| T O P I C R E V I E W |
| Fluffy |
Posted - 10/12/2002 : 09:44:46 AM
Check out "ATOM", a great ambient track by TranceVision.
http://www.trancevision.net/i_music.htm
Tim contributed some amazing slide/rhythm guitar and MoogerFooger tracks on this one. Must hear to appreciate. Don't deprive yourself of this sonic pleasure.
Also "ENERTIA". Tim, once again, struck fiercely and delivered an outstanding guitar performance.
http://www.trancevision.net/i_music.htm
quote:
what Erich with an H had to say about Enertia:
Posted - 03/16/2002 : 6:48:35 PM
By the way, i just listened to Enertia, and im going to pick up the disc today, i really really like it. You know what it reminds me of... Pink Floyd with a hint of Dire Straights. Tims style in this track echoes that of knopfler and gilmour (slightly more knopfler), while the increadible backing track is like spacey floyd. Its unbelievable.
TranceVision is located in Santa Fe, where Tim also resides and he was kind enought participate on our project. There's also another song from Trancegressor where he contributed some great licks on a remix of the song "PARAMOUNT". It has a bad ass Techno/Hendrix vibe thanks to his magical talents. We're also working on another song, which has a Marylin Manson/NIN/Pink Floyd/Rock vibe and will be released soon.
He's a joy to work with and I'll let you all know as soon as it's posted. We are very lucky to be able to work with him and look forward to doing more.
UPDATED 01/24/05: This post is from just over 2 years ago, So I wanted to update for new readers. The links at the top are the current links to those tracks and here is the info about the others mentioned. If links become available I will make them known.
The information below was given to me by Pete Code of Trancevision.
What is "Trancegressor"?
"It was a Techno band project which has been put to rest."
The song "Paramount" which was described above as having "a bad ass Techno/Hendrix vibe" is a "kind of a discontinued piece and not on our site."
The other song mentioned above as being worked on "which has a Marylin Manson/NIN/Pink Floyd/Rock vibe" became a track called "I Got Away". There were at one time links to "I Got Away" and "I Got Away-Lead"(which was an INSTRUMENTAL version) on one of the 3 links to other threads listed above but the links are now defunkt, and there are no current links to it on the Trancevision website. Guess it will be a "long lost track" featuring TR unless someone on our message board saved it when it was available. I would suggest checking the links above and find out who commented on it and hope that they saved it. Maybe you can get a copy from them.
Tracks featuring TR:
ATOM (available at link above)
Enertia (available at link above)
Paramount (discontinued piece)
I Got Away (not currently available, but it exists)
I Got Away-Lead (Instrumental, not currently available, but it exists)
I highly recommend downloading the entire "Lemuria" CD available at the link above featuring the tracks Atom and Enertia as the entire CD is wonderful and well worth having. FYI, you can listen to all the complete tracks at the above link as well, before you decide if you want to download. Check them out and ENJOY!!!
Peace & Keep the Faith
Fluffy |
| 19 L A T E S T R E P L I E S (Newest First) |
| Fluffy |
Posted - 12/12/2008 : 05:14:41 AM
TranceVision featuring TR makes it to YouTube:
http://www.youtube.com/watch?v=qPPigSouvWc
RELAX & ENJOY!! |
| Ranting Thespian |
Posted - 03/23/2008 : 8:57:08 PM
I might HAVE to see this! |
| KevinLesko |
Posted - 03/23/2008 : 3:06:43 PM
quote:
Originally posted by KevinLesko
Sweet! I'll have to check this out when it is nearby at an Imax. Tim's soundscapes in surround sound like that should sound amazing.
quote:
MG- Though IMAX films are primarily known for their huge screens, many musicians actually prefer them for their superior sound systems.
SL- Exactly and it’s mixed in 7.1, which makes 5.1 seem like nothing! So, along with the production, everything is going to be really interesting. The bass is going to be right under your ass and different pieces of guitar are going to be coming from 10 o’clock and then 2 o’clock. So you are really going to be inside the film, which is exciting.
