#alan winstanley

[nervoussystemmusicreverence]

Elvis Costello and the Attractions - Shipbuilding

Music Video

Artist

Elvis Costello and the Attractions

Composer

Clive Langer

Lyricist

Elvis Costello

Produced

Clive Langer Alan Winstanley

Credit

Elvis Costello – vocals, Epiphone, Gretsch and Fender guitars, Synclavier and Casiotone Steve Nieve – Bösendorfer piano, Emulator, Fairlight CMI, Vox organ, Hammond organ, Synclavier Bruce Thomas – electric Wal bass guitar Pete Thomas – Gretsch drums, Sabian cymbals Chet Baker – trumpet solo

Released

August 5 1983

Streaming

[mitjalovse]

Why did rock music lose the prominence in popularity after the 90's? Well, post-grunge has somehow been seen as one of the reasons rock stopped being taken seriously, yet I wouldn't be that certain. Some musicians there, such as Bush, did some fine work, but I get the criticism. While they took the edges of Nirvana and made them palatable, we mustn't forget the Kurt Cobain outfit did the same. Sure, Bush went further here, though they maintained their identity. They actually feel to me like a transition between Nirvana and Foo Fighters. Since they are, of course, closer to the former, they don't seem much use in the sounds of classic rock, but they attempt to bring the latter's ethos in the sonic landscapes of their idiom.

[red-crescent-marigold]

ok here's the audio (the video is too long to upload + you can't see him for half of it)

TRANSCRIPT:

But we made this album that in some– i mean, to be perfectly candid with all of these show business insiders that are assembled here tonight... [laughter] i mean i know we’re in Los Angeles and everybody’s part of the industry that we call “The Industry,” you know it was really kind of staged as a 'comeback record'... like we were working with big producers, we were working with Adam Schlesinger, we were working with Clive [Langer] and Alan [Winstanley] from the Flood album, and we really invested a lot in sort of the abstract idea that there was some sort of reproducible thing we could do that could actually make sense for us, like on the charts, y'know doing a pop record. And of course all of that was completely obliterated by September 11, and then the record company that we were working with was out of business within like, weeks or maybe a month and a half or something. But basically, there [were] years where it wasn’t even on iTunes in the era where everything was on iTunes, like nothing stopped anybody... there were greatest hits by bands that– there were like fourteen different greatest hits albums from truck stop deals that they’ve done in 1972, y’know? Like Cheap Trick were suing like 25 different people from all the weird deals they’d done; and you *could not* get Mink Car anywhere at all, and so it did end up becoming this... and all of our stuff has been in print except for that record. So it really was this curious kind of thing that just disappeared in spite of its ambitions to be the most mainstream of all our records.

[lostcryptids]

tagged by @flabebabe ty!! :3 shuffling music and posting 10

under cut spotfiy links bc theyre fat

[tmbgareok]

Charleston, St. Pete, Orlando, Birmingham, Nashville--

THEY MIGHT BE GIANTS PRESENT THE FLOOD SHOW!

We are celebrating Flood's 33rd anniversary by performing the album, in its entirety, on stages across the US. The show is "an evening with" (that means no opener, folks) and TMBG will play two full sets with their barn-storming live band including a 3-piece horn section. How will it be presented? In sequence, in reverse sequence, alphabetical, or mixed into additional repertoire? It will be evolving every night. In addition to Flood, the song selection will span our entire career including new songs from their Grammy-nominated album BOOK all the way back to chestnuts from even before Flood.

SOME WORDS ABOUT FLOOD

Before Alternative Rock, when rock dinosaurs still roamed the earth, They Might Be Giants crawled out of the primordial performance art scene of the Lower East Side and on to the college rock scene with a series of breakthrough songs and best-selling albums. Vaulted into the national scene by a series of highly creative videos, the band ultimately garnered the attention of the powerhouse major label Elektra Entertainment. Collaborating with British hitmakers Clive Langer and Alan Winstanley, as well as emerging indie producers Roger Moutenot and Patrick Dillett, the band embarked on an album that would leave their lo-fi roots behind in exchange for a sonic adventure to be called Flood. Embraced by critics and audiences alike, the 19-song album would go on to go platinum and garner a clutch of timeless favorites for the band including Birdhouse in Your Soul, Istanbul (Not Constantinople), Twisting, Particle Man, Dead, and many others.

