consider, that you are not right. assured..
consider, that you are not right. assured..
And even though, traditionally, transparent geniuses are hard to come by, Collier shares his heart and mind for music quite openly, leading in-depth workshops and Logic session breakdowns of his songs and his process. Yet, in speaking with him — even for all of the gobsmacking talent and insanely cool theory wizardry — his dominant trait manages to be his reverence for human instincts. It's based in an emotional decision. Most recently, Collier has been channeling those decisions into an epic quadruple album, releasing its latest puzzle piece, Djesse Vol.
Feeling all of this from an artist who just turned 26 years old last month produces a hope we need more than ever right now. A quadruple album is an ambitious undertaking, and I read somewhere you said you're treating it like a big puzzle.
How does Djesse Vol. So this whole quadruple album thing was something I dreamed up about three years ago, two or three years ago now, I suppose. The goal was how can I build bridges between all these different musical faculties that I've been listening to and loving for all these years, and get them all to make sense within each other's contexts?
I've been an avid listener of all these different kinds of music for so long. I was brought up on Bartok meets Beck meets the Beatles. All these styles and different languages and different parts of the world and different histories converged for me as a teenager. I just became fascinated with the idea of making it all make sense with each other, so combining different elements. I made this album, I suppose, about five years ago called In My Room , which is my first album. I made it in this room I'm currently in, in my home in North London.
And that was really the first time I'd ever written songs. It was good fun. After that album came out and I toured it about, and I really wanted to do something a little more epic. I set about this four album process delegating my musical ideas as they came out into these different rooms, different boxes.
So Djesse Vol. And it's very large. It's a big, expensive work. There's an orchestra present, they are choirs present, the acoustic space taken to great heights, that was the space. Djesse Vol. So more about songwriting and folk music, world music, a little bit of jazz thrown in, and some music from Portugal, music from Mali, Africa, all sorts of things.
So that was a smaller acoustic space. And Djesse Vol. And pop as well. I always wanted to explore those things. And the fun thing for me was bringing the aesthetics that I've have been creating and I've been fascinated by for the last 20 years and trying to invent these sounds that I loved listening to in my own terms.
And then Djesse Vol. There are so many great collaborations on Djesse Vol. Does your ability to be so self-sufficient and play every instrument yourself help you when you work with someone? Well, it's a blessing and a curse because on the one hand, when you've done things yourself for a long time I think it's easier to fall into your own habits and to come into any situation with a preconceived notion of how you'd like it to go and how you'd imagine it could go.
In my brain For example, walking into the room with Tori Kelly, it's like, well, I could go many directions with a voice like Tori's, because Tori's voice is like this kind of music acrobatic machine. It can do so many wonderful things, emotive things. And so in some ways that stuff is not helpful baggage because it just gets in the way of the present moment.
And so with Tori, it was one of the first times really in my musical life where I walked into a room, and I discarded all of my previous ideas. I didn't have a song that I'd written for her. I didn't have an idea, a framework for something I wanted her to be a part of. We walked into them cold and we just started jamming. And so that process to me has proven to be really quite fantastic. And actually, sometimes more effective than when I walk into a room feeling like this is the entire song, can you just sing the melody?
Which also can work quite well. I think for me, it's always about trying to make room for somebody else's musical intelligence and not let my own experience of creating stuff just get in the way, because everyone has their own standpoint. And I think the thing I'm most interested in with all these different collaborators is that some of their standpoints are crazily different from mine.
And they have very different reaches in terms of who listens to their music and have very different experiences. And they have totally different voices, but for me I was pretty excited by the idea that these two different musical entities could exist within the same breath.
And same goes, for example, on Djesse Vol. There's a song where Steve Vai , the rock guitarist, is playing in harmony with Kathryn Tickell , who's a Northumbrian pipes player from the North of England, and some of the language is quite similar. I love finding these ways of joining these flavors together.
So the Daniel Caesar song was another example where I hadn't planned too much of it and we walked into the room, and Daniel's very natural process of coming up with words, lyrics just fell right into the pocket of this groove that I've been working on. We ran with it and that felt really cool.
What strikes me about your approach to all this is your awareness. You're not short on talent or ideas, but your awareness is really the missing link.
In this last six months, where we've all been on lockdown, can you tell us a couple of things that you've discovered or maybe even rediscovered about yourself musically? I think it goes without saying this is a time where a lot of people have gone back to square one or even pre square one. And it's like, "what is a square? And if I wasn't touring I was trying to finish something or directing a music video or editing a music video, or trying to keep up with the social stuff or whatever.
