“Public Domain” (Used 12 times)
ange on 12/30/2013 at 03:00PM
Since the classic New Years Eve toasting tune Auld Lang Syne is in the public domain (unlike a certain other celebratory song), many of our Free Music Archive artists have shared their own unique versions for you to download and enjoy. Cheers to that!
The phrase "Auld Lang Syne" literally translates into "Old Long Since" but is meant to mean something like "days gone by" or "long, long ago."
Should old acquaintance be forgot,
and never brought to mind?
Should old acquaintance be forgot,
and old lang syne?
For auld lang syne, my dear,
for auld lang syne,
we'll take a cup of kindness yet,
for auld lang syne.
And surely you'll buy your pint cup!
and surely I'll buy mine!
And we'll take a cup o' kindness yet,
for auld lang syne.
ange on 04/30/2013 at 03:53PM
For this month's Revitalize Music Contest, artists from Lisbon to Austin dug through public domain songs, got inspired, and submitted their creations to our contest repository. Our talented judges from the music, radio, and public domain worlds loved hearing the wide range of incredible entries, but eventually had to select a winning song.
OUR WINNER IS CROWN THE INVISIBLE
Crown the Invisible created an incredible power pop rendition of the 1911 revenge anthem "The Spaniard That Blighted My Life" by Billy Merson. The song tells the story of a man whose girl is charmed away by a Spanish bullfighter.
'Twas at the bull fight where we met him
We'd been watching his daring display
And while I went out for some nuts and a programme
The dirty dog stole her away
The band's been around for about a year, and are a blend between a studio compositional project and a raucous psychedelic band. They are all grizzled rock dudes who live and work in East Williamsburg warehouses, where they've been cultivating their space/stoner rock sound. They describe their band as "if Rick Wakeman played with Ride, but the songs were written by The Pretty Things while they watched Planet of the Apes and listened to Hawkwind." That is to say, they all grew up on early '90s and '60s British stuff.
TAKING A SONG FROM 1911 AND MAKING IT SOUND 2013
When the band began working on their arrangement they describe the process as "vibe hunting." There was a lot of stomping and clapping involved, which is how they ended up deciding to keep the waltzy 3/4 time signature without over-emphasizing it. This also how they found the song's distinctive sound, a swirling whistle made by playing a hammond organ sample on a keyboard through a guitar amp.
During this process, singer CG Foisy says he kept waking up in the middle of the night with the lyrics stuck in his head. He says it's a terrible song to have in your head because, "it's cheeky, evil and weird. It's a portal into male territoriality. How men are these vindictive monkeys."
Overall, the challenge was good practice for the band. This summer CG is traveling to Beijing, where he'll play a few shows, and then spend a week traveling the silk road looking for music along the way. What he finds will eventually be adapted into song challenges for the band. Whenever he travels, CG loves to pick up a new instrument. You can even hear (kinda) one of these instruments in the winning song. It's an Indian instrument he bought in Singapore called the gopichand. It sounds part sitar, part mouth harp.
Participating in the contest speaks to the bands' interests in being part of a community through their music. Some bands get really into making an album, then going on tour, then making another album, then going on another tour, and hoping to be signed by a label. CG says, "That works well for some bands, but other bands like to take on weekly assignments, making videos and vignettes, and to have different kinds of conversations with their fans."
Crown the Invisible includes Jared Barron, CG Foisy, Steve Schwadron, with a guest appearance in this recording by Gabriel Berezin on bass. Check out their summer series Fantastic Planet, which installs different bands in different warehouses, merging live noise rock with visuals. You can also see them play live on May 9th at Don Pedro (90 Manhattan Avenue), where they might be performing their winning song.
ange on 04/23/2013 at 08:44AM
Bring the public domain into the future! This April, WFMU and the Free Music Archive are challenging artists everywhere to create new recordings and contemporary arrangements of historic compositions available in the public domain. We’re calling this our Revitalize Music Contest.
Every song (except for perhaps "Happy Birthday") will someday fall out of copyright. Archives such as the IMSLP/Petrucci Music Library, Musopen and the Public Domain Information Project chart the vast and ever-expanding troves of public domain music. Participants in our Revitalize Music Contest will help bring these works to life by creating new recordings, and feeding them back into the public domain.
To inspire entries, we’ve handpicked a selection of out-of-copyright songs with compelling lyrics, beautiful melodies, and unusual stories. Keep in mind that unless materials are listed in our contest repository, the recordings of performances we link to are still within the scope of copyright. After learning about the songs and contest rules here below, you can browse our pool of entries.
TAGGED AS:free music contest, public domain, petrucci music library, contest, revitalize music contest, See More...
solrezza on 04/12/2013 at 05:47PM
Listen: SHORTS FOR RADIO
(We recommend listening to this program during the night)
“Old disembodied voices from another world without time, no space, no language.”
Dedicated to archive.org everything we do once done leaves belong only time knows no copy rights.
“Short for radio” is an experimental radio series which has a duration of 12 minutes is the result of research based on sound files of the 20′ to 60′ from around the world are on the archive.org in the public domain.
“Shorts for radio” is born in late 2011 with the idea of creating a small fragment virtual radio, a piece of experimental radio and sound bites to collect texts that at some point been transmitted from a media such as radio or television. Through these sound bites seek to recreate a new discourse, a play on words, a transformation of language, a gino between composition and radio-style sound, a sigh radio between a virtual world where radio turmoil mutates and languages and meanings come to different senses.
Radio is a medium that takes the form of what it represents, a voice, a sound behind a black curtain, a solitude in the middle of the night, a gaze without eyes. Something that is beyond our reach, but it’s there. Understand something beyond the language of words, a language that extends through the sounds.
Each program contains a description of the files used, all additional sounds were performed and produced entirely by Sol Rezza.
Since this work was conceived from licensed files Public Domain This work is licensed under the same license.
Produced by: Sol Rezza
To: Panz4 Troupé
Cover design: Daniel Iván
jason on 11/29/2012 at 01:30PM
Recorded in New York at the height of Hurricane Sandy, Threnodies For Schizophrenic Seas is the latest album of "experimental schizo noir trip hop" from a duo that calls itself The Fucked Up Beat. New York's Eddie Palmer and San Diego's Brett Zehner have released eight albums since forming in 2011 as a bi-coastal email collaboration. Each release collages public domain sound samples with field recordings and live instruments.
The Fucked Up Beat's instrumentals often feel like a film noir Manhattan moment caught in a Martian timeslip. The circumstances of this recording lend an even more ominous, submerged tension that is enhanced by fantastically schizophrenic song titles like "A Sea Shanty For Staten Island Ships/ Holy the Solitudes of Skyscrapers and Pavements!" "Supermarket Goods Escape and Terrorize Local Shoppers/ and rose to build Harpsichords in their lofts" and "Wall Street Gas Panic/ who were burned alive in their innocent flannel suits on Madison Avenue."
Though the tracks are offered under a Creative Commons license that specifies "No Derivatives," you can find remix-ready source material at their site on the open source music community Opsound. I double checked with the band about the license, because their bandcamp specifies "No Derivatives" while the HAZE netlabel uses the remixable ShareAlike license. The music seems ripe for video (one of the group's own creations is embedded below) and if you would like to use the music in this or any other derivative way you can reach the band through their FMA profile.