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Sharkless and Bertolt Brecht
:: Posted by davidly on May 01, 2015
Good riddance to the shark!
Discipline Global Mobile has proved to be a model for not just fairness in the marketplace but vigilance against those who would misappropriate its works. I don’t know the nature of the settlement that deferred DGM grief but have to wonder how many artists still today are having their works licensed out by one or more of the majors who don’t own the rights to do so and have to think that the majority of those artists would be wholly unaware of its going on.
When you consider that Grooveshark might still be lurking in the shallow waters were it not for the formidable financial power of UMG, Sony and Warners, it might also bring to mind that this discrepancy of powerful influence is the same that renders it prohibitive for artists to take effective legal action against UMG, Sony and Warners.
From Grooveshark’s letter:
As part of a settlement agreement with the major record companies, we have agreed to cease operations immediately, wipe clean all the data on our servers and hand over ownership of this website, our mobile apps and intellectual property, including our patents and copyrights.
Did they hand over that ownership to a larger school of sharks?
The Grooveshark Homepage
:: Posted by mipoch on May 01, 2015
Worthy of a screenshot, I’d say. :)
Grooveshark's Lungs in Lemsip
:: Posted by snkzato1 on May 01, 2015
I’m imagining somewhere in England Robert has a huge grin on his face over the death of grooveshark.
:: Posted by WaitingMan on April 30, 2015
With all the talk of RF’s best non-Crimson guitar work, may I add David Bowie’s Scary Monsters album to the list, in particular the song ’Teenage Wildlife’...
Robert’s two solos on that track still affect me, 35 years or so later. It’s all there - blistering speed, exquisite-but-unusual note choice & intervals, cyclic motifs
In fact, taken with ’Up The Hill Backwards’ & ’Fashion’, the entire 80s Crimson blueprint is there - dissonance, discipline & delectability
RF is on record as saying he has done some of his best work with Bowie, due to the supportive nature in the studio during recordings. If ’Joe The Lion’ was a strange way to start, then ’Teenage Wildlife’ was a great way to finish...
:: Posted by mutant on April 29, 2015
Does anyone know conclusively if recordings of the Albany shows will ever be made available for download purchase?
Mellotron on KC
:: Posted by dshoemaker on April 28, 2015
Teladan: One additional example would be the orchestral sounds forming part of the intro to VROOM.
:: Posted by Teledan on April 24, 2015
Thank you for the prompt and very interesting response to my question, Sid. Whoever it was that actually played those memorable nine-or-so seconds of guitar can claim an interesting, perhaps unique, distinction: his (or her) guitar playing is featured on a studio album by the Beatles, and a live album by King Crimson. Are there any other examples of the "patches" provided with a stock mellotron(as opposed to the pitched notes produced by the keyboard itself) being used on KC albums (or perhaps on other well-known recordings) of which you are aware?
Travel Bleary Capricorn
:: Posted by Teledan on April 24, 2015
I just noticed that the guitar lick that starts the improv entitled "Travel Bleary Capricorn" from December 14th, 1969 at the Fillmore West (from the "Epitaph" set) is, I believe, identical to the lick that ends "Wild Honey Pie" as it segues "The Continuing Story of Bungalow Bill" on the Beatles’ eponymous album. I always thought this was an amazing guitar lick- does anyone know if it’s George Harrison that plays it on the Beatles’ recording? And was Robert consciously playing the lick verbatim to the Beatles’ music? Or is it not verbatim? Is it simply considered a "stock cliche" Spanish-sounding guitar riff?
The lick in question is one of the patch sounds that came standard with the Mellotron at the time and which The Beatles used on the White Album. Having the same version of the 'tron, KC were able to slip this into their set.
In the moment...respect..
:: Posted by AndrewJohn on April 24, 2015
I spot a link between a ’walking off’ and Fripp’s soloing guitar as practised over many years.
I recall well seeing Paul Tortelier at The Free Trade Hall Manchester many years ago. No filming then, in the 70’s, and as the place was packed we were behind him on extra seating on the stage. Wondrous music and playing from another age, but after the ’gig’ I was unexpectedly in the position to receive an autograph. His daughter attempted to usher him on as he was shattered and obviously elated & stressed form his performance and its response. ’But ..No just one more was his answer’...I don’t recall asking, but there was a clamour around me.
Being in the moment is tender and fantastic, not easily achieved. For me many of Fripp’s solos, outside the KC camp, have caught this. This is what makes KC so incredible and certainly not The Fripp Band. Being lucky enough to, or be able to put yourself in a place that might, enjoy a joy can be a skill to recognize. ’Heroes’ illustrates this as well.
The forest of mobile phones held aloft for Ted Nugent’s turn in Nottingham in 2006, disappointed me and was a great distraction. Nugent’s attitude then was impossible to fathom. It made no difference, he didn’t care and why should he. His indifference illustrates his well worn live and let live, freedom to do what you will but don’t tread on me stance. The KWSBand’s recent Holmfirth visit was a revelation though. I only really spotted 2 phones being used with abandon. Wonderful audience & band in harmony with attention on the music.
This is what KC does for me and I’m sure many others. Respect for other players and audience for the greater expression of whatever the KC muse wishes to unleash on us all. If we all suffer for one miscrient, then we’ll have to wait for another day. First take fever is what you get at a live event and an expectation of a high level of respect should be offered, but with a freedom to expect the unexpected without limiting self control. A high wire act for us all.
A real event is not a recorded one, but hell yeah it’s marvellous to hear Fripp go off on one; tender, mean, spiky, fuzzed, frizzed.....well... just playing really. Lucky RF, always in the playground when he straps on his Guitar Toy. Have a good day!
walking out on a gig
:: Posted by andyfromozz on April 24, 2015
I do have sympathy for an artist who may politely request nobody films the gig, but I’m not sure I agree with walking out on the gig. Seems like a big crowd of people who DID respect the artist had to be punished for the actions of one.
Perhaps simply pausing the show until the person stopped might have been better? or maybe asking one of the security guards to go down and ask the person to stop filming. Or perhaps asking the crowd for help, to raise their hands in front of the camera..."there must be 50 ways to leave your lover".
Walking offstage for a bottle being thrown, yes I’d agree with that, but it seems a little bit diva-ish to walk offstage, just because of one person filming, after all, that can (mostly) be ignored...
In walking out, she seems not to have shown very much respect for all the other nice people there to support her.
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