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In 2000 I gave some lyrics, which Sean O'Leary worked up into a CD that became "Songs of Experience"...a vague link with William Blake, well at least the title!
Sean's recent album The Alchemist is a double CD of musical adaptations of the Jesuit poet Gerard Manley Hopkins work. In my opinion Sean is a very underated musician and songwriter, it has been a pleasure to know him and on occasions work with him.
O’Leary has done what I never thought I would hear: a wonderfully new, electrically charged version of the poet dearest to the heart of many of us.
Paul Mariani's review
Poet & Writer Paul Mariani holds a Chair in English at Boston College and is currently writing a biography of Hopkins.
O'Leary has been compared to Dylan and Johnny Cash. His eclectic sound incorporates chants and hymn-like compositions.
The TABLET 13 May 2006
No lover of poetry, no lover of G M Hopkins, no one with a splash of nature mysticism in their veins, and certainly no Christian should be without this deeply-moving and inspirational album.
Joe Potts's review
Beautiful renditions of Hopkins's poems that can strike like
lightnings to the heart's core.
Jerome Bump
SONGS OF EXPERIENCE
Songs Of Experience were written by Sean O'Leary (Lyrics and Music) and Martin Beek (Lyrics) during autumn 2001.
The songs on this album have been selected from a much larger body of work that was written and recorded over a period of three months.
Martin would send me his lyric-poems and as I read ones of particular interest, a melody would come quickly to me. These initial ideas I recorded with guitar, piano or mandolin whilst simultaneously adapting and changing the lyrics as the melodies necessitated. Some required almost no additional material; with others significant structural and content changes were necessary.
I would normally begin recording the song within a short space of time while the inspiration was fresh. I recorded about 100 songs altogether in many different styles.
Sean O'Leary
The lyric-poems usually came quickly to me. They relate to my perceptions of life events and my desire to communicate these realities.
It is very intriguing for me to see how Sean has taken and adapted my lyric-poems adding his own insights, perceptions and perspectives and turned them into the meaningful and beautiful songs that make up Songs Of Experience.
Martin Beek
David Leeuw with his Family by Abraham van den Tempel, 1671 [detail]. During the 17th century music making signified harmony. The wealthy merchant David Leeuw thus had himself and his family portrayed making music as an expression of harmonious family life. On display at Rijksmuseum Amsterdam.
I was in the Elgar Concert Hall of the Bramall Music Building today and got sight of the Marc Garnier organ. It is quite stunning especially when lit up in blue More details about it here
\https://www.birmingham.ac.uk/bramall/learning-spaces/organ.aspx
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
Spinning the discs, on the waterfront @ Liverpool's Pier Head for the city's world record breaking "Very Big Catwalk" fashion event.
uk.images.search.yahoo.com/search/images;_ylt=A9mSs2U495t...
Watercolour illutration 1991 for Images of America. In the end the Rodeo version was never used, so here it is 18 years later!
Dr. Johan Hammarström demonstrated mature artistic organ playing skills, particularly with his performances of the two more familiar large-scale works: the Elgar Sonata and the Franck Choral, not a mean feat on the 1984 33-rank Schoenstein organ, poorly voiced for the small, relatively dry concert hall. The organ's sound has never appealed to me, despite multiple hearings from many capable performers, tonight's performance being no exception. I was glad, however, to hear for the first time some of the unfamiliar works by Swedish composers.
We took our Swedish friend John Kron along who seemed to enjoy chatting with Dr. Hammarström at the reception far more than his musicmaking--not enough recognizable traditional Swedish folk tunes for his taste and his hearing aids, which normally respond to dramatic changes in sound volume, were unable to dynamically adjust because his cell phone had to be turned off during the performance.
A fine turnout at the recital--hardly an empty seat. There's still probably lots of post-pandemic pent up demand for cultural event mass gatherings, especially in backwater environs like Tucson.
