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Teasing the Korean

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  1. RIP. He was very funny in Curb. I don't think I'm familiar with his work outside of that show.
  2. An effective but seldom-used device that made a big impression on me was the use of major thirds moving chromatically up and down beneath a melody. This results in some unsettling harmonic ambiguities, particular with regard to the augmented chords that are formed along the way. I am going to post three representative examples. Kenyon Hopkins uses this device more than anyone else I've encountered, across many of his albums and soundtracks. You can hear it in his version of “Spellbound” at the 10 second mark: Elmer Bernstein uses it in this track from the Staccato soundtrack album: And finally, Nino Rota uses it at the 0:33 mark in this track from La Dolce Vita: This sound brings to mind the eerie blueish glow of a B&W TV set late at night, with all the other lights off.
  3. Cooking with Keith Richards would make a hilarious series.
  4. Does anyone have any detail on the two different edits of "Witch Fire?" There is a version that clocks in at 4:34, and another at 5:16.
  5. I'm getting this. Nina's Colpix albums are in my experience hard to find, and when you find them, they are often trashed.
  6. Duke's full-on exotica album! I wish that it had different cover art, though.
  7. Leonard Bernstein - The Age of Anxiety (Columbia, stereo) Need to get the taste of the biopic out of my mouth.
  8. Listening to Walter Wanderley's When It Was Done on CTI/A&M, and this drum hit is all over the place on this album.
  9. Walter Wanderley - When It Was Done (CTI, stereo)
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