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Date

June 25, 2019

Mike Greenblatt Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more

In the latest Bluesology, author Mike Greenblatt will turn the music lover on to new releases such as John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and others.

The post Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more appeared first on Goldmine Magazine.

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Mike Greenblatt Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more

In the latest Bluesology, author Mike Greenblatt will turn the music lover on to new releases such as John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and others.

The post Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more appeared first on Goldmine Magazine.

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Mike Greenblatt Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more

In the latest Bluesology, author Mike Greenblatt will turn the music lover on to new releases such as John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and others.

The post Bluesology: Blues releases John Clifton, Harpdog Brown, Kingfish, Jimmy Vaughan and more appeared first on Goldmine Magazine.

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Carol Anne Szel Former Ozzy guitarist, Jake E Lee, clears up the past and moves forward

Jake E. Lee gives some insight on working with Ozzy and how it led him to carry on to manage his own bands.

The post Former Ozzy guitarist, Jake E Lee, clears up the past and moves forward appeared first on Goldmine Magazine.

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Freya Parr A guide to Wagner’s Die Walküre

Rating: 
0

Die Walküre

Composed: 1854-6
Premiered: 26 June 1876, Munich

Separated from his twin sister Sieglinde since childhood, Siegmund is reunited with her when sheltering from a storm at the house of her husband Hunding. They fall passionately in love. Hunding himself, though, realises that Siegmund once killed his brother, and challenges him to combat.

Wotan, who is Siegmund’s father, sends the Valkyrie Brünnhilde to protect him, but then, on the order of his wife Fricka, changes his mind. Brünnhilde does so anyway. Siegmund loses when Wotan shatters his sword; Brünnhilde, meanwhile, is condemned by Wotan to lie in a magic sleep, surrounded by a ring of fire.

 

 

The second Ring cycle drama begins with an almighty storm – storms are a Wagnerian speciality. Wagner gives himself over to an unprecedented portrayal of the growth of passion between two utterly wretched people, Siegmund and Sieglinde, who in the course of Act I discover that they are twins, which only adds to their ardour. They are also the children of Wotan by an adulterous relationship with a mortal woman, so they have everything against them. After only 
one night of fulfilment they have to be destroyed, in the name of Law.

Civilisation can’t afford such violations, as Wotan’s imperious wife Fricka makes clear. Wotan’s idea was to breed a race that was free of his taint but, like all gods, he is responsible for how the creatures he has made turn out. He also has a quasi-incestuous relationship with his Valkyrie daughter Brünnhilde, who disobeys his command to assist in the killing of the twin Siegmund, because she witnesses the twins’ love and is so moved by it.

 

 

In Die Walküre Wagner explores states of mind with an intimacy and detail, set to music of unprecedented depth and beauty, so that our sympathies are involved to a degree that can otherwise only be found in Shakespeare. After Wotan has been defeated by Fricka in argument, he sinks in despair and tries, in an enormous monologue, to make sense of his life and find a way out of his hopeless dilemma.

But he knows that he is trapped and, torn as he is, wills ‘Das Ende!’ at the same time as he has plans for how to circumvent it – like all of Wagner’s major characters, like everyone who is aware of the richness of life, he wants to have his cake and eat it. In effect, he punishes Brünnhilde for doing what he had wanted to, as she herself points out.

 

 

Die Walküre is the most popular opera in the Ring, the only one that gets performed in isolation. Though it has the closest ties to the drama that precedes it, and generates the two that follow it, it is emotionally self-contained, instantly compelling, and overwhelmingly tragic.

Wagner wrote it immediately after Das Rheingold, but the feel of it is wholly different. Its most celebrated section, the ‘Ride of the Valkyries’, is also quite unlike anything else in the work, which is dominated by passion and the ways in which society thwarts it.

 

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Goldmine1 Eagles hit songwriter Jack Tempchin announces new solo record

Hot off the heels of his induction into the Songwriters Hall of Fame, singer-songwriter Jack Tempchin has announced the release of his 12th solo album titled “One More Time With Feeling,” due out August 23 on Jimmy Buffett’s label Mailboat Records.

The post Eagles hit songwriter Jack Tempchin announces new solo record appeared first on Goldmine Magazine.

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Check out my interview with Maxim Magazine Mexico about my Queen…

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Office Ambience 425

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Diognes_The_Fox Y’all I’m Back, And They Let Me Go To Europe, Too

We replaced Fox’s coffee with Folgers Crystals on a recent trip to Europe. Let’s see if they noticed. The following is an account to some varying degree of accuracy. The views expressed in this publication do not necessarily reflect the views of the Discogs or its related entities.

I woke up on the floor in the space between two worlds, confused, disoriented, and emerging from between the two twin beds pushed together to resemble a king size. Is it dark? No time, no time zones, only my sparsely defined conceptual continuity in a place entirely too familiar: used vinyl record commerce.