3/12 Charleston https://bit.ly/TMBG031223 <150 tickets left!

3/14 St. Petersburg https://bit.ly/TMBG031423 <150 tickets left!

3/17 Orlando https://bit.ly/TMBG031723 <200 tickets left!

3/21 Birmingham https://bit.ly/TMBG032123

3/22 Nashville https://bit.ly/TMBG032223

3/23 Nashville https://bit.ly/TMBG032323

MOST UPCOMING SHOWS ARE ALREADY SOLD OUT:Austin, Houston, Dallas, Tulsa, Kansas City, Lincoln NE, Fort Collins, Boulder, Denver, Salt Lake City, Vancouver, Seattle x2, Portland x2, Los Angeles, San Diego x2, San Francisco, Indianapolis, Cincinnati, Columbus, Ponte Vedra, Fort Lauderdale, Atlanta, Asheville, Raleigh, Richmond

[my-chaos-radio]

Release: March 3, 1986

Lyrics:

I've nothing much to offer

There's nothing much to take

I'm an absolute beginner

But I'm absolutely sane

As long as we're together

The rest can go to hell

I absolutely love you

But we're absolute beginners

With eyes completely open

But nervous all the same

If our love song

Could fly over mountains

Could laugh at the ocean

Just like the films

There's no reason

To feel all the hard times

To lay down the hard lines

It's absolutely true

Nothing much could happen

Nothing we can't shake

Oh, we're absolute beginners

With nothing much at stake

As long as you're still smiling

There's nothing more I need

I absolutely love you

But we're absolute beginners

But if my love is your love

We're certain to succeed

Songwriter: David Bowie

If our love song

Could fly over mountains

Sail over heartaches

Just like the films

If there's reason

To feel all the hard times

To lay down the hard lines

It's absolutely true

SongFacts:

"Absolute Beginners" is a song written and recorded by English singer-songwriter David Bowie. Released on 3 March 1986, it was the theme song to the 1986 film of the same name (itself an adaptation of the book 'Absolute Beginners').

Although the film was not a commercial success, the song was a big hit, reaching No. 2 on the UK Singles Chart. It also reached the top ten on the main singles charts in ten other countries. In the US, it peaked at No. 53 on the Billboard Hot 100.

Bowie performed "Absolute Beginners" live on his 1987 Glass Spider Tour, his 2000 "Mini" Tour, and his 2002 Heathen Tour. The song has been included on a number of Bowie's compilation and "Best-of" releases, and was included as a bonus track on the 1995 re-release of Tonight (1984).

Bowie was good friends with the film's director, Julien Temple (who had worked with him in 1984 on the 'Jazzin' for Blue Jean' short film). Bowie agreed to Temple's request to write music for the film if he could also play the part of Vendice Partners.

It was recorded at Clive Langer & Alan Winstanley's Westside Studios, London. The sessions were completed rapidly, but the song was delayed due to the problems with completing the film. Virgin wanted the release to tie in with the film's opening. The song featured Rick Wakeman on piano, who had previously performed on Bowie's "Space Oddity" single and Hunky Dory album. Shortly after the sessions wrapped, Mick Jagger flew in to record the charity cover of "Dancing in the Street" with Bowie, which used many of the same musicians. Bowie recorded the lead vocal of "Absolute Beginners" at Westside Studios in August.

Julien Temple shot the music video, which echoed the 1950s style of the movie. The video was a homage to an old British advert for Strand cigarettes. The ill-fated advertising tagline "You're never alone with a Strand" is quoted by Partners in the film. The video also uses footage from the film.

In 2016, Entertainment Weekly chose it as one of Bowie's 20 best music videos. They stated the video "does a far better job of expressing the noirish romanticism" of MacInnes' novel than the film did and also praised the "great dance-fighting scene at the end".

