Strange Planet Music Credits
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Great Britain's Best Sellers States Again in February with Dates in New York, Los Angeles, Detroit and Philadelphia
,,..... man 4/Y\m.\ out rrw:,\ r wu HUM CaehBox CashBox France Urn \I Z=iin eMUMi `siir Great Britain WWI/ \\vm Tiffuawm roni The Rolling Stones will produce and star in a major TV program to be 2 months before its opening, MIDEM 1969 is beating all records. To date, called "The Rolling Stones Rock 'n' Roll Show" which will be distributed on a about 30 offices are left in the Hotel Martinez. 2,500 participants are already global basis. It is the group's first small -screen spectacular and filming will attending MIDEM. This number represents 2/3's of last year's participation. be Michael Lindsay -Hogg who was connected with the now defunct independent MIDEM expects an increase of 25 to 30%, i.e. 4,000 to 4,500 participants. At TV series "Ready Steady Go" and also directed the Stones in their "Jumping this moment, delegates from the technical department are in Cannes studying Jack Flash" TV movie. Already booked as guests are Traffic, American blues the best way to adapt the Martinez to the expected rush. The participants singer -guitarist Taj Mahal and Indian swamp music specialist Dr. John. The will discover with the greatest pleasure that Bernard Chevry has organized long delayed "Beggar's Banquet" LP by the Rolling Stones was finally re- in the Martinez a very important and up-to-date telephone installation. An leased November 22nd by Decca with revised artwork. exchange located at each level will enable the MIDEM participants to obtain Latest Board of Trade figures just released show that total sales of gramo- without any delay long distance and local calls. -
Gerry Mulligan Discography
GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”. -
Russell-Mills-Credits1
Russell Mills 1) Bob Marley: Dreams of Freedom (Ambient Dub translations of Bob Marley in Dub) by Bill Laswell 1997 Island Records Art and design: Russell Mills (shed) Design assistance, image melts: Michael Webster (storm) Paintings: Russell Mills 2) The Cocteau Twins: BBC Sessions 1999 Bella Union Records Art and design: Russell Mills (shed) Design assistance and image melts: Michael Webster (storm) 3) Gavin Bryars: The Sinking Of The Titanic / Jesus' Blood Never Failed Me Yet 1998 Virgin Records Art and design: Russell Mills Design assistance and image melts: Michael Webster (storm) Paintings and assemblages: Russell Mills 4) Gigi: Illuminated Audio 2003 Palm Pictures Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Jean Baptiste Mondino 5) Pharoah Sanders and Graham Haynes: With a Heartbeat - full digipak 2003 Gravity Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Paintings and assemblages: Russell Mills 6) Hector Zazou: Songs From The Cold Seas 1995 Sony/Columbia Art and design: Russell Mills and Dave Coppenhall (mc2) Design assistance: Maggi Smith and Michael Webster 7) Hugo Largo: Mettle 1989 Land Records Art and design: Russell Mills Design assistance: Dave Coppenhall Photography: Adam Peacock 8) Lori Carson: The Finest Thing - digipak front and back 2004 Meta Records Art and design: Russell Mills (shed) Design assistance: Michael Webster (storm) Photography: Lori Carson 9) Toru Takemitsu: Riverrun 1991 Virgin Classics Art & design: Russell Mills Cover -
Journal of the Music & Entertainment Industry Educators Association
Journal of the Music & Entertainment Industry Educators Association Volume 18, Number 1 (2018) Bruce Ronkin, Editor Northeastern University Paul Linden, Associate Editor Butler University Ben O’Hara, Associate Editor (Book Reviews) Australian College of the Arts Published with Support from The Journal of the Music & Entertainment Industry Educators As- sociation (the MEIEA Journal) is published annually by MEIEA in order to increase public awareness of the music and entertainment industry and to foster music and entertainment business research and education. The MEIEA Journal provides a scholarly analysis of technological, legal, historical, educational, and business trends within the music and entertainment industries and is designed as a resource for anyone currently involved or interested in these industries. Topics include issues that affect music and entertainment industry education and the music and entertain- ment industry such as curriculum design, pedagogy, technological innova- tion, intellectual property matters, industry-related legislation, arts admin- istration, industry analysis, and historical perspectives. Ideas and opinions expressed in the Journal of the Music & Enter- tainment Industry Educators Association do not necessarily reflect those of MEIEA. MEIEA disclaims responsibility for statements of fact or opin- ions expressed in individual contributions. Permission for reprint or reproduction must be obtained in writing and the proper credit line given. Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. www.meiea.org The MEIEA Journal (ISSN: 1559-7334) © Copyright 2018 Music & Entertainment Industry Educators Association All rights reserved Editorial Advisory Board Bruce Ronkin, Editor, Northeastern University Paul Linden, Associate Editor, Butler University Ben O’Hara, Associate Editor, Australian College of the Arts (Collarts) Timothy Channell, Radford University Mark J. -
