This is common:
Blues is the music you can call universal. Meet musicians anywhere in the world, maybe except some asian corners of this world, start to jam, even without words and play, sing, have fun, shout out your troubles. Well, that´s the blues I guess. Here´s an example we did with a bunch of fine musicians from both America´s and Europe.
Stan Bolton here on lead vocals
Lee Velazquez on bass and bass solo
Carlos Carranza on guitar and guitar solo
Helfried Wildenhain on piano
Silke and Andreas on backing vocs and, well, the rest.
We´re proud to announce that Soundclick´s Critics Corner elected One day SONG of the month January 2009
Artist: Frankfurt Dialog Company
Title: One Day
Link: here OR Download
Winners of Soundclick's Critics Corner forum's competition for January is none other than Frankfurt Dialog Company, an artist I have come across only once before but it was a special treat - earning them a Must Have right off the bat. Handy, that. FDC (based in Frankfurt Germany in case you hadn't guessed) showed me with Do or Die (A summer song) (August 2008) that here were musicians who knew what they were about and knew exactly how to get to it too. Musically, lyrically and vocally Do Or Die hit every single button in my brains pleasure sectors and kept on pressing them for the rest of the year. Its now an established resident on my hard drive so it was absolutely no surprise to me that they won this peer-awarded competition. No faking the real thing, I say.
Nope, the real surprise is that its an out and out blues track.
Frankfurt Dialog's usual complement of Andreas and Silke is augmented by Stan Lightnin´George' Bolton on lead vocals, Lee Velasquez on bass, Carlos Carranza on guitar and Helfried Wildenhain on piano and what a stunner of a track they all came up with. Authentic to a fault, One Day is a slice of electric blues that screams out quality work in every single way. Even after the shock that Do Or Die's production values showed me I was unprepared for just how good it could get. The production and arrangement is absolutely rock solid, giving the track the 'bottom' a track like this demands and deserves. It's to Andreas' eternal credit that this came out with the kind of production that will scorch yer damn ears off - and you'll love every single minute of it.
Could all come to nothing though if the musical performance doesn't much the ridiculously high standard being set but I have to say ALL of the performers come off wonderfully. Great vocals (Stan), great backing vocals (Silke?), fekkin awesome geetar spanking from Carlos and Andreas, dexterious, flowing playing (and some great thumbed bass) from Lee and - as if all this weren't enough - a beautifully realised piano sound and playing; complete with barrelhouse feel in every note. It isn't often that I come across a track I wouldn't (in some degree) change if I had my druthers, but not this one; never this one. As perfect as it can get and as commercially viable as you are EVER likely to hear online or off, all of these musicians should take a well deserved bow and bask in their glory.
Wonderful electric blues. MUST HAVE.
SG Reviews - The Blog
©aptain ®eviews ©.©.’s Winner: "One Day" - The Frankfurt Dialogue Company
I think that you could argue that 12 bar blues is to contemporary music what the sonnet was to medieval poetry, because the following descriptors apply to both: nearly ubiquitous, set in basic structure, enduringly popular and – most importantly – marvelous venues for displaying technical virtuosity.
“One Day” by The Frankfurt Dialogue Company certainly illustrates the enduring popularity of blues as not only did it rally to its creation a stellar host of international talent, but it garnered significant recognition right here on the Critics Corner where it narrowly beat out Ange Hardy's beautiful acoustic pop lyrical “0509.” And if this illustrates the popularity of the blues, it better illustrates why. Namely, this is one marvelously executed piece of music, a tour de force no less, a track where all the parts are skillfully woven into each other, balance and support each other and so are each stronger for the presence of the others.
Having said that, each part is beautiful in its own right and thanks to both Andreas’ arrangement and Stan Bolton’s M. C. skills in introducing them, each part has its moment to shine.
The piece begins with piano and it would not be incorrect to say that the Helfried Wildenhain’s efforts are the backbone of the piece. He plays this magnificently: with trills, minute delays and tiny fills, and (when not front and centre) keeps a strong supporting presence. His performance boils up to a wonderful soulful and ornate solo near the 6:00 minute mark.
