Quote from: Ulrich on October 23, 2021, 14:30:22Thanks for ruining another song for me with such weak assumptions.
Quote"Merlin Sheldrake's marvelous tour of these diverse and extraordinary life forms is eye-opening on why humans should consider fungi among the greatest of earth's marvels. . . . Wondrous."--Time
A mind-bending journey into the hidden universe of fungi, "one of those rare books that can truly change the way you see the world around you" (Helen Macdonald, author of H Is for Hawk).
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY Time • BBC Science Focus • The Daily Mail • Geographical • The Times • The Telegraph • New Statesman • London Evening Standard • Science Friday
When we think of fungi, we likely think of mushrooms. But mushrooms are only fruiting bodies, analogous to apples on a tree. Most fungi live out of sight, yet make up a massively diverse kingdom of organisms that supports and sustains nearly all living systems. Fungi provide a key to understanding the planet on which we live, and the ways we think, feel, and behave.
In Entangled Life, the brilliant young biologist Merlin Sheldrake shows us the world from a fungal point of view, providing an exhilarating change of perspective. Sheldrake's vivid exploration takes us from yeast to psychedelics, to the fungi that range for miles underground and are the largest organisms on the planet, to those that link plants together in complex networks known as the "Wood Wide Web," to those that infiltrate and manipulate insect bodies with devastating precision.
Fungi throw our concepts of individuality and even intelligence into question. They are metabolic masters, earth makers, and key players in most of life's processes. They can change our minds, heal our bodies, and even help us remediate environmental disaster. By examining fungi on their own terms, Sheldrake reveals how these extraordinary organisms--and our relationships with them--are changing our understanding of how life works.
SHORTLISTED FOR THE BRITISH BOOK AWARD • LONGLISTED FOR THE RATHBONES FOLIO PRIZE
"Entangled Life is a gorgeous book of literary nature writing in the tradition of [Robert] Macfarlane and John Fowles, ripe with insight and erudition. . . . Food for the soul."--Eugenia Bone, Wall Street Journal
Quote from: SueC on October 23, 2021, 11:30:26I've had Too Close To Heaven for many years, and I like some of the material on it even better than the material on Fisherman's Blues. And yet from what I read in the bio, that's only a fraction of what they actually recorded and then put on ice (although some of it turned up on Room To Roam, whether from the vault or re-recorded specifically for that album I'm not sure).
QuoteWhen the tour finished at the end of 1989 we convened at Spiddal House near Galway and installed a studio, just as we'd done for the final Fisherman's Blues sessions a year before, and spent the next four months in residence at our mansion of music
The album was produced and arranged in more democratic fashion than any other Waterboys record. I didn't want the sole producer's responsibility, so Barry Beckett, legendary Muscle Shoals man, worked with us for the first eight weeks, genially guiding and encouraging us. Colin Blakey arranged A Man Is In Love and it was his innovation to place the jig Calliope House as an expression of joy at the song's end, and it was Steve Wickham's idea to add a Dixieland band to Spring Comes To Spiddal. Throughout the album each musician developed his or her own parts, choosing which instrument to play on each song. Every band member consequently emerges on Room To Roam as a multi-instrumentalist.
Quote from: SueC on October 23, 2021, 11:30:26... he's also, for the last couple of days, several times a day exclaimed in shocked tones, "He sacked Sharon Shannon! How can anyone sack Sharon Shannon?"
Quote from: SueC on October 23, 2021, 11:30:26Of course, the cynical part of me thinks How Long Will I Love You? is another hormonal proclamation by a starry-eyed courting individual, which smells vaguely fishy
Quote from: Ulrich on October 22, 2021, 15:04:44Quote from: SueC on October 22, 2021, 05:17:17Fisherman's Blues is one of my favourite albums of all time, and it was really interesting to read about its recording, especially the months in residence in Spiddal House. That all seemed pretty idyllic
Well I guess it was and even today, when the band members speak about it (or re-visit the place) they get all sentimental about it.
However, only half of the album was recorded there, the rest was all over the place (Dublin mostly, plus some sessions in L.A., which weren't used after all).
Songs kept being rearranged and re-recorded, in the end they lost track and it could've been 3 albums in all. (Most left-over recordings were subsequently released over the next 30 years.)
Quote from: Ulrich on October 22, 2021, 15:04:44I had the impression that Mike Scott just follows his own intuition when it came to creative decisions. This lead him to into "blind alleys" at times, but that can easily happen.
Anyway, I read that autobiography by Mike Scott a while ago and enjoyed it. He's a good writer, hopefully during lockdowns he found time to write something again (part 2 of this bio maybe)...
Quote from: SueC on October 22, 2021, 05:17:17Fisherman's Blues is one of my favourite albums of all time, and it was really interesting to read about its recording, especially the months in residence in Spiddal House. That all seemed pretty idyllic
Quote from: SueC on October 22, 2021, 05:17:17Mike Scott seems not to have consulted the other band members democratically and inclusively with major decisions like this
Quote from: undefinedDespite the challenges of producing the album remotely, Dave Fridmann's work on the latest Mogwai album saw the band top the charts for the very first time.
"Mogwai is one of those bands that's ultra‑dynamic, that goes from ear‑bleeding volume to deafening silence. If you go to one of their shows you'll experience a full range of emotions because of those dynamics, and because it's so visceral when they're loud. My job was to try to make the visceral experience of a live concert come out of a pair of stereo speakers, or tiny computer speakers, or earbuds. That's not an easy task.
"In general, it is why I have bands come into my studio and perform their music here, and I'm in the room with them listening, experiencing their music in the way they experience it. I'm not sitting in the control room. When you do that with Mogwai, it's absolutely mesmerising. Capturing that is not as simple as just recording them straight. There's studio trickery involved in getting that across on a home stereo system. I hope that I can bring some added value to the table here, not only with Mogwai, but in working with anybody."
In these two paragraphs Dave Fridmann summarises many of the essential aspects of his production and mix work on the latest Mogwai album, As The Love Continues.
Fridmann has worked with Mogwai off and on since the band's second album, 1999's Come On Die Young. He also worked on the follow up, Rock Action (2001), and again on their ninth album, Every Country's Sun (2017), and most recently on As The Love Continues. The latter, which went to number one in the UK (the band's first chart‑topping effort), came into being in a rather unusual way. Fridmann directed the recording sessions via Zoom, which may seems like a rather remote, impersonal, digital approach for someone so fond of the warmth and humanity of analogue gear. However, while countless people the world over are by now absolutely fed up of relating to others via a screen, the American has a different perspective.
"I'd actually argue that even as Zoom is a digital format, it's an analogue experience. We were looking at each other in real time. We were hearing each other in real time. We were interacting in real time. I couldn't pause reality. It was just like being in the room together. If we had been sitting in the room together, we'd have had the same conversations.