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Lee Ranaldo Between the Times & the Tides (2012)

Between The Times & The Tides

 Lee Ranaldo – Between the Times & the Tides 
Birth name: Lee M. Ranaldo
Born: February 3, 1956, Glen Cove, Long Island, New York, USA
Location: New York
Album release: March 20th, 2012
Record Label: Matador Records
Notable instruments:
Fender Jazzmaster
Fender Telecaster Deluxe
Gibson Les Paul
Track Listings:
01. Waiting On A Dream   6:15 
02. Off The Wall   3:04 
03. Xtina As I Knew Her   7:05 
04. Angles   3:18 
05. Hammer Blows   4:05 
06. Fire Island (phases)   6:08 
07. Lost (plane T Nice)   3:59 
08. Shouts   4:54 
09. Stranded   4:21 
10. Tomorrow Never Comes   4:31 
Website LR/SY: http://www.sonicyouth.com/symu/lee/
Amazon: http://www.amazon.com/Between-Times-Tides-Lee-Ranaldo/dp/B006YTLLI6
♦   With any new Lee Ranaldo album, the first question to ask is: which Ranaldo? In Sonic Youth, his work veers from straight–up rock to obtuse noise; in his downtime, there’s improvised collaborations with jazz acts and wilfully avant–garde installation pieces to stretch his muse. Between the Times and the Tides occupies the straightforward end of the scale, but its relative conservatism is rewarding; the general clarity of the guitar tones only accentuates Ranaldo’s immense skill (check out the dual–part introduction to Fire Island (Phases)), while the laid–back MOR gaits of tracks like Lost (Plane T Nice) or Stranded bear well the touch of Wilco’s Nils Cline, lending additional guitar throughout the album. Other collaborators include Sonic Youth affiliates past (percussion from Bob Bert; bass from Jim O’Rourke) and present (Steve Shelley handles drums; John Agnello behind the desk), but above all, this is Ranaldo’s show: a confirmation of his solo talents just as his day job’s future seems rocky.
In 2004, Rolling Stone ranked Ranaldo and his Sonic Youth bandmate Thurston Moore the 33rd and 34th Greatest Guitarists of All Time, respectively.
♣   Sonic Youth guitarist Lee Ranaldo puts out his first proper, song–oriented studio album this March. Recorded with longstanding Sonic Youth producer John Agnello, the album is a shimmering and melodic tapestry of rock sounds.
Ranaldo’s trademark alternate–tuning guitar work is at the forefront, it is amplified by brilliant guitarwork from Wilco’s Nels Cline on almost every track. The allstar lineup also includes Sonic Youth’s Steve Shelley on drums, Alan Licht on guitar, and John Medeski on keyboards. There are also cameos from former Sonic Youth cohorts, drummer Bob Bert and producer/instrumentalist Jim O’Rourke.
Between The Times and The Tides is equal parts smart, confident and loose in a manner that recalls some of our favorite rock’n'roll projects …yet sounds like a fantastic new band that was apparently being assembled right under our noses. From rock-quintet to solo acoustic, it’s a fascinatingly approachable song collection from one of rock’s greatest guitarists. According to UNCUT's Rob Young: "In some ways...the best the US underground can offer at this moment, a mature album, as serious-minded as the times demand."
♣   “Songs can go a million different ways,” declares Lee Ranaldo in the liner notes for his forthcoming Matador solo album, ‘Between The Times & The Tides’, and let me be the first to accuse the Sonic Youth guitarist / not–often–enough vocalist of severe hyperbole. The kinetic, crafted results on ‘Between…’ are more in the several thousand territory, but it’s most certainly a record that will amaze even the most ardent followers of Ranaldo’s work. Joined by an all–star cast including Nels Cline, Alan Licht, John Medeski, bassist Irwin Menken and longtime associate Steve Shelley (and featuring cameos from old friends Jim O’Rourke and Bob Bert), the album is equal parts smart, confident and loose in a manner that recalls some of our favorite rock’n’roll projects…yet sounds like a fantastic new band that was apparently being assembled right under our noses.    –   Gerard Cosloy/Matablog
Credits:
Lee Ranaldo: vocals & guitars
guitars: Alan Licht, Nels Cline
keyboards: John Medeski
bass: Irwin Menken, Jim O’Rourke
drums: Steve Shelley
percussion: Bob Bert
additional vocals: Kathy Leisen, Leah Singer
Produced by Lee Ranaldo and John Agnello
Fresh off their very first dates in late 2011 at The Bell House, Glasslands and Maxwell’s, Lee and a lineup featuring Steve Shelley, Alan Licht and Irwin Menken will be playing more soon – 2012 tour dates will be announced as soon as we have ‘em, and look forward to preorder info from the Matador Store and other outlets shortly as well.
Video: http://www.oesquema.com.br/trabalhosujo/tag/sonic-youth