[vmonteiro23a]

THIS IS OUR MUSIC: Teardrop Explodes - "Treason (It's Just A Story)"

THIS IS OUR MUSIC: Teardrop Explodes – “Treason (It’s Just A Story)” Song from Kilimanjaro, the debut album by the Liverpool band The Teardrop Explodes, released on 10 October 1980.  “Treason” was also released as a single on Zoo Records in February 1980 and was recorded in London with producers Clive Langer and Alan Winstanley. The b-side was a version of the Cope/McCulloch song “Read It in…

[robbialy]

My fav Moz album, from • @speedway61 #OTD "Kill Uncle" is Morrissey's second solo album. Released on 4 March 1991 and produced by Clive Langer and Alan Winstanley, the album yeilded two singles "Our Frank and "Sing Your Life. Features Seamus Beaghen on keyboard. https://www.instagram.com/p/CpaWnGDqHvhCpJD0hxNUekTa5B5g1pMOIYFT680/?igshid=NGJjMDIxMWI=

[bearwildered]

Watch "MARILYN · Calling Your Name (1983)" on YouTube

[nofatclips]

Absolute Beginners by David Bowie - Director: Julien Temple

[moma-prints]

Veiled Lobby from Alan Cristea Gallery Twentieth Anniversary Portfolio, Paul Winstanley, 2015, MoMA: Drawings and Prints

Gift of Alan Cristea Gallery, London, in honor of Alan Cristea Size: composition: 14 5/16 × 15 1/4" (36.4 × 38.8 cm); sheet: 19 5/8 × 19 5/8" (49.9 × 49.9 cm) Medium: Polymer gravure and woodcut from a portfolio of three aquatints (one with carborundum relief), one carborundum relief, one chromogenic color print, three digital prints, four etchings (two with chine collé, one with embossing), one linoleum cut, one lithograph, three screenprints, two woodcuts, and two polymer gravures (one with woodcut)

http://www.moma.org/collection/works/194768

[odk-2]

Tenpole Tudor - Swords of a Thousand Men (1981) Edward Tudor-Pole | Eddie Tudorpole from: "Swords of a Thousand Men" / "Love and Food" "Eddie Old Bob Dick and Gary" LP

UK Punk | New Wave | Pub Rock

JukehostUK (left click = play) (320kbps)

Album Personnel: Eddie Tudor-Pole: Vocals / Guitar / Saxophone Bob Kingston: Guitar / Vocals Dick Crippen: Bass / Vocals Gary Long: Drums / Percussion / Vocals

Munch Universe: Guitar / Vocals

Produced by Alan Winstanley / Bob Andrews

Recorded: @ The Workhouse Studios @ Basing Street Studios in London, England UK

Released on March 27, 1981

[mitjalovse]

The state of rock during the late 90's can be also seen in the last discs of the decade by those who fit one of the prominent trends of the period. One such, post-grunge, continues to be heavily debated, though we can agree some bands did some fine work, though they seem to delegate most of the latter towards their debuts, whereas the follow-ups struggled. I mean, The Science Of Things by Bush finds them hoping to locate something else within their sonic arsenal, but they sadly abandon those elements of theirs that make them. Mind you, many of their genre peers had similar issues, they wanted to leave everything thanks to the bad press of the idiom they were a part of, yet they should merely develop their sound also by keeping their strengths, which they had.

[punkrockhistory]

Generation X is the debut album of Generation X produced by Martin Rushent and engineered by Alan Winstanley, released on this day in 1978. The band portrait used as the front cover was photographed by Gered Mankowitz. #punk #punks #punkrock #oldschoolpunk #punklegends #GenerationX #billyIdol #history #punkhistory #historyofpunk https://www.instagram.com/p/B90fm0VqVZn/?igshid=4u5fm9m8egdd

[tseneipgam]

“Winstanley asked, in 1649′s The New Law of Righteousness: Was the earth made to preserve a few covetous, proud men to live at ease, and for them to bag and barn up the treasures of the Earth from others, that these may beg or starve in a fruitful land; or was it made to preserve all her children?”

