happygaytimes · 2 years
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Mate how do you forget the lyrics to your own songs?
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leilatha · 1 year
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Álbum: Seasons End Banda / Band: Marillion País / Country: Inglaterra/ England Ano / Year : 1989 Faixas /Tracklist:
1. "The King of Sunset Town" (Steve Hogarth, Steve Rothery, Mark Kelly, Pete Trewavas, lan Mosley, John Helmer) 2. "Easter" (Hogarth, Rothery, Kelly, Trewavas, Mosley) 3. "The Uninvited Guest" (Hogarth, Rothery, Kelly, Trewavas, Mosley, Helmer) 4. "Seasons End" (Hogarth, Rothery, Kelly, Trewavas, Mosley, Helmer) 5. "Holloway Girl" (Hogarth, Rothery, Kelly, Trewavas, Mosley) 6. "Berlin" (Hogarth, Rothery, Kelly, Trewavas, Mosley, Helmer) 7. "After Me" (Hogarth, Rothery, Kelly, Trewavas, Mosley) 8. "Hooks in You" (Hogarth, Rothery, Kelly, Trewavas, Mosley, Helmer) 9. "The Space..." (Hogarth, Rothery, Kelly, Trewavas, Mosley)
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longliverockback · 2 years
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Marillion A Singles Collection 1992 EMI ————————————————— Tracks: 01. Cover My Eyes (Pain & Heaven) 02. Kayleigh 03. Easter 04. Warm Wet Circles 05. Uninvited Guest 06. Assassing 07. Hooks in You 08. Garden Party 09. No One Can 10. Incommunicado 11. Dry Land 12. Lavender 13. I Will Walk on Water 14. Sympathy —————————————————
Fish
Steve Hogarth
Mark Kelly
Ian Mosley
Mick Pointer
Steve Rothery
Pete Trewavas
* Long Live Rock Archive
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lapiezaquefaltaba · 2 years
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Marillion - An hour before it's dark (2022)
Un corazón para abrazar al mundo y pensar el tiempo (o para pensar el mundo y abrazar al tiempo)
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Marillion es una banda inclasificable e incomparable que desde hace 40 años nos deleita con sus discos. Desde los inicios en el marco de un Rock Progresivo más clásico, no han dejado de evolucionar y modernizar su sonido hasta llegar a Marbles, disco de 2004, considerado por muchos como su mejor álbum de este siglo. De allí en más, con algunos ajustes, la propuesta sonora ha sido similar -con un poco más o menos de experimentación- con puntos altos en canciones como “Gaza”, la suite de canciones de “Essence” (Happiness is the Road vol. 1) y diversos momentos de F.E.A.R. o sus otros discos, pero nunca de forma pareja y compacta. Para eso, probablemente haya que referirse a discos como Marbles o Afraid of Sunlight, consistentes de principio a fin tanto en lo sonoro como en lo compositivo, más allá de que a algunos nos puedan gustar más o menos algunas cosas.
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Para la banda, más de 40 años de trayectoria no es algo menor, con todos sus miembros ya habiendo pasado los 60 años, cada nuevo disco es una apuesta -en sus propias palabras- de producir una obra que diga cosas significativas tanto en lo musical como en lo lírico. Con el caso de Sounds That Can’t Be Made y  F.E.A.R. esto fue logrado con algunas salvedades, según el caso. Ciertas críticas en lo lírico por su postura y forma de expresarla ("Gaza" o gran parte de F.E.A.R.) y en lo musical (nadie espera una banda que roquee como lo hacían en los ochentas pero desde Marbles a esta parte falta en gran parte de sus discos cierta “energía” que solo fue lograda por momentos), no desanimaron a la banda.
Todo esto le dió al álbum una urgencia y una pulsión que, por lo menos musicalmente -por razones e intencionalidades totalmente distintas-, no era sentida desde Radiation o Afraid of Sunlight, álbumes además que podemos definir como “de canciones”. La diferencia está en que, donde Radiation es impulsivo y poco cohesivo, en An Hour Before It’s Dark la propuesta musical motoriza lo dicho por Hogarth y viceversa, formando una unidad en cada canción y entre canciones que no se rompe en ningún momento, más similar a discos como Afraid of Sunlight.