The bass solo by Lee Velasquez is a suitably throbbing innovation, which slaps along in a most comfortably competent manner, so that one can almost smell the barroom smoke. Cool! More importantly the bass functions as a bass should creating (in company with the drums) a solid basis for the performers to shine.
If there is a best moment on the track it might be the guitar solo of one Carlos Carranza, but then I’m prejudiced in favour of guitar, plain and simple. If one didn’t appreciate guitar – as in you hail from Mars – then you could do a lot worse than beginning by listening to what this artist does. If it didn’t make you a fan of the six string lute, then head back to…your Mars bars. Carlos bends his notes like wire pieces: any-which way he chooses. Nice stuff that is worthy of the great blues guitarists that created this genre and left if for the world to love and experiment with.
Stan Bolton, alias Lightning George, who is no stranger to the Soundclick boards, adds his excellently trenchant vocals to the track, which sit in the mix like a king on a throne. Very lovely work – if lovely isn’t too refined a word for the jagged tones of George’s blues vocalization.
Lingering in the background are some nice horn fills and soft female backing vocals, which are – though not credited – the work of Silke Natschke, one half of Frankfurt Dialogue Company’s standing committee.
So, the only question is, besides hitting record, did Andreas do anything? Well, of course, he did. He wrote the piece, produced it and - I'm assuming - electronically or otherwise - created all the not attributed parts. And, simply as a song, this is a nice solid piece of workanship.
Great recording, folks: professional, smooth, impressive and – oh yeah – bluesy!
Frankfurt Dialog Company
Genre Blues : Blues General
Congratulations to Frankfurt Dialog Company on the win in the January Critics Corner contest. It was well deserved for an incredible piece of Blues, ‘One Day’, which confirms that this genre will never die as long as there is longing, joy, despair and soul in music.
One thing I found out when I first became aware of Frankfurt Dialog Company here at Soundclick is that they have a devotion to the concept of collaboration. Collaboration over the internet is a twin edged sword, it takes a strong controlling force to keep it organized and gather and combine the parts. There is usually a good deal of ego management because you don’t want to offend contributors, but you want to get the best from everyone.
Well put those concerns aside because on ‘One Day’ you have outstanding contributions from all involved. It is worth noting the contributors [Andreas, if I get any of this wrong, respond and I will correct my assignations].
Music: Andreas Horchler.
Lyric: Andreas Horchler and Stan Bolton
Final Mix: Andreas Horchler (and many other details otherwise not attributed)
Lead Vocal: Stan Bolton (aka Stan ‘Lightnin’ George)
Piano: Helfried Wildenhain (aka Wilfried)
Guitar Lead #1 and Rhythm: Carlos Carranza
Backing tracks/Guitar lead #2: Andreas Horchler
Backup Vocals and Horns: Silke Natschke
Bass: Lee Velazquez
In the spirit of a true internet collaboration, the contributors are from Germany, The US and Argentina.
From the subdued tinkling blues lead on Helfried’s ivories, we are conducted to the wall of sound that can only be described as ‘Big Blues’ with the entry of the ensemble punctuated by the horns and nailed with the ambling, but punching bass. The scene is set for Stan Bolton’s growling statement of the title ‘One Day’. My first listen was a ‘Wow’ moment that made me literally wonder if my rig was actually connected to Soundclick or even on a computer at all, the sound is big and professional in all aspects. The only bad moment in the song was my weeping with musical envy.
The blues is a uniquely American musical form coming out of the utter despair of the victims of the institution of slavery. Despite its narrow beginning in location and scope it has spread throughout the world, in fact, having more vivacity and acceptance outside the US than it now enjoys in the States. The collaborators here illustrate that it can settle anywhere in the world where an absolute soul exists.
The subjects of the blues are based on the vagaries of life where happiness and sadness are not constants, but decidedly falling on the sad side of existence. ‘One Day’ follows this traditional lyric form, but it would not have much meaning if Stan could not deliver on the emotional goods … he gives this piece great validity in his really remarkable performance.
