|Wilson Talks Lizard
|:: Posted by Sid Smith on Mon., Feb 13, 2012
There's a major interview conducted by Anil Prasad with Steven Wilson over on the ever-informative Innerviews website.
Displaying 5418 items (Viewing 381 to 390 of 5418)
:: Posted by Sid Smith on Tue., May 12, 2015
Conductor Charles Hazlewoodís exploration of progressive rock is on the BBC iPlayer with 29 days left to listen. Bill Bruford talks about the era including his time in Yes, King Crimson and Earthworks.
Mister Stormy's Monday Selection
:: Posted by Sid Smith on Mon., May 11, 2015
Here's a classic from the vaults given a Mundy make-over: The Sheltering Sky up-close and personal. Check it out here.
The Orchestra Begins
:: Posted by Sid Smith on Mon., May 11, 2015
A reminder that the Orchestra of Crafty Guitarists XI are staging a special performance project this month. The course starts Tuesday, May 19, 2015 to Monday, May 25, 2015 ∑ Casa Stella Maris, Caorle, Italy. Check out the details here.
Bill Bruford On The Radio
:: Posted by Sid Smith on Thu., May 7, 2015
Bill Bruford is one of the musicians taking part in BBC Radio 2's four-part documentary series exploring progressive rock. Bill discusses the music with presenter, Charles Hazlewood in the first episode on Monday 11th May at 10.00 p.m. You can read more about the series here.
:: Posted by Sid Smith on Tue., May 5, 2015
Roger Farbey was at the London premier of Crimson! by ex-Earthworks pianist, Gwilym Simcock and the Delta Saxophone Quartet. You can read his review here. Also don't forget you can listen to an interview with Simcock and hear live extracts of their arrangements of KC tunes, Two Hands and The Great Deceiver over on the Radio 3 iPlayer which will be available for the next 24 days.
Going, Going, Grooveshark Gone
:: Posted by Sid Smith on Fri., May 1, 2015
Grooveshark, the online music service youíll recall who used to upload artists music without licenses and then pretend it was being done by their users, have closed down.
This message was posted on their website.
Dear music fans,
Today we are shutting down Grooveshark.
We started out nearly ten years ago with the goal of helping fans share and discover music. But despite [the] best of intentions, we made very serious mistakes. We failed to secure licenses from rights holders for the vast amount of music on the service.
That was wrong. We apologize. Without reservation.
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.
At that time of our launch, few music services provided the experience we wanted to offer ≠and think you deserve. Fortunately, thatís no longer the case. There are now hundreds of fan friendly, affordable services available for you to choose from, including Spotify, Deezer, Google Play, Beats Music, Rhapsody and Rdio, among many others.
If you love music and respect the artists, songwriters and everyone else who makes great music possible, use a licensed service that compensates artists and other rights holders.
You can find out more about the many great services available where you live here: http://whymusicmatters.com/find-music.
It has been a privilege getting to know so many of you and enjoying great music together. Thank you for being such passionate fans.
Yours in music,
Your friends at GroovesharkĒ
Long-term visitors to this site will recall Grooveshark infringed King Crimsonís copyright numerous times. In 2011 DGM began issuing take-down notices. Grooveshark would remove the material which would then mysteriously pop up a day later and the process would start again. Nothing to do with us, they would claim and so it would go on...
Robert Fripp diary 17th August 2011
Robert Fripp dairy 12th September 2011
After the correspondence between DGM and Grooveshark appeared in the pages of Digital Music News, a whistleblower who worked at Grooveshark came forward in the comments section:
I work for Grooveshark. Here is some information from the trenches:
We 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 donít just volunteer to "enhance" the Grooveshark database.
All search results are monitored and when something is tagged as "not available", it getís 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.
Are the above legal, or ethical? Of course not. Donít reply to give me a lecture. I know. But if the labels and their laywers canít figure out how to stop it, then I donít feel bad for having a job. Itís tough times.
Why am I disclosing all this? Well, I have been here a while and I donít 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 getís hacked by Anonymous one day and all the emails leak on some torrent or something.
And, 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 canít afford to sue for infringement."
All of which (and more) is detailed in Robert Frippís diary 20th October 2011.
This post was included in the legal action taken out by UMG, Sony and Warners against Grooveshark which eventually led to the settlement announced today.
Crimson! On BBC Radio 3
:: Posted by Sid Smith on Wed., Apr 29, 2015
The Delta Sax Quartet and ex-Earthworks pianist Gwilym Simcock were talking about and playing excerpts from Simcock's new composition, Crimson! earlier today on BBC Radio 3.
You can listen to the conversation as well as performances of Two Hands and The Great Deceiver on the BBC iPlayer for the next 29 days.
The London premiere of Crimson! with Gwilym Simcock and the Delta
Saxophone Quartet will take place at St John's Smith Square - Friday 1
May 19.30. The programme details are as follows.