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El primer tema es “Be Hard On Yourself”. De tres partes, como varios en el disco, inicia casi tímidamente hasta que irrumpe el Choir Noir (de colaboración destacada en varias canciones), para dar paso a una línea de piano de Mark Kelly llena de dramatismo, a la que se suman Pete Trewavas en bajo e Ian Mosley en batería impulsando rápidamente el tema. Al igual que en F.E.A.R. el tono es épico, pero allí el mismo contexto de observación política ácida y nihilista dotaba a todo el álbum de una depresión floydiana que aquí brilla por su ausencia. Queda claro desde el principio que An Hour... toca temas graves y actuales, pero la perspectiva es más humanista, optimista si se quiere: “tratemos de hacer que esto cambie de alguna manera, pero juntos”. El “Strap in, get ready, foot down, push the button, blow it all up, and be hard on yourself” (Ponete la correa, prepárate, baja el pie, volalo todo y sé duro con vos mismo) de la mano de la maravillosa línea de guitarra de Steve Rothery -una de las tantas del disco-, marca el tono y clima del álbum.
Marillion hablaba hace ya más de 30 años en Seasons End del cambio climático, cuando ya era un tema importante. Si aquel era un llamado de atención donde “quizá no nevará más en Inglaterra”, la actualidad muestra que -por ahora- sigue nevando allí. Pero las cosas no solo no han mejorado sino que han tomado aristas realmente graves de la mano de la sobreexplotación de los recursos naturales, la contaminación y las enfermedades. Steve Hogarth pinta un panorama donde la descripción bella de nuestro mundo choca con la brutalidad del abuso a la que lo sometemos. Esto es claro en la segunda sección de la canción donde Marillion entrega uno de los segmentos más rabiosos y angustiantes de toda su carrera. La última parte del tema vuelve a un terreno más reflexivo, donde “el tiempo que nos queda” marca otro de los temas excluyentes del disco: el que tenemos de vida, el que tenemos como humanidad, el mismo que tiene la banda para entregar un mensaje válido y posible “antes de que termine la canción”, para volver al mismo llamado a despertar, a pintar un cuadro, a jugar, a ser mejor, a dejar una huella “una hora antes de que oscurezca”. Y así la canción finaliza con la delicada línea melódica con la que comenzó.
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El segundo tema “Reprogram the Gene” mantiene el tono rockero y urgente, con una melodía sugerente sobre la que Steve Hogarth canta sobre programarse y re-programarse de formas posibles e imposibles, con una cierta rabia que oscila irónicamente entre la consigna de tipo slogan y la expresión frontal de una necesidad de cambio y nuevamente de “despertar para ser mejor” y tener un mejor lugar para vivir.
A esta altura del disco es notoria y muy interesante la ambigüedad de puntos de vista que maneja Hogarth en sus letras, donde a la acostumbrada riqueza de imágenes y su inherente sensibilidad, se permite -y nos permite- disfrutar de varios niveles de sentido de forma muchísimo más pulida que en discos anteriores. Aquí hay un trabajo reflexivo donde muchos de los temas referencian a otros en frases concretas, profundizando sentidos e impresiones que redondean un mensaje general pleno de sencillez, lleno de matices y a la vez directo.
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“Only a Kiss” funciona como una introducción a “Murder Machines”, que es el “single” del disco. En una canción que tiene sutiles ecos de “Power” (aquel otro single de Sounds That Can’t Be Made), Marillion brinda una de sus canciones “cortas” más logradas de los últimos tiempos, de la mano de un desarrollo melódico atrapante y uno de sus mejores estribillos, tanto en lo musical como en lo lírico. Nuevamente Hogarth describe el par de años que hemos pasado con la pandemia y los riesgos que ésta impuso en todo el mundo, con poesía pero sin vueltas, mientras entona apasionadamente “I put my arms around her and I killed her with love” (Puse mis brazos alrededor de ella y la maté con amor). Si bien aquí puede haber más de una interpretación, para todos quienes perdieron un ser querido en estos años, solo hay un significado. Steve Rothery realiza un gran trabajo, eligiendo comandar el tema a través de una línea melódica que en el estribillo se despega del tema principal con un contrapunto arriesgado que incomoda en las dos primeras pasadas, para resolverse en el final de la canción de forma magistral a través de un solo. Touché maestro.
