Travis Edward Pike’s follow-up to his earlier musical memoir describes his artistic development while sharing the stories of his performances over the course of a storied decade.
The post Travis Edward Pike’s follow-up memoir reveals a reservoir of craft and creativity appeared first on Goldmine Magazine.
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Neapolitan duo Nu Guinea continue their dominance on the top 50 in 2018, this time all the way at the number one spot. Even before our big change from master releases to release variants, their album Nu Guinea was hanging around month after month. Already on its fourth repress, who knows how long it can stick around?
And hey, remember back in October when Pitchfork savaged Greta Van Fleet for, well, everything about the band? It generated more headlines than Pitchfork had in years. However, it turns out that Fleetheads (let’s just assume that’s what their fans are called) didn’t care. Their latest album and their last album both made the list this time around.
Then of course there’s Tracy Chapman at number 12. Always Tracy Chapman.
LP, Album, RP, 3rd & 4th Repress
2xLP, Album
12″, EP
2xLP, Album, RM, 180g
Cass, Album, Ltd
CD, Album
12″, EP, Gatefold
LP, Album, Matte Sleeve
12″, Single
12″, EP, Ltd
12″, EP
LP, Album
LP, Album
12″, S/Sided, Red
LP, Album, Ltd, M/Print, Yellow Translucent
12″, Single, Pic
12″, EP
LP, Album, Gatefold
LP, Album, Ltd, Pink
2xLP + 7″, EP + Album
2xLP, Comp, Ltd, RE, Clear
LP, Pink/Purple Swirl
12″, Comp
LP, Comp, No Barcode, Round Cornered Innersleeve
LP, Album, Pitman Pressing, No Co-Producer Credits, Gatefold
LP, Album, Ltd, RE
LP, Album, Gatefold
LP, Album, Ltd, RE, 180
LP, Album, Ltd, M/Print, Red
2xLP, Album, Ltd, RE, White, Gatefold
12″, EP
12″, Single, Ltd, MP, Orange [Pumpkin Orange]
LP, Album, Ltd, RP, Dark Blue/Yellow Merge [Night Sky Swirl]
LP, Album, Blue Labels, Gatefold
LP, Album, SP – Specialty Pressing
LP, Album, M/Print
12″, Ltd
LP, Album, Ltd, RE
12″, Single, Pic
3×12″, Album, Smoked Clear
LP, Album, Embossed Gatefold
12″, RE
The post The Discogs Top 50 Best Selling Records Of October 2018 appeared first on Discogs Blog.
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“Working the Long Game,” the latest Bill Lloyd full-length for Texas-based SpyderPop Records, is not only his finest solo collection in nearly 25 years, it’s a solid contender for album of the year.
The post “Working the Long Game” by Bill Lloyd is a solid contender for album of the year appeared first on Goldmine Magazine.
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Goldmine starts off the new year emphasizing the magical mark the Jimi Hendrix Experience had on modern music. The Experience’s third and final album, Electric Ladyland, was a monumental classic and it is given the royal treatment for its 50th anniversary.
The post January 2019 issue of Goldmine on newsstands now with the Jimi Hendrix Experience as the cover story appeared first on Goldmine Magazine.
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The Best Live Show Of All Time – NME. That’s a quote from the famed British music mag about David Byrne’s 144-date tour in support of March’s American Utopia. As of this week though, it’s also the exact title of a six-song EP recorded during that tour. Byrne just released a deluxe edition of American Utopia, which includes the superbly-named EP.
As it happens, the quote and the title aren’t simply bluster. Byrne’s latest tour removed everything from the floor, including cables, amps, stands — and even the drum set. In its place, several percussionists carried drums, in the style of a marching band. Just like those high school ensembles, Byrne and the group had elaborate choreography throughout the entire set.
The live show was universally praised and heralded as something next level, with The Atlantic calling it a “reinvention of the rock concert.” Byrne’s lighting designer, Rob Sinclair, admitted to Monocle Magazine, “I didn’t realise quite how revolutionary [it was] until the show opened.” Then, of course, there’s the NME quote.
While you can’t see the striking visuals on this latest live recording, the energy is palpable in the music. The EP also brings to mind Byrne’s longtime fascination with the way live performance affects how we receive music. As he said in an interview with himself decades ago, “Music is very physical, and often the body understands it before the head.” This inspired us to look back at his history with the intersection of songwriting and live performance by revisiting a few highlights from his career.
This is a studio album, but it’s uniquely tied to live performance. Before the Talking Heads’ break up, and before the band fully broke into the mainstream, Byrne released one of his best solo albums. He didn’t write and release it for his own ends, though. It was at the behest of famed dancer and choreographer Twyla Tharp. She commissioned Byrne to compose a score for her second Broadway project, The Catherine Wheel.
The album features stout session players like Yogi Horton and occasional Talking Heads sideman Adrian Belew. In addition to the abridged album and full score releases, the piece was broadcast in its entirety on PBS.
While 1983’s Remain In Light pushed Talking Heads to new heights, it was Jonathan Demme’s iconic concert film the following year that made them a bonafide cultural phenomenon. The film’s soundtrack, on the other hand, was less celebrated. Containing only nine songs, it jumbles Byrne’s meticulously planned stage show and is missing more than a few key moments.
That said, an expanded edition was released in 1999 that tried to right those wrongs. There’s no way to replicate the film’s charms in audio form, but the 1999 version does as good a job as possible. On songs like Once In A Lifetime and Take Me To The River, you can hear the band at the height of their powers.
