from songlines.co.uk https://ift.tt/2XDSrlM
via IFTTT
from News – Record Store Day https://ift.tt/2TmxIDr
via IFTTT
The death of André Previn has been announced. The conductor, pianist and composer, arguably best known in the UK from his time as the charismatic principal conductor of the London Symphony Orchestra, died at home in Manhatten this morning, aged 89. He will be remembered both as an artist of rare versatility and as one of music's most natural communicators.
Born in Berlin, but a naturalised US citizen from the early 1940s after moving to Los Angeles as a child, Previn displayed his versatility as a musician from a young age – his earliest teachers included the composers Marcel Dupré and Mario Castelnuevo-Tedesco and, later, the conductor Pierre Monteux. With an uncle working at Universal Studios, he soon found work arranging and composing for films, and would go on to win four Academy Awards, for Gigi (1959), Porgy and Bess (1960), Irma La Douce (1964) and My Fair Lady (1965).
Previn's conducting career, meanwhile, flourished on both sides of the Atlantic. In England, he was principal conductor of, famously, the London Symphony Orchestra from 1968-79 and the Royal Philharmonic Orchestra from 1985-88, while in the US, he was music director of the Houston Symphony from 1967-9, the Pittsburgh Symphony from 1976-84 and the Los Angeles Philharmonic from 1985-9.
In both his LSO and Pittsburgh positions, Previn enjoyed a strong relationship with the TV cameras, not least as the star of André Previn's Music Night on the BBC. He also, perhaps most famously of all, starred on the Morecambe and Wise show where, as the exasperated conductor 'Andrew Preview', he tried to guide Eric Morecambe throught the opening bars of Grieg's Piano Concerto.
André Previn's list of recordings is as long it is distinguished, and includes acclaimed versions of Gershwin's Rhapsody in Blue and Concerto in F in which he conducted the orchestra from the piano keyboard.
Though he conducted less frequently in his later years, Previn continued to compose, including, in 1998, his opera A Streetcar Named Desire. He was married five times, the last of which was to the German violinist Anne-Sophie Mutter, for whom he wrote a concerto in 2003.
from Classical-Music.com https://ift.tt/2SAXeAs
via IFTTT
Named after Yoshimi P-we, the drummer of Japanese band The Boredoms (who appears throughout the album), Yoshimi Battles The Pink Robots sought to capture the delicate duality of life and death, happiness and misery, love and heartbreak.
Take a listen to the sounds that helped shaped the album featuring Bjork, Led Zeppelin, Pink Floyd, Butthole Surfers, Radiohead, The Beatles and many more.
https://open.spotify.com/embed/user/classicalbumsundays/playlist/2tvtPmvAfMmkuNRd8hJ9uH
The post The Flaming Lips ‘Yoshimi Battles The Pink Robots’ Musical Lead-Up Playlist appeared first on Classic Album Sundays.
from Classic Album Sundays https://ift.tt/2XtNqMn
via IFTTT
Canterbury… Canterbury Sound… . In the late 60’s and early 70’s a sound emerged that was unique to the city. In 2010 Jack Hues and The Quartet and Canterbury Rock band Syd Arthur joined forces to conjure that sound again in an evening of music at Canterbury’s legendary Orange Street Music Club. They played “Facelift” and a medley of Soft Machine pieces arranged by Syd’s Raven Bush, plus an arrangement of the 3rd movement of Stravinsky’s Violin Concerto. The evening culminated in a performance of “Nobody’s Fault But My Own” by Beck (from his album “Mutations”) with both bands on stage – 2 drummers, 2 bass players, violin, guitars, keyboards – an awe inspiring noise!
In July 2012 they gathered together in a barn just outside Canterbury and recorded the song, joined by Chris Hughes on percussion, a bit of gentle producing and Paul Booth on tenor saxophone.
And now, ahead of their planned UK shows this April, Classic Album Sundays Canterbury is excited to host a special listening event for the album’s official release. Jack Hues of Jack Hues and the Quartet and Joel Magill of Syd Arthur will tell the story behind the making of the album and we will then have an uninterrupted replay on our audiophile hi -fi, following which the audience will have an opportunity to put their questions to Jack and Joel.
There are two ticket types:
The Bundle Ticket which includes entry and your own vinyl copy of the album (Limited edition 12 inch LP, 180gram), signed by Jack and Joel, at £18 (plus Eventbrite fee) or, for those that already have the album, we have tickets for the Event Only, at £6 (plus Eventbrite fee).
Please be careful which ticket you select.
Time & Date: Wednesday 27th March 6:00pm – 8:00pm
Vinylstore Jr, 20 Castle Street, Canterbury, CT1 2QJ
Gina Lapsley, Jack Hues, and Joel Magill
Rega Elys 2 moving magnet cartridge, Rega Planar 3 turntable, Rega Elex-R amplifier, Chord Signature speaker cable, Bowers and Wilkins 607 speakers.