In my face! 7.1!!!!!!!!!! and a cd of the music to come??? the is very exciting! I checked my local IMAX but they don't have it listed yet. |
| Fluffy |
Posted - 03/23/2008 : 05:10:36 AM
More on the IMAX film from an interview with Stefan Lessard:
3D DMB: A Conversation with Dave Matthews Band’s Stefan Lessard
Mike Greenhaus
2008-03-22
Stefan Lessard was still in his late teens when he started playing bass with Dave Matthews Band and has spent the better part of his 20s and 30s playing on some of the world’s largest stages. Yet, with the exception of the occasional guest appearance on albums like Gov’t Mule’s Deep End Volume 1, Lessard has largely shied away from making music outside the Dave Matthews Band for most of his career. Surprisingly, in January, Lessard teamed up with Guster’s Adam Gardner and Barenaked Ladies’ Ed Robertson to form the new supergroup Yukon Kornelius and, more recently, his work can be heard in the new 3D IMAX movie, MacGillivray Freeman's Grand Canyon Adventure: River at Risk. The outdoor adventure film, which is spearheaded by the people behind popular IMAX films like Everest and The Living Sea, featuring an original score composed and arranged by Lessard, as well as appearances by his longtime collaborators Carter Beauford and Tim Reynolds. DMB fans may also recognize a handful of Dave Matthews Band songs like “Two Step,” “Mother Father,” “Lie In Our Graves” and “Steady As We Go” peppered throughout the film’s soundtrack (a CD compilation of songs featured in Grand Canyon Adventure will also be available in select IMAX theaters). Below Lessard discusses his involvement in the project, working with Beauford and Reynolds and why he’s a little jealous of U2.
MG- For readers who haven’t seen this project yet, can you start by giving us a brief synopsis of the film’s storyline?
SL- First off, it’s a 3D IMAX film. They use this special 3D IMAX camera to get all the shots, so that’s one thing. It is about a rafting trip down the Colorado River, through the Grand Canon. The characters in the film are Wade Davis, who is a National Geographic journalist, his daughter, who is about to leave for her first year of college in about a week, and a Bobby Kennedy Jr. and his daughter, who is also starting school. So there is an adventure side of things, which is the whole trip and the rafting experience, and the father-daughter side of things, which is kind of the one last adventure Wade and Bobby are going on with their daughters before they go to school. And then there is also an environmentalist side of things, which is that the state of the Colorado river is in crisis and the fresh water of the world is in crisis. So there is a lot of stuff in one big IMAX movie. But these guys at MacGillivray Freeman Films are really good at putting all those elements together. They are the same people who did IMAX films like Everest, The Living Sea and Greece, so they are incredible film makers.
MG- I know you are a father, an avid outdoor sportsman and an environmentalist. What element of the project intrigued you enough to first get involved?
SL- All of the above, really. First off, just the idea of the journey down the Colorado is something I’d love to do and, especially now, is something that’s high on my list. I grew up in Virginia and used to tube down the James, which is about as white water as I ever got [laughter]. But also, at the same time, right now I live by the ocean and water quality is really important to me. And I like the way the filmmaker isn’t just trying to capture sensation. He really has a message inside this film and, you know, it struck me. And knowing the band’s music was also going to be involved and they were offering me a spot on their team to help write the rest of the music…all that combined seemed like a great project to become involved with.
MG- In addition to playing several instruments yourself, you also recruited Dave Matthews Band drummer Carter Beauford and longtime DMB collaborator Tim Reynolds to interpret your score.
SL- Carter, Tim and a slide guitar player named Greg Leisz. They were all incredible. To have Tim and Carter, for me, really was the glue that put it all together. But I was also working with Steve Wood, a composer, who has produced music on almost every one of these MacGillivray Freeman films. So I sort of went to him and let him sort of start sculpting with what I gave him. I have this little guitar called a Veillette. It is a little 12-string guitar and the best way I can describe it is that is sort of sounds like a hammered dulcimer. So we started taking this guitar and writing these little pieces, which kind of set a tone for the ambient music that was sort of the theme between the big tunes from the band. So there was a lot of that and a lot of looking at the film. We watched it from start to finish. It was being reedited and changing every week, but there were different sections we had cues for. There is one “big rapid” section, so we wanted something more pulsating and fun, but then there also some sections that were more introspective, with less percussion and more melody. It was really my first time working on a score, but a lot of fun.