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"The Crow and the Nightingale" abre la que sería la “segunda mitad” del disco. Aquí se nota claramente la influencia que tuvo el trabajo con In Praise of Folly en el anterior álbum de versiones orquestadas. A ellos, se suma de forma protagónica el  Choir Noir comandado por Kat Marsh, con unos arreglos de voz exquisitos.
La letra es, según Hogarth, un homenaje a Leonard Cohen, de quien lamentablemente he escuchado poco y nada por lo que no puedo hacer comparaciones. Dicho esto, si bien también puede interpretarse una relación con la fábula, sus imágenes llenas de poesía y altamente evocativas dejan entrever que no hay envidia en él sino una dedicatoria emocionada y humilde donde canta “No puedo volar pero abriré mi áspero pico graznando al cielo, el cuervo y el ruiseñor… …Pero a una azotea puedo ir, a gritar por encima de los pájaros, añadiendo mi aburrido brillo a tus brillantes palabras” (I can’t fly but I’ll open my rough beak, squawk at the sky, the crow and the nightingale... ...But a rooftop I can go, to scream above the birds adding my dull sheen to your brilliant words").
En lo musical, más allá de que se pueden hacer paralelos con “When I Meet God”, “Man of a 1000 Faces” o incluso “Neverland”, la banda entra en un terreno realmente inédito, logrando una emoción enorme en el oyente a través de la música que va en un in crescendo imparable desde el comienzo del tema y, cuando parece que va a ir a otro lado, sigue creciendo. Es un tema de una sencillez enorme pero construido con mil capas, matices y sutilezas, que evocan el dramatismo y la poesía de los discos clásicos de Scott Walker (3 y 4). Steve Rothery se suma con un precioso solo a ese engranaje que es inédito y brillante. La primera vez que lo escuché, entre lágrimas, sin tener clara la letra, pero superado por la pura emoción de la música pensé “40 años de historia, y siguen superándose a sí mismos”. Simplemente, uno de los mejores temas de toda la carrera de Marillion.
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“Sierra Leone” se inicia con una hermosa y delicada melodía de Steve Rothery que se va tejiendo con cierto minimalismo hacia un crescendo en la primera sección, donde Steve Hogarth cuenta la historia de uno de tantos trabajadores que hacen su diaria labor en condiciones de extrema pobreza en ese país (Sierra Leona). Al encontrar un diamante que le augura futuras riquezas y prosperidad, que le traerá libertad, decide quedárselo, hechizado por su belleza. La respuesta al por qué lo hace, quizá se encuentre en unas líneas de “Care”: “Encontré la libertad en un diamante que no cambiaría, ni siquiera por el cielo… …Gracias por hacerme vivir de verdad, de verdad, en una vida donde el lujo era a veces, sobrevivir” (Found freedom in a diamond I won’t trade, not even for heaven... ... Thank you for making me truly, truly alive in a life where luxury was sometimes, to survive).
Musicalmente, el tema sigue su desarrollo donde Kelly y el guitarrista se alternan el protagonismo, con el “I won’t sell this diamond” (No venderé este diamante) como un mantra que se va repitiendo y justificando la postura del personaje protagonista. Se podría decir que es un tema “típico” de Marillion de esos donde muchas veces la belleza de la música contrasta con la tristeza de su letra. Más allá de que su temática puede ser la menos relacionada con el concepto general del disco, el mayor inconveniente es que está entre “The Crow…” y “Care”; en un disco donde todos los temas salen de lo común, este es el más “tradicional” para lo que es la banda.
