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March 15, 2019

Goldmine1 Longtime Aerosmith engineer auctions off his private collection

Backstage Auctions, Inc. presents the private collection of David Frangioni, an award-winning veteran of the music industry. Frangioni worked as Aerosmith’s in-house engineer/technologist for 13 years and continued working on their singles, albums, tours.

The post Longtime Aerosmith engineer auctions off his private collection appeared first on Goldmine Magazine.

from Goldmine Magazine

Goldmine1 Quick Pick: ‘Shake Some Action 2.0’ extends its Power Pop coverage

John Borack has updated his 2007 book of 200 power pop albums, ranked and reviewed, including band member interviews, for over half of the 400-page fun entertaining guide.

The post Quick Pick: ‘Shake Some Action 2.0’ extends its Power Pop coverage appeared first on Goldmine Magazine.

from Goldmine Magazine

Goldmine1 Quick Pick: ‘Shake Some Action 2.0’ extends its Power Pop coverage

John Borack has updated his 2007 book of 200 power pop albums, ranked and reviewed, including band member interviews, for over half of the 400-page fun entertaining guide.

The post Quick Pick: ‘Shake Some Action 2.0’ extends its Power Pop coverage appeared first on Goldmine Magazine.

from Goldmine Magazine

Mordant Music announce final releases and share Travelogues 22

via The Wire: Home

BBC Radio 3 pares back experimental and jazz shows in new schedule

via The Wire: Home

Sean Cannon Every Sample From De La Soul’s ‘3 Feet High And Rising,’ Ranked

To celebrate the album’s 30th anniversary, Vinyl Me, Please has chosen De La Soul’s classic 3 Feet High And Rising as its Record Of The Month for March. Order the two-LP clear splatter edition now.

For a certain segment of heads, hip hop reached its zenith in 1989. That’s not because the genre grew stale or slipped out of the zeitgeist in the ensuing years. Quite the contrary. But 1989 felt like the end of an era. It was worry-free sampling’s last hurrah — and what a pre-copyright-crackdown hurrah it was, thanks to a few inventive, lush, sound-rich records!

The first of those ’89 releases to hit shelves was De La Soul’s left-field debut, 3 Feet High And Rising. The album was peculiar on many levels, which was a huge part of the appeal. De La crafted a sprawling yet cohesive album that flew in the face of rap’s usual singles-driven approach. It also eschewed the genre’s increasingly hard edge — led by breakouts from Public Enemy and N.W.A. the prior year. Instead of animus and attitude, 3 Feet… was sunshine and lollipops.

With over 60 far-flung samples and a populist slant, the eccentric album helped introduce hip hop to wider audiences and primed the pump for rap’s eventual cultural ascension. As we look back after three decades, its influence remains palpable. To celebrate that milestone and its continued vitality, we decided to rank all the samples featured on 3 Feet High And Rising with a data-driven approach.

In order to properly delineate the massive number of tracks stuffed into De La Soul’s first album, we considered two primary factors: desirability and pervasiveness. For the first category, we gathered want/have info from the Discogs Database. As the reference point for each track, we used the master release of the first single whenever possible.

A handful of songs were never released on a 45, so we used the first LP they appeared on. This made things tricky since, for example, most people didn’t buy Billy Joel’s 52nd Street to blast Stiletto over and over. Probably not, anyway. To correct for that, we adjusted the numbers of each full-length on the list to neutralize the “LP effect.”

Going beyond pure popularity, we weighted want/have stats to favor wantlist additions on the database. Even though only 23 users have Manzel’s Midnight Theme in their collection, 771 users want it. It might not be a “popular” release, but it is clearly a “desirable” one.

As for pervasiveness, we consulted the sample gods at WhoSampled to see how many times a track was used in another song. After all, Hey Jude is culturally ubiquitous — but this is a world where Syl Johnson, not John Lennon, could be considered more popular than Jesus.

We did our best to grab every sample we could, but there’s always a chance we missed something.The album has so many samples! Speak up if you notice any glaring omissions, and of course chime in if you think the list is all wrong and someone like the Bar-Kays got the (son of) shaft. See what I did there?

This article was produced in partnership with Vinyl Me, Please.

The post Every Sample From De La Soul’s ‘3 Feet High And Rising,’ Ranked appeared first on Discogs Blog.

from Discogs Blog

“A timeless beauty who remains to this day the most photogenic subject the rock music scene…

via The Real Mick Rock

Hector Berlioz

Donald Macleod explores the life and music of Hector Berlioz

Berlioz is perhaps unique among composers in having had a literary gift almost the equal of his musical one. He earned his bread-and-butter living as a writer, turning out witty and often acerbic music criticism for the influential Journal des débats and Gazette musicale among others. Donald starts this week with a look at Berlioz through his engaging, passionate and entertaining Memoirs. Next, he delves into the world of Berlioz’s literary muses – first and foremost, Virgil, Goethe and Shakespeare. We hear about Benvenuto Cellini, the opera whose “verve, impetus and brilliance” Berlioz feared he would never again equal, and his attempt to secure the coveted Prix de Rome amidst the thundering July Revolution. We also encounter some of the celebrated musicians he rubbed shoulders with – among them Liszt, Cherubini, Schumann, Mendelssohn, Wagner and Paganini.