I love Pinky Pastels :)
1. Front Page of Etsy, 2. Kawaii Cute Japanese Anime File Folder-Cute Cats in France-Bonjour Mie PINK, 3. Urn of Roses, 4. détail du petit diorama chaperon rouge, 5. Violet, 6. Flowers in Her Hair, 7. a happy lil afternoon, 8. Rose in the Bouquet, 9. Spring Things, 10. Studio : Sewing Machine, 11. Craft Fair 12th July 08, 12. Happy Valentines Day!, 13. Happy Monday Rainbow Sky (free texture) Creative Commons, 14. Bunny Cake Necklace, 15. Spring Pastels, 16. Rosy Button ~ Page in my Happy Quilt Journal ~ for no particular reason other than I can, 17. Pinkness, 18. Strawberry Cupcake Candle, 19. musicMaking, 20. Birdies, 21. Pink Tulip Field, 22. tiara, 23. White with buttercream roses 1:12, 24. Macaroon and Ice Cream Cone , 25. strawberry soymilk shake, 26. Strawberry time., 27. The dollhouse at Christmas, 28. Vintage Japanese Vinyl, 29. Dresser, 30. Felt Rose Brooch, 31. Jemma Bird watching, 32. Sweet chick and bunny Easter box , 33. Vintage robot toy to Finland NL-112114, 34. Raspberry macaroons @ Bakerzin, 35. Untitled, 36. rose cupcakes
Created with fd's Flickr Toys.
Jarkko Arjatsalo who organises the official Leonard Cohen website put up some of my illustrations of Cohen way back in 1998, shortly after a convention devoted to the singer and poet's work in Lincoln. I'd had a good reaction to these collages so posted a whole series based upon some of his songs, I used both photos of Cohen and superimposed images from paintings and artworks to create dreamlike collages that related to the songs but did not directly attempt to illustrate them.Cohen has been and remains an enormous influence upon me. He has a disarming honesty, and a humanity I enjoy his work immensely. Whilst I'd agree that some of his earlier work in song can sound gloomy and morose, I think there's a deep humour there and something that is very touching. Anyway here they are, a few of them. When I took my old web-site down in 2002, I said goodbye to this sort of work. Sadly one had been ripped off for a bootleg CD, but in a way that was some sort of justice as I'd used a number of well known artistic images to compose these pictures.
Come rain, hail or shine he sits with his faithful guide dog, busking for charity in Liverpool city centre. He specializes in old 'Shadows' instrumentals and could give Hank Marvin a run for his money any day of the week.
Jacob Jordaens (Flemish; 1593–1678). Oil on canvas, 1638. Royal Museum of Fine Arts Antwerp (KMSKA), Antwerp, Belgium.
property of the Metropolitan Museum of Art, New York
for educational purpose only
please do not use without permission
Bob Dylan on Stage at Cardiff 28-4-09
Bob Dylan is worth the price of a ticket even if for one song , one line, he's not predictable and that's what makes him very good. He never plays the songs as they once sounded (as they were in the 60's or 70's), they are just templates for further explorations. His songs stand up to being kicked around and played in different tempos with all sorts of variations, that's why his work is very often covered buy other performers and why so many musicians rate him as the best. Sure his voice is very rough, but who could mistake its originality and expression....he was still good on Tuesday. Remember when he's gone there'll be plenty to rake over so many seminal songs, words that have become part of our culture. He's most unlike anyone else on stage and pays little attention to entertainment as such, for him it is about the songs and if you listen to them there's plenty to think about
1.Rainy Day Women #12 & 35 (Bob on keyboard)
2.Mr. Tambourine Man (Bob on keyboard)
3.Lonesome Day Blues (Bob on keyboard)
4.Under The Red Sky (Bob on keyboard)
5.Rollin' And Tumblin' (Bob on keyboard)
6.John Brown (Bob on keyboard)
7.Stuck Inside Of Mobile With The Memphis Blues Again
(Bob on keyboard, pictured above performing this)
8.Tangled Up In Blue (Bob on keyboard)
9.Tweedle Dee & Tweedle Dum (Bob on keyboard)
10.Masters Of War (Bob on keyboard)
11.Highway 61 Revisited (Bob on keyboard)
12.Nettie Moore (Bob on keyboard)http://www.youtube.com/watch?v=li0uTgWF0Is
13.Thunder On The Mountain (Bob on keyboard)
15.All Along The Watchtower (Bob on keyboard)
16.Spirit On The Water (Bob on keyboard)
17.Blowin' In The Wind (Bob on keyboard)
No songs from the new album released on 27th April....he mainly stuck to well known material. Bob Dylan - keyboard, guitar, harp
Tony Garnier - bass
George Recile - drums
Stu Kimball - rhythm guitar
Denny Freeman - lead guitar
Donnie Herron - violin, viola, banjo, electric mandolin, pedal steel, lap steel
REVIEW
Review: Bob Dylan at Cardiff International Arena
Apr 30 2009 by Adrian Osmond, Western Mail
THERE aren’t many performers who can put on a performance like Bob Dylan and still leave their audience happy.
One of the oddest things at this concert was being among thousands of fans straining to recognise a song. On one occasion there was relief all round as we latched on to the mumbled words “blowing in the wind” and belatedly realised he was singing one of the best-known songs of the last century.