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“Care” es donde todos los temas y motivos del disco confluyen líricamente y musicalmente. Partiendo de cierto “realismo noir” en “Maintenance Drugs”, con un marcado tono funk -que da para un muy interesante despliegue de Pete Trewavas y Steve Rothery, incluso se escucha una percusión que debe ser de Luis Jardim, otro invitado-, Marillion recuerda en todo sentido al Magic and Loss de Lou Reed, para relatar el proceso de quimioterapia de un amigo de Steve Hogarth que sirve como una brillante reflexión sobre el tiempo, la vida y la muerte. La segunda sección de la canción es la que da nombre al disco y donde esta idea de Hogarth se hace más clara: ¿qué es lo que pensamos una hora antes de morir? Del funk pasamos al jazz gracias al protagonismo de Ian Mosley que, con el swing que lo caracteriza, sostiene unos delicados arpegios de Rothery. En la sección siguiente el protagonismo es todo del guitarrista, con un solo de impronta floydiana, hasta que llegamos al momento donde Steve Hogarth canta "Y mientras te desvelaba, te diste cuenta de que me querías lo suficiente como para dejarme para siempre" (And as I unpeeled you, you realize you loved me enough to leave me forever) y comienza la última sección, “Angels on Earth”.
Hay algo catártico aquí, algo profundo, que hace que por lo menos para mí sea imposible no emocionarme cada vez que escucho este tema. Conocí a Marillion con Fugazi y la banda en todo este tiempo me ha emocionado muchas y repetidas veces. Pero creo que ningún tema de la banda me provocó hasta ahora la emoción que me provoca “Care”. Escuchándolo, y pensando en el por qué, no puedo dejar de encontrar y de remitirme al final de Fugazi donde en 1983 Fish se preguntaba “¿Dónde están los profetas? ¿Dónde están los visionarios? ¿Dónde están los poetas?". Casi 40 años después, otra banda completamente distinta que “casualmente” tiene el mismo nombre encontró una respuesta probable sin buscarla: con el pulso de la evocativa batería de Ian Mosley, Marillion construye un crescendo más, donde Steve Hogarth canta: “Los ángeles de este mundo no están en las paredes de las iglesias, los héroes de este mundo no están en el salón de la fama… …los ángeles de este mundo no están plasmados en bronce o piedra, los ángeles de este mundo trabajando mientras nosotros estamos durmiendo" (The angels in this world are not in the walls of churches, the heroes in this world are not in the hall of fame… …the angels in this world are not rendered in bronze or stone, the heroes in this world, working while we’re all sleeping). La letra es más larga y este es un pálido resumen, pero no hace falta explicar que la banda nos está diciendo: los héroes de este mundo son los que nos vinieron cuidando, exponiendo sus vidas, mirando a la muerte a la cara en todos los sistemas de salud del mundo. Retomando también la línea de “Murder Machines”“Ella puso sus brazos alrededor mío” (She put her arms around me), dándole otro sentido más, Marillion cierra “Care” y su último disco a pura emoción. Es imposible no terminar llorando. Y el disco es aún mejor por ello.
En este siglo, los problemas lamentablemente no se modificaron demasiado: el miedo a una guerra, el cambio climático, las Murder Machines cambiaron pero siguen estando… la respuesta sigue siendo la misma: Care es cuidar, pero también es que te importe, es comprometerse, es apostar por el otro. Marillion redondea su último disco con otro tema destinado a convertirse en un clásico enorme en su discografía y sus shows en vivo. An Hour Before It’s Dark es un álbum que probablemente se transformará en el Dark Side of the Moon de Marillion (sería bueno que tuviera el éxito de aquel) en cuanto a que es un retrato sensible y preocupado de nuestro tiempo. A diferencia del de Pink Floyd podríamos decir que es más optimista de lo que debiera, dadas las circunstancias.
