From : andy
Subject : andy october 2003 mix
Date : Sat, 11 Oct 2003 12:43:10 -0400

I'll try to be brief :-)

The ludes probably explain what's going on best of all. I wanted to make a mix which was connected not so much by mood or by some extramusical thread (lyrics, country of origin, etc.), also I wanted to make a continuous mix which didn't work too well when you excerpted things from it. The first thing I had was the jangly guitars throughout the The Tyde track. Then I started to think of other lovely quick strumming passages and began to collect them together. But . . . it got old soon and the thought of a whole jangly strummy mix was deathly. Then I thought of Fred's acoustic mix and then of how much I like solo piano. I thought I'd morph from solo piano through piano and voice to guitars, but I couldn't find any piano and voice which worked properly. So this split up mix began to emerge.

The mix began to show all kinds of cool cross-connections: rain and sea sounds (also in titles and lyrics), coincidences of key (one track ending one the same pitch as the next begins), identical openings, passages of intense repetition, descending scales, so on

I wanted the piano stuff to be very pulled back and slow, then for things to warm up to the guitars through intercut repetitive tracks, then to pull back to the piano music, but more interior than before.

Here's why what's there is there, I think. Most of the connections are just fun, nothing profound:

prelude: overlaps tracks 2, 3, and 4—fortuitous that they mesh harmonically. The final sound is (what is for me) the ur-chord of pop music: the instantly recognizable opening kkrrrang from A Hard Day's Night

gymnopedie 2: plain, cool, familiar, restrained, simple

raindownriver: I wasn't aiming to put something of mine on the mix, but I couldn't find anything else which did what I wanted here: It's for solo piano, it's about rain, it's made up of descending scales until an ostinato locks in low at the end. All the stuff that returns later.

das buch der klange: found this recently, it's a 1982 piece (whole thing is an hour and a half; all simple and clean) — a little revolt against massively complex contemporary piano music. I like how this refuses to move forward but makes you sit with it.

signed curtain: piano intro leads to Robert Wyatt's lovely silly saddish song, this moves away from all the classical stuff

rowla: pure color and repetition to slice through all the piano so far and start to heat up the mix

love reign o'er me: the end of the piano thread. Great song, although it doesn't have the same oomph as it does if you've just listened to all of what precedes it (it's the final track on Quadrophenia). There's a few musical things that happen in this track which reoccur elsewhere: piano surrounded by recorded sea and rain sounds (Leb' Wohl) , tympani rumbling (Disarm), descending scales (guitar here, piano in raindownriver), the pom-pa-pa-pap / pom-pa-pa-pap synthesizer figure—it stays exactly the same as the chord changes underneath it, (guitars in the chorus of I Love You like I Used To and the verse of Go Ask Yer Dad, among others)

continuum: links to Rowla (repetition) the sound of the harpsichord gets nearer to that of the jangly guitar sound coming up soon, it's still a solo keyboard, ends on a repeated note (as Leb'Wohl begins)

interlude 1: all the guitar openings are here (except for the Go Ask Yer Dad excerpt which comes from the middle). It starts with Pinball Wizard over Rowla and Continuum and ends with the A Hard Day's Night chord again. It's like a little sampler of the similarities of the next seven songs

pinball wizard: just because it's such great strumming. I got bored at the end though so I put some of Continuum over the fade

i love you like i used to: self-evident—jangling, downloaded this, don't know anything about them

hey joe: Love recorded this before The Byrds and Jimi Hendrix - it's an old speeded up folkie song. Like how he cuts up the lyrics.

william: bleak, rainy, miserable england . . . mmm, takes me back. I like the little swell at the end — that's also on a couple of other tracks here

go ask yer dad: pure pop for now people

left of mother: less jangly but I wanted the shoegazery surroundsound to come in and I like how the opening strumming contrasts with the next two tracks

that's entertainment: crisp, bright english bleakness . . . mm, takes me back

disarm: I like how it begins almost the same as That's Entertainment but goes somewhere completely different. I had a couple of other strummed guitar tracks over which orchestra slips in (Bowie: Wild Eyed Boy from Freecloud and something else I forget) but they didn't work, then I thought of this—and it did

rain song: I wanted to break the hegemony of the strummed chord, but keep acoustic guitars, orchestra and, whatthehell, the word 'rain'

bring 'em all in: strumland, repetitious (not least the words), seemed right

interlude 2: rain/sea—piano chords (reversed taken from #7 and #5)—descending scale (#3) over #21

leb' wohl: debriefing, "goodbye"

postlude: 2 versions of the 2nd gymnopedie superimposed (one complete version lasts 3:02 the other lasts 5:03), plus the AHDN chord reversed