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In the Hills the Cities

In the Hills the Cities

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CD 
Prijs: € 8,89

Product notities

James on 'In The Hills, The Cities' May 2010 'Erm, I've nearly finished an album. That's what it's called. I don't really do this talking about it lark but thought I'd write a bit of info for those that have asked or might want to know. So here's a wanky track by track preview, which is what I think is required of these things. Carousel The oldest song on the album by some way. Avvon (Chambers - Drums) kicks things off with a laid back 5/4 shuffle with Nick (Peck - Piano) and me creeping in shortly after, accompanied by the eery scrapings of the Wrecking Crew (String Quartet). It's ok, I made them do it. Pretty, slightly demented, vaudevillesque show-tune - 'more Tim Burton than Disney' according to the engineer at Tin Pan Alley studios, where we recorded the piano. It's in sonata-rondo form don't you know*! (*useless information for comedy effect) G-Suit It's folk, it's pop, it's... well... it's fop really isn't it. A breezy ditty driven by Vince (Hardwick - Bass)'s best ever acoustic bass riff and some tasty, scrunchy acoustic guitar. Mmm, clustery. If anyone was going to release a single from the album this would probably be it. Big-chorused anthemery about being caught when you fall. Run & Hide Five and a half minute dystopian epic. This is beginning to sound like a Yes album based on what I'm writing. I really don't think it is. Andy (Waterworth - Double Bass) and Chris (Wright - Electric Guitar) conspire to make this one of the tracks I'm most pleased with. I wail on about fireballs, the interval of an 11th features heavily. Hurrah! Where We're Going To Avvon, Chris, Vince and I rave it up big time. But with brushed drums and an acoustic guitar you understand. We can't be going in for all that all-night-strobey-field nonsense at our age. Actually the drums never get brushed, all just hats and humungous boomy kick. It's four-to-the-floor good time folk-house! The fingerpicking starts getting difficult. The top two strings on the guitar are unison c and the capo's at fret 5, Baby Martin fans. Becoming Everyone who worked on this has made it very special and I'm very grateful to them. Vince, Tom and I sat open mouthed as the double bass playing fell out of Andy, take after take of solid gold. Sir Robert of Kirby, gawd bless 'i'm, wrote and conducted the most beautiful string arrangement and the ladies of the Wrecking Crew performed it perfectly. Somehow I then had to come up with a vocal almost worthy of it. Slow, soppy balladry immaculately captured by Mr. Tom Aitkenhead at the controls. Laughing-Boy I have rarely felt more satisfaction than when my brother, listening to a rough mix, looked up at me with wide eyes just before verse 3 and said 'I'm scared...'. Again massive kudos to everyone who played on this challenging track and got it to work. Much of this is down to uber-drummer Avvon Chambers. Can't really describe it, people will probably hate it but I'm massively proud of it, and the band that managed to play a third verse which is in three time signatures and two tempos simultaneously AND make it groove. Sinister, hellish, but hopefully not impenetrable. The Wolves The newest song on the record. Strangely similar in mood to Laughing-Boy, heavy, but with 2 players instead of 8. They're just playing very very hard. Andy and I duel it out to see who can break a string first. Luckily it's not Andy or we'd both be dead. It's in Eb Dorian, mode fans! Probably the most physically demanding song for me. Whistlestop A short and sweet jazz tune about rushing through life. Piano man, Nick Peck, does what he does best. Sweet beardy jaaazzzzz. Another jaw dropping studio moment watching a seriously incredible player just walk in, sit down and play 5 utterly blinding takes in a row. He duels with Chris Wright's electric guitar, a part which was composed using an almost Cage-ian sculpting method and played a large part in making the track what it became. Closed Closes the record. A very difficult song to record but taken by itself probably my favourite song i've written. Hence the recording difficulty. Very happy with how it turned out in the end though. It turned out sad sad sad. So yeah, er get your copy somewhere soon. I'll do a limited, numbered, run of CDs and it'll be around and about download-wise.' Personnel James Edge - Vocals, Backing Vocals, Acoustic Guitars, Electric Guitars, Rhodes Piano, Toy Glock, Melodica Vince Hardwick - Bass Guitars Avvon Chambers - Drums, Percussion Chris Wright - Electric Guitars Andy Waterworth - Double Bass Nick Peck - Piano Calina De La Mare - Violin I Alison Dods - Violin II Sophie Sirota - Viola Sarah Willson - Cello Tom Aitkenhead - Loops, Samples, Additional Production String arrangements by James Edge except String arrangement for 'Becoming' by Robert Kirby Produced by James Edge Recorded by Tom Aitkenhead assisted by Tom Rowland Mixed by Tom Aitkenhead and James Edge Mastered by Ade Emsley Photography by Richard Shakespeare Artwork and Design by James Newman Gray Layout and Additional Design by Powerizer Dad.

Details

Kunstenaar: James Edge & the Mindstep
Titel: In the Hills the Cities
Genre: Folk
Releasedatum: 19-10-2010
Label: CD Baby
Media-indeling: CD
UPC: 5065001919015
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Credits