Dedicated to You
A set drawn from the Delta Saxophone Quartet's ground breaking album 'Dedicated to you' featuring the music of Soft Machine.
New work for saxophone quartet & jazz piano by Gwilym Simcock
A Kind of Red (Gwilym Simcock)
Coda: Marine 475 (Belew, Bruford, Fripp, Gunn, Levin, Mastelotto from the album Vroom Vroom 1995/6)
The Night Watch (Fripp, Wetton, Palmer-Jones from the album The Night Watch 1973)
Dinosaur ( Belew, Bruford, Fripp, Gunn, Levin, Mastelotto from the album Thrak 1995)
Two Hands ( Adrian Belew, Margaret Belew, Bruford, Fripp, Levin from the album Beat 1982)
The Great Deceiver ( Fripp, Wetton, Palmer-Jones from the album The Great Deceiver: Live 1973-74)
Gwilym Simcock - piano
The Delta Saxophone Quartet
Graeme Blevins - soprano sax
Pete Whyman - alto sax
Tim Holmes - ten sax
Chris Caldwell - bari sax
On This Date 41 Years Ago
:: Posted by Sid Smith on Wed., Apr 29, 2015
King Crimson stepped out onto the stage at Pennsylvania's Stanley Theatre 41 years ago and played a blinder of a set before a lively crowd. My thanks to Stan Kos for sending in this photograph of the building today, now known as The Benedum Centre For The Performing Arts.
Back in 1974, Keith Webber was at thee gig and recalls "KC shared the bill with Robin Trower. Both groups put on a great show. Bill Bruford was amazing. Fripp didn't seem like a happy-camper due to the audience being so loud on a couple of songs. Wetton was alright but didn't compare or come close to Lake's vocals on original 1969 King Crimson songs they did that night."
The Pittsburgh Post-Gazette offered this review: "King Crimson managed to sell out the Stanley Theatre with ease, putting on at least the second best show of the week. King Crimson, the grandaddy of progressive rock, put out albums five years ago that the rest of the world is just catching up to now, and spawned either by influence or ex-members most of the progressive stuff flying through the airwaves now.
The show was basically an aural experience, without the benefit or frills of dramatic visuals, and it featured even more free-form, synthesized way-out warpings than is usually associated with Crimson. The show ranged from the ethereal to some heavy undulating electronics, sharpened by David Cross' violin and John Wetton's choking vocals. The act had an outer space feel to it, underlined by a sometimes hard use of synthesizers."
By way of highlighting the unrelenting glamour of life on the road at the time, here's Robert's diary for the day.
(The day began in Columbus, Ohio).
Arose, with difficulty, 10.20 D.E. 'phoned from N. York: he'll stay there to work instead of joining us in Pittsburgh. Exercises and pack.
11.15 Restaurant. Stamp mail. JW joins.
Room: crimson carpet; red patterns on curtains & bed covers; fawn walls; 2 pictures of antique cars.
12.45 Airport. BB rushes off & leaves DC with cases (as I do!). DC gives him the word. I begin to go through security at the wrong gate.
13.55 Land at Pittsburgh. Taxis to Hilton.
15.30 Awoke & shower.
16.00 Snack & coffee. Uptight for leaving early - snap at Dik.
16.30 Lobby. Taxis to gig. Buy "Old Straight Track" opp. in cheap bookshop. Change strings & lose little screwdriver. Snap at Dik. Barbara told me yesterday she carried a ouijii board in the back of her car; crashing by predetermination. Today she offered me her board.
New music at soundcheck. I have doubts.
18.30 Return to hotel. Barbara cut my hair short.
Recording for the King Biscuit hour. I played v. badly. Brought down - couldn't talk to anyone. Back to hotel with Barbara & PW. I walked to White Tower & had a big cheeseburger & coffee. KC went by in car as I was returning. In lobby JW asked if I was OK. I said it was the gig. DE 'phoned as I entered my room: 1.30. I told him I refused to do any recording for radio or tv where veto didn't exist. Watched end of "Charge of the Light Brigade" with Errol Flynn and "Mission Impossible" on tv.
Dream: With BB & DC at a kind of volley ball game. I climb off the floor to join BB with the spectators & am in danger of falling into a swimming pool over the polystyrene fence.
1.JW = John Wetton, DC = David Cross, BB = Bill Bruford.
2. Managers are seemingly always able to travel to capital cities, or exotic locations, but prove too busy by far to visit the Pforzheim Jahnhalle.
3. Barbara was a friend of Peter Walmsley.
You can download the entire concert here.
Jumping The Grooveshark?
:: Posted by Sid Smith on Mon., Apr 27, 2015
Here's an update on the current situation facing Grooveshark, who you will recall were found by a judge last year to been involved in illegally uploading music for download to which they had no agreement with owners to do so.
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