MG- That brings me to another point. Though you’ve written for Dave Matthews Band, had you ever tried your hand at non-rock composition before?
SL- I’ve done some composition. There is a part of me that definitely loves sort of “soundscapes,” music that I can imagine kind of being put to film. In fact, we started the process of doing this right before [Dave Matthews Band] tour last summer and I was constantly listening to film music. But not so much big blockbuster music…more National Geographic films, PBS films or the Civil War documentary by Ken Burns. I was watching a lot of Ken Burns films that summer. It was so much fun because you can really go wherever you want inside the score. You can make a big orchestral piece or something simpler with just a guitar and a banjo and it can be just as effective.
MG- How would you compare working with Carter and Tim in this setting to Dave Matthews Band?
SL- Yeah, well first off they came to this project of out love for playing with me and being friends of mine. So I really got that sense from them. Timmy is an incredibly beautiful person and Carter equally so. I felt like there wasn’t any reservations then they played on it. And they put their signature on it. There is one sort of upbeat tune that is Carter all the way and the same with Tim. He does a lot of ambient stuff, which he is so good at. So he fit in really nice with that little Veillette that I play on some of the more cerebral type of stuff. I have been working with the band a little bit on some pre-production for our next album, so I am dying to hear this score in its completion.
MG- Though IMAX films are primarily known for their huge screens, many musicians actually prefer them for their superior sound systems.
SL- Exactly and it’s mixed in 7.1, which makes 5.1 seem like nothing! So, along with the production, everything is going to be really interesting. The bass is going to be right under your ass and different pieces of guitar are going to be coming from 10 o’clock and then 2 o’clock. So you are really going to be inside the film, which is exciting.
MG- Dave Matthews Band was also involved in the IMAX film All Access, correct?
SL- That was my only other IMAX experience and that was pretty easy on my part because we just did what we always do---played---and they filmed it. So we just had some extra cameras around. But I don’t think that was in 3D, though. In fact, I was a little jealous when I saw that U2 has a 3D IMAX movie [also produced by All Access’ Peter Shapiro].That is so cool!
MG- Finally, with Dave Matthews Band currently working on a new album, do you think of any ideas from your score might develop into new DMB songs?
SL- Well, actually, there is one idea I had been playing around with the band in soundcheck. I was trying to get Dave to play with one little line on the Griffin, because he has a Griffin too, so we messed around with it and messed with some chord changes. With the scoring, we wanted to be true to the band’s music, so I was writing from the sense of “well, this is something the band might play.” So there are definitely so moments where, listening back, I can hear Dave growling in the background. The one element I would have loved to put in the score were some vocals that weren’t really lyrics…more haunting voices. But he was away and it wasn’t going to work out. So there are possibilities for these pieces, even if it is just a piece of it, to come out. Now we are going to release a CD of this so people can here it.
Senior Editor Mike Greenhaus stores his words, podcasts and typos at www.greenhauseffect.com
SOURCE: http://www.jambands.com/Features/content_2008_03_22.06.phtml |
| KevinLesko |
Posted - 03/20/2008 : 1:20:27 PM
Sweet! I'll have to check this out when it is nearby at an Imax. Tim's soundscapes in surround sound like that should sound amazing. |
| Fluffy |
Posted - 03/17/2008 : 12:37:53 PM
TR worked on this project with Stefan & Steve. He recorded new guitar parts for some songs and created some guitar soundscapes as well. It will be interesting to see what gets used and how it fits with the movie. TR was very excited about working on the project with them.
from Warehouse News January 16th, 2008
Stefan Scores "Grand Canyon Adventure"
Stefan mentioned back in a November 2007 in a Sirius satellite interview that he would be assisting Steve Wood for the score in the upcoming movie, "Grand Canyon Adventure". In addtion Dave Matthews Band will be contributing up to 6 songs for the movie. The DMB songs used for the movie have not been announced yet.
Steve Wood has worked on numerous IMAX films through the years as well as production for Kenny Logins and numerous television ads.
Grand Canyon Adventure is a documentary about a 15-day river-rafting trip on the Colorado River aimed at highlighting water conservation issues.
