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Friday, September 10, 2010

ABF Friday:  Days of Future Past Edition!

In our latest installment of Lazy My New Day Job Keeps Me Really Busy Blogging, we’re going to dust off an ABF exercise we did many years ago at Pandagon, because (a) it was F, and (b) Pandagon has the most broken archives in the Interwebs and nobody will ever remember that I’m recycling this one unless I tell them. 

Anyway, here goes.

Most solos in rock/pop are guitar solos, of course.  Then there are your sax solos and your piano solos here and there.  Some of them are good.  And there’s Denny Dias’s amazing electric sitar solo in Steely Dan’s “Do It Again.” But what about all the other (non-stringed) instruments in the world?  Long ago, in comment 48 of of this most diverting or dilating thread, I speculated on the comparative worth of the flute solos in Jethro Tull’s “Locomotive Breath” and Stevie Wonder’s “Another Star.” I have since been reminded by my trusty iPod that Brick’s 1976 song “Dazz” contains a pretty kicky bit of flutin’ as well.  And I think we can all agree that Alan Civil’s work on the Beatles’ “For No One” (a solo reportedly whistled by McCartney to George Martin, who then booked Civil for the job) is the best French horn solo in rock/pop.  But let’s not forget that happy, zippy xylophonin’ on Robert Palmer’s “Clues,” either!

So think of some great solos with lesser-used non-stringy instruments, if you’d be so kind.  Extra special bonus points for anyone who comes up with a great oboe or bassoon solo.

Now, about that day job.  I finally have some news!  Which is to say, some evidence that I’ve actually been “working” behind the “scenes.” Check this out, folks.  It is, or will be, or is and will be and also will have been, wicked cool.  It was inspired in part by this most diverting or dilatory thread, which made me get up out of my chair and then go sit down in another chair to watch a bunch of movies.  I decided I didn’t like Idiocracy. I wonder: would I have liked it more if it were funny?  Perhaps.  Also, Shaun of the Dead didn’t stand up to a second viewing, so it lost to 28 Days Later in the zombie playoffs. 

But the real find, for me, was Code 46.  Atmospheric, evocative, haunting ... you know, those adjectives.  Plus lots of spacy dreamy ambient music and the always-eerie Samantha Morton.  So it gets the coveted Saturday 9:30 slot, just after District 9.  The State Theatre has very kindly posted info on each film as well as a trailer (my program notes on each film are less expository and a bit silly and free-associationy, sort of like this here post), so I have now learned that Code 46 is saddled with what must be one of the worst trailers ever made.  Seriously, if I saw that trailer in a theater, I’d make a mental note to avoid the movie forever, and if I were Michael Winterbottom I would kick somebody or something.  Basically, the trailer takes this atmospheric evocative spacy eerie ambient movie and turns it into In a world when genetics blah blah.  In a time when people blah blah.  Only one man blah blah blah. Couldn’t Jerry Seinfeld have prevented this?

Anyway, we invited Michael Winterbottom to join us for the film festival, and I got through the first three baffles, all the way to a personal no from his actual agent, who apparently did ask Mr. Winterbottom if he had the time to travel to the deep interior of Pennsylvania in mid-October to screen a movie he made seven years ago.  So I have finally hit the big leagues.

If you’re in the area in mid-October, come to the State Theatre!

Oh, almost forgot.  Here’s today’s dueling YouTubes.  We have to break out of the boomer mold, folks, and do something that the kids of today will understand.  Namely, alt.oldies!  Here are two of my nostalgia-inducing faves.

Posted by Michael on 09/10 at 10:53 AM
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