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Issue 01 One..Two...Three? Student Tests Newton’S Laws, Fails Tuesday, March 20Th
catalyst issue 01 One..Two...Three? Student Tests Newton’s Laws, Fails Tuesday, March 20th. stairs. responded Stevens when ques- A local teenager, whose and like, they were totally saying Michael Keets, a student at “I had no idea that stairs tioned about Keets’ comment, name will be kept confidential due to was completely wrong." Clark com- Spotsylvania County’s prestigious could be considered an outside “These kids never listen, especially his minor status, recently discovered mented. "I didn't like that at all." Spotsylvania Middle School, was force. I mean, according to every- Michael Keets. You tell them not to exactly how many licks it takes to get The federal government severally injured while attempting to thing else I’ve learned, they can’t be try anything we talk about in class, to the center of a Tootsie Pop. The has sided with the makers of the prove Newton’s first law of physics. a force because they have no direc- and they think you’re asking them if discovered, however, was not free of delicious treat in this case, however, Brian Stevens, the teacher who tion. They aren’t a vector quantity,” they want some cake. And they all controversy and suspicions of fraud. barring the boy from releasing his allegedly introduced Keets to said commented a heavily drugged want cake.” For years, the makers of findings, and stating that he must law, commented that he in no way Keets from his hospital bed the day Stevens also attempted to the aforementioned lollipop have revoke his press release. -
Music & Entertainment
Hugo Marsh Neil Thomas Forrester Director Shuttleworth Director Director Music & Entertainment Tuesday 18th & Wednesday 19th May 2021 at 10:00 Viewing by strict appointment from 6th May For enquires relating to the Special Auction Services auction, please contact: Plenty Close Off Hambridge Road NEWBURY RG14 5RL Telephone: 01635 580595 Email: [email protected] www.specialauctionservices.com David Martin Dave Howe Music & Music & Entertainment Entertainment Due to the nature of the items in this auction, buyers must satisfy themselves concerning their authenticity prior to bidding and returns will not be accepted, subject to our Terms and Conditions. Additional images are available on request. Buyers Premium with SAS & SAS LIVE: 20% plus Value Added Tax making a total of 24% of the Hammer Price the-saleroom.com Premium: 25% plus Value Added Tax making a total of 30% of the Hammer Price 10. Iron Maiden Box Set, The First Start of Day One Ten Years Box Set - twenty 12” singles in ten Double Packs released 1990 on EMI (no cat number) - Box was only available The Iron Maiden sections in this auction by mail order with tokens collected from comprise the first part of Peter Boden’s buying the records - some wear to edges Iron Maiden collection (the second part and corners of the Box, Sleeves and vinyl will be auctioned in July) mainly Excellent to EX+ Peter was an Iron Maiden Superfan and £100-150 avid memorabilia collector and the items 4. Iron Maiden LP, The X Factor coming up in this and the July auction 11. Iron Maiden Picture Disc, were his pride and joy, carefully collected Double Album - UK Clear Vinyl release 1995 on EMI (EMD 1087) - Gatefold Sleeve Seventh Son of a Seventh Son - UK Picture over 30 years. -
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8
Boo-Hooray Catalog #8: Music Boo-Hooray Catalog #8 Music Boo-Hooray is proud to present our eighth antiquarian catalog, dedicated to music artifacts and ephemera. Included in the catalog is unique artwork by Tomata Du Plenty of The Screamers, several incredible items documenting music fan culture including handmade sleeves for jazz 45s, and rare paste-ups from reggae’s entrance into North America. Readers will also find the handmade press kit for the early Björk band, KUKL, several incredible hip-hop posters, and much more. For over a decade, we have been committed to the organization, stabilization, and preservation of cultural narratives through archival placement. Today, we continue and expand our mission through the sale of individual items and smaller collections. We encourage visitors to browse our extensive inventory of rare books, ephemera, archives and collections and look