Sponsor, Teva who is also running a contest in anticipation of Grand Canyon Adventure. The Teva contests grand prize is a full 15-day Grand Canyon rafting trip from Lees Ferry to Diamond Creek in 2009! Click the link for contest details and a complete list of prizes.
http://www.teva.com/about/riverTripGiveAway.aspx?g=t
To see a trailer for the IMAX film click the following link:
http://www.youtube.com/watch?v=H80zEtAumdM |
| Ranting Thespian |
Posted - 01/05/2008 : 02:13:51 AM
A thread long before my time here. I was very interested with Peter Grieser bit. I have thought about buying his album. About getting out of the "Dave" crowd, I find it funny that I bought one of his first professional recordings (Supertanker Dude, with Zero Expression) at a DMB Alpine Valley show, lol. His stuff is very different, but I like it. The CD had Superfastogo on it, and it was my favorite track. |
| KevinLesko |
Posted - 01/04/2008 : 4:08:08 PM
Just noticed that these Trancevision tracks are available for download on itunes. Not a bad way to spend 2 bucks today. |
| Erich |
Posted - 05/02/2005 : 9:36:35 PM
So is Trancevision and a few compilations that D&T were on. |
| KevinLesko |
Posted - 04/29/2005 : 12:59:09 AM
Man, I finally checked out Tulku. I got Universe to Come, and it is really amazing music. I've never really dove into the "World Fusion" genre, but the music on this disc is just beautiful. After one listen I immediatly ordered Season of Souls, and I can't wait for it to come in.
P.S. A Universe to Come is missing from the discography page. |
| KevinLesko |
Posted - 11/02/2004 : 11:11:12 AM
Live Offering... featuring Tim on electric guitar and effects... check out my post for more info: http://www.timreynolds.com/forum/topic.asp?TOPIC_ID=5383
 |
| Robin |
Posted - 11/01/2004 : 12:06:21 PM
Who knew that a Monday morning could be filled with so many musical choices? My head is spinning with the possiblities,what to buy first.....Thanks for all the info Fluffy.Peace, Robin |
| Fluffy |
Posted - 11/01/2004 : 05:37:46 AM
(TR guests on 2 tracks)
Seepeoples - The Corn Syrup Conspiracy
Just a guess here: tens of thousands of independently produced CDs are released into the world every year.
NOT a guess: most of them are, well, really bad.
Some are OK, some are hilarious, and some are good.
And some are the kind that become staples in your CD player, and you can't believe such a great album was produced by a band you've rarely heard of. That's what we have in The Corn Syrup Conspiracy, the second effort from Portland, ME outfit Seepeoples.
Primarily the brainchild of multi-instrumentalist and songwriter Will Bradford, Seepeoples turned some heads on the music scene with their debut disc, For The Good Of The Nation. The lengthy, diverse structures of that album's few songs form music that has an inherent exploratory nature. The same is true with The Corn Syrup Conspiracy, but Bradford's ideas have become much more realized and his wealth of songs take center stage instead of stretchy jams.
Full to the digital brim at over 72 minutes, The Corn Syrup Conspiracy has a lot offer for any music fan. While such length may be long-winded to some, it really isn't without justification. There's a strong political theme to the album's wide range of songs, and both keep the disc charging along at a highly enjoyable pace. The urgent lyrics and morphing music keep you on the edge of your seat in anticipation of the sound's next move.
With so much music on one album, there's a lot of different textures and attitudes to be found here, all of them pleasureable, and some hit your brain harder than others.
The muscular electro-rock instrumental "Dog Days" jumpstarts the album with driving rock riffs and pummeling bass. The first lyrics of the album really set the tone for the sometimes sarcastic, negative outlook that Bradford has toward society and government: "Eat. Sleep. Breathe. Eat. Sleep. Work til you drop". The dreamy drama that makes this album so amazing is apparent from the get go.
Grandiose drums and a wriggling rock guitar propel the anthemic "The Way the World Will Fall", and the song's catchy chorus settles between the verses in an oh-so-satisfying manner.
"Dinosaur" is one of the best tracks here, as a bouncy pop intro veils morose lyrics before the song repeatedly dissolves into its atmospheric hook. With robust backing vocals and oceans of acoustic guitar, this song is impossible to resist. This gives way to the frenetic flight of "Butchers", a sped-up, dub-tinged journey into righteous rasta proclamations about the evil powers that be. This is possibly the most upbeat track on the disc, and one of the most outstanding. Bradford's skill with word-wrangling is unmatched here.