Head throbbing with familiar regret, I assess the damage. The phone is dead, my laptop is dead, my pants are somewhere. Get those charging, fine. Eye over the half crate of black crack leaning against the wall and realize all too well with panging anxiety that I’ve only begun to torch my bank account. My association is no longer pure joy. Corrupted with having to make ends meet, now seeing imperfections of resale profit percentages, proper price per grade and pressing, the realities of sample-based music and crate digging altogether in 2019. There used to be unbridled ecstasy of discovery here. Am I still capable of being that which I thought I was at some point, or was that a me I had only dreamed of becoming?

Utrecht record fair

Before I can answer, I’m already dressed and navigating my way to the train station, having been run over by bicyclists approximately 38 times per second. Amsterdam is a city. They like mayo on fries, but they have strict rules about mayo, so there’s fake mayo they call fritessaus. McDonald’s has their own variant, which basically has mustard mixed into it. It’s apparently known as fritessaus American, despite it not being served here at all. I think they’re poking fun at us. Yesterday was the dealer setup day. I spent too much money, but the numbers were lower than I see back home, so I must have spent less, right? What are conversion rates anyway? Or time zones for that matter?

I was sending out messages to friends without care or concern for local time of day. No chill. No time zones. No time. The convention hall where they hold the fair is massive and easy to get lost in. Records were only about half the dealers there, with the rest mainly comprising antiques, some belonging to eras less relatable than others. The temptation to buy Vaseline glass or a gosh darn crossbow were strong, but I knew I was going to have enough of a fun time getting back into the country as it was.

Saturday was the first official day of the fair. Still far too jet-lagged to function socially, I managed to interact with a few of you and may make policy changes based off the hypnotic state of my weakened mental state. Congratulations, those of you who talked to or — at me — during those waking hours. There’s something about being in a giant room with manufactured lighting for days on end. A loud mix of people and the occasional sub bass of distant music or locally-sourced piercing high end, resulting in occasional sloppy Ella Fitzgerald deep techno. Record super jail waged on seemingly endlessly, finds dropping off as the chafing on my rear increased from walking the seemingly endless floors in search of something other than ring-burnt Boney M LPs and €500 Vertigo swirls.

Utrecht record fair

By Sunday, there was no humanity left, completely fried out by the cacophony of haggling and Eurovision hits. I hissed and spit acid at anything less than stone mint. Language and music had lost all meaning in this place, and the universe began to collapse. Prices reduced and again I desperately tried to throw as much of my life savings away as quickly as possible. The curtain drops and the cast bows, another successful mission. I visited the office and coworkers and even crashed at a friend’s crib one night after hanging out all day and talking about records. Now to get it all back home in one piece.

There are a few key things about packing to bring as much vinyl back home as possible. I fit this entire load in two carry-ons with a week of clothes, a laptop, and other essentials. First, pack as lightly as possible going there. Bring cheap/thrifted clothes, in case you need to abandon something. Wear a music related t-shirt to the airport — and most importantly, be nice to airport employees. There’s a pretty good chance you’re going to meet some when you get pulled aside for bag inspection if you’re carrying a lot of records. I try and watch the x-ray op’s face to see if they start squinting about when my bag comes through. If they do, I reply, “Records!” That’s passed me through a few times.

When packing for the trip back, start with your pants, fold them in half, and then in half again the long way. Put that on the bottom. Take a shirt and fold it in half, then roll it up into a burrito-like thing. Repeat with the rest of your shirts and put them aside for a moment. Make a stack of records in the center of the roller bag, rotating each record. As spines as slightly thicker than openings, this will compact them down a little more evenly. Take your T-shirts from earlier and pack them around the stack of LPs to cushion it on all sides. Pack socks and other smaller garments around it and on top and to fill in the gaps. Zip up.

Utrecht record fair

Repeat rotated LPs with the backpack until you’ve hopefully fit them all. If not, check to see if you have a free checked bag or if it’s possible to ship them back home. Try your best to plan ahead and buy only what you can bring back. If you’re planning on checking a box of records, remember to bring the box and packing tape in case you can’t easily source that at the packing location. Seven inches, CDs, and ephemera can usually be placed on top of the LPs inside the backpack. Don’t pack it out too deep, as this one needs to fit under the seat in front of you — and it might be a long flight back with really cramped space. Pack your charger cables and what not around the edges on top as well. Know your customs policies. In the US, you’re allowed to take back $800 worth without paying additional taxes.

This time, I did pretty okay getting back. My back still hurts from the weight. One of the security agents that opened my bags was super cheery, and I was as bubbly as possible. The second was not too pleased and suggested I switch to CDs next time. I was selected apparently for additional screening before I even got into security per my ticket for whatever reason. Probably assuming my acquisition of German psychedelic music and Italo disco might be worth checking into. Never a dull moment. Until next time, look what I bought!

The post Y’all I’m Back, And They Let Me Go To Europe, Too appeared first on Discogs Blog.

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