The post Classic Album Sundays Canterbury presents Jack Hues and The Quartet featuring Syd Arthur ‘Collaborations Volume 2: Nobody’s Fault But My Own’ appeared first on Classic Album Sundays.
from Classic Album Sundays https://ift.tt/2Su3PNj
via IFTTT
The Flaming Lips blurred fact and fiction to make sense of our chaotic world; a world that continues to delight and horrify in equal measure. Check out some of the artists they inspired in our playlist featuring The Horrors, Animal Collective, Mercury Rev, Miley Cyrus, The Chemical Brothers and more.
The post The Flaming Lips ‘Yoshimi Battles The Pink Robots’ Legacy Playlist appeared first on Classic Album Sundays.
from Classic Album Sundays https://ift.tt/2tHrAHz
via IFTTT
‘Ain’t Too Proud – The Life and Times of The Temptations (Original Broadway Cast Recording)’ to be released by UMe
The post The Temptations original Broadway cast recording to be released by UMe appeared first on Goldmine Magazine.
from Goldmine Magazine https://ift.tt/2EAZLa4
via IFTTT
Persiguiendo a Amy
Casi ocho años después del revuelo mediático y la crónica que acompañó a una muerte anunciada el 23 de Julio del 2011, como tantos otros artistas que dejaron el plano terrenal en la última década, Amy Winehouse sigue dando de qué hablar entre la comunidad melómana, más allá de la controversa gira del Holograma de Amy que se anunciaba hace apenas unos meses. Su talento creativo y su brutal honestidad alejada del estereotipo de estrella del pop han dejado un legado musical y artístico del que pocas artistas de su generación podrían presumir. La historia de Back to Black (algo así como ‘lo mismo de siempre’) podría ser la historia de cualquiera de nosotros -si es que en alguna ocasión nos hemos atrevido a amar intensa y pasionalmente- sólo que narrada por una voz femenina de amplios matices graves y sin ningún tipo de filtro, literalmente.
Amy Jade Winehouse, nacida el 14 de Septiembre de 1983 en Enfield y criada en Southgate, barrios de la suburbia norte londinense, estuvo siempre rodeada de música. Entre sus referentes musicales, encontramos las voces de Etta James, Ella Fitzgerald, Frank Sinatra, Dinah Washington; pero también como raramente se relata en los medios tuvo una época en la que Madonna, Kylie, TLC y Salt ‘n Pepa eran las reinas de su habitación. Alentada por éstas últimas y precoz como tantos otros suburban kids Amy ya tenía una banda de rap a los 10 (Sweet ‘n Sour), guitarra propia a las 13 y composiciones propias a los 14 años. Su interés por las artes escénicas la llevaron a estudiar teatro en su fase adolescente y a pasear su talento por pequeños locales de Londres. Su primer contrato editorial en la industria llegó de la mano de Nick Gatfield de EMI con quien lanzaría en 2003 su primer álbum ‘Frank’ así llamado en homenaje a Frank Sinatra. Frank fue producido por Salaam Remi y coescrito por Amy y obtuvo varias nominaciones a los premios BRIT y Mercury. Recibió un disco de platino y el codiciado premio Ivor Novello a la mejor canción por ‘Stronger than me’. Además, su aparición en los festivales Virgin y Glastonbury en 2004 empezaron a posicionarla como la joven promesa de la música británica. En Frank, ya se puede apreciar la honestidad con la que Amy escribe y canta sobre su ajetreada vida emocional. El éxito comercial e internacional llegaría con su segundo trabajo, el aclamado ‘Back to Black’ (Island Records, 2006), exquisito trabajo de referencias neo soul, jazz y R&B que la llevó a lo más alto del panorama musical ganando 5 premios Grammy. Con los Grammy llegaron también los masa media que documentaban sin tregua a una Amy con graves problemas de salud y una visible fragilidad física y mental. Amy falleció el 23 de Julio de 2011 a los 27 años de edad dejando un legado breve pero imprescindible para poder entender la historia de la música del S.XXI y la profunda regeneración del Jazz que en estos momentos se está viviendo en Londres.
Back to Black
Grabado mayoritariamente entre Nueva York, Londres y Miami, Back to Black es el resultado de tres viajes musicales que se entrelazan. En él confluyen el lirismo más crudo de una Amy ácida, irónica y emocionalmente dolida, la fluidez e intimidad del proceso creativo con el productor y amigo-confesor de la mitad del álbum Salaam Remi, y la camaradería de dos artistas británicos en búsqueda de un sonido nuevo y a su vez nostálgico que llevó a Mark Ronson y a Amy a producir la otra mitad en el estudio de los Dap Kings, especialistas en resucitar el sonido funk y soul de mitad de los 60 y 70.
