Herbie Hancock Blow Up Rapidshare
Herbie Hancock Songs
Herbie Hancock: piano, melodica, Freddie Hubbard: trumpet, Joe Newman: trumpet, Phil Woods: alto sax, Joe Henderson: tenor sax, Jimmy Smith: organ, Jim Hall. Blow (2001 Film) Audio CD. Graeme Revell. Are obvious nods to Blow-Up, the first English film by Italian director Michelangelo Antonioni. Likewise, much of the music on this soundtrack would find. Herbie Hancock's original compositions--much more pop-friendly than his previous work--are either supple or dated, depending on.
Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni’s cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties’ London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks. The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. Rumours go that either the fabled Jimmy Smith or Paul Griffin played the Hammond organ on this record. Rock fans remember the film and the soundtrack for the inclusion of a rare Yardbirds number, “Stroll On” (actually, an adaptation of Tiny Bradshaw’s “The Train Kept A-Rollin’”), one of only three songs they recorded with both Jeff Beck and Jimmy Page on guitars. The bassline to “Bring Down The Birds” was sampled by Deee-Lite for their 1990 hit single “Groove Is In The Heart” featuring Bootsy Collins.
I won't dwell too much on the film itself other than to say that it's a seriously groovy piece of mid-sixties filmic psychodrama set in swinging London that, amidst other things, features one or two of the beautiful people, some shots of delightfully quaint mews dwelling houses, and the quite wonderful (in real life too) Marion Park an expanse of green nearby the military barracks in Woolwich Arsenal and wherein the flick's plot really begins to thicken. There's also the main starring role of an obsessive photographer, played by David Hemmings, and oh yeah of course there's all this, which is a pretty nifty soundtrack that features swinging jazz and mod-rock style tuneage that comes and goes, which is really where we come in. Most people who are even just a little bit bothered about those types of fascinating behind-the-scenes insights will know nowadays - well at least since the initial vinyl reissue way back in the late 80s / early 90s - that one of director Michelangelo Antonioni's first choice London groups for the onstage club guitar smasherama scenario was to have been the never less than intriguing, always effortlessly endearing Tomorrow, the British psychedelic pop legends who would later go on to give us such mercurial-sounding underground pop gems as 'My White Bicycle' and 'Revolution'. Here, they can be heard as they transit forward from their more mod-inclined previous incarnation when they operated as the In Crowd, and now giving out with the softly attacking charm of 'Am I Glad To See You'. As a musical document not only of the film itself but of it's time generally, 1966 pre-hippie rock, this is a well put together, thoroughly inspired and slinky-sounding programme. Dedicated to British psychedelic folk. New issue of printed version projected from the well-known, leading psych on-line site It’s Psychedelic Baby.
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After the previous issue covering exclusively the US psychedelic folk scene (IPB 002, 2016), this new issue covers the 1960s and 1970s British folk scene, with exclusive interviews of members from acts such as Fresh Maggots, Comus, Mellow Candle, Dr Strangely Strange, Spirogyra, C.O.B., Incredible String Band, Fairport Convention, Pererin, Courtyard Music Group, Magic Carpet, Sunforest, Oberon, etc. Also includes a few pages of record reviews. Cover by Justin Jackley.
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