Durante toda su carrera Marillion ha debido de cargar con varios lastres y etiquetas injustos: “copia de Genesis”, “el nuevo vocalista”, “pretenciosos y aburridos”, “no son suficientemente progresivos”, “en lugar de un doble hubieran sacado un disco solo” y otras similares. Con todo lo dicho ¿es necesario repetir que se cuentan con los dedos de la mano las bandas y los artistas que pueden sacar discos significativos no una, sino varias veces en su trayectoria a esta altura de sus carreras?
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Fieles a sus tiempos, sus inquietudes y su particular forma de componer canciones en base a rescatar las mejores secciones de infinitas jams para ello y teniendo en Steve Hogarth a un observador agudo y sensible de la realidad, han logrado con An Hour Before It’s Dark un disco definitorio que no solo está a la altura de los mejores de su carrera sino que, aunque habla directo y de frente a nuestro tiempo como lo hicieron tantos clásicos antes de él, su humanismo a flor de piel nos asegura que seguirá vigente por muchos muchos años más, más allá de la noche y el olvido.
Fotos por Anne-Marie Forker Diseño Gráfico de Simon Ward para 1d3ntity
Gracias a Lucy Jordache, Mark Kennedy, Carlos McDonagh, Jorge Bourdieu y muy especialmente a Andrés Valle que puso el fósforo en la mecha.
Este artículo fue publicado originalmente en www.mellotronweb.com.ar en marzo de 2022.
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barbieriz · 2 years
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psychterminal · 7 months
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multifandomfix · 1 year
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Little Things They Do To Show They Love You (Marvel Preference)
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Agatha Harkness: She’ll perform small, simple spells that just make your life a tiny bit easier. Like if she sees you struggle to reach something, she’ll magically bring it down for you.
Ayesha: Listen. Honestly, it may feel like the bare minimum, but Ayesha doesn’t really listen to anyone, yet somehow she makes time to listen to you and remembers seemingly inconsequential details in the things you tell her.
Bruce Banner: Housework. He knows you sometimes dread certain chores and he’ll do them for you any chance he gets because he knows it can upset you if chores, especially your most hated ones, start piling up.
Everett Ross: Everett cooks, and also leaves little notes around the house for you to find. Bonus points for having a lunch you take to work, which he’s usually able to sneak one of said notes into, making all your coworkers jealous of how lucky you got to be with such a thoughtful guy.
Hela: She creates things for you. Though her powers are meant to kill and destroy, she make a conscious effort to try and make things for you, whether it’s something she crafted with her own two hands, or something of a more magical variety.
Helmut Zemo: Zemo leaves you sweets. Turkish delights of course, but also any other sweet treat that he knows is a favorite of yours. He’ll place one on your pillow before you come to bed and fill your coat pockets with them because he knows they bring a smile to your face.
Jeri Hogarth: Jeri stops working. She’s always overworking, but she finds time to set aside to spend with you. Real, quality time, not like it’s just something else to cross off her to do list.
Kilgrave: Kilgrave gives you a quiet day. He speaks as minimally as possible, while letting you choose what to do that day with him. It’s a monumental task for him, really and it’s immensely difficult for him not to use his power and influence.
Loki Laufeyson: He plays games with you. Board games, video games, etc. He does fancy a good game, and despite his intense urge to, he doesn’t even attempt to cheat, turning the odds in his favor. He has though, on occasion, turned the odds in your favor when you’ve had a really bad day.
May Parker: May is always passing by, giving you a kiss on the cheek as she does, or squeezes your hand before you leave for something that you’re particularly nervous for. Just small physical signs of affection to let you know she’s there and she cares.
Natasha Romanoff: She happily runs errands for you when your life gets too busy or overwhelming. No matter if it’s one thing or twenty, she’s happy to run out and get whatever you need for you to take some of the stress off of your shoulders.
Pepper Potts: Pepper organizes for you. She knows just how you like things and makes sure it’s all as it should be on a regular basis so you can keep your life in relative order.
Stephen Strange: Stephen provides you transport for wherever you need to go. He even offers to portal you to a remote location of your choosing whenever things get too stressful.