Solemn acoustic guitar and piano start the opus "Send Me A Line", which eases into a melancholy wave-tossed groove layered with synthetic swooshes. At this point, it becomes clear that this is not just another album. The effect of the music is clearly felt at this juncture in the journey. Bradford's alternately urgent and soothing voice has an audience with your brain for good. By the time the delicious ending refrain seeps into you psyche, it's like your ears are being fed the sweetest treats on earth.
The spacey twinkle of "Everything Goes Away" brings to mind the desperate tones of Pink Floyd's "The Wall" a la "Goodby Blue Sky", internal struggle and desperation intact. Hypnotizing the listener with sparse instrumentation and breathy vocals, the song moves nicely into an ambient space-pop section that rises and falls as steadily as the chest of a sleeping child.
"Dog Days II" sort of separates the disc into halves. This instrumental rides a steady bass and drum groove and embellishes with an over-the-top synthesizer solo and electronic horns. The ability of the band to create tangible lanscapes using samples is evident here. Gratuitous use of E-Drums gets the next track, "Sleeping Soul" going in a righteously funky direction. Bradford skims the bubbling surface of the sound with spooky harmony vocals. Over and over during the course of this album, the vocals far exceed normal expectations, adding much more than just words.
Cinematic sounds of chainsaws and sirens give way to the woozy horns and loping tempo of "Man Will Win" as Bradford ponders the negative effect of man on mankind. It's a weighty concept, one that turns our own desires and quest for betterness on their proverbial ears. The instrumental "Reprise (Rocker)" utilizes the throbbing modern rock pulse of bands like The Flaming Lips and Radiohead, complete with dreary electronic drones.
You can feel the album's shift towards resolution in the wonderous swirls of "Sufferers". It almost makes sense to compare the music and lyrics on this album to the modes of Steely Dan; pleasing music often veils decidedly dark subject matter. Never too indulgent, the majority of the songs here are contained and not watered down by zealous improvisation or wankery, giving them singular identities.
Rubbery bass and a minimalist keyboard stab give life to the faux-rap vocals of "Root Of Loot", which is punctuated by a crispy guitar part and insistent cymbals. More and more colors are added to this tune until the end borders on outer-space dub. "Dead Soul Freak" is a bona-fide radio rock masterpiece, oozing with distortion and angst that eventually drops into a echo-laden dub section. Winding the album down further is the short, nearly-a-capella ditty "Nothing Left To Pawn", which comes off as a sort of demented nursery rhyme.
The climactic flourish of "No One Sees" skips right out of the previous track, and as the longest track on the disc it sees a lot of different territory. A mellow, dancey rhythm serves as the platter for one last helping of amazing lyrics and carefully crafted vocals.
Words fail when trying to convey the manner in which this album cements itself in your mind. It's edgy and structural enough to appeal to the modern rock world, but full of enough vigor and texture to enamor fans of "jam" music as well. While a combination of indie-style rock, political themes, Flaming-Lips-like storytelling, ambient soundscapes, chill-out beats, and dub might sound like a lot to swallow, Seepeoples finds the right proportions of each ingredient and seasons them with the intangible seasoning of plain old "damn good" music.
--Bryan Rodgers
http://www.homegrownmusic.net/cdreviews.shtml#1098995966
(special THANX to casperNHC for the heads up on this!!) |
| ericclapton |
Posted - 08/11/2003 : 1:14:54 PM
Thanks again Fluffy. |
| Fluffy |
Posted - 12/02/2002 : 01:02:48 AM
LIVE SHOW UNIV OF HARTFORD Solo Acoustic
http://www.collegeconcerts.com/cctimreynolds.htm |
| Fluffy |
Posted - 11/27/2002 : 7:55:13 PM
Sounds like Peter is going thru some of the same problems TR has had after an affiliation with Dave. Why is that everyone expects anyone who ever played with Dave to sound like him? More importantly, why are they so quick to dismiss it if it does not sound like Dave? As if it had no musical merit. It boggles the mind. Anyway, the new PG album sounds like something I am definitely going to like. I have heard some of his older material and was quite impressed. PG's Supertanker even opened some shows for us on the Astral Projection tour. PG is a great guy and great musician. I am anxious to see what he has in store for us on the new CD. By the way, I would get it even if TR wasn't on it. That is just a bonus. Here is what Rolling Stone online had to say about the new material.