(Alan Watts): “The word Zen is a Japanese way of pronouncing chan, which is the Chinese way of pronouncing the Indian Sanskrit dhyana or sunya, meaning emptiness or void. This is the basis of Zen itself — that all life and existence is based on a kind of dynamic emptiness (a view now supported by modern science, which sees phenomena at a subatomic level popping in and out of existence in a ‘quantum froth’).In this view, there is no ‘stuff’, no difference between matter and energy. Look at anything closely enough — even a rock or a table — and you will see that it is an event, not a thing. Every ‘thing’ is, in truth, happening. This too, accords with modern scientific knowledge. Furthermore, there is not a ‘multiplicity of events’. There is just one event, with multiple aspects, unfolding. We are not just separate egos locked in bags of skin. We come out of the world, not into it. We are each expressions of the world, not strangers in a strange land, flukes of consciousness in a blind, stupid universe, as evolutionary science teaches us.”

‘an understanding that human ideas of reason and progress are only casings around the unspeakable purposelessness of existence. This purposelessness isn’t, however, bleak- it is the purposelessness of a great piece of music, or a glorious mountain vista- meaningful, but with a meaning that cannot be fixed or fully explained, and which is unexchangeable. Purposeless, but not pointless’

‘For secular panpscychists, a central argument is ‘The Argument from Non-Emergence’ described here by leading panpscychist thinker David Skirbina:It is inconceivable that mind should emerge from a world in which no mind existed; therefore mind always existed, even in the simplest of structures … “nothing in the cause that is not in the effect.” *Another closely related argument is that of ‘Naturalised Mind:’If the human mind is not to be considered an eternal mystery or a divine miracle, it must be fully, deeply and rationally integrated into the natural world. Do rocks think? Or do they at least have a will to, if not life, then being? The continuation of what they are?Do trees, which communicate through roots and soil, which display ‘crown shyness’ (where they avoid touching each other’s leaves in the high canopy) display a sensitivity to being, an ability to express their will, a goal-directedness, which we might consider sentient?I don’t know the definitive answer to these questions. But in the primordial mud which we came from, the chemicals, gases, atoms and electrons where we began, the potential for mind was there, impossible to locate or quantify. Waiting. We can’t describe or rationally prove other minds in the mud, other ‘desires’ to live or to continue to be, but that doesn’t mean that they aren’t there. When we think of the loss of ecosystems, of environments, of living beings, we most often consider the practical human cost. Or, if we are being generous, we consider this alongside the loss for the environment or creatures themselves, their suffering and destruction. But I want to add another consideration to these crucial ones, and it is the consideration of mind.’

‘The cow, a natural vegetarian is forced to consume meat, surrounded by its own shit, its digestion made possible by being stuffed full of antibiotics. This queasy system is part of the reason that antibiotic resistance is growing in human bodies. Even the corn the cow is fed, instead of grass, leads to dangerously singular crop reduction and high carbon emissions’

‘A woman’s body should betray only a facsimile of ‘naturalness’, her makeup barely there, her skin glowing, her lashes long, her selfhood fixed and clean. She should not revel in it, or express her possible, flexible earth-bound natures- her hairy legs and pits, her damp vulva and its white-cream discharge, her hard soles, period blood, body odour and acne. She should not show anything close to virulent, untidy desire or pleasure, or enjoy food so much she gets fat, or be too open about childbirth and its piss and shit, or move or break genders, or add to or remove her breasts, genitals, hormones’

‘To be depressed, as I had been, but no longer was, is to see the world as horror- to know that we are cursed, that every good thing is a mirage, and that every bad thing is the agonising truth, the pus filled wound under a clean dressing. All a depressed person really craves is for their Cassandra-like knowledge to be seen, and understood by others. For the inherent evil of the planet and the people on it to flow out like corrupted blood.’