Steve Rogers: Steve cleans. He’s not really a neat freak or anything, but maybe it’s the old fashioned guy in him that makes him think that you both should have a nice and tidy place to come home to to help you relax.
Thor Odinson: He learns from you. Anything earth related he doesn’t quite understand, he lets you, and only you, teach him about it. It’s a sign of his utmost trust in you not to steer him wrong and also a great way to spend time together.
Tony Stark: Tony buys you things. It’s an easy and obvious go to for him, but his gifts, while occasionally frivolous, are often quite thoughtful as well. That thing you need for your collection that’s always way too much money to justify ever buying for yourself? Tony has it on your shelf the next morning.
For anon
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thrice-owns-my-ass · 6 months
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"This is a song for the people – especially the children – of Gaza. It was written after many conversations with ordinary Palestinians living in the refugee camps of Gaza and the West Bank. I also spoke with Israelis, to N.G.O. workers, to a diplomat unofficially working in Jerusalem, and took their perspectives into account whilst writing the lyric.
It is not my/our intention to smear the Jewish faith or people – we know many Jews are deeply critical of the current situation – and nothing here is intended to show sympathy for acts of violence, whatever the motivation, but simply to ponder upon where desperation inevitably leads.
Many Gazan children are now the grandchildren of Palestinians BORN in the refugee camps – so called “temporary” shelters. Temporary for over 50 years now…
Gaza is today, effectively, a city imprisoned without trial. We ask you to add your voice to those already campaigning and lobbying for a peaceful and urgent resolution to this desperately unfair situation.
Please check out the “Hoping” foundation (www.hopingfoundation.org) which provides facilities and materials for Palestinian children enabling them to play, learn, and to express themselves through art, music, and the performing arts.
Help if you can. To dream, might not after all, be just a dream."
-Steve Hogarth (July 2012)
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scotianostra · 9 months
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 Happy Birthday Scottish singersongwriter  KT Tunstall
Edinburgh born singer-songwriter KT Tunstall is one of Scotland's most successful musicians having sold over six million albums worldwide.
Kate “KT” Victoria Tunstall was born on this day 1975,  her birth mother was a  Hong Kong-born exotic dancer, who put her up for adoption her parents David and Rosemary Tunstall adopted her and raised her in St Andrews, she has always been aware that she was adopted. 
Strangely enough for a musician of her magnitude, KT Tunstall did not grow up in a musical household. Her parents’ only tape was a Tom Lehrer album on tape, leading Tunstall to discover the world of music entirely on her own , but it didn’t hold her back, KT was musical from an early age, learning to play piano, flute and guitar as a teenager.
KT moved to the USA, hungry for experiences and independence, she gained a scholarship to Kent School in Connecticut, New England. Whilst out there KT spent time on a hippy commune and formed her first band, The Happy Campers, she also spent a lot of time on busking in Burlington, Vermont.
After her time in the U.S she enrolled in a  music course at Royal Holloway College in London, before finally moving back to St Andrews, she joined a group of folk musicians from around the East Neuk  called The Fence Collective, which included the very talented Kenny Anderson aka King Creosote, in time she decided folk music was not for her and went on her way.
She began writing projects with Swedish songwriter/producer Martin Terefe and London-based Orcadian Jimmy Hogarth and London’s Tommy D. She started work on her debut album with her new band and legendary U2/New Order/Happy Monday’s producer Steve Osborne at the helm. ‘Eye to the Telescope’ saw her whittle down a massive catalogue of over 100 songs to just 12.
Luck played a part in her big break when due to another artist pulling out she appeared on  'Later With Jools Holland’ performing ‘Black Horse and the Cherry Tree’ it went on to become one of the most played songs of the summer. Her double platinum selling debut album 'Eye to the Telescope’ was nominated for the prestigious Mercury Prize. 
KT has now had 6 top 20 albums, the latest, Wax was in 2018, it reached number 6 in Scotland and 15 in the UK charts, her new album, Nut, is due out in September.
