|:: Posted by Sid Smith on Tue., Oct 18, 2011
There's an insight into the working methods of Grooveshark in the comments section of the Digital Music News. My thanks to Rockette for sending in the following post. He writes "The row about Grooveshark rumbles on at
Digital Music News. Most commentators deplore the
company’s lack of ethics, and of course there are the usual dismissive
comments from Brave-New-Worlders claiming that the only future for the
music biz is for all artists to give away their tracks for free.
This recent anonymous post caught my eye:
I work for Grooveshark. Here is some information from the trenches:
are assigned a predetermined ammount of weekly uploads to the system
and get a small extra bonus if we manage to go above that (not easy).The
assignments are assumed as direct orders from the top to the bottom, we
don’t just volunteer to "enhance" the Grooveshark database.
search results are monitored and when something is tagged as "not
available", it get’s queued up to our lists for upload. You have to
visualize the database in two general sections: "known" stuff and
"undiscovered/indie/underground". The "known" stuff is taken care
internally by uploads. Only for the "undiscovered" stuff are the users
involved as explained in some posts above. Practically speaking, there
is not much need for users to upload a major label album since we
already take care of this on a daily basis.
the above legal, or ethical? Of course not. Don’t reply to give me a
lecture. I know. But if the labels and their laywers can’t figure out
how to stop it, then I don’t feel bad for having a job. It’s tough
am I disclosing all this? Well, I have been here a while and I don’t
like the attitude that the administration has aquired against the
artists. They are the enemy. They are the threat. The things that are
said internally about them would make you very very angry. Interns are
promised getting a foot in the music industry, only to hear these people
cursing and bad mouthing the whole industry all day long, to the point
where you wonder what would happen if Grooveshark get’s hacked by
Anonymous one day and all the emails leak on some torrent or something.
to confirm the fears of the members of King Crimson, there is no way in
hell you can get your stuff down. They are already tagged since you
sent in your first complaint. The administration knows that you can’t
afford to sue for infringement.
Judging by the way
Grooveshark have conducted themselves in their dealings with Declan
Colgan and Robert Fripp, this has the ring of truth. In the old days,
the enemy of musicians were what Zappa called "the old cigar-chomping
guys"; now it appears there is a new foe, somewhat younger but just as
devious and unscrupulous. As Pete Townshend said, "Meet the new boss,
same as the old boss".
Displaying 5095 items (Viewing 101 to 110 of 5095)
It Was 42 Years Ago Today...
:: Posted by Sid Smith on Mon., Mar 23, 2015
Larks’ Tongues In Aspic was released on this date 42 years ago.
Can you recall the day you first encountered this album? Please leave your comments on the guestbook. You can read my take on that over on the blog.
In the meantime here's what Ian McDonald, writing in the New Musical Express in March 1973 had to say about the album...
"A NICE RECORD of pleasant, middle-of-the-road music which should prove a great favourite with everybody’s mum and dad this Easter. Bill Bruford’s whistling has improved out of all recognition and Robert Fripp’s Gregorian Chant rendition of ’I Did It My Way’ cuts Joaquin Des Prez’s original stone dead.
Sharks’ Lungs In Lemsip is, in fact, a record (in every sense) of King Crimson’s current cosmic stage-act, leaving out only the long improvisation called ’Vista Under Arc-Lights’ which comes in the middle.
The fact that the group have taken enormous trouble over the mixing of this album is not, in itself, remarkable in this age of quad, flash, and total theatre; what is remarkable, however, is their choice of mixes for.
At almost every point they have avoided the easy drama or conventional felicities most bands would be content with in favour of a sound-balance faithful to what’s actually been played – including the odd bomb here and there. And it’s in no way a literal proposition either.
This album embodies a creative reinterpretation of what a conventional rock-group should sound like in the studios, a tour-de-force of timbre and rhythm that, in the days of synthesizers and electronics, single-handedly reinstates credibility to the natural sound.
Bands lacking the technical know-how or simple inclination to set off in the direction Faust have indicated should bend an attentive ear to King Crimson. There’s a lot to be learned.
Whether you see the album as the group do – a sequence of vivid contrasts of design and sound-quality – or, like me, hear a still slightly uneasy meeting of two extremes, there’s no denying the force of the transition from the harsh intensity of Fripp City (’Easy Money’) to the windy African grassland on the outskirts of Muirsville (’The Talking Drum’).
In terms of personality, Larks’ Tongues In Aspic is throughout a respectful tension between Fripp The Composer and Muir The Performer, though to limit either to one function would be to miss the point.
Particularly outstanding from Fripp in his role as group architect are the two parts of the title track which open and close the album, the latter with its elaborately-engineered crescendoes and decrescendoes, the former with its complex and almost classical concept of organisation – echoing, dare I say it, the feel of a symphonic opening movement.