forward to inviting you back to our gallery in Manhattan’s Chinatown. Catalog prepared by Evan Neuhausen, Archivist & Rare Book Cataloger and Daylon Orr, Executive Director & Rare Book Specialist; with Beth Rudig, Director of Archives. Photography by Ben Papaleo, Evan, and Daylon. Layout by Evan. Please direct all inquiries to Daylon ([email protected]). Terms: Usual. Not onerous. All items subject to prior sale. Payment may be made via check, credit card, wire transfer or PayPal. Institutions may be billed accordingly. Shipping is additional and will be billed at cost. Returns will be accepted for any reason within a week of receipt. Please provide advance notice of the return. Table of Contents 31. [Patti Smith] Hey Joe (Version) b/w Piss Factory .................. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
Listing Bio + Twilight Splendour Press Release
! Housewives Listing Bio HOUSEWIVES are a genreless band from London who play experimental music that points to the future. Using prepared guitars, electronics, percussion and saxophone they create an enveloping sound of syncopated rhythms and antithetical song structures. Droning bass lines underpin ethereal samples, whilst precise guitar lines mix with minimal drum parts in ecstatic fashion. Their kinetic live sets have cemented their reputation as one of the most exciting live bands in Europe; championed by the likes of Tom Ravenscroft (BBC 6 Music), Radio 3 Late Junction and pioneering experimental musician Charles Hayward (This Heat). They join the like of Liars, Animal Collective and The Knife in laying the gauntlet for experimental music this decade and pushing the boundaries of what a live band can do. Twilight Splendour LP Out March 22nd 2019 via Blank Editions London five-piece Housewives return for more anarchic genre-blending adventures on their second LP, Twilight Splendour; A synthesized collage written in Wetherspoons, cafes and anywhere away from their houseboats where they could find a permanent electrical supply. Exploring the possibilities of electronic sound, this new LP marks a turning point for the band - who sold their guitars to buy midi equipment and swapped London rents for water habitation. Bringing to mind the digital meditations of legendary producer Oneohtrix Point Never and the claustrophobic sampling of Animal Collective and Battles, Twilight Splendour presents a love letter from an early AI to its owner, its concept-led songs strewn with “ecstatic messages of frustration and a desire to connect”. The album occupies a dystopian world where real emotions have been eclipsed by complex coded simulations. -
CHEER-ACCIDENT Title: NO IFS, ANDS OR DOGS
Bio information: CHEER-ACCIDENT Title: NO IFS, ANDS OR DOGS (Cuneiform Rune 326) Cuneiform publicity/promotion dept.: 301-589-8894 / fax 301-589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American radio) www.cuneiformrecords.com FILE UNDER: ROCK / POST-ROCK / AVANT-PROGRESSIVE “Tons of weird rock records have streamed out of Chicago over the past two decades, but none have blended pop smarts and avant-garde impulses as skillfully as this marvelous brainteaser of an album [Introducing Lemon].” – Best albums of the decade by Hank Shteamer, Time Out New York "...[Cheer-Accident] meld difficult, angular rock with absurdist lunacy in intentionally disturbing ways that are just brilliant." – Alternative Press “[…] the influences go by in blurred, subliminal hints, within those bleakly beautiful King Crimsonish lopes: Morricone, early Genesis, UK, (loads of) Stravinsky, (loads of) Yes, Lalo Schifrin....Bacharach? Is that what that is, at the end? …they always sound like Cheer-Accident, whatever myriad fragments of their collective musical memories pop up in the stew (Stereolab? Henry Cow?). Above all, they will always arrive at a tense, haunted, mysterious place, whether exploring with minimalist drones and sparse drums or, as in 'Fear Draws Misfortune', going for all-out maximalism.” – Organ Emerging from the incredibly diverse crucible of music that is Chicago, prog-pop-noise collective Cheer-Accident embodies and re-affirms the “promises made” by previous generations of progressive rock, post-punk, and post rock bands—the creation of a thoroughly NEW rock- based music. There are bands with pretty melodies, bands that rock, bands that dazzle with exalted technique, bands that make you laugh, and bands aiming to perplex even the most intrepid listener. -
