Please note: MP3s are only kept online for a short time, and if this entry is from more than a couple of weeks ago, the music probably won't be available to download any more.
Buckhingham Nicks - "Races Are Run". Tusk, Rumours and Buckingham Nicks were produced by different people. This fact is astonishing to me, almost incomprehensible. Because I swear that the magic of a song like this, its gentle heat, the timbre and harmony - these things seem more complicated & subtle than just the woodgrain of Stevie's voice, the way Lindsey's brings out new colours in it. The beauty of Fleetwood Mac's most beautiful songs, and this lost track included, is in the way the tape interprets the sounds; the way their sweetness is heard, remembered, recorded just so. Engineers are magicians, and apparently mimics. [Buckingham Nicks is out of print.]
Motorifik - "Secret Things". So as I understand it, certain rhythms were actually invented in the 20th century. See: the Bo Diddley beat. See: this one right here, a Phil Spector boom, boomboom. When I think about this, I explode with wonder. I get actual goosebumps. I've brought it up with friends, but no one has ever matched my enthusiasm. These simple things, so simple they seem self-evident - boom, boomboom / badda da da, da da - some of them were dreamed up in bedrooms, basements and porches within my grandparents' lifetimes. It's as if a new colour were discovered in 1958, and added to the spectrum. As if a Beat poet found a new integer, located between five and six. (There may have been precedents, Bo Diddley hidden in Brahms, but these are irrelevant: what's important is not who first used these rhythms, but when they - suddenly! so recently! - felt & sounded obvious.) If these new rhythms - thrilling, timeless, a priori awesome - were waiting in the ether for Bo Diddley and Phil Spector, then imagine what other rhythms might yet lie in wait. Treasures hidden between the measures. Undiscovered beats. [buy]
One of our favourite new Canadian bands, PS I Love You, recorded a series of videos around their hometown of Kingston, ON. They asked us to tell you about one of them. "Exclusive!" they said. It doesn't matter that it's exclusive - it matters that it's good. Exciting, stifled, secretly brash. And I love that they don't have video of a new vocals track: "no, we're just gonna shred and play drums by the water." It's the title tune from their debut album, Meet Me At The Muster Station, and we think it's kinda killer.
(photo source unknown - found uncredited on a tumblr)Posted by Sean at November 8, 2010 12:16 AM
I'm pretty excited about this kind of thing too. And I've always wondered what makes something truly its own beat, versus a variation on something already known. Think of the beginning of "This Year's Girl"-- this is almost its own, new beat. But then, maybe not. Or it just didn't catch on. Or there weren't enough other songs latent in it.
I'm waiting also, although I think the fact that in some ways we are drowning in "new" rhythms (which aren't really new rhythmically, just technologically), via electronics, we may yet be waiting a while for the next truly a priori awesome one. But I'm all ears.Posted by Jeremy at November 8, 2010 8:20 AM
That is such a pretty picture.Posted by Sara at November 8, 2010 9:07 AM
For ages after getting Heartland, I listened to Lewis Takes Action over and over, obsessively trying to figure out where I'd heard this same beat. Couldn't pin it down, the same way you can't pin down air or light, but months later shuffle figured it out: the Jesus & Mary Chain, Just Like Honey. And then the beat was everywhere, proliferating in songs I'd been listening to for years and just not really noticing how they all share the same sort of showy longing and shimmery misery. And now there's this, too. And it's brilliant, perfect for autumn.
Oh man I'm so totally going to make a dedicated playlist now. Yes.Posted by Ryan at November 8, 2010 12:24 PM
I believe this is your picture source : http://weliveyoung.blogspot.com/2010/10/stems-and-thorns.html
This is a daily sampler of really good songs. All tracks are posted out of love. Please go out and buy the records.
To hear a song in your browser, click the and it will begin playing. All songs are also available to download: just right-click the link and choose 'Save as...'
All songs are removed within a few weeks of posting.
Said the Gramophone launched in March 2003, and added songs in November of that year. It was one of the world's first mp3blogs.
If you would like to say hello, find out our mailing addresses or invite us to shows, please get in touch:
Montreal, Canada: Sean
Toronto, Canada: Emma
Montreal, Canada: Jeff
Montreal, Canada: Mitz
Please don't send us emails with tons of huge attachments; if emailing a bunch of mp3s etc, send us a link to download them. We are not interested in streaming widgets like soundcloud: Said the Gramophone posts are always accompanied by MP3s.
If you are the copyright holder of any song posted here, please contact us if you would like the song taken down early. Please do not direct link to any of these tracks. Please love and wonder.
"And I shall watch the ferry-boats / and they'll get high on a bluer ocean / against tomorrow's sky / and I will never grow so old again."
about the authors
Sean Michaels is the founder of Said the Gramophone. He is a writer, critic and author of the theremin novel Us Conductors. Follow him on Twitter or reach him by email here. Click here to browse his posts.
Emma Healey writes poems and essays in Toronto. She joined Said the Gramophone in 2015. This is her website and email her here.
Jeff Miller is a Montreal-based writer and zinemaker. He is the author of Ghost Pine: All Stories True and a bunch of other stories. He joined Said the Gramophone in 2015. Say hello on Twitter or email.
Mitz Takahashi is originally from Osaka, Japan who now lives and works as a furniture designer/maker in Montreal. English is not his first language so please forgive his glamour grammar mistakes. He is trying. He joined Said the Gramophone in 2015. Reach him by email here.
Site design and header typography by Neale McDavitt-Van Fleet. The header graphic is randomized: this one is by .
Dan Beirne wrote regularly for Said the Gramophone from August 2004 to December 2014. He is an actor and writer living in Toronto. Any claim he makes about his life on here is probably untrue. Click here to browse his posts. Email him here.
Jordan Himelfarb wrote for Said the Gramophone from November 2004 to March 2012. He lives in Toronto. He is an opinion editor at the Toronto Star. Click here to browse his posts. Email him here.
Said the Gramophone does not take advertising. We are supported by the incredible generosity of our readers. These were our donors in 2013.
our favourite blogs
(◊ means they write about music)
Back to the World
La Blogothèque ◊
Weird Canada ◊
Destination: Out ◊
A Grammar (Nitsuh Abebe) ◊
Ill Doctrine ◊
A London Salmagundi
Words and Music ◊
Petites planétes ◊
Gorilla vs Bear ◊
Silent Shout ◊
Clouds of Evil ◊
The Dolby Apposition ◊
Awesome Tapes from Africa ◊
Matana Roberts ◊
Pitchfork Reviews Reviews ◊
i like you [podcast]
Nicola Meighan ◊
CKUT Music ◊
Wattled Smoky Honeyeater ◊
The Clear-Minded Creative
Torture Garden ◊
Passion of the Weiss ◊
Juan and Only ◊
Then Play Long (Marcello Carlin) ◊
Coming Up For Air (Matt Forsythe)
my love for you is a stampede of horses
It's Nice That
Song, by Toad ◊
The Rest is Noise (Alex Ross) ◊
My Daguerreotype Boyfriend
The Hood Internet ◊
things we like in Montreal
le pick up
au pied de cochon
vices & versa
+ paltoquet, cocoa locale, idée fixe, patati patata, the sparrow, pho tay ho, qin hua dumplings, caffé italia, hung phat banh mi, caffé san simeon, meu-meu, pho lien, romodos, patisserie guillaume, patisserie rhubarbe, kazu, lallouz, maison du nord, cuisine szechuan &c
drawn + quarterly
+ bottines &c
casa + sala + the hotel
blue skies turn black
montreal improv theatre
cinema du parc
yoga teacher Thea Metcalfe
The Morning News