Revolution Rock
REVOLUTION ROCK A celebration of Brisbane’s music history 1942–2002 1.The Concept Abstract Based on research, there are about 209,000 live performers of music in Australia. Queensland accounts for 16% of this total, which is the third highest in Australia. The music industry contributed $266m to Australia’s gross product in 1995–96. REVOLUTION ROCK Attending live music concerts accounts for the majority of time spent by consumers on A celebration of Brisbane’s entertainment, closely followed by attending museums and galleries. music history 1942–2002 In one year in Australia there are: ★ 12 million attendances at public art galleries ★ 6.7 million admissions to live theatre Concept ★ 5 million admissions to musical theatre (including opera) Through collaboration with individual artists and the community, the Revolution Rock ★ 3.4 million attendances at dance performances project will examine key events in Brisbane’s social history which have galvanised residents ★ 4 million attendances at classical music concerts, and and artists to creative action in order to protect, preserve and enhance their cultural identity. ★ 19 million attendances at popular music concerts. Format Source: Australia Council Website Music Industry development and Brisbane’s future as a creative city. Revolution Rock is a multimedia project, which will include recording of oral history, film, (Flew et al. Nov 2001, QUT Creative Industries Research and Application Centre.) video and print media, live concert, exhibit, book and memorabilia, focussing on the Background Brisbane music phenomena from the 1940s to the present day. 5.1 Music has been identified as a major growth industry worldwide. The development of the Music industry provides significant wealth generating and export opportunities for Revolution Rock contents Brisbane, Queensland and Australian economies. -
WARNER BROS. / WEA RECORDS 1970 to 1982
AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS. -
The Festival Records Story by Brendan Hancock and Matthew J Schelle
The Festival Records Story by Brendan Hancock and Matthew J Schelle Introduction John, Peter Allen and The Bee Gees. After decades at the top of the Music And it was also Festival Records, which Industry in Australia, Festival Records was instrumental in shaping the (now Festival Mushroom Records, after Australian Rock and Roll scene. a recent merger with the Mushroom With what was initially a simple label), are now celebrating their 50th investment from a group of old war anniversary. It’s hard to believe that an buddies working together, the label independent label such as Fcestival, went through ups and downs, but the which had an inconspicuous beginning company always bounced back, due to as a high risk-fast gain investment the combination of off-beat thinking opportunity, has steered its way past and sheer luck. numerous obstacles to become Although the Festival Records story Australia’s biggest ever independent does go beyond the years of 1977, it’s record label. It was Festival Records the early days that the real story, the which took the chances and as such, it real magic took place. From the people was Festival Records which was working behind the scenes to the artists Festival’s ‘REX’ label was created to house the best of the new young artist responsible in launching the careers of themselves, the following will give you who had joined the Festival Records countless Australian Artists such as enough information to understand how and why the famous label became what Family. The brain child of L. J Hooker. Johnny O’Keefe, Col Joye, Dig It produced hits from Noeline Batley, it is today. -
Music Business and the Experience Economy the Australasian Case Music Business and the Experience Economy
Peter Tschmuck Philip L. Pearce Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Music Business and the Experience Economy . Peter Tschmuck • Philip L. Pearce • Steven Campbell Editors Music Business and the Experience Economy The Australasian Case Editors Peter Tschmuck Philip L. Pearce Institute for Cultural Management and School of Business Cultural Studies James Cook University Townsville University of Music and Townsville, Queensland Performing Arts Vienna Australia Vienna, Austria Steven Campbell School of Creative Arts James Cook University Townsville Townsville, Queensland Australia ISBN 978-3-642-27897-6 ISBN 978-3-642-27898-3 (eBook) DOI 10.1007/978-3-642-27898-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2013936544 # Springer-Verlag Berlin Heidelberg 2013 This work is subject to copyright. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. -
Brisbane Music Family Tree 2005