SMOKE SIGNALS" (Cuneiform Rune 150)
Bio information: MATCHING MOLE Title: "SMOKE SIGNALS" (Cuneiform Rune 150) Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: [email protected] http://www.cuneiformrecords.com FILE UNDER: ROCK/PROGRESSIVE ROCK Matching Mole was the band formed by drummer/vocalist Robert Wyatt after he left the pioneering UK outfit Soft Machine in July, 1971. Soft Machine were hugely popular in France, and Robert got the name of his new band as a play on the French translation of Soft Machine: Machine Molle. What eventually became the first Matching Mole album was begun as a solo album by Robert in late 1971. Midway through recording, he was joined by guitarist Phil Miller (Delivery, Hatfield & The North, National Health), organist Dave Sinclair (Caravan), bassist Bill MacCormick (Phil Manzaneraʼs 801) and guest electric pianist Dave MacRae (Mike Westbrook). These recordings became their self titled first album, released in early 1972. Sinclair left soon after the release of their album, and MacRae joined full time. This quartet performed often throughout Europe, and recorded a second album, Little Red Record, which was produced by Robert Fripp of King Crimson, and which was released in fall,1972. Shortly after the release of Little Red Record, Robert decided that he did not want the responsibilities of being a band leader & broke up the band. For a band that was only in existence for a year, Matching Mole was particularly active: two studio albums, over fifty concerts in Britain and continental Europe,and a number of TV and radio broadcasts. Smoke Signals compiles all previously unreleased performances from the bandʼs most intense gigging period, the spring of 1972, and has been assembled to replicate their continuous concert set. -
Music Marketing for the Digital
05–06 Tools Found.ee 07–09 Special Report Sandbox Summit New York 10-11 Campaigns Avicii, Beastie Boys, Skepta 12–19 Behind The Campaign- Tom Walker JUNE 12 2019 sandboxMUSIC MARKETING FOR THE DIGITAL ERA ISSUE 230 COVERFEATURE he debate about whether or not email is “dead” still rages, with ideas Tabout user age, content relevance, innovation and GDPR helping frame new takes on the argument. While there are voices proclaiming that, for Gen Z anyway, email as a medium is just too slow, OptinMonster research claims that even today more than three-quarters of teenagers in the US are using email as part of their everyday lives. It really will be a matter of evaluating, on a case-by-case basis, just how well an artist’s audience – segment by segment – responds to communication through this channel. But why even care about email? It is easy to presume that all an artist really needs to communicate with their fans is an active presence on a select handful of social media platforms. Yet, organic reach is declining across the board, making it harder than ever to get your message across to all of your fans. Without, of course, having to pay exponentially for the privilege. Yet by nurturing an email marketing list, an artist has an owned means of EMAIL INTUITION communication where the reach of their messages won’t be suppressed by an external algorithm or an unexpected change WHY EMAIL MARKETING IS in the T&Cs of a social media channel. What is critical to remember here is MORE IMPORTANT THAN EVER that those who sign up to your mailing list have already demonstrated that The last time we gave this area of digital they are your most loyal fans and are the ones most likely to stream your marketing our cover story treatment was way music repeatedly, purchase tickets, buy back in 2013. -
Brian Eno • • • His Music and the Vertical Color of Sound