I remember her being interviewed on The Proclaimers, This is the Story documentary in 2017, where she chose their excellent song Scotland’s Story, commenting “Scotland’s Story just really struck me as quite a different song for them, that they were really saying something incredibly poignant and quite brave. It’s quite a critical song of the way that Scotland’s history is logged.
“Here we are in 2017 and it couldn’t be a more poignant, relevant song for what’s going on in the world and I just thought for right now, it’s an amazing song to sing.”
KT  has suffered hearing problems since 20n July 2021, she announced that she was having to pull out of her summer tour dates and permanently avoid lengthy runs of closely consecutive performances, citing issues with her right ear which were "exactly how the breakdown of my left ear began"  In July 2021, she announced that she was having to pull out of her summer tour dates and permanently avoid lengthy runs of closely consecutive performances, citing issues with her right ear which were "exactly how the breakdown of my left ear began"   Hearing problems have always been a worry to her; her brother  was profoundly deaf since
KT is touring just now, dates are all over the world, North America next month, then back home, she will n=be in Ireland, England and back in Scotland for the Belladrum Tartan Heart Festival.
The song is a duet of Caledonia with Alan Cumming.
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mybeingthere · 11 months
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Ian Abdulla (1947–2011) Ngarrindjeri artist. 
Ian Abdulla lived all his life at Cobdolga, an early irrigation settlement in the Riverland region of South Australia. The township is located beside the Murray River, it’s name a corruption of Cobdogle, the ‘king’ of the local Aboriginal tribe. Abdulla grew up by the swamp, formed when the system of locks changed the river level, a haven for water birds, especially pelicans.
He began painting in the late eighties, a period of cultural renaissance in Cobdolga, due in large to mentorship from art activist and teacher Steve Fox, who had taken an extended break from his role as art adviser at Yirrkala in North East Arnhem Land. Abdulla captured the prevailing mood of his community when he told Steve Fox that he couldn’t draw and that his mob had no culture left. ‘That was just on the surface though’, Fox later recalled, ‘it all changed the more we talked' (Fox 1992: 68). Despite Abdulla’s early misgivings about his creative potential, his work evolved and found an appreciative audience.
Through his painting Abdulla came to relate the simple narrative stories that recorded his recollections of times and deeds that illuminated the life of the local Aboriginal people living in rural poverty. Growing up in the 50’s and 60’s, his childhood memories, though simply told, are far from simple and, importantly, are deeply grounded in historical context. It is a perspective that is at once personal and political, though gently so. In time Abdulla became the most successful of the Cobdolga artists. While much of their art was narrative, contemporary and political, Abdulla himself tended away from the overtly political and developed a quieter, more reflective style, which garnered considerable popular attention, and even affection, from the mainstream public.
'I can only paint what I know to be true,' Abdullah said, revealing the sense of authenticity that lends gravitas to his naive painting style. Human figures, tenuous within the painted landscape of mountains, trees, birds and animals, go about their activities integrated within, rather than imposed upon the background. The overall effect is one of continuity between a unique environment and its human inhabitants. Most of his paintings are annotated, and it is the text, centred in the visual forefront of the image, that provides the link between these naive images and the broader historical framework of Aboriginal dispossession and inequity.
Although his work has remained stylistically consistent throughout his career, his final paintings departed somewhat from stories of his childhood to address contemporary issues. The vanished river life is replaced by the modern day hardships of life in Cobdolga; alcoholism, unemployment, violence and prison life. The childlike, figurative narrative delivers these stories simply as ‘truth’, recording events with a certain sense of objectivity and largely without judgement. Prominent attention to background surroundings still conveys the sense that human intention is subject to greater forces. In his painting Here is Where the Angels Carried Me to The Front Step When I Was Walking Around the Mission Looking For a Head Strainer 1999, Abdulla left behind the innocence of childhood and tells an adult story of hope and redemption. 