‘When I was coming out of the worst of my own depression, as a teenager, I had a surreal experience. Sitting in a chemistry lesson, I (seemingly literally) watched the colour drain back into the world around me. The underlying grey tinge which accompanied my entire vision gave way to bright colours, pouring from the edges of the room into the centre- the muddy brown of the desk, the rich blue of the sky outside, the fizzy yellow of my classmate’s school shirts, the deep green of the textbooks on the shelf. Feeling that this must be some kind of strange hallucination, albeit a good one, I didn’t mention it to anyone. It was only years later that I discovered severely depressed people have ‘impaired contrast perception’ which may make the world seem more grey to them’

‘ ‘Climate grief’ as it is represented in contemporary culture, is actually climate despair- a misery which shuts down our ability to think critically and to have any version of hope. This kind of despair is wholly understandable, whether driving climate scientists to curl up in the foetal position as they read their own findings, or assailing environmental activists as they see the new airport runway they tried to prevent being opened; or filling Inuit hunters as they try to teach their wisdom to their grandchildren on ever receding ice. Such feelings of despair should not be suppressed or silenced. But climate grief, as a force for change, mourning and moving to new possibilities, has not yet fully emerged in the Western imagination. Seeing my friend suffer as she mourns her father, I can see that grief is the price of love. It is the terrible pact we enter when we agree to love a thing, and in all the happiness that might follow, it is there, waiting for us. To grieve for the ecosystems, beings and people destroyed by climate change, is to give them the dignity, respect and love which they deserve’

‘In Iceland, this yer, a group of around 100 people met to mourn and commemorate the melted Okjoküll glacier....In this act of profound climate grief, Iceland showed the possibility for a genuine mourning that does not throw us into inescapable despair. This grief is fuel to try and change the conditions in which we find ourselves. Grief may be the worst suffering a person can experience, and in its agony, we see the cost of doing nothing. If we have any wisdom we will try and heed the knowledge that such profound pain gives us’

[tmbgareok]

Charleston, St. Pete, Orlando, Birmingham, Nashville--

THEY MIGHT BE GIANTS PRESENT THE FLOOD SHOW!

We are celebrating Flood's 33rd anniversary by performing the album, in its entirety, on stages across the US. The show is "an evening with" (that means no opener, folks) and TMBG will play two full sets with their barn-storming live band including a 3-piece horn section. How will it be presented? In sequence, in reverse sequence, alphabetical, or mixed into additional repertoire? It will be evolving every night. In addition to Flood, the song selection will span our entire career including new songs from their Grammy-nominated album BOOK all the way back to chestnuts from even before Flood.

SOME WORDS ABOUT FLOOD

Before Alternative Rock, when rock dinosaurs still roamed the earth, They Might Be Giants crawled out of the primordial performance art scene of the Lower East Side and on to the college rock scene with a series of breakthrough songs and best-selling albums. Vaulted into the national scene by a series of highly creative videos, the band ultimately garnered the attention of the powerhouse major label Elektra Entertainment. Collaborating with British hitmakers Clive Langer and Alan Winstanley, as well as emerging indie producers Roger Moutenot and Patrick Dillett, the band embarked on an album that would leave their lo-fi roots behind in exchange for a sonic adventure to be called Flood. Embraced by critics and audiences alike, the 19-song album would go on to go platinum and garner a clutch of timeless favorites for the band including Birdhouse in Your Soul, Istanbul (Not Constantinople), Twisting, Particle Man, Dead, and many others.

3/12 Charleston https://bit.ly/TMBG031223 <150 tickets left!

3/14 St. Petersburg https://bit.ly/TMBG031423 <150 tickets left!

3/17 Orlando https://bit.ly/TMBG031723 <200 tickets left!

3/21 Birmingham https://bit.ly/TMBG032123

3/22 Nashville https://bit.ly/TMBG032223

3/23 Nashville https://bit.ly/TMBG032323

MOST UPCOMING SHOWS ARE ALREADY SOLD OUT:Austin, Houston, Dallas, Tulsa, Kansas City, Lincoln NE, Fort Collins, Boulder, Denver, Salt Lake City, Vancouver, Seattle x2, Portland x2, Los Angeles, San Diego x2, San Francisco, Indianapolis, Cincinnati, Columbus, Ponte Vedra, Fort Lauderdale, Atlanta, Asheville, Raleigh, Richmond