This, added to the fact Dylan had again rearranged the music, chopping up verses and changing tempos, made for a night of constant surprises at an almost-full CIA.
On this latest visit to Cardiff, Dylan and his band amble on to the stage and launch into Rainy Day Women (the “everybody must get stoned” song). It’s immediately clear his voice has gained in depth, but the words are less recognisable than ever.
Dylan took up a position behind his keyboard and stayed there – so there’s no guitar from him tonight. His band members stand opposite, leaving the two groups facing each other across the stage throughout the 17-song concert.
Under a huge cowboy hat, Dylan moves on to a Mr Tambourine Man that almost defied the efforts of the crowd to sing along to. But it still raised the first big cheer of the night, and the first tingle down the spine, when he started playing his harp.
Mixing songs from each era – the folk of John Brown and Masters of War with classic-era Highway 61 Revisited and Tangled up in Blue, and modern additions such as Lonesome Day Blues, (nothing from the new album though), there was something to please fans of all ages, although the performance would have left newcomers mystified.
To finish, he livened up the aforementioned Blowin’ in the Wind by emerging from behind his keyboard and dancing, yes dancing, along to his harp at the front of the stage.
Dylan rounded off the show by mumbling something that sounded like “thank you Cardiff”, introducing his band and then leading them off stage.
A great show from one of the genuine legends of music – one of the few still producing new material worth listening to.
Adrian Osmond
George Barbier (French; 1882–1932). Pochoir print, 1923 Published in: "Falbalas & fanfreluches: Almanach des modes présentes, passées et futures" (Paris: Meynial). Rijksmuseum, Amsterdam.
The guy @ right was inviting anybody & everybody to join in. (He had loads of barrels and plenty of pairs of drumsticks). "Just watch & listen to me, then just copy me," he said. Well, many did just that, and it sounded great
Seniors like myself will remember the days of Skiffle groups. Bands where one didn't bother about a real base - just a tea-chest, brush or broom handle and a length of string.
I saw this great group of seniors playing in the Museum of Liverpool's foyer - and they were very good!
wow, time sure does fly when I'm writing music. somehow it went from 5PM to 4 AM way too quickly lol.
I totally should be in bed. Oops
By: edIT
In the jingle jangle morning...
As another year passes we come to 2010, and a decade into the new century...how has Dylan's recorded work evolved over the past ten years, what can we look upon as its great pinnacles of achievement as we sumarise these latter stages of his illustrious and sometimes controversial career? Bob Dylan in his late fifties and sixties has continued to release work of rare quality, whilst perhaps none match the achievements of "the mountains of the past" there are indeed highlights, his ongoing engagement with musical forms of the past and their assimilation into his own writing continued to grow. His theme time Radio Hour may have revealed as clear a self portrait of his musical world as any we had hitherto, he crowned the decade with Christmas in The Heart, with something of a controversial and unexpected move, yet how unexpected was this mix of traditional Yultide Faryre and Christian Carols in the light of what had gone before, perhaps it was not such a radical step, although to many it may seem so.
Two thousand and nine has been a strange old year, two new Dylan albums, both unexpected in their own ways; and each, for many long term fans, awakening complex feelings. Such emotions are not altogether unexpected upon any new Dylan release. I still feel I've not gotten into "Together Through Life" and part of me wonders if I ever shall, sure I find a couple of the songs pleasant enough, a few lines intriguing, but on the whole, for me, it is not a great late album like Love and Theft, or Modern Times. Then no sooner was Together Through Life beginning to seep into my system as much as it could, along comes the most audacious move of recent times "Christmas in the heart." I guess it was not totally unexpected, after all we had the two hour Theme Time Radio Christmas Special with about as much treacle and sugar as any sane man or woman could take. So like all dutiful fans I guess we waited the intervening months between the announcement of Christmas in the heart and its release this past week. It was at least some consolation that even if the album were to be an embarrassing dud, that at very least some cash had gone to a good cause and that after all is the spirit of Christmas.