For an artist who initially maintained that, ‘In the future my paintings won't change much from what they are today‘ (Murphy 1992: 14), this direction is compelling. The lack of artifice always evident in Abdulla’s work reflected his opinion that what ultimately matters more than anything is that these stories are told.The sense that Abdulla was a ‘people’s artist’, and was a storyteller creating works for his own community as much as for a wider audience, has sat relatively comfortably alongside his commercial success and artistic recognition. His representation through Paul Greenaway in Adelaide and the Hogarth Gallery in Sydney was stable and enduring, built upon the same deep personal feelings that he imparted so successfully in his art. Over time he came to occupy a unique position within the broader canon of Aboriginal art as a contemporary voice outside of the ‘urban contemporary’ framework.
Ian Abdulla��s work has been recognised in many ways since it gained recognition in the early 1990’s. He was awarded South Australian Aboriginal Artist of the Year in 1991 and an Australia Council Fellowship in the following year. On two occasions he was runner up in the National Indigenous Heritage Art Award and in 1996 he won the General Painting section of the Telstra National Aboriginal and Torres Strait Islander Art Award. His work has been developed into two popular children’s books that deal with social and environmental issues, As I Grew Older 1993 and Tucker 1994; and attesting to his enduring popularity, his life and art were the subject of the play Riverland directed by Wesley Enoch for the Adelaide Festival in 2007. Ian Abdulla passed away in early 2011 leaving behind this great legacy.
https://www.cooeeart.com.au/.../profile/AbdullaIan%20W/
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burlveneer-music · 4 months
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Trevor Horn - Echoes - Ancient & Modern - I'm lukewarm on this album of covers as a whole, but I do like the versions of "Slave to the Rhythm" (sung by Lady Blackbird) and "Personal Jesus" (Iggy Pop & Phoebe Lunny)
Swimming Pools (Drank) (feat. Tori Amos) 03:56
Steppin' Out (feat. Seal) 04:24
Owner Of A Lonely Heart (feat. Rick Astley) 03:42
Slave To The Rhythm (feat. Lady Blackbird) 04:17
Love Is A Battlefield (feat. Marc Almond) 03:31
Personal Jesus (feat. Iggy Pop & Phoebe Lunny) 03:26
Drive (feat. Steve Hogarth) 03:54
Relax (feat. Toyah Willcox & Robert Fripp) 04:06
White Wedding (feat. Andrea Corr & Jack Lukeman) 04:33
Smells Like Teen Spirit (feat. Jack Lukeman) 04:33
Avalon 04:04
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lazy309 · 1 year
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Some questions for you my lil sis UwU
Did you watch Stranger Things? And if you did who is your fav character and season? >:3
How did you learn to draw so good?! Girl you are very talented! <3
How was your week? How are you rn? I hope you are doing well 💕
Make a funny doodle of any character you choose >:3
Just some questions I have for you <3 let me know if you’d like to ask more <333 love u!
I havent actually watched it yet just a few Videos on youtube, because I dont really have time because of school and plenty other things, but I really look forward to watch it when I have some time! Even if I didnt watch it, I have a few favorite Characters hehe! That would be : Eddie Munson, Steve Harrington, of course, Eleven and 001 ( I find him Hot hehe ) that was it! Well ive been drawing since I was little idk...And you really think so?! AAAFAFFAFDHGHJD THANK YOU SO MUCH!😍😍😍😍😭😭 Your Art is as always amazing too big sis! And my week was a bit stressful i had some exams but I survived them haha! Also we have holidays 'till Halloween so nothing stressful anymore! Oh and at the Moment I feel well, how about you? As always feel free to ask more questions! I would love to answer them<3! Have a good Day bluey! Oh, and here is a random silly doodle of Hogarth i made, hope you like it!
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longliverockback · 7 years
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Marillion This Strange Engine 1997 Raw Power ————————————————— Tracks: 01. Man of a Thousand Faces 02. One Fine Day 03. 80 Days 04. Estonia 05. Memory of Water 06. An Accidental Man 07. Hope for the Future 08. This Strange Engine 09. Beautiful 10. Made Again —————————————————
Steve Hogarth
Mark Kelly
Ian Mosley
Steve Rothery
Pete Trewavas
* Long Live Rock Archive
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