Fripp’s guitar is in the foreground to fine effect on ’Easy Money’ and runs ingeniously backwards during a brief passage on ’Book Of Saturdays’, but impresses most in the textural role, either snarling atmospherically around in the distance or chipping in as a third percussion voice.
Muir features brilliantly in his own right on a couple of tracks, but his introductions to ’Larks’ Tongues Part One’, ’The Talking Drum’, and ’Exiles’ are superb extempore compositions in themselves – particularly the last of these, performed on glass tubing.
David Cross’s violin is far more effective on record than it is, at present, onstage; both sections of ’Larks’ Tongues’ contain excellent solos from him, the quiet ’Interlude’ from the first part really standing out.
As for Bruford and Wetton, the unity and solidarity of these six performances is entirely in their hands and they don’t put a foot wrong, even throwing in some tricksy Yes-type unison work on the already complex verse of ’Easy Money’.
If there are drawbacks to this record they lie (at least for me) in the two ballads which close side one. The group obviously see them as valid contrast, apart from liking them as songs; my view is that they come over as anomalous throw-backs to an earlier, and entirely different, band.
I’m prepared to admit that this criticism merely reveals a personal blind-spot, and certainly fans of the previous versions of King Crimson will find ’Exiles’ and ’Book Of Saturdays’ the most immediately accessible of the new numbers – but the mix on the former is a little weedy anyway, and the violin sounds slightly out of tune. Nor am I overfond of the lyrics, but there aren’t that many of them so I won’t complain.
Larks’ Tongues In Aspic is a challenging record, but it’s rewards are very substantial, even if you’d have to be an odd mixture of a person to like it all without reservation. Final verdict: a classic of its kind and worth every penny of the asking price.
You know, I think old Crimso’s onto a winner here."
David Cross: Starless Starlight
:: Posted by Sid Smith on Thu., Mar 19, 2015
David Cross has a new album out in May entitled Starless Starlight. The album is based upon the short melody composed by David Cross and Robert Fripp that emerged as one of the key themes of King Crimson’s Starless from the final ’70s studio album, Red.
The tune resurfaced in two improvisations performed and recorded by Fripp at Blueberry Hill, St Louis in 2006. These recordings and the theme itself were then transformed by David Cross (and co-producer Tony Lowe) into the album Starless Starlight.
There’s an album launch event taking place on May 26th at The Bedford, 77 Bedford Hill, Balham, London, £10 advance / £12 on the door which opens at 7.30 p.m.
Cross will be joined by Yumi Hara (The Artaud Beats), David Jackson (ex-Van der Graaf Generator) and Tony Lowe (Producer Guitarist) who will be performing new versions of music from this album and, in keeping with the spirit of this venture, will individually and collectively devise, compose and otherwise create original new interpretations of the Starless theme.
Starless Starlight is available for preorder here.
Cross & Keeling's Spring Fever!
:: Posted by Sid Smith on Wed., Mar 18, 2015
David Cross and Andrew Keeling are performing in London this month.
For full details of the event, venue and how to get there click here.
King Crimson 2015: Additional Dates!
:: Posted by Sid Smith on Tue., Mar 17, 2015
Additional dates have been added to King Crimson’s UK and European dates later this year. They are:
Saturday 12th Sept The Lowry, Salford
Tuesday 15th Sept Symphony Hall, Birmingham
Friday 18th Sept Usher Hall, Edinburgh
Tickets go on sale Friday, 20th March 2015 at 9.00 a.m. via Livenation and venue box offices.
Wetton's Positive Message
:: Posted by Sid Smith on Tue., Mar 17, 2015
John Wetton talks about Asia and the positive messages he likes to put into his music in this interview. It's been a busy time for John who has working with Eddie Jobson on UK's final tour and a German 'Rock Meets Classic' orchestral arena tour in the offing. This month also sees the release of a two-disc anthology, The Studio Recordings, which provides an overview of John's solo career. Check out the details here. Also this month comes New York Minute - a live album recorded at the Iridium club in New York with John and the Les Paul Trio covering a mix of his own songs and some of his favourites by other artists including Steely Dan, The Beatles, Hendrix, Brian Wilson, etc. Details can be found here.
Mister Stormy's Monday Selection
:: Posted by Sid Smith on Mon., Mar 16, 2015
There's only ever been one track available from the pre-ProjeKcts undertaking that was Radical Dance. Until today!
Bill & Crimson!
:: Posted by Sid Smith on Sun., Mar 15, 2015
My thanks to Leonardo Pavkovic for sending these photographs of the pre-concert talk tonight with Bill Bruford at the University of Surrey.
Bill was in conversation ahead of this evening's concert by the Delta Sax Quartet who were performing ex-Earthworks
pianist Gwilym Simcock's latest composition, Crimson! which re-imagines
some of the Crimson canon scored exclusively for saxophone. The London premier of the composition takes place on May 1st at St.John's Smith Square.
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