Disease + The Girl with the Prefabricated Heart

An all-time great rock song and performance kicks off “16 Songs”. Here’s Allison Crowe live-in-concert – captured by Turtle Recording’s Larry Anschell (Engineer and Producer) and Brad Graham (Co-Engineer).

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Lyrical and social themes “as we replace marble with plastic” mesh visually with “Dreams That Money Can Buy” – the avant garde cinematic creation of German surrealist, Dadaist+ Hans Richter and collaborators. “The Girl with the Prefabricated Heart“, the second of DTMCB’s seven dream sequences, is shaped by the rich vision of French painter, sculptor, and filmmaker, Fernand Léger. This experimental feature film received the Award for the Best Original Contribution to the Progress of Cinematography at the 1947 Venice Film Festival.

“Power-house intense” says an European reviewer, “”the energy of ‘Disease‘ can easily provide electricity to a small country for a decade.”

Writing in Süddeutsche Zeitung, a major German daily newspaper, journalist Peter Baier sets the stage (in this translation): “From the outset the Canadian songwriter wins the favor of the audience and increases the expectations with her coloratural laugh. Allison Crowe plays the piano with a strong grip. Its sound fits perfectly to her slightly-smoky, expressive, in short: Great voice. Sometimes her playing recalls the keyboard-capers of Konstantin Wecker and then there are moments to bring to mind Modest Mussorgsky’s „Pictures at an Exhibition“.

(And in the original text: Bereits mit ihren ersten Ansagen gewinnt die kanadische Songwriterin mit eigenem Label die Gunst des Publikums, lässt mit ihrem Koloratur-Lachen die Erwartung auf Weiteres ansteigen. Mit kräftigem Zugriff spielt Allison Crowe das Klavier, zu dessen Klang ihre leicht rauchige, ausducksstarke, kurz: große Stimme hervorragend passt. Manchmal erinnert ihr Spiel an die Tasten-Eskapaden eines Konstantin Wecker, dann wieder gibt es Momente, die an den Stil von Modest Mussorgsky’s „Bilder einer Ausstellung“ denken lassen.)

“Amazing composition,” says another in the musician’s broadly international audience, “there is so much intellect in the music writing of Allison Crowe, which you don’t see anywhere these days, not from the new artists nor the established ones.”

It’s an intellect revealed in part via inspired musical choices and its energetic expression is visceral in nature. Energy flows from the performer on-stage to engulf concert-goers as well. Spontaneous eruptions – stomping feet, clapping hands, rhythmically pulsing bodies – accompany this song (a recent bootleg video from Jazzhaus Freiburg further testifies to this rocking reality).

http://www.youtube.com/watch?v=U6t4Gk15IB4

#1 of 16 Songs

Allison Crowe - 16 Songs Video Album - New Moon - Disease

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By Your Side + Autumn Fire

Love makes the world go ’round. And it does in this, the latest in our music-movie mashup series.

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Allison Crowe’s song “By Your Side“, (performed “Live at Wood Hall“), is paired here with an excerpt from “Autumn Fire” – avant garde cinema from 1930/31.

Labeled “a film poem” by its creator, Herman G. Weinberg, “Autumn Fire” is an impressionistic love letter from its director to actress Erna Bergman (“The girl” to Willy Hildebrand’s “The boy”).

As well as making films, Weinberg is a noted writer and film historian, and adapted (subtitled) numerous movies for the screen including cinema classics such as “La Strada” (directed by Federico Fellini) and “La Grande Illusion” (d. Jean Renoir).

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Spiral + Der Golem

Happy Hallowe’en, everyone!! For a treat, on this occasion, the curtain rises on a new music-movie mash-up – Allison Crowe’s song “Spiral” together with excerpts from “Der Golem” – one of the earliest films of “horror” and art.
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A classic of German Expressionism joins our series of music-movie mashups with Canadian musician Allison Crowe’s song “Spiral” as soundtrack.
Der Golem“, the first of three movies featuring the legend of a Golem, an animated anthropomorphic being, from director Paul Wegener, and co-directed by Henrik Galeen, was released in North America in 1915 as “The Monster of Fate” and exists today only in fragments.
Wegener, a renowned stage actor, drew from varied sources for his cinematic vision of the Golem, a term for an “unformed” being first appearing in Scriptures, and, popularly, rooted in a Polish-Jewish folk-tale tradition dating back to around 1600. The actor-film-maker is said to have found inspiration as well in “William Wilson“, Edgar Allan Poe’s short story with its theme of the doppelgänger and a person suffering through multiple personalities.

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No Matter the Battle + Le Voyage dans la Lune (Excerpt II)

A sequel of sorts, part deux, of Allison Crowe’s other-worldly musical adventures aboard the S.S. Méliès. Happy Valentine’s, Happy V-Day, everyone! May there be peace and love – to the Moon and back.

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Going Home Tonight + Le Voyage dans la Lune (Excerpt I)

Next in our romantic double-bill, home is wherever the heart is – for musician Allison Crowe, orchestrator Kayla Schmah, and movie magician Georges Méliès and all of us aboard for the ride.

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How Long + Romance Sentimentale (excerpt)

A Canadian and Soviet power-play – not on the rink, but in the arena of imagination. Allison Crowe’s music scores with assists from captains of film history, Grigori Aleksandrov and Sergei Eisenstein.

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Crayon and Ink + Destino (excerpt)

One of Allison Crowe’s much-loved, “early”, songs on-stream with animation begun in the 1940s by Salvador Dali and realized by succeeding generations of Disney studio animators.

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Secrets (That Aren’t My Own) + Ménilmontant (excerpt)

Allison Crowe’s voice and piano come together with the vision of silent film era lovers and collaborators Dimitri Kirsanoff and Nadia Sibirskaia.

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Skeletons and Spirits + Le Manoir du diable

Allison Crowe, voice and piano, along with Dave Baird, bass, and Laurent Boucher, percussion meet up with a classic of the silent film era – from Georges Méliès.

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