Jim o rourke bad timing

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jim o rourke bad timing

Jim ORourke Quotes (Author of Spectres - Composing Listening / Composer lécoute)

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Published 20.06.2019

Gabor Szabo - Dreams (1968) [full album]

He made music with whatever was at hand and was proficient on many instruments, and he often performed in the context of free improvisation.

Bad Timing

Although O'Rourke releases experimental music nearly every year, this album marked the beginning of his series on Drag City Records which focuses on standard song structures. It is an instrumental album, consisting largely of Jim O'Rourke's acoustic guitar playing much in the style of John Fahey , sometimes with additional instrumentation. It is one of a trio of O'Rourke albums, along with Eureka and Insignificance , to be named after Roeg films from the s. This album is a favorite of Wilco 's Jeff Tweedy. From Wikipedia, the free encyclopedia. This article needs additional citations for verification.

O'Rourke 's significance as a guitarist and experimental composer had already been well established, and by the time of this solo outing his work with David Grubbs in the post-rock group Gastr del Sol had begun to show elements of the organic, fingerpicked guitar style he explores more deeply on these four lengthy tracks. Entirely instrumental and mysteriously packaged with no track titles, Bad Timing was a bit of an enigma for its time. The most obvious influence is that of American Primitive guitarist John Fahey , whose spirit imbues O'Rourke 's wayfaring compositions with a strange but good-natured folksy charm, especially on the front half of the wonderful second track. Also present are avant-garde fragments of the Chicago indie scene to which he was closely associated. Tracks that take five or six minutes to develop suddenly change on a dime with an audible tape splice, dramatic rhythmic shift, or the addition of a horn section. Tortoise drummer John McEntire makes a guest appearance, as does ace steel guitarist Ken Champion , whose long, breezy parts act as a perfect foil to O'Rourke 's staccato punctuations. Tempos and rhythms wobble and flutter, varying from one moment to the next and suggesting a good deal of improvisation on the initial guitar tracks, which often receive warm layers of organ, piano, bells, and accordion, as in the midsection of the near-mystical third track.

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Bad Timing

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