Archive for the Music Category


Posted in Art, Cinema, Music with tags on February 27, 2014 by Dylan Thomas Hayden

Many of us would like to think that we relate to you because we’re outsiders. For many you epitomize that “outsider” characteristic. Would that be a fair assessment of you or is it wide off the mark?

John Lurie:
I am not sure what you mean by “outsider” here. I try to stay as close as I can to what I feel is real, ignoring whatever the popular trends are. I am not sure what I am outside of. I think that anyone following the trail of babble and unaware of what’s really real is actually the outsider, even if there are a lot of them.

From this recent interview.

Happy Birthday Henry

Posted in Music with tags , on February 13, 2014 by Dylan Thomas Hayden

Elizabeth Cotten 121

Posted in Music with tags , on January 5, 2014 by Dylan Thomas Hayden

I only recently discovered the music of Elizabeth Cotten, the extraordinary self-taught guitarist and songwriter. Cotten was a lefty, but rather than seeking a left-handed guitar or re-stringing a right-handed one she simply turned the guitar upside-down and developed a unique and inimitable fingerpicking style of her own, playing the melody with her thumb and the bass with her fingers. Hers is a wonderful story of talent triumphing in adversity, and her music a reminder that mastery of the guitar is not an exclusively male achievement.

Elizabeth Cotten
5 January 1893 – 29 June 1987

Bye Bye Love

Posted in Music with tags on January 4, 2014 by Dylan Thomas Hayden

Phillip “Phil” Everly
19 January 1939 – 3 January 2014

More Than Kind Of #8

Posted in Music with tags , on January 2, 2014 by Dylan Thomas Hayden

“I’ve sung ‘em on many a day and never thought I had ‘em. What did I want to have the blues for, when I had everything I wanted, all the liquor, all the money I needed, and more gals than I needed? What did I need with the blues? I was playin’ ‘em because everybody loved to hear me play ‘em and I loved to play ‘em. I could play ‘em, yeah. I was having fun. Sometimes I’d be kind of bothered and worried as any other man would be. I wasn’t lively all the time. Plenty times I would feel lonely as other people did. But as a whole I had more blues since I been preaching than I ever did when I was playing the blues… I had to sacrifice, I had to put down something to go to preaching. Ain’t many men put down what I put down, but I had to put down a whole lot just for preaching. And I’ve had a heap of blues since I been preaching…”

Rev. Ruben L. “Rube” Lacy
2 January 1902 – 14 November 1969

Quoted in Big Road Blues by David Evans

Albums That Made Me

Posted in Album Art, Music with tags , on December 21, 2013 by Dylan Thomas Hayden

Thanks to my own dear mother, my tiny mind was permanently warped at a worryingly early age by repeated listening to those first three Mothers albums. They remain firm favourites to this day, particularly We’re Only In It For the Money, one of the most brilliant albums of all time. An avant-garde, through-composed suite mixing parodic rock with musique concrète it astutely and ruthlessly summed up and satirized the hippie phenomenon, foreshadowing the movement’s disillusioned collapse at Altamont and Kent State in the process. Flower Power sucks indeed.

Smoking is Cool #32

Posted in Music, Smoke with tags on December 21, 2013 by Dylan Thomas Hayden

Frank Zappa 73

Posted in Music with tags on December 21, 2013 by Dylan Thomas Hayden

Frank Vincent Zappa
December 21, 1940 – December 4, 1993

More Than Kind Of #7

Posted in Music with tags , on December 14, 2013 by Dylan Thomas Hayden

The great Robert Nighthawk, centre,
with Ernest Lane and Mrs. Nighthawk, Hazel McCollum


Fahey on Performance

Posted in Music with tags on December 10, 2013 by Dylan Thomas Hayden

…while technique is very important, it is only part of the story. Music is a language – a language of emotions. The worst possible way to play these songs – and I am not only talking about my own compositions – is in metronome time at a uniform volume. Another terrible thing would be to play any composition the same way every time, or to feel that you have to play it exactly the way someone else, such as myself, played it or said to play it. A good technician must also be creative. Even if a person is not a composer, he can interpret and arrange, and these skills are as important as technique in making a performance interesting.

Interpretation depends on two factors: First is the ability to dramatize one’s self, to get caught up in and carried away by what one is doing… Second is musical background. A broad spectrum of musical interest over a long period of time is ideal. The broader and longer your musical appreciation the better; and the earlier you start, the better.

The process is cathartic, creative, and automatic, since the freer you are to choose this or that determination, the more your spirit will permeate the music in this or that composition, arrangement, or fragment.

…sight reading, or tablature, should be merely aids. Emphasis should not so much be on hearing and feeling anything external, but on internal states or conditions. What I am advocating is the supremacy of subjectivity, which is the evocation and externalization of internal moods. Every chord (and certainly every chord progression) should evoke a particular emotion, and you must learn to hear what you play and feel that emotion.

If you sit and listen to yourself, the creative act will happen.


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