Track listing
- ‘88 AKA Come Down On Me
- ‘68 AKA Only Time
- ‘93 AKA Don’t Stop Now
- ‘95 AKA Make Things Right
- ‘79 AKA The Shouty Track
- ‘75 AKA Stay With You
- ‘76 AKA The Slow Train
- ‘90 AKA Man Like Me
- ‘64 AKA Go
North London duo Fred Deakin and Nick Franglen AKA Lemon Jelly return with their unique brand of downbeat madness, melody and whimsical humour.
They’ve come a long way since 2000’s debut album “KY”, a compilation of their first three limited 10″ vinyl EP’s. A rapidly expanding fanbase and the release of 2002’s “Lost Horizon’s” were quickly followed by a Brit and Mercury Music Prize nominations. All of this would have undoubtedly piled the pressure on for their next album release, ‘64-’95, built around a selection of samples spanning those very dates.
The boys appear to have been up for the challenge delivering a wholly traditional Lemon Jelly album but unlike one we’ve seen before. Whilst there is still the abundance of annoyingly catchy piano loops, samples and simplistic melodies that have served them so well in the past, ‘64-’95 immediately appears more mature. Whilst not as instantly likeable as “Lost Horizon’s” this ensures greater longevity and is probably all the better for it.
Long, slow-building tracks like “Only Time”, “Don’t Stop Now” and the aptly titled “The Slow Train” are interspersed with Lemon Jelly’s own guitar anthems, “The Shouty Track” which samples Scottish punks The Scars and the Chemical Brother tribute track “Come Down On Me” which uses samples from the now defunct heavy-metallers Master of Reality. Additional contributions from Terri Walker and Star Trek’s very own William Shatner ensure that the boys deliver the kind of eclectic album we’ve now come to expect and love.
This is the first album they’ve made with an accompanying DVD, lovingly created by Airside, the design company consisting of 50% Deakin. All very incestuous but it really does work well. Now, in addition to the previously unique “Jelly” packaging & artwork, we are given visuals to enhance each track. How nice of them!
This all makes ‘65-’95 a complete Lemon Jelly “experience” rather than just another album and one well worth having.
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There are beginner piano books begin by introducing five notes
i.e. CDEFG in right hand (RH) and CBAGF in left (LH) by using
the same fingers position such as on RH note C played by thumb,
D played by index finger, etc. On LH note C played by thumb, B
played by index finger, so on. I called as “five fingers same
position”.
The benefit is before added the new note, beginners have
practiced some similar exercises so they, especially kids will
not confused by rhythm, names and positions of notes.
Because of many exercises that using the same fingers position,
mostly kids tend to read the fingers numbers as notes positions.
For instance, they mean no. 1 on RH is C - always played by
thumb, no. 2 is D - always played by index finger and so on,
likewise on LH.
In early lessons, students seem fluently in notes reading but
the problem comes when start playing pieces with no “five
fingers same position”.
If students have to use “five fingers same position” books, as
teachers, we have to explain from the first lesson that one note
can be played by any fingers and fingers numbers are never
changed such as on RH no.1 always for thumb, no. 2 always for
index finger and so on, likewise on LH.
To make students remember the fingers numbers quickly, we can
ask them to play as fast as they can such as “Play C with finger
number 1. Now play C with finger number 2 and so on”. The kids
will love this fun game! Then ask them play the same piece with
any fingers by writing a new fingering on their book. For
instance, for RH play C with finger number 2, D with finger
number 3 and so on.
There is no perfect method in notes reading, as teachers, we can
only find the suitable one for each student by merging one
method with another. I prefer using “five fingers same position”
book at first lesson by using any kinds of fingers positions,
not just as written in book.
It is much benefit and easier to learn right at first than
re-learn after made mistakes. However, if students have made
misunderstandings on notes reading, no matter with our
‘own’ students that have been taking lessons with us
since their first day on piano lesson or transferred ones, just
do not ever blame them, their old teachers (for transferred
ones) and ourselves especially beginner teachers. It will not
make notes reading of students better.
The solution is re-teaching them as first lesson. Of course, it
needs much time, patiently and often rather difficult to train
‘a new habit’. The students could be frustrate and
complain but with fun game as I mentioned above, kids usually
enjoy the lesson again. If happens on teens or adults (so far, I
never found yet), we can support them by positive words so that
they have ‘new spirit’ to continue their lesson.
Moreover, as teachers, we should not ever stop learning.