BRIAN ENO • • • HIS MUSIC AND THE VERTICAL COLOR OF SOUND by Eric Tamm Copyright © 1988 by Eric Tamm DEDICATION This book is dedicated to my parents, Igor Tamm and Olive Pitkin Tamm. In my childhood, my father sang bass and strummed guitar, my mother played piano and violin and sang in choirs. Together they gave me a love and respect for music that will be with me always. i TABLE OF CONTENTS DEDICATION ............................................................................................ i TABLE OF CONTENTS........................................................................... ii ACKNOWLEDGEMENTS ....................................................................... iv CHAPTER ONE: ENO’S WORK IN PERSPECTIVE ............................... 1 CHAPTER TWO: BACKGROUND AND INFLUENCES ........................ 12 CHAPTER THREE: ON OTHER MUSIC: ENO AS CRITIC................... 24 CHAPTER FOUR: THE EAR OF THE NON-MUSICIAN........................ 39 Art School and Experimental Works, Process and Product ................ 39 On Listening........................................................................................ 41 Craft and the Non-Musician ................................................................ 44 CHAPTER FIVE: LISTENERS AND AIMS ............................................ 51 Eno’s Audience................................................................................... 51 Eno’s Artistic Intent ............................................................................. 55 “Generating and Organizing Variety in -
An Introduction to Prog Rock Prof
An Introduction to Prog Rock Prof. J. Paradiso – MIT Media Lab Session 1: Intro - Things your dad should have told you about Prog Session 2; Canterbury Session 3: Rock in Opposition Session 4: Zeuhl Session 5: Space Rock and Neopsychedelia Session 6: French & Quebecois Prog Session 7: Rock Progressivo Italiano Session 8: Germany, Berlin, and Krautrock (perhaps some Scandavania too) Session 9: Japanese Prog Lecture 4 – The Canterbury Bands …and a few fascinating detours! IAP 2018 The City of Canterbury London Up Here An amazingly creative bunch of emerging musicians hung out at Robert Wyatt’s House & environs in the mid 60s Memories Brian & Hugh Hopper, Richard Sinclair, Kevin Ayers formed The Wilde Flowers in the early 1960s – Daevid Allen, David Sinclair, Richard Coughlin, etc. in the mix too Leading to Soft Machine, Caravan, Gong, and Kevin Ayers solo career Enter Soft Machine! Robert Wyatt, Hugh Hopper, Mike Ratledge (Daevid Allen, Kevin Ayers) Jimi was their colleague, friend, and fan He gave them their sound… We Did It Again Early Soft Machine 1968 1969 Why Are We Sleeping? As Long as he Lies Perfectly Still Hung out and toured with Jimi Hendrix Fuzzbox and pedals on organ are iconic in Canterbury Music Very intense live band Hope for Happiness (Live @ Middle Earth Club) - 1967 Live in France - 1968 Kevin Ayers splits for his solo career 1969 1970 1972 1974 Rheinhardt And Geraldine / Colores Para Dolores (1970) The Confessions Of Doctor Dream: Irreversible Neural Damage (1974) Becoming a (psychedelic) Jazz Band 1970 1971 1972 Last -
Polydor Records Discography 3000 Series
Polydor Records Discography 3000 series 25-3001 - Emergency! - The TONY WILLIAMS LIFETIME [1969] (2xLPs) Emergency/Beyond Games//Where/Vashkar//Via The Spectrum Road/Spectrum//Sangria For Three/Something Special 25-3002 - Back To The Roots - JOHN MAYALL [1971] (2xLPs) Prisons On The Road/My Children/Accidental Suicide/Groupie Girl/Blue Fox//Home Again/Television Eye/Marriage Madness/Looking At Tomorrow//Dream With Me/Full Speed Ahead/Mr. Censor Man/Force Of Nature/Boogie Albert//Goodbye December/Unanswered Questions/Devil’s Tricks/Travelling PD 2-3003 - Revolution Of The Mind-Live At The Apollo Volume III - JAMES BROWN [1971] (2xLPs) Bewildered/Escape-Ism/Get Up, Get Into It, Get Involved/Get Up I Feel Like Being A Sex Machine/Give It Up Or Turnit A Loose/Hot Pants (She Got To Use What She Got To Need What She Wants)/I Can’t Stand It/I Got The Feelin’/It’s A New Day So Let A Man Come In And Do The Popcorn/Make It Funky/Mother Popcorn (You Got To Have A Mother For Me)/Soul Power/Super Bad/Try Me [*] PD 2-3004 - Get On The Good Foot - JAMES BROWN [1972] (2xLPs) Get On The Good Foot (Parts 1 & 2)/The Whole World Needs Liberation/Your Love Was Good For Me/Cold Sweat//Recitation (Hank Ballard)/I Got A Bag Of My Own/Nothing Beats A Try But A Fail/Lost Someone//Funky Side Of Town/Please, Please//Ain’t It A Groove/My Part-Make It Funky (Parts 3 & 4)/ Dirty Harri PD 2-3005 - Ten Years Are Gone - JOHN MAYALL [1973] (2xLPs) Ten Years Are Gone/Driving Till The Break Of Dawn/Drifting/Better Pass You By//California Campground/Undecided/Good Looking -
What Is Post-Punk?
What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style ..........................................................................................................