Post-DMB "Super" for Grieser
Tim Reynolds, Leroi Moore guest on keyboardist's new solo set
Founding Dave Matthews Band member Peter Griesar is prepping a new solo album that features cameos from DMB saxophone player Leroi Moore and longtime DMB collaborator guitarist Tim Reynolds. The set, titled Superfastgo, is due on February 11th on Virginia indie Offset Records.
Not surprisingly, one of Griesar's biggest fears is that Moore's and Reynolds' names are going to be trumpeted in big letters on the album's cover -- figuratively speaking. That would be par for the course for the guy who co-wrote the DMB's Grammy-winning "So Much to Say" before he left the band in 1993, just as they were about to record their debut and explode into a stadium-touring phenomenon.
"A couple of years after I left the band, I went on tour with my group, Supertanker," says Griesar, 33, calling before setting out for his seasonal day job as a lift operator at the Heavenly ski resort in Lake Tahoe. "When we played in the South, the marquee would say in huge letters, 'DAVE MATTHEWS BAND FORMER KEYBOARD PLAYER,' and then my name in little letters. The club owner thought he was doing himself a favor, but the people who gravitate towards Dave's music are not necessarily the kind who would gravitate towards mine. In fact, it's the ones who don't like his music who would probably like mine."
Griesar has a point. Despite the presence of Moore and Reynolds on three of the album's twelve songs, the music on Superfastgo is clearly the work of a man with a twisted pop vision that would leave the average Dave-head a bit speechless. Produced by pal Brian Kehew (Hole, Beck), the album mixes the sinister groove of Scary Monsters-era David Bowie with the homebrewed drum machine/keyboard pop of early Beck. More than half of the album was recorded with Kehew at Rotund Rascal studios in Hollywood, site of classic sessions by the Band as well as a slightly more ominous pop star. "Jack Kevorkian recorded his album A Very Still Life there, and I would look up at a plaque of his album on the wall during some of the sessions," Griesar says. "Maybe some of that creepiness got into my album." From the claustrophobic, slightly paranoid album opener "I Do Everything," a response to the people who are constantly asking Griesar what he's doing with his time, to "Loaded," a dreamy, Citizen Cope-like sliver of soul pop featuring Reynolds on guitar, Griesar's new set completely defies expectation.
"The thing is, I was in the Dave Matthews Band -- I'm not Dave Matthews," he says, laughing about the sometimes-bizarre themes and electronic sounds bubbling underneath the surface of his songs. While "Loaded" might sound like the diary of a guy who simply parties too much, the track was intended as the theme song to the big screen story of Griesar's former manager, a convicted felon who was, at one time, the biggest pot dealer in the United States. Though he's suspicious of attempts to lure him back into the Matthews world, Griesar says it was only natural that he call old friend Moore to sit in on the disco funk tune, "Spy Girl." Not coincidentally, the track is the most DMB-sounding one on the album, inevitable given that it was his ex-manager's idea. "It felt awkward to do it at first, but that was probably the most fun day of recording we had," Griesar says. "We just tried to do an old-school, King Curtis kind of groove on it."
With some of the proceeds from "So Much to Say" plowed back into a home studio in his hometown of Esmont, Virginia, and no plans to tour behind Superfastgo until he completes his next album, Griesar seems to have found his peace outside the cult of Dave. "There's that residual fan base, people sending me email asking if I could tell Dave 'Hi,'" he says. "But I have no regrets about leaving. As soon as I got the feeling that I didn't want to do it anymore, I had to stop. Now, I call myself the musician with the addiction to the other white powder."
GIL KAUFMAN
(November 27, 2002)
RollingStone said: quote:
"Loaded," a dreamy, Citizen Cope-like sliver of soul pop featuring Reynolds on guitar, Griesar's new set completely defies expectation.