Del Back to Black se extraen cinco sencillos “Rehab”, “You Know I’m No Good”, “Back to Black”, “Tears Dry on Their Own” y “Love Is a Losing Game”. Cuenta Ronson -productor de todos los singles menos “Tears Dry on Their Own”- que “Rehab” nació a raíz de una conversación entre Amy y él tras la que Amy se sentó guitarra en mano y en clave de blues comenzó a darle forma a la celebrada canción; Ronson propuso darle velocidad al tema y poner rumbo al sonido pop de las girl bands de los 60 como The Shangri-Las, dado que días antes habían estado escuchandolas en una visita a una tienda de vinilos de segunda mano. Previo a Amy, Mark Ronson ya había producido a artistas como Sharon Jones & The Dap-Kings y Macy Gray forjando esa base de neo-soul y recuperación del sonido Motown que prevalece en el Back to Black, usando técnicas de grabación como la Wall of Sound de Phil Spector (un sólo micro grabando a toda la backing band). Después le caerían pesos pesados del pop como Adele, Lady Gaga, Bruno Mars y Paul McCartney. Mark Ronson supo dotar a éste álbum de unas sensibilidades pop y soul sin venderse al camino fácil que hubiera sido samplear sonidos de antaño. Elegir a los Dap-Kings como banda acompañante, fue sin duda otro gran acierto.
Pero no todo lo que reluce es Ronson. Remi viene de una fuerte tradición hip hop de los 90s y de producir entre muchos otros a los Fugees, Wyclef Jean, Ms Dynamite, Jamiroquai o Nas. Además mantenía una cercana relación amistosa con Winehouse tras haber trabajado en el ‘Frank’ y esa cercanía se percibe en la manera tan íntima de leer a Amy en temas como ‘Wake Up Alone’ o ‘Some Unholy War’. Cuenta Remi que trabajar con Amy era trabajar con una artista extremadamente llena de vida y autenticidad que en medio de una grabación se iba a la cocina a preparar un té. Esa tetera en ebullición se percibe a modo de altas frecuencias en ‘Me & Mr. Jones’. El sencillo de Remi que vió la luz fue “Tears Dry on Their Own” que samplea la potente intro del ‘Ain’t No Mountain High Enough’ de Marvin Gaye y Tammi Terrell y canaliza la misma onda Motown y late 60s de Ronson haciendo del Back to Black un álbum coherente y un cuerpo de trabajo atemporal. Pero no nos equivoquemos, Amy tuvo las ideas muy claras musicalmente desde el primer encuentro con Ronson y Remi y supo transmitir sus emociones a éstos mostrándose fiel a sí misma aportando unas letras y composiciones elaboradas.
Desde su lanzamiento, Back to Black ha vendido más de 4 millones de copias, convirtiéndose en el segundo álbum más vendido del s. XXI en Inglaterra y el decimotercero de la historia. Documentales, libros y una película narran su historia, mientras que artistas femeninas como Adele y Duffy agradecen el inmenso legado musical de Amy y el camino que éste reabrió para el soul británico.
Texto: Alejandro Asencio
INFORMACION DEL EVENTO
Classic Album Sundays Barcelona regresa al espacio audiófilo Nica para rendir homenaje a la voz legendaria de la inigualable Amy Winehouse y su álbum postumo ‘Back to Black’ (Island, 2006)
Evento facebook aquí
– – –
Chasing Amy
Almost eight years after the commotion and the premonitory media chronicles of a death that shocked the World on July 23rd, 2011, and like so many other artists who left the earthly plane in the last decade, Amy Winehouse remains more alive than ever within the music community, beyond the controversial Amy Hologram Tour that was announced just a few months ago. Her creative talent, wide vocal range, and brutally honest lyricism have set her away from the squeezable pop star stereotype that many industry heads saw upon her beginnings, having left a musical and artistic legacy that few artists of her generation could have only dreamed of. The story of Back to Black (something like ‘going back to what you know’) could be the story of any of us – if we ever dared to really love intensely and passionately – narrated by a female voice from outer space, graced with some serious nuances and spitted out filterless, literally.
