excellent Revolver mashup here

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The taxman/beck one particularly fine. Downloadable here:

http://www.blackcatbone.34sp.com/phpBB2/viewtopic.php?t=22309

― Joubert, Friday, 11 February 2005 17:05 (twenty-one years ago)

This is quite nice. I look forward to hearing side two.

― darin (darin), Friday, 11 February 2005 17:30 (twenty-one years ago)

Although, I'm Only Sleeping doesn't quite work.

― darin (darin), Friday, 11 February 2005 17:33 (twenty-one years ago)

Although, I'm Only Sleeping doesn't quite work.

Really? I think it sounds better than Portishead by themselves.

― his face was burned off in a flaming crossbow accident (King Kobra), Friday, 11 February 2005 17:58 (twenty-one years ago)

Am I the only person who wants to strangle somebody when the vocal slips out of key with the music?

― miccio (miccio), Friday, 11 February 2005 18:00 (twenty-one years ago)

It just sounds like he had a difficult time isolating Lennon's voice from the original track and there's something wierd about the tempo.

― darin (darin), Friday, 11 February 2005 18:02 (twenty-one years ago)

Am I the only person who wants to strangle somebody when the vocal slips out of key with the music?

Yeah, I noticed a few notes of the Madonna vox aren't working in the C/Em key of Eleannor Rigby.

― darin (darin), Friday, 11 February 2005 18:04 (twenty-one years ago)

keys are soooo rockist. expand your musical vocabulary.

― irrigation can save your people, Friday, 11 February 2005 20:17 (twenty-one years ago)

I assume you're joking.

― darin (darin), Friday, 11 February 2005 20:30 (twenty-one years ago)

Because if keys are rockist, what else is? Chords? Emotions? Wild life? Instant tea?

― darin (darin), Friday, 11 February 2005 20:34 (twenty-one years ago)

The Madonna one is really surprising—possibly the most harmonically ambitious mashup I’ve ever heard. For the record, I don’t think she’s ever actually slipping out of tune—it’s just that the structures of the two are meshing so well that you’re shocked when she goes to the “wrong” note for resolving a melody. It’s really amazing: I don’t think I’ve ever heard a mashup before where the two bits actually combined to create new harmonic changes.

― nabisco (nabisco), Friday, 11 February 2005 20:42 (twenty-one years ago)

I think you're right, nabisco. Anyway, after a couple more listens some of those blue notes feel less jarring.

― darin (darin), Friday, 11 February 2005 20:47 (twenty-one years ago)

The "Ms. Jackson"/"Lullaby" mash-up either goes out of tune or meshes equally SO well too. All I know is that some of this stuff makes me want to kill small animals (though yeah, multiple listens make it less jarring).

― miccio (miccio), Friday, 11 February 2005 20:48 (twenty-one years ago)

I'm surprised you found it jarring the first time! If you listen to Madonna's voice as being in the lead, it just feels to me like the song’s been “written” to include a lot of very cool harmonic twists. Which is, of course, exactly what I’d want from a song like this if someone were just writing and performing it. You can tell he’s done a lot of cutting of the strings to get them lined up—at the end of the first “and I feel” section, there’s a little twist to the way her voice descends, key-wise, and he’s matched it up so so perfectly with a jog down in the strings.

Incidentally this is one of the things I find really interesting about mash-ups. Most real singers would find it really, really hard to sing strange harmonies and intervals with much strength or passion—you’d be kind of more worried about getting the note. With an a capella, of course, the singer is gonna hit the hell out of that note even if it’s completely out of key. So if you can get together something like this—where the singer is in key but keeps striking weird intervals, and hard—it’s kinda fascinating.

― nabisco (nabisco), Friday, 11 February 2005 20:58 (twenty-one years ago)

It's definitely fascinating. I'm embarrassed to say I'm really digging the Phil Collins/Yellow Submarine mashup.

― darin (darin), Friday, 11 February 2005 21:05 (twenty-one years ago)

re 'chords' being 'rockist': we're pretty much bred exclusively on melodies sticking very close to the root, 3rd, 4th, 5th of the chord at hand. anything different sounds 'wrong'. no one stops to think why, they just assume the keys 'aren't working.'

― irrigation can save your people, Friday, 11 February 2005 22:32 (twenty-one years ago)

Not true! We live in a world of 7ths.

― nabisco (nabisco), Friday, 11 February 2005 22:34 (twenty-one years ago)

i'm sorry i don't stop to think why my neck just spasmed in horror due to a very unpleasant sound. What a shame for all those people who want to slam two tracks together in profound, progressive ways.

― miccio (miccio), Friday, 11 February 2005 22:40 (twenty-one years ago)

of course, i'm half-joking. chords are a great cheat no matter what kind of (western) music you're playing. viva f11/eflat bass!

― irrigation can save your people, Friday, 11 February 2005 22:41 (twenty-one years ago)

Hey I like a big cup of atonal goofiness as much as the next guy, but you make it sound like a negative reaction to this kind of thing = strangling a baby tritone.

― darin (darin), Friday, 11 February 2005 22:56 (twenty-one years ago)

"ooh this Grey Album is getting people very excited...I KNOW i'll do my own mash-up album of Beatles tracks, then everyone will love ME"

(maybe not the case but it's what i always think when this sort of thing happens...and i've been guilty of it myself once or twice i must admit)

― Alienus Quam Reproba (blueski), Friday, 11 February 2005 22:59 (twenty-one years ago)

the "new pollution"/"taxman" one is ok-sounding, but a bit lazy given that "new pollution" already totally ripped off the bass riff from "taxman" in its original odelay form...

― swvl (vozick), Friday, 11 February 2005 23:04 (twenty-one years ago)

Sadly, as there are Beatle morons like me over here, these guys will always have an audience.

x-post

― darin (darin), Friday, 11 February 2005 23:05 (twenty-one years ago)

Wow. "Sleeping" is amazing. Better than anything on The Grey Album (which, imo, was even more over-rated than The College Dropout).

― poortheatre (poortheatre), Friday, 11 February 2005 23:13 (twenty-one years ago)

You could have made that dig even more obviously, Swvl -- he's also got the Jam's "Start" in there, surely the definitive ripoff "Taxman" ripoff.

― nabisco (nabisco), Friday, 11 February 2005 23:18 (twenty-one years ago)

It's kinda neat, actually -- 60s, 70s, 90s.

― nabisco (nabisco), Friday, 11 February 2005 23:18 (twenty-one years ago)

i like the jam tax pollution thing most myself

― miccio (miccio), Friday, 11 February 2005 23:19 (twenty-one years ago)

i mean, it's not bad. very easy to listen to, even kind of cool. just a little pointless. (gotta run - im gonna do a mashup of the vox from "ill be missing you" with this awesome song by the police...)

― swvl (vozick), Friday, 11 February 2005 23:21 (twenty-one years ago)

If her voice were pitch-shifted down an octave that Madonna one would sound like a Depeche Mode song.

― walter kranz (walterkranz), Friday, 11 February 2005 23:41 (twenty-one years ago)

The second half is up:

http://www.blackcatbone.34sp.com/phpBB2/viewtopic.php?t=22678

― darin (darin), Tuesday, 15 February 2005 21:37 (twenty-one years ago)

WK -- you mean like "Little 15?" It really does have that vibe.

― nabisco (nabisco), Tuesday, 15 February 2005 21:54 (twenty-one years ago)

The Good Day Sunshine mashup is supersweet.

― darin (darin), Tuesday, 15 February 2005 22:15 (twenty-one years ago)

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