Until all items become available to ship so they can be sent as one Therefore, all items must be in stock or you should be happy to wait *To qualify for free postage the order must be sent as one package. Awesome.įree Shipping: We offer free postage on orders over There are too many genius tracks here to mention – 17 in total to keep you occupied and moved for days on end, those of you who are unaware of this true giant – open yourselves up to a pool of talent that will truly never disappoint. ‘Frogs’ is pure Flugel genius, slowed down and dusty hip hop shuffles and light, moving melodies that overtake you with their charm instatntly. It’s impossible to overstate how talented this man is – check the broken break-structure of ‘Flowchart’, if Squarepusher was a Berliner this may well be what his sound would have evolved towards, while ‘Conversations’ is a simply perfect sprinkle of pinklepop beats and accoustic overlays that glows with the kind of peacefully deep elegance that’s rarely achieved with as much panache. ‘Katalog’ is a collection of truly classic material that Flugel has released under the Eight Miles High moniker, plus some seriously seriously good new additions. With projects as distinct as Alter Ego, Sensorama and the sublime Eight Miles High, each and every aspect of electronic music has been covered by the master with an immense amount of vision, precision, and above all : depth. The songs are almost an excuse or a vehicle for The Rolling Stones sound.Roman Flugel must undoubtedly stand as one of the most criminally overlooked artists operating within the electronic arena today and for the last number of years. I Wanna Be Your Man is a crap song, but the stones recording is stunning! Even the Rice Krispies ad is amazing, despite the silly lyrics. Their covers are at times as distinctive as their originals. The sound and the arrangements are as important as far as the success of their music. There's no arrangements without the songs, but for a lot of their releases, there's no hit without the song AND arrangements. That being ALO eventually moving in to Mapesbury Road with M&K. There was an inevitability to Mick and Keith becoming writers, close friends in a band then circumstances presented a scenario where the inevitable was enabled to happen. That they were insensitive to any writing aspirations he had. Mick has said that although they didn't intentionally stifle him, they also didn't do anything to bring songs out of him. He did 'write' arrangements though and melodies, so one could argue he simply didn't seek or find the right kind of partner. But Jones did not help write the song, he merely provided encouragement.Ĭlick to expand.No one seriously claims that. It seems his motivation is to diminish Clark's role in the songwriting more than anything else. I'm not sure why McGuinn is mentioning Brian Jones now. At the time he probably didn't halfway remember having the conversation, you know what I'm saying.?'" But the original idea came, of course, out of Brian Jones, but he didn't know it. I worked on it kinda in private for - gosh, maybe about two weeks or something - almost every night in the hotel or something like that. And Brian said 'what're you doing?' And I said 'this', and he looks at it and he reads a little bit of it, and he says 'that's pretty good, you ought to work on that!' And then, I think. And somehow I just got this idea - it came into my mind - I don't know how the conversation led to it or anything like that, but all I know is that I started scribbling down the poetry, y'know. We ordered dinner one night and we were all sitting there eating a coupla steaks, talking and having a couple of scotches, and we started talking about William Burroughs. So he and I and Michael started hanging out together. However, in another interview Clark talked more at length about what happened, and made it clear that although the idea for the song came from a conversation he'd had with Jones, Jones did not directly contribute to the writing: In it, Gene Clark says "The melody and lyrics I wrote myself in a hotel room with Brian Jones in Pittsburgh Pennsylvania." That is a grammatically ambiguous sentence, since the phrase "with Brian Jones" could be modifying either the verb "wrote" or the prepositional phrase "in a hotel room." It is not clear whether he's saying he wrote with Jones, or simply was in a hotel room with Jones. The misconception that Brian Jones helped write "Eight Miles High" originates from the video interview linked earlier in this thread.
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