There's all these different elements. I think when a lot of these things slowed down, the cool thing was we had to take stock of what the hell is going on and actually what's important.
A lot of people that I spoke to, friends and musicians, I think realized that a lot of the stuff that feels really important is not important. And one of those things maybe is rushing and doing things fast and things having to be done now. And if it's not done now, it's going to be too late. It's always urgent. I really think urgency a massive construct. And I think it's been really nice in the last, couple of weeks since Djesse Vol.
I finished Djesse Vol. And I then spent four months making the album just so much better than it would have been otherwise. It's so much deeper and so much more sonically satisfying. I'm really grateful for the time, but honestly, I haven't really stopped in quarantine because I've been challenging myself to all these different kinds of things. I mean I've been teaching master classes from home. I performed on TED. I did a Tiny Desk from home.
I made a video for Jimmy Kimmel Live. I made a video for Jools Holland in the UK. I made a video for Stephen Colbert. And on top of that, I was mixing my album and producing that. I was directing the videos and I was editing the videos and all this stuff too.
I think for me, it's been a really interesting period of time. Without being able to actually be with people, how do you get stuff done that's collaborative at all?
And one fun solution I found is best explained through a song on Djesse Vol. I actually mailed Kiana a mic and I installed this program called Source Connect on her computer, which meant that I could move her mouse around on her laptop.
So far as to install Logic Pro. I taught her how to put the mic in and stuff, and she was super brilliant at that. She sang her tracks and I could hear what she was singing in real time, and printed the tracks into her computer. And then I sent those tracks to myself at the Dropbox here. I continued mixing my song.
That was a really amazing moment where you think actually collaboration is completely enabled by the tech that is existing, but you have to be courageous enough to follow these things through and to be determined to find solutions to things that might feel weird. I think I've enjoyed being a bit of a problem solver in the last six months or so.
You mentioned the workshops. There's so much of what many people would call genius in your process, but there's also so much transparency. Can you talk about what the process means to you versus the result? Yeah, it's funny because finishing stuff was something I was really bad at.
For the whole of my teenage years I was really bad at finishing things. I wanted to get good at it. So the best way to get good at it was just to practice it. So I practiced finishing stuff. The four-album project was like, this is going to make me shed finishing stuff. I'm going to have to get good at this because otherwise I'm going to suck. The fun thing I think for me is learning how to step away from your ideas when you can. But the last year, or four or five months or so, I rediscovered the joys of going right to the very deepest corners of your process having officially finished the song.
It's like, how do you get the song to spring off the page, as it were, and feel alive? A lot of the purpose of doing that is, for me, even more interesting than what some of it ends up sounding like… And also, I love explaining it because I think by explaining it to others, I explain it to myself, and I've realized the connections that maybe I don't realize just by sitting and doing it all day long.
I fell in love with that process a couple of years ago. And I've since really enjoyed just taking apart my Logic session. Also, "All Night Long. It was fun just to think about, how do I present this as something that people can maybe understand at a broken down level?
The thing about when I make music and how it feels to me is that a lot of the decisions that may feel quite technical are basically based in feelings, it's based in an emotional decision. I want gravity to come here or I want it to feel like you're twisting here, or deepening here, or some unconscious awareness that a breath will lead to another breath, or whatever.
And these things I think, they're fun to take apart and think about in active terms. But one thing I will say for sure is that I think it's going to be very centralized around the human voice. It's my favorite instrument of all instruments, my voice. I started as a singer, really. I started singing all the instruments before I could even play instruments, like the piano or the bass or the guitar. I was singing all those parts. I want to come back to my roots in that way.
I want to do that, but obviously with human voice there's so many directions you can go. One idea I have for the album, that is if I can go on tour within the next two years so I really hope I can, is to begin to use some of my audiences as instruments even more than I have been.
In the last year or so I've been When I was on the road last year I really enjoyed the concept of the audience singing harmony. I would split my audience into three or four or five parts and get them singing these notes, and we'd improvise these chords.
So up and down arrows spontaneously dictates it to different parts of the room and it would be this ever changing chords, omnichords. It really inspired me to think about the voices. I think maybe somewhere between the audiences of my live shows and the choirs that I love so much around the world and have built relationships with, and also some of my favorite musicians and artists in the world, who I guess I can't reveal too much of right now, but there was some extraordinary singers, vocalists, and people who I've been in touch with for a long, long time who are going to be involved in Djesse Vol.