Music featured:
Les Nuits d’été, Op 7 (Villanelle)
Overture Les Francs-Juges, Op 3
Grande Messe des Morts, Op 5 (Dies irae)
La Damnation de Faust, Op 24 (extract)
Béatrice et Bénédict (Act 1)
Zaïde, Op 19 No 1
La Damnation de Faust, Op 24 (Part 2)
Waverley, grande ouverture, Op 1
Les Troyens, Op 29 (Act 1, finale)
Marche funèbre pour la dernière scène d’Hamlet (Tristia, Op 18)
La Captive, Op 12
Harold en Italie, Op 16 (IV. Orgie des brigands)
Le carnaval romain, Op 9
Benvenuto Cellini, Op 23 (extracts)
Messe solennelle (Quoniam tu solus Sanctus)
Épisode de la vie d’un artiste – Grande Symphonie fantastique, arr. Franz Liszt
Le roi Lear, grande ouverture, Op 4
Les nuits d’été, Op 7 (Absence)
Romeo et Juliette, Op 17 (Part 3)

Presented by Donald Macleod
Produced by Chris Barstow for BBC Wales

For full tracklistings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Hector Berlioz

And you can delve into the A-Z of all the composers we’ve featured on Composer of the Week here:

from Composer of the Week

Six of the best: operas about Roman leaders

Julius Caesar


At a meeting of the senate in the year 44 BC, Julius Caesar was stabbed to death – an event that would eventually lead to the transition from the Roman Republic to the Roman Empire. This assassination, as any Shakespeare enthusiast will know, took place on the Ides of March – that's the 15th on today's calendar.  

In the centuries since his untimely demise, Julius Caesar – and a host of other Roman leaders and emperors – have featured in great operatic works by the likes of Mozart and Handel among many others. As historical subject matter for opera goes, these Roman figures lives provided music inspiration from the 17th century onwards.

Here, then, are six of the best operas with Roman leaders at the centre of their plots:


1. Claudio Monteverdi: L’incoronazione di Poppea (The Coronation of Poppaea)

The first known opera to be based on a factual historical subject (as opposed to mythology), Monteverdi’s masterpiece tells the story of Poppaea, who was able to manipulate her position as the mistress of Nero (emperor, 54-68) to be crowned empress. If anything, Monteverdi tones history down a little – while Poppaea comes across as a nasty piece of work in the opera, by all accounts she was far worse in real life (as was, of course, Nero himself). This opera in three acts was first performed at the Teatro Santi Giovanni e Paolo in Venice between 1642-43. Though Monteverdi is noted as the composer for the work, it is a matter of dispute as to whether or not all of the music was written by him.


2. Wolfgang Amadeus Mozart: La clemenza di Tito (The Clemency of Titus)

Though his reign was short lived, Titus (emperor, 79-81) was the perfect subject for this 1791 opera commissioned for the coronation of Emperor Leopold II, King of Bohemia. This two-act opera seria was Mozart’s first operatic work to be performed in England and, though it tells the story of Emperor Titus, he is the only historical character in the work. The plot dwells on the noble qualities of the Roman emperor as he spares the lives of those who try to assassinate him. The real Titus did, in fact, avoid being bumped off, dying instead of natural causes – quite a rarity in early Roman imperial days.


3. George Frideric Handel: Giulio Cesare in Egitto (Julius Caesar in Egypt)

Giuiio Cesare (premiered 1724) is undeniably one of the longest and most elaborate of Handel’s operas and its rich historical subject matter has made it the most revived of his stage works. The plot centres around the arrival of Julius Caesar (dictator, 49-44BC) in Egypt following the defeat of Pompey at Pharsalia in Greece. On learning of the assassination of Pompey by Ptolemy, King of Egypt, Caesar is disgusted and, assisted by Pompey’s family and Cleopatra, seeks revenge. Though there are plenty of twists and turns along the way, eventually good overcomes evil and the odious Ptolemy meets his come-uppance. Much of the opera, though, is really about the growing infatuation of its title character with the ultra-seductive Cleopatra.


4. Arrigo Boito: Nerone (Nero)

Nerone was premiered in 1924 at Teatro alla Scala, Milan. Boito (1842-1918) spent approximately 50 years working on the opera, which was both his second and his final operatic work – alas, he died before it was completed and the music had to be completed by several other composers. The plot depicts Ancient Rome during the rule of Nero and highlights the difference in lifestyle between the Romans (debauched) and the Christians (noble) and ends with the Great Fire of Rome.


5. Detlev Glanert: Caligula

Premiered in 2006, this four-act opera delves into the life of Caligula (emperor, 37-41) and his tyrannous and sadistic reign following the death of his sister, Drusilla. Glanert based his work on a drama by French writer, Albert Camus, and his frantic orchestration is reflective of the mental conditions of Caligula during his rule. The opera combines ideas of mass murder, incest and rape as a way of expressing the madness of the final years of an emperor who, early in his reign, had actually been remarkably liberal and benign as a ruler.


6. Antonio Vivaldi: Ottone in Villa (Otho in the Country)

Ottone (Otho, emperor, 69) features as a protagonist in Vivaldi's 18th-century opera, though his role is more as a lover than a heroic Roman leader. Vivaldi’s first opera, it revolves around the character of Cleonilla, mistress of Ottone. The story is pastoral, following the different romantic excursions of the emperor’s mistress as she fawns for the attention of Caio and Ostillo. It turns out that Ostillo is a woman and lover to Caio and the opera concludes with their marriage. The real-life Otho, meanwhile, did not enjoy a happy time as emperor, ruling for just three months during which he faced a major rebellion and then committing suicide.



Six of the best: opera baddies

Artist interview: Michael Spyres



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