Darryl Hall can sing! I mean he doesn't have any great revelation, actually it's amazing to hear it. He is very lucky, his voice is so strong and acrobatics, this is a miracle, he will not receive more praise.
Perhaps this is the instant cognition brought by his tone. It only requires one or two notes, and most people with radio perception can turn the sounds of Hall and Oates very cold. Recognizability and universality tend to make our perception of the true quality of a particular thing slow. It seems that we are using the sensory organs and psychological treatments of countless others to participate in our life experiences.
Take Mount Rushmore as an example. It was photographed, engraved, drawn and stamped, printed on license plates and decorated u-haul trucks, and used as the location of the film.
Close your eyes and think about Mount Rushmore. Please continue to do it. I bet a pretty solid image appears in your mind. Some fuzzy brown and gray rocks are carved in a similar group of presidents. Perhaps after your initial image, a series of associations emerged. Some of them may involve actual facts related to the website. You may know the artist's name. You may be with your family. Someone in your family may have been born, dead, married, won the lottery, gave you a present, played "water smoke" on the accordion, stole your things, lost your senses, and so on. You see photos of Mount Rushmore, and your thoughts are shuffled in these events. In addition to these associations, there are endless images you see on the site.
These images and concepts are inherent in our understanding of Mount Rushmore, but have no real relationship with the actual things. They are actually turbid barriers or filters that we place between ourselves and the object. Incredibly, especially when our sense of concentration is occupied, we have a powerful and direct experience of something. Maybe we are sick or tired, or just in a very calm and acceptable state. Regardless of the situation, for some reason, familiar people suddenly reveal their true nature and shock us. Let's take a look at the faces of Mount Rushmore. They are like this. Their nature is facing us, we see them for the first time. This information may be beautiful, it may be horrible, but we are getting the true essence of something, and it is not mediated by a pre-existing image library or our association. This is the sound of Daryl Hall's voice when he heard the recently reissued Robert Fripp album "Exposure."
The album was originally released in 1979 and has undergone fundamental changes between its recording and future versions. At the heart of this change are Daryl Hall's manager Tommy Mottola and the opposition of Debbie Harry's career in "Blondie." These tracks are considered experimental, and the relationship with Fripp is considered commercial suicide, and "commercial" wins according to the usual music business. Most of it was re-recorded and used the voice talent of Peter Hammill, leaving only two contributions from Hall.
So, in this rereleased version, you'll get the original version, the 1983 remixed version, and some unreleased Daryl Hall tracks. I don't know how the two artists came together on this album, but I am very happy that they have done so. Pairing on paper looks ridiculous. It's hard to imagine Robert Fripp's precise and hypnotic guitar image being comforted by Daryl Hall's deep and rich voice. But the truth is, it works.
In the song "North Star", we heard the true essence of Daryl Hall's voice, it is just a floor experience. The color is rich and sweet, while still remaining harsh. The lyrics of the phrase and the occasional use of false sounds made me run to the ipod to call Hall&Oates "She has gone" and "Sara Smile" and realized that he is always so good. In that voice, I heard something that has nothing to do with the lyrics. I have never allowed strength, depth and presence before. I heard the voice of the seeker. I heard the lost voice. I heard the gentle resignation of the hurting lifestyle. Sometimes we are fortunate enough to experience a happy moment, and Daryl Hall brings a lot of this album.
These music are accompanied by Robert Flip's mission and the exploration of the essence of guitar sound. Using the tapeloop system called "Frippertronics", he created a complex note network, repeated flashing metal spells and moved up and down. All of the instruments in this album use master cleanliness, which is by no means a means. The technical aspects of the performance are utilized and brought to the entire groove of each piece. Sometimes, this gives some music a surprisingly good-looking sound quality, and if it doesn't exist, there may be stiff and clumsy sounds.
Robert Flip and his music have an incredible element. You have an ambiguous feeling about his motives. He wants to tell us a musical story in a new language, or just to meet his agenda with an internal and unknowable call of Muse. This ambiguity provides a noticeable tension in his music. This tension is so interesting that we have to continue listening. It's like listening to someone asking their own questions and listening to the various answers they make. The questioner does not seem to have more meaning or love than any other person. I often think that Robert Flip is not a person who wants to be trusted. He likes to keep us alert. Just like he is a mountain guide, I am not sure if we are worthy of the summit. While this may be frustrating, it may be better for us in the long run. There are no simple answers in our music, so we have to really listen. In this listening, we got a return. The rewards vary, including the first time listening to the gorgeous voice of Lille Hall and the power to understand repetition and juxtaposition.
Anyway, we leave the "exposure" rich and extended, if this is not worth it, I don't know what live music reviews, CD reviews, music news and features are!
Orignal From: Robert Flip "Exposure" - Music Review
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