Lee Ranaldo on the Future of Sonic Youth
'I'm feeling optimistic no matter what,' says guitarist, who is prepping his first solo album
By Matthew Perpetua /
November 28, 2011 4:30 PM ET
Lee Ranaldo performs at Le Point Ephemere in Paris. Samuel Dietz/Redferns Sonic Youth guitarist Lee Ranaldo is the long-running New York art-rock band's answer to George Harrison: He's not nearly as prolific as a songwriter as band leaders Thurston Moore and Kim Gordon, but he's responsible for some of the band's most beloved songs, including "Eric's Trip," "Mote" and "Skip Tracer." Though he has made a number of experimental instrumental records over the years, he will release his proper debut as a solo artist, Between the Times and the Tides, through Matador Records on March 20th. In this conversation with Ranaldo, the guitarist opens up about making the new record and speculates on the future of Sonic Youth, which is now in question since Moore and Gordon announced the end of their marriage back in October.
How long have you been working on your new solo album?
I guess basically since last summer. Last year I was invited to do a solo acoustic show, which is something I almost never do, in May for this festival called Midi Festival in the south of France. It was nothing I'd ever done in 20 years or something like that – I figured I'd play acoustic versions of some of the Sonic Youth songs that I sing, so I worked up "Hey Joni" and "Eric's Trip" and "Mote" and a couple other things, and during the process of that a couple new songs started to sprout up. It kind of just happened so naturally that I actually led off the concert with one of the new songs, one of the songs that's on the new record.
Over the summer I pulled out a bunch of my acoustic guitars and was just fooling around and a whole bunch of songs just started generating, just kind of out of nowhere. Sometime in the late fall I started doing acoustic demos at the Sonic Youth studio and maybe around January, Steve Shelley and the bass player, Irwin Menkin, came in and started playing with me on some demos with a rhythm section, and it just kind of built from there, really. The three of us tracked most of the basics for the record, and then had all the different players that are on it come in after that and we mixed it in July.
How much of the album ended up being acoustic?
It's eight songs with a full band and two songs with pretty much acoustic guitar only. I've always been an acoustic guitar player and I've pretty much continued to play acoustic guitar throughout all of the Sonic Youth periods. My material for Sonic Youth often started on acoustic guitar. What was refreshing about this was just to see all these songs sprout and actually kind of follow each other down this road and actually get completed. I've got millions of tapes of half-completed songs and for some reason, at this point, I had the energy to take them all the way through to the end.
Why do you think that is? Because with Sonic Youth you only had a couple songs per record, and this is the first time you've done an entire album's worth of song-oriented music.
Over the last couple years Sonic Youth has slowed down markedly, just because we've all been working on our own projects and I guess I was just starting to feel a little bit antsy or something. These songs started to come out and Sonic Youth wasn't really working – we worked on this film soundtrack, and I guess I should say this is all before everything that's been going on with Thurston and Kim came to light, really. We'd been in a period of agreed slowdown for a couple years where we were all working on independent projects, whether it be art or writing or other music projects, and they just started popping out with no other avenue, no other music was really happening of that kind. I was doing a lot of improvised music but I wasn't really doing any song-based music and these songs just started to come out. It seemed like the right time to give in to them.
How does your songwriting process with Sonic Youth differ from how you made this record?