So putting on the CD of the album, without cherry picking or skipping tracks as much as part of me wanted to, and not looking particularly hard for any A.J. Webberman secret code in this album (there may be some in Must be Santa, with the list of Presidents names) I tried to listen to it for what it is, and may I say I do somehow detect a greater connection and feeling from Dylan here with the material and sentiment of this second record of 2009 than his earlier release of Together Through Life. At first its sheer weirdness struck me, it almost seemed avant-garde in its retro Theme Time assimilation . Later on, if you can stand it , try playing "Silver Bells" back to back with "Ring Them Bells"....or more pertinently play "O' Little Town of Bethlehem " next to "When He Returns" off Slow Train and you'll hear in spite of the ghastly bullfrog croak of Bob's old guy voice a very real devotion. Quite honestly I felt he did have a connection with the sentiment of these ancient carols and material, and really felt sincerity in the way he intoned them. His pronouncement of Israel Is-ra -el on The First Noel, possibly even took Bob back to his Bar Mitzvah in Duluth with its Hebrew inflection. So not for the first time the Messianic acceptance of Jesus as Saviour puts him well outside Orthodox Judaism, and could ire many who still await Messiah. It is also unlikely that mainstream Evangelical Christians will be any more pleased with this Christmas offering as it is a mix of the sacred and secular. Bob certainly knows how to set the cat among the pigeons at 68 years old with what must surely be his most schmaltzy recording. The funny thing is too, that Bob has made the relatively secular "I'll be home for Christmas" and Have Yourself a Merry Little Christmas sound devotional in a most peculiar way, the line "until then we'll have to muddle through somehow" seems to stand out; the world and all its woes breaks us all down in the end, there's some grace in the message's delivery that was absent on some of the so-called "Christian albums of 1979-81."
Much is often made of the last song and how Bob closes a particular album, it seems often to point back, or sum up all that has gone before, illuminating just a little further down the path he's set upon. "Every Grain of Sand" concluded Shot of Love in a masterful way hinting at greater lyricism to come, "Ain't Talkin" closed Modern Times with Bob marching forward the wandering stranger in a strange land. Here on this Christmas in the heart we are given the ending of endings, the final end AMEN. I hope, I dearly hope this is not to be Bob's last word on a studio album, but it certainly is clear. I think his songs , particularly his ballads have always had a prayer like quality, and here we can see that clearly if we strip away the glittery gauze that covers this latest work.
Finally talking of endings, his voice, often discussed ad infinitum, it sounds truly damaged and possibly irredeemably so, I don't know if a rest would do it any good but it is a major concern if indeed we are to get much more. Then again he's surprised us with this years offerings, perhaps 2010 will contain yet more jewels.
Bath city centre, Somerset.
My title comes due the inscrutable expression of the eastern gent passing by
It's difficult to believe it's been almost 60 years since Billy sang the Vivaldi Gloria as a tenor in Auburn University's Choral Union
(Mevrouw Henri Van de Velde Sethe)
Théo (Théophile) van Rysselberghe (23 November 1862, - 14 December 1926), was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the century.He discovered the pointillist technique when he saw Georges Seurat's La Grande Jatte at the eighth impressionist exhibition in Paris in 1886. This shook him up completely. Together with Henry Van de Velde, Georges Lemmen, Xavier Mellery, Willy Schlobach and Alfred William Finch and Anna Boch he "imported" this style to Belgium. Seurat was invited to the next salon of Les XX in Brussels in 1887. But there his La Grande Jatte was heavily criticized by the art critics as "incomprehensible gibberish applied to the noble art of painting".
Théo van Rysselberghe abandoned realism and became an adept of pointillism. This brought him sometimes in heavy conflict with James Ensor. In 1887 van Rysselberghe already experimented with this style, as can be seen in his Madame Oscar Ghysbrecht (1887) and Madame Edmond Picard (1887). While staying in summer 1887 a few weeks with Eugène Boch (brother of Anna Boch) in Batignolles, near Paris, he met several painters from the Parisian scene such as Sisley, Signac, Degas and especially Henri de Toulouse-Lautrec. He appreciated especially the talent of Toulouse-Lautrec. His portrait Pierre-Marie Olin (1887) closely resembles the style of Toulouse-Lautrec of that time. He managed to invite several of them, including Signac, Forain, and Toulouse-Lautrec to the next exhibition of Les XX.
The Royal Museum of Fine Arts of Antwerp (Dutch: Koninklijk Museum voor Schone Kunsten van Antwerpen), founded in 1810, houses a collection of paintings, sculptures and drawings from the fourteenth to the twentieth centuries. This collection is representative of the artistic production and the taste of art enthusiasts in Antwerp, Belgium and the Northern and Southern Netherlands since the fifteenth century.
The neoclassical building housing the collection is one of the primary landmarks of the Zuid district of Antwerp, and stands in gardens bounded by the Leopold de Waalplaats, the Schildersstraat, the Plaatsnijdersstraat, and the Beeldhouwersstraat. It was completed in 1894.
I could hardly believe my ears,when in Durbar square ,Kathmandu. It was the sound of a New Orleans marching band....so like the real thing. It was pure delight to linger a while & listen to their eager music making.