On “Wall of Glass,” which pairs a vintage Oasis attack with modern production sheen, Gallagher criticizes hypocrisy and mob mentality. “You believe in fascinations/ And designer vaccinations, love,” he belts. “You get along/ You were sold a one direction/ I believe the resurrection’s on, and you were wrong.”
The group was originally comprised of Bryan Ferry (vocals, keys, and chief songwriter), Graham Simpson (bass), Phil Manzanera (guitar), Andy Mackay (saxophone and oboe), Paul Thompson (drums and percussion), and last but not least, Brian Eno (VCS3 synthesizer, tape effects, backing vocals and “treatments”). Ferry had started the band alongside Graham Simpson. The cool suave vocalist came from a poor working class background. His grandfather had courted his grandmother on a horse and plow for ten years before getting married. Times were tough. Ferry later claimed his parents lived “vicariously” though they were always better dressed than everyone else. It was via his mother that Ferry got his introduction to rock ‘n’ roll—she took him a Bill Haley concert in the 1950s. But Ferry preferred jazz and soul and his ambition was for a career in art and possibly teaching if that didn’t work out.
http://www.cbc.ca/…/lou-reed-wild-side-university-guelph-st… — “There were also plenty of rumoured relationships with men, leading some fans to name Reed as the first “out” rock star. But why bother remembering any of this when you can invent some outrage, in return for a little validation that your opinions are worth something? That’s what students at the University of Guelph in Canada did last week when they issued an “apology” for playing “Walk on the Wild Side”, claiming the lyrics were “hurtful to our friends in the trans community”. Obligated to explain exactly what about the lyrics was so offensive, they said the lyrics “appeared to be problematic” because they suggested trans people are “wild”. “
Source: Inside Real World Studios, Peter Gabriels recording sanctuary Incredible slide show. Literally more equipment than God.
“The death of the MP3 was announced in a conference room in Erlangen, Germany, in the spring of 1995.” So opens Stephen Witt’s How Music Got Free, an investigation into the forced digitization and subsequent decimation of the music business, from which it has only very recently started to recover. That ironic conference room eulogy actually took place just before the compression algorithm caught on (don’t worry, we’ll explain in a bit). Soon, the MP3 not only upended the recording industry but, thanks to the iPod, also contributed to Apple’s late-’90s transformation into one of the most successful companies in history. (On Tuesday, the tech giant passed $800 billion in market capitalization, the first U.S. company to do so.) But now, 22 years later, the MP3 truly is dead, according to the people who invented it. The Fraunhofer Institute for Integrated Circuits, a division of the state-funded German research institution that bankrolled the MP3’s development in the late ’80s, recently announced that its “licensing program for certain MP3 related patents and software of Technicolor and Fraunhofer IIS has been terminated.”
A blockchain movement is growing at the United Nations, where transparency is key to keeping the funding coming in. Source: How Blockchain Could Finally Unite the United Nations – CoinDesk
The best thing you will see today. Source: Animals That Look Like They’re About To Drop The Hottest Albums Ever These guys had an other band, of humans. But this is the original line up.
At Next Radio 2016, Brittney Bean outlines how DSPs (like Spotify and Apple Music) provide consumption data to record companies and how they use it to retail more music. Source: How record companies use the data Spotify/Apple send them | That Eric Alper Kind of reminds me of the record player that plays the rings of a tree. These sounds, this data is just lying around. Let’s monetize it!
Source: Benji Rogers | Keynote Conversation · SlidesLive dotBlockChain. A great video explanation by smart people as to how blockchain can work within the music business to make the music business great again. Sing it.
When asked why knowing every Beatles’ kit, drum piece, and hardware matters, Astridge answers plainly, “I feel The Beatles’ legacy will go on for centuries. My whole take on this and the reason why I collected drums and gear specific for his my whole life was to help bring Ringo’s kits back to life.” Source: Magical Mystery Drum: The Quest for Ringo’s Ed Sullivan Snare | Reverb