How sychronistic that they would mention another of my fave unknown artists in it's comparison. If you remember, back in march, I mentioned Citizen Cope:
Fluffy
Alien Abductee
USA
6926 Posts
Posted - 03/10/2002 : 11:23:29 PM
--------------------------------------------------------------------------------
Indeed she is, at least Citizen Cope opened. He was well worth it. Check him out, if you don't know him. He just has a new record out about 3 weeks ago. He used to be the DJ for Basehead.
Quick Review:
February 4, 2002
With a languid drawl that evokes both Sting and Everlast, and quasi hip-hop stylings from producer Bob Power (D'Angelo, Tribe Called Quest), the major label debut from the man known as Citizen Cope offers up the latest in singer-songwriter cool, in which the white urban (cow)boy walks the line between indie pop and hip hop.
Though the record is bolstered by a number of strongly written tunes (like the simple, melancholy "Comin' Back" and "Holdin' On"), tracks like "Contact" and "Mistaken Identity" maintain an oddly tempered lushness: neither too "rock" nor too "rap," they feel as one-dimensional, in their genre-hopping way, as a Jamiroquai record can.
Greenwood, who worked on mid-'90s albums by acts like Basehead, hasn't changed his M.O. all that much since: For the most part, Citizen Cope offers medium-grooved funk with dubbed drums, though on his disc's best numbers Cope (a.k.a. Clarence Greenwood) seems to have assimilated the pathos of Ryan Adams and the gruff quirkiness of Beck into his urban hymns.
Brad Cawn
CDNOW Contributing Writer
Citzen Cope on CDNOW
http://www.timreynolds.com/forum/topic.asp?TOPIC_ID=1342
|
| SurferX |
Posted - 10/20/2002 : 6:18:51 PM
Yeah, Fluffy...I checked EVERYTHING out. That's some pretty badass stuff. Let's just say I spent about $100 on new CDs when I heard all that stuff. So awesome! Thanks man! |
| SurferX |
Posted - 10/12/2002 : 2:56:04 PM
This is some awesome stuff! Thanks for sharing the links, Fluffy! More music to add to my playlists!
--Zak Winnick
surfscape@socal.rr.com
AIM:SurfFilez27 |
| Fluffy |
Posted - 10/12/2002 : 10:23:50 AM
The new Tulku featuring TR is now available. It is called "Universe To Come"
For reviews of the CD, you can check out the link below:
Universe @ Amazon.com
If you would like to hear samples of the tracks on the CD, go to:
Universe @ CDNow.com
TR also performed on one of their earlier CD's as well. It is called "Seasons of Souls"
Again for reviews of this CD, follow the link below:
Seasons @ Amazon.com
Also to hear samples of the tracks from this CD, go to:
Seasons @ CDNow.com
ENJOY!!!!!!
If you decide to buy them, please buy them thru the merchandise page at TimReynolds.com so we can continue to raise money to help save the world.
For more discussion on the board about the Tulku releases, check out:
http://www.timreynolds.com/forum/topic.asp?TOPIC_ID=114
quote:
Posted - 09/09/2001 : 07:07:30 AM
Well I finally got a copy of this and it is wonderful. Very earthy, ethnic, and highly listenable. Tim appears on 2 tracks, "Tipari" and "Season of Souls". His contribution is unmistakably Tim Reynolds. (For those of us very familiar with him) This CD is combination of many styles. It is a unique mixture of styles & cultures ranging from Persia, Aboriginal Australia, Egypt, India, Mayan culture, and Native American Culture. I highly recommend picking this up if you are into any kind of ethnic music. I am sure anyone who is, will really dig this disc. If you are not a huge fan of that style, this may be a good place to start, because it is not so traditional. Very eclectic and very unique. How shocking that Tim would be involved. HAHA
Posted - 09/09/2001 : 3:46:24 PM
I also told Tim I finally heard the Tulku CD and he told me he recorded some more stuff with Jim Wilson(Main guy from Tulku) this summer. He is not sure when it will come out but that is something else to look forward too. He is really diggin the stuff he did with optimizer. There is another post on the list about that. Look for the post started by optimizer called "ATOM". Tim says this new Tulku CD should be even more out there than the last one. I can't wait. Tim described his contribution as "burping noises". Mostly backwards guitar stuff that Jim really liked.
Peace & Keep the Faith
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