Overseas Bands Texas Tea Common bandmember Tripod (QLD) Kate Jacobson, THe Pop Star International Pug Butterfly Benjamin Dougherty (Vegas Kings), Greg Hilliard Strontium Cowboy Bob (Vaginabillies, Massage units Rescue Jon Ryan The Grates Prix Divers Heavyweight Dirtcatchers, Gin Club etc.) Michael Elliot, Roland Bisshop Dog Alana Skyring, Rober Lukins, Kate Jacobson, Sugadust champion Greg Hilliard Patience Hodgeson, Patience Hodgeson Interstate Bands Evelyn Golding, Blood idols/ Greg Hilliard Gail Hardgraves John Patterson METROSEXUALS Mirko (Sekiden) Common bandmember bantha fodder THE SLIGHT Matthew Lobb THe Mess hall Angus Chapman, PARADE Trevor Ludlow Cec Condon Paul Coleman (Van Lustbader) Alana Skyring, Turtlebox PEOPLE Nick Naughton Holster = band Conan Thorogood, Ed Henty, is defunct Roland Bisshop OF EARTH Robert Lukins Lee Griffin, Burnside the Winters Jason Cassidy, Patrick McDermott, Clifton Robert Lukins, Kate Bradley Xavier Poropat (Eat Laser Scumbag, The B-sides Alana Skyring, Partkertron etc) Alana Skyring, Ed Henty, = hub John Swingle, Ian Campbell Kilgore Stag Conan Thorogood, Damian Radford Trevor Ludlow, Clone Dan Baebler, John Patterson Trout Jason Cassidy Jason Cassidy, Joss Berrett Maureen Hansen, Roshambo Greg Charles Suzi Hansen, STANding 8 Tony Giacca ZOMBIE Computor Tim Brennan , Teen Period John Lowery, Mexico City David McCormack, Angus Chapman, counts Collective Crime Boss Mark Lowery Jason Cassidy, Bre O’Neil, Will Cec Condon, Bob Moore Paul Coleman, John Patterson, Alana Skyring, Fowles, Tam Patton,Tom Beaumont, Simon Raditch, James Straker Mark Perry Lee Fletcher, D-KO Blonde Ben Dougherty, Greg Hilliard, Michael Elliot John Patterson Kris Swales, Roland Bisshop, Walter Gentle Ben & Cobra Cunningham Simon Dennes, Formoso his sensitive side Evelyn Golding, Joss Berrett, Greg Brady, Ben Corbett, Arbuckle Simon Lilley. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
Dust Off the Wings Music Credits
music Phil Ceberano Justin Stanley (cast) band Warren Trout Greg Royal music editing Peter Whitmore scored music recorded at Megaphon Studios Charing Cross Studios mixed at Mirage scored music produced & mixed by Justin Stanley co-producer Phil Ceberano phil & justin's publisher PolyGram Music Publishing Australia engineer Keith "Medieval" Cooper assistant engineers Brett Lunney Josh Wermut musicians Phil Ceberano Justin Stanley Cath Synnerdahle Dave Reynolds Warren Trout Brendan Saint-Ledger Alex Hewitson piano accordian (sic) composed & performed by Peter Dasent exec soundtrack producer Michael Parisi soundtrack coordinator Richard East soundtrack supervisor Michelle Straney Soundtrack available on ew logo east west East West Records through Warner Music Australia Pty Limited music "Special" performed by Aspirin written by Aspirin courtesy Bright Spark Songs "Slide" performed by Brother Mustard written by Brother Mustard, Revelle/Stams/Sadowski/Reitzfeld/Tribby Copyright Control "Whoever's Been Using This Bed" performed by The Earthmen written by Batterham/Stevens published by Black Pig and PolyGram Music Publishing courstesy (sic) Warner Music Australia Pty Limited "Time" performed by Brother Mustard written by Brother Mustard, Revelle/Stams/Sadowski/Reitzfeld/Tribby Copyright Control "I'll Be Your Majick" performed by Def Fx written by Def Fx, Lowry/Horne/Stein/Fonti courtesy of Lost in Music, PolyGram Music Publishing, ESP Music/Admin. Leosong Music Group and Universal Music Australia Limited "Ground" performed by The Superjesus written by Tennent/McLeod publishing Control courtesy The Superjesus/Aloha records and Warner Music Australia Pty Limited "Lovers" performed by Effigy written by P Hardman published by Effigy Hardman/Beckerling/Stacey courtesy The All Blacks B.V. -
Sound Design - Wikipedia, the Free Encyclopedia 8/25/10 3:38 PM
Sound design - Wikipedia, the free encyclopedia 8/25/10 3:38 PM Sound design From Wikipedia, the free encyclopedia Sound design is the process of specifying, acquiring and manipulating audio elements. It is employed in a variety of disciplines including film, theatre, music recording, live music performance, and computer game software development. Sound design most commonly involves the manipulation of previously composed audio, such as previously recorded music and sound effects. In some instances it may also involve the composition or manipulation of audio to create a desired effect or mood. A Sound Designer is one who practices the art of sound design. Contents 1 History 1.1 Recorded sound 1.2 Digital technology 2 Film 3 Theatre 3.1 Technical vs. conceptual design 3.2 Professional organizations 4 Music 5 Awards 6 Notable sound designers 7 See also 8 External links 9 References History The use of sound to evoke emotion, reflect mood and underscore actions in plays and dances began in prehistoric times. At its earliest, it was used in religious practices for healing or just for fun.[1] In ancient Japan, theatrical events called kagura were performed in Shinto shrines with music and dance.[2] Plays were performed in medieval times in a form of theatre called Commedia dell'arte, which used music and sound effects to enhance performances. The use of music http://en.wikipedia.org/wiki/Sound_design Page 1 of 7 Sound design - Wikipedia, the free encyclopedia 8/25/10 3:38 PM and sound in the Elizabethan Theatre followed, in which music and sound effects were produced off stage using devices such as bells, whistles, and horns.