![]() ![]() Jeff Wayne obviously, not forgetting Mr Stardust himself)įlowers was also responsible for the astounding basswork on this track. But how about this awesome performance? (Hat's off to everyone really - the drummer and the percussionist, the guitarist, the backing chicks. Shan't bother with "Walk on the Wild Side" (fine as Herb's line is) but then there's this - one of the most radical singles of the early Seventies.Įverybody knows "Rock On". "Betrayal", the single, has this wonderfully lanky, lurching bassline, like someone a few drinks worse for wear, staggering down the High Street after the extensive drowning of romantic sorrows in the pub. So I bought the solo album (but had no idea then how many solo singles and bits and bobs he had done). Wobble was the reason for my briefly-entertained dream of learning to play the bass.Īnd he came over like a good guy in the music press profiles, like the approachable, sensitive one in PiL. This might be PiL's greatest track - and one of Wobble's toughest B-lines. He's the soul-glue and sound-foundation of Metal Box - but which to pick? "Fodderstompf" certainly propelled me faster down that track at any rate, the path to "One Nation Under A Groove," "Shake Your Body", "Funkin' for Jamaica" ![]() My DiscoFunk conversion, probably (unless it was another Lifetime Award recipient further down, which it probably was now I think of it). ![]() How many times did I play this next one in the big bedroom at 113 Bridgewater Road? Wobble singing here as well as funking it up with that great elasticated B-line. So "Buffalo Gals" - Appalachian square-dance caller meets Bronx MCing - was really onto something. Lilting is part of a larger tradition in Ireland, called "sŽan nos" or "old style." It emphasizes subtle ornamentation and embellishment in song" - from Rambles, a cultural arts magazine It was used as dance music and to make work lighter. It is sometimes sung with sparse instrumental accompaniment (bones, bells, drums) but is mostly unaccompanied. The term "mouth music" is likely to be a translation of the Scots-Gaelic "port-a-beul" ("tunes from the mouth"). It became part of the musical baggage of Scottish and Irish emigrants and traveled with them to Nova Scotia and down into the southern Appalachians. They are not songs but instrumental tunes whose lyrics power the rhythm.It can be found in various forms throughout the world, but it is highly developed among the Gaels. It is built on favorite old melodies and rhythms and used for making music - for dancing - when there are no instruments to play. "'Mouth music' is known by many different names: cheek music, chin music, lilting, diddling, gobbing, reel ˆ bouche, port-a-beul. ![]()
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