Of course, many true instrumental musicians love the blues because it is a simple, yet profound way to bare the musical soul even if you don’t have the vocal chops. All the contributors to ‘One Day’ manage to sing, cry and talk to and through their chosen instruments. Blues performance is really a group experience where each participant answers another saying perfectly, ‘I know just how you feel.’ Solos, calls and answers are what it is all about.
Fortunately, great music today is not like fine wine, where you open a bottle and savor it, and then it is gone. ‘One Day’ can be recalled in all its brilliance time and again when the mood moves you. Get it and keep it in a safe place.
Excellent production is a major contributor to this success of ‘One Day’; what is the good of a big sound unless it makes it to the ears of the listener. Part of it all has to do with the incredible stereo width of this production.
The opening piano rolls across the stereo spectrum as the fingers run across the keys. The sense of a big band is aided by the placement of the various instruments in their respective sections. Too many productions today are geared toward the movement of elements across a plane, where here the answer is fixed positions and the centering of the soloists.
The crystal clear, but warm sound is the essence of analog captured. I can tell great care was taken to get the spacial sense correct. The reverbs just touch, not dominating. Each element is set in the same space although they are coming from sessions all over the world. You get the feel of a live performance in a club with a particularly good sound system.
I am sure much of this credit will go to Andreas.
Well this is blues and yes we have a standard blues progression. Yet this is the great mystery of music that a format so simple and often used produces some unique and remarkable results. But it is best to think of it in terms of a common bed. A bed is just a bed, but it gains significance depending on who is in bed with you. The blues form is the bed and the beautiful forms of expression are laid upon the bed.
This is a great assemblage. You listen to the soloist emoting and yet at other times you listen to the backing vocals and the underpinning of the warmest of bass lines. I almost forget the drums are there but they are excellent and so varied; if they are programmed, they are as good as any played live.
I won't single out anyone of the fantastic solos or Stan's dynamic vocal, it is all just too good even to the notable backing contributions of Silke.
The lyrics and content of ‘One Day’ are the very essence of a blues message summarized by the last line of the first verse:
you´re up you´re down you´re bound to fall
These things are understood with a blues song. Some times there is a gimmick of clever verses or innuendo, but the message at the base is the same.
Blues is about performance. It is not really much about lyric and a melody line as much as it is about the person delivering the lyric. That person must be believed and seem to be expressing spontaneous emotion. It might even be a free form where the singer can change lyrics from performance to performance. The lyric here is pure blues and it is wedded with the wonderful dialogs of the members of this gathering of the Frankfurt Dialog Company.
THAT's what I call pianosound ... and blues guitar.... and blues vocal... and backingvocal - and bass.... Perfect blues production down to the smallest details. Congratulations on this masterpiece Keep them comming
This is some serious Blues!!! Great song and collab! Enjoyed every second of it!
Thanks for your visit.
Wayne Pascall Acappella
WHAT A LINEUP--YOU HAVE TAKEN ME TO BLUES ALLEY--IM THERE--YELLING AND HOOTING SPILLING MY BEERS AND WANTING MORE--KILLA STUFF!!!GRUFFY VOCALS BY STAN--TERRIFIC BACKUPS--GUITAR-PIANO--YEAH
hi silke und andreas,....klasse, einfach nur klasse :-)
super hintergrund mit schoenem bass und einer klasse gitarre und der gesang ist auch spitze....genauso die bläser-einsätze, wunderschön....allerbeste arbeit vom anfang bis zum ende und sehr cool....einfach wunderschoen und perfekt....that´s blues.
haette noch einen extra stern verdient :-)
liebe grüße, kaufi
Outstanding gents/Silke! Damn near perfect! Perfect bass, guitar, horn shots, and a great blues vocal from Stan. Awesome!
Well how about 6 stars on this one. It is just stunning from any angle ... a bit of a fine blue jewel.
Don't get any better than this! Awesome playing guys, and recorded to perfection, what a mix. Great bass break in the middle. You know I love it. Great job guys!
Outstanding!! Awesome!! Perfect!! I needed this... It's going to be -20 degrees tonight and this heat should get me through it!!! LOL.. Great job , all of you!!!
Wow Andreas, this is so great..I love this..superb..thanks for letting me know...The music and vocals are just perfect...~Lisa~