Sonic Youth has a very democratic process for the most part. It almost doesn't matter who brings in an initial idea, everything gets worked over by the band, and kind of co-written by everyone in the end because everyone's ideas get contributed to it. And I think that we would all agree that when we make Sonic Youth music it has a very particular character and it's unlike anything any of us do on our own and that's partly because of the way it's created, which is literally that, everyone is involved in the writing process, everyone's contributing ideas and everyone's got the ability to say, "No, that part's not right, we've got to change it and do it like this", you know, or whatever it is. So that's the main difference. On a project like this, I'm pretty much making all of the decisions and calling most of the shots which is not to say that there is not an incredible amount of input from a lot of different musicians.
Why have you always had the least number of vocal tracks, out of the three singers in Sonic Youth?
I don't know, it's kind of always been the case. I guess from the beginning Thurston and Kim were the dominant singers in the band and although I was singing in bands previously, I guess I mainly deferred to them a lot in terms of who was singing the bulk of the songs. I think to some degree it was Thurston's initial concept of the band and I really just deferred to the two of them as somehow stronger singers in a way, or just more dominant singers.
You just came back from a tour of South America with Sonic Youth and as you said, Kim and Thurston just recently broke up. How did that affect that tour? Was it something that had been going on for a while, or was this a sudden thing for you?
Well, it's not as sudden for me as it's been in terms of the press and what not. Actually, the tour went really well. It really didn't affect it all that much. It was a pretty good tour overall. I mean, there was a little bit of tiptoeing around and some different situations with the traveling– you know, they're not sharing a room anymore or anything like that. I would say in general the shows went really well. It kind of remains to be seen at this point what happens to the future. I think they are certainly the last shows for a while and I guess I'd just leave it at that.
Are you optimistic about the future of the band?
I'm feeling optimistic about the future no matter what happens at this point. I mean, every band runs its course. We've been together way longer than any of us ever imagined would happen and it's been for the most part an incredibly pleasurable ride. There's still a lot of stuff we're going to continue to do. There's tons and tons of archival projects and things like that that are still going on, so there are so many ways in which we are tied to each other for the future both musically and in other ways. I'm just happy right now to let the future take its course and I guess I'm kind of thankful that I've got this other project that kind of came about on its own. It wasn't kind of like, well, "Oh the band is ending for a while and I've got to figure out what to do." It kind of naturally happened in the course of things so that was a nice way for that to come about.  I played my first show the day after Kim and Thurston announced [their separation.] That was completely weird.
Read more: http://www.rollingstone.com/music/news/lee-ranaldo-on-the-future-of-sonic-youth-20111128#ixzz1pBJ4PKuw 

Solo albums:
  • From Here to Infinity (1987)
  • Scriptures of the Golden Eternity (1993) (Recorded 1988-1989)
  • Dirty Windows (1999) (Recorded 1991-95)
  • Amarillo Ramp (For Robert Smithson) (2000) (Recorded 1990-95)
  • Outside My Window The City Is Never Silent - A Bestiary (2002) (Recorded 1991-95)
  • Music For Stage And Screen (2004)
  • Ambient Loop For Vancouver (2006)
  • Maelstrom From Drift (2008)
  • Between The Times And Tides (2012)
Singles & EP's:
  • A Perfect Day EP (1992)
  • Broken Circle / Spiral Hill EP (1994)
  • Countless Centuries Fled Into The Distance Like So Many Storms [12] (2008)

© Photo credit: Stefano Giovanni

Lee Ranaldo – Between the Times & the Tides (2012)

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