Amy Jade Winehouse, born September 14th, 1983 in Enfield and raised in Southgate was always surrounded by music. Among her musical heroes we find the voices of Etta James, Ella Fitzgerald, Frank Sinatra and Dinah Washington; but also as it has rarely been reported she had a short time when Madonna, Kylie, TLC and Salt ‘n Pepa were the queens in her bedroom. Encouraged by the latter -and precocious like so many other suburban kids- Amy had already formed a rap act aged 10 (Sweet ‘n Sour), owned a guitar at 13 and made her own compositions at 14. Her first publishing contract in the music industry came from Nick Gatfield of EMI Records with whom she would launch her debut album ‘Frank’ (named after Frank Sinatra) in 2003. Frank was produced by Salaam Remi and co-written by Amy. It won several nominations for the BRIT and Mercury awards, became platinum, and won the coveted Ivor Novello award for best song for ‘Stronger than me’. In addition, her appearances in V Festival and Glastonbury during 2004 began to position her as the young promise of British music. In Frank, you can already appreciate the honesty with which Amy writes and sings about her personal life; a bold attitude that would bring her commercial and international success with the release of her second album, the acclaimed ‘Back to Black’ (Island Records, 2006); an exquisite body of work that referencing soul, jazz, and Motownesque R&B. Back to Black took her to the heights of the global music scene winning 5 Grammy Awards in one night, but it also meant the freefall that mass media documented without respite showing the World a fragile Amy with serious health issues and a visible physical deterioration. Amy passed away aged 27 leaving a somehow brief but quintessential legacy to understand the history of XXI C. music, and the deep regeneration of the Jazz scene that London is currently undergoing.
Back to Black
Recorded mostly between New York, London and Miami; Back to Black is the result of three musical journeys that intertwine. It brings together the raw lyricism of an acidic, ironic and emotionally torned Amy, the intimate flow of one half of the creative process with the producer-friend-confessor Salaam Remi, and the camaraderie of two Brits in search of a sound that could be both new and nostalgic which lead Mark Ronson and Amy to produce the other half of the album with backing band the Dap Kings.
Five successful singles “Rehab”, “You Know I’m Not Good”, “Back to Black”, “Tears Dry on Their Own” and “Love Is a Losing Game” were taken from the album. According to Ronson, who had produced all these singles except “Tears Dry on Their Own”; “Rehab” was born from a chit chat between Amy and himself after which Amy sat guitar in hand and began to shape the celebrated song in a slowed down bluesy key. Ronson proposed that the rhythm sped up and echoed the pop sound of 60s girl band The Shangri-Las, since days before they had been listening to them in a visit to a record store looking for influences. Prior to Amy, Mark Ronson had already produced artists such as Sharon Jones & The Dap-Kings and Macy Gray forging that base of neo-soul and Motownesque sound that prevails in Back to Black, using recording techniques like Phil Spector’s Wall of Sound (a single microphone recording the whole backing band). After Amy, pop heavyweights like Adele, Lady Gaga, Bruno Mars and Paul McCartney would require Ronson’s skills. He knew how to endow this album with pop and soul sensibilities without taking the easy path that would have been sampling old sounds. Choosing the Dap-Kings as a backing band was, without a doubt, a superb idea.
But not all that glitters is Ronson’s gold. Salaam Remi comes from a solid hip hop producing tradition of the 90s and produced among many others acts like The Fugees, Wyclef Jean, Ms Dynamite, Jamiroquai or Nas. He also kept a close friendship with Winehouse after having produced ‘Frank’, and that closeness is perceived and poured out in the intimate way he reads Amy on tracks like ‘Wake Up Alone’ or ‘Some Unholy War’. Remi mentioned that working with Amy was working with an extremely alive and authentic artist. She would leave the recording room halfway through her vocals being recorded, go to the kitchen, and start the kettle to brew tea. That boiling kettle turned into high frequencies in ‘Me & Mr. Jones’. Remi’s produced single “Tears Dry on Their Own” sampled the powerful intro of Marvin Gaye and Tammi Terrell’s ‘Ain’t No Mountain High Enough’ and channels the same 67 and Motownesque vibes that Ronson was seeking for making Back to Black a seamless and timeless body of work. But make no mistake, Amy had very clear ideas of where to take Back to Black musically from the first meeting with Ronson and later work with Remi. She knew what she wanted, and showed no remorse in conveying her dark emotions to them. Her deepest weaknesses turned into artistic resilience showing a mature songwriter staying true to herself.
Words by Alejandro Asencio
EVENT INFO
Classic Album Sundays Barcelona and Nica invite you to (re)discover this classic and to listen to it in a hi-fi system as you may have never done before.
Schedule
Sunday March 17th
18:00 doors opening, musical entertainment.
19:00 album presentation and playback.
20:00 colloquium, and closing.
**Access to the room will not be allowed after the album playback starts (19:00), and we kindly ask people to refrain from using mobile phones during the album’s playback.
**In order to make this a great experience for everyone, we kindly ask that conversations and chatter during the spoken presentation are carried out in the adjacent bar.
Free entrance with RSVP on this link: https://www.ticketsource.co.uk/date/627940
Facebook event here
The post Classic Album Sundays Barcelona Presents Amy Winehouse ‘Back to Black’ appeared first on Classic Album Sundays.
from Classic Album Sundays https://ift.tt/2NwjWsP
via IFTTT
mandersmedia music shop 