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Black Gold (Oil)  music video

 

Dedicated to the memory of Jeffrey Lynn Ames (1957-2012)

who built the computer that made this song possible

             

TO BUY THE Mp3

click here ==>http://www.cdbaby.com/cd/daveworld2

Black Gold (Oil) Street Mix

   
Beginning with the notes of an acid techno synthesizer, Black Gold (Oil) Street Mix flashes into Dave World's soaring vocals accompanied by a Mini-Moog bass line. He sings “Oil dripped out of my car, onto the ground below. Suddenly then I saw rainbows in my mind. Must be this altered state of consciousness.”

Dave World wrote the song prompted by wars in the Middle East and, most recently, by the British Petroleum oil spill in the Gulf of Mexico.

He says “But, it's about much more than that. Black Gold (Oil) is a metaphor for all kinds of addictions to substances and states of mind. Human behavior is affected by addictions to many different things.”

Then there are the phases through which society and nature cycle. Something underground is extracted, brought to earth's surface, processed, used and discarded. It then goes back to the earth's surface, much more toxic than it was when sealed underground. Similarly, we humans come from dust, dance through life, and return to dust. Whole societies do the same thing.

Dave World sings “Oil, the ultimate fuel of modern man, brought us out of the stone age. Oil, the ultimate goo, brought us into the plastic age. Oil, the Black Gold of modern man: some people will kill for it.”

The psychedelic nature of Black Gold (Oil) Street Mix is true to tones and effects from back in the early days of electro and techno music. At the same time the listener is treated to some a capella verses creatively delay-looped, yet cleanly rendered. One can understand every word of this song. The medium is a message.

              “You're so black, and dirty, and greasy. I love you. Oil, I couldn't get away from you if I really tried.  And I really tried.” The love-hate nature of addiction in a nutshell.


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Artist Info

Dave World was born and raised in urban northern Illinois, and now resides in rural northern Wisconsin. Aside from music, his interests include ecology, communications, media analysis, social phenomena, healthy living and pets.

Who does he count among his musical influences? Arcade Fire, Laurie Anderson, Badger Singers, Muse, Donna Summer, Devo, Snap, Yoko Ono, Technotronic, Public Enemy, Sparks, LL Cool J, Dead Kennedys, John Prine, Iris DeMent, Oingo Boingo, Buffy Sainte-Marie, John Trudell, Katie Tunstall, Kanye West, Cher, Rihanna, and Green Day. Radio stations KROQ (Los Angeles), B96 - WBBM (Chicago), WOJB (Hayward, Wisconsin), and KBMX (Duluth/Superior).

Call Dave World eclectic.

 

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Technical Aspects

Black Gold (Oil) was crafted in Acoustica's Mixcraft program. Two different virtual synthesizers make up the bulk of the instrument tracks. A Yamaha YPT 300 keyboard served as the MIDI controller of Mixcraft's Moog synth emulation. A separate synth program, Rubber Duck by d-lusion, is modeled after an early Roland TB-303. Its output was rendered to WAV, and the file was then inserted into a Mixcraft project track. (Rubber Duck's tiny memory footprint requires only 4 KB on disk.) The percussion track was created by combining Acoustica Beatcraft renderings and Mixcraft loops.

 An Aardvark Direct Pro 24/96 was used to route signals from the Yamaha and a Shure SM 58 microphone into a PC, where the mixing and processing took place. Most notable among the VST plug-ins were Antares AutoTune Evo, BTS TremeloDelay,  and Matt's Wah Wah. Compression, limiting and chorus effects utilized Kjaerjus Audio virtual technology, all included in Mixcraft's lineup.        

Technical Links:

AARDVARK DIRECT PRO 24/96  http://www.pcrecording.com/aardvark.htm

               D-LUSION RUBBERDUCK   http://www.d-lusion.com/ProductsRubberduck.html

 

 

"Techno music defeats . . . the alienating effect

of mechanisation on the modern consciousness".


  • Mc Leod, K.,"Space oddities: aliens, futurism and meaning in popular music", Popular Music (2003) Volume 22/3. Copyright 2003 Cambridge University Press, pp. 337–355.

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