There’s nothing revolutionary about this album. It is beautiful, though. In 2001, Byrne was supporting Look into the Eyeball when he appeared on the venerated live showcase Austin City Limits. Six years later, the set was released as Live From Austin, TX. Instead of focusing exclusively on the latest album, Byrne weaves tracks from his entire catalog into the show.
The most compelling facet of the performance is the way he reworks some of those hits, gently massaging them into world music-informed numbers that seem both familiar and foreign at the same time. This is heightened by the presence of a string sextet for most of the evening. Oh, and the cover of Whitney Houston’s I Wanna Dance with Somebody is a pretty epic closer!
In 2004, Carnegie Hall invited Brazilian artist Caetano Veloso to curate a performance that would be broadcast via NPR. Veloso asked Byrne, his longtime friend and collaborator, to come along for the ride. The result was a solo set from each, in addition to collaborative material. The voice and demeanor of both performers couldn’t be more different, yet the resulting quirkiness works throughout. It was eventually released as an album in 2012.
In interviews after the event, Byrne admitted that he was nervous about the unique set. Whereas his performances usually appear considered, tight, and well-planned, you can hear occasional apprehension in his delivery. The uncharacteristic nature of that vulnerability adds a certain intrigue.
As with the first entry in this list, Here Lies Love isn’t properly a live recording. Byrne and Fatboy developed a concept album about the life of Filipino first lady Imelda Marcos and her nanny. The original version featured a bevy of memorable performances by female vocalists including Cyndi Lauper, Santigold, Florence Welch, Sharon Jones, and Tori Amos, among others. This led to a short off-Broadway run for the multimedia spectacular and the attendant original cast recording, which is lively and delightful.
And just for kicks, here is an amazing William Onyeabor cover from The Tonight Show with an all-star cast:
The post A Survey Of David Byrne’s Fascination With Live Performance appeared first on Discogs Blog.
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Inflation, war, environmental degradation, overpopulation, protests and social upheaval are the themes of this seminal album. It is now over forty years since it’s release and not much has changed. This is one of the reasons why this album is still regarded as one of the best albums of all time. The other reason is that the music itself has stood the test of time and has remained Marvin Gaye’s and arguably Motown’s most important musical and social statement.
Motown’s slogan was “The Sound of Young America” but the America they traditionally depicted was one of the affluent postwar years. Although the label was politically and socially forward with regards to the fact that it was owned and operated by African-Americans and was the most successful label of its kind, the musical output was generally fantastically catchy sugar-coated pop songs featuring great musicianship.
Although acts like the Norman Whitfield-produced Temptations and The Four Tops with their album “Still Waters Run Deep” were starting to move away from this sound to keep up with the cultural progression led by the student and hippy movement of the late sixties, Motown’s Berry Gordy wanted Marvin Gaye to remain their mainstream musical star. When he first heard the song “What’s Going On” he called it “the worst thing I ever heard in my life”.
As mix engineer Larry Miles remembered, “He wanted a certain subtlety. He didn’t want it to jump out and beat you up. As he explained it, it was to be an intimate listening experience. We were mixing it for people sitting in their living rooms listening to the album straight through.”
Time & Date: Sunday 3rd February 2019 4:00pm – 8:00pm
No.7 Market Square, Stafford, ST16 2JN
Installed by Harbeth Audio & AVID HIFI
The post Classic Album Sundays Stafford presents Marvin Gaye ‘What’s Going On’ appeared first on Classic Album Sundays.
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We are kicking off 2019 with a special double bill in tribute to the first Queen of Soul Aretha Franklin. We will be featuring full album playbacks of both I Never Loved A Man The Way I Love You & Lady Soul.
While the inclusion of “Respect”, one of the truly seminal singles in pop history, is in and of itself sufficient to earn I Never Loved a Man the Way I Love You classic status, Aretha Franklin’s Atlantic label debut is an indisputable masterpiece from start to finish. Much of the credit is due to producer Jerry Wexler, who finally unleashed the soulful intensity so long kept under wraps during her Columbia tenure; assembling a crack Muscle Shoals backing band along with an abundance of impeccable material, Wexler creates the ideal setting to allow Aretha to ascend to the throne of Queen of Soul, and she responds with the strongest performances of her career.
Lady Soul is the twelfth studio album by American singer Aretha Franklin, Released on January 22, 1968, by Atlantic Records.
Powered by three hit singles (each nested in the upper reaches of the pop Top Ten), Lady Soul became Aretha Franklin’s second gold LP and remained on the charts for over a year.
Date and Time: Sunday January 20th 2019 12:00pm – 3:00pm
Nowadays, 56-06 Cooper Ave #1, Ridgewood, NY 11385, USA
Coming soon
Paul Raffaele and Barbie Bertisch (Love Injection Magazine)
Audio Menu: Rega Exact MM Cartridge, Rega P9 Turntable, Audio Note UK pre-amplification and power amplification, AudioQuest Interconnects and cabling, Klipschorn Loudspeakers, Klipsch SW-115 Subwoofers
The post Classic Album Sundays NYC presents Aretha Franklin ‘I Never Loved A Man The Way I Love You’ & ‘Lady Soul’ appeared first on Classic Album Sundays.
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#morninglistening to @KennethFuchs #orchestralmusic & #orchestralsongs on @Naxos w/@LondonSymphony & #JoAnnFalletta, @JeffreyBiegel, @aryenhc, @DJsparr & @McAllisterSax
Amazon: http://a-fwd.to/71IUlSG
Fabulous @surprisedbeauty music!
#classicalmusic #naxosrecords #classicalmusiccollection #classicalcdcollection #orchestralmusic #songcycle #PianoConcerto “Spirirualist” #saxophonemusic #
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