I think it's really a celebration of all these different languages. Because for me, I think at this point with Vol. And I think it's such an important time for people to use their voices in so many ways, right? As people and politics in the world and musically, I think a lot of people feel like their voice sometimes is not important, or that it's difficult to use their voice or raise their voice in certain situations. But I think for me it's like the keys to the castle.
Learn more - eBay Money Back Guarantee - opens in new window or tab. Seller information rarewaves-usa-ca See other items. Contact seller. Visit store. Item Information Condition:. Sign in to check out Check out as guest. Add to Watch list Remove from watch list. Watch list is full. No additional import charges at delivery! This item will be shipped through the Global Shipping Program and includes international tracking. Born: August 21, , Hazel, Kentucky Jackie DeShannon is an American pop singer-songwriter with a string of hit song credits from the s onwards.
She was one of the first female singer-songwriters of the rock 'n' roll period. She is married to Randy Edelman. Inducted into Songwriters Hall of Fame in Wikipedia , Facebook , Facebook , songhall. Viewing All Jackie DeShannon. Bel Shannon , D. Shannon , D. De Shannon , J. You never know when you get the vinyl reissues if they were done from a digital source. This is volume one. I got this record when I was in boarding school. This is my favorite boogie-woogie piano player; he just dances when he plays.
Again, none of these are reissues; these came from when I was a teenager or when I was in my early twenties or else they were bought in used record shops recently.
This is the American mono, not a reprocessed album — by The Rolling Stones. During the post-wedding party in A Canterlot Wedding - Part 2 , Pinkie Pie pulls her up from under the turntable and they spin the records. She briefly lifts her glasses, revealing her magenta-colored eyes before placing them back and nodding to the beat. She makes a cameo appearance in a crowd shot in Simple Ways. In Testing Testing 1, 2, 3 , she is shown providing music during Pinkie Pie's song The rappin' Hist'ry of the Wonderbolts and reveals her magenta-colored eyes again.
She makes another brief background appearance near the beginning of Inspiration Manifestation. As a result, both DJ Pon-3 and Octavia give her a score of "0", while Rarity gives her a score of "1". DJ Pon-3 appears in the series' th episode Slice of Life.
She is first seen listening to hip-hop on her headphones when she leads Dr. Hooves to the bowling alley. In the episode, it is revealed that she is roommates with Octavia Melody. She helps Octavia spice up the music she plays for the wedding.
In the original script, she had some speaking lines, but she was made mute at the insistence of Hasbro; originally she and Octavia were not roommates, but this was also requested by Hasbro.
She later attends Twilight's dinner party at the Castle of Friendship. She appears in A Hearth's Warming Tail in the story within the story as a musician at Snowdash's party spinning the gramophone alongside violinist Octavia. Released by the legendary Vinylmania. Released in , both tracks, heavy with Afro-conscious lyrics about value and soul, are propelled by electro-funk throbs and squelches, pre-empting the rise of the machines in what remains some of the most invigorating dancefloor music ever made.
On her debut single, Lynn not only proved she had a cracking set of windpipes, but she also managed to pull off chart success in what is undoubtedly one of the defining tunes of the era. The former become a hit with Larry Levan, remixed on Nightdubbing the following year.
Hammond stabs and tidal percussion carried this instrumental from DJ tool to peak time dance floor weapon. A slo-mo disco anthem with the most yearning string arrangement of the decade. Patrice Rushen got her first record deal with the jazz label Prestige Records in , aged 20, releasing three albums on a fusion tip before moving over to Elektra to fully explore her funky side. Its insanely funky, minimal proto-house percussion and sleazy, double-entendre lyrics — Is it all over my face?
The perfect soundtrack for Saturday night on the floor, or for an acid trip indoors. Two tracks that prove Ron Hardy worked magic behind the decks and the reels. Pure fire. Philly Intl. Presumably licensing the track from Barclay who released the LP, Island Records are also represented by Wally Badarou who is credited on the sleeve.
Original copies are extremely rare…. Ma-mako, ma-ma-sa, mako-mako ssa.VINYL™ (formerly VINYL®) is built on the principle of helping crafters, sign makers, and small businesses to obtain quality products, providing excellent customer service, FAST shipping, and competitive prices.