Pagina's

zondag 6 december 2009

Studio - 7. Red (King Criminele album) : 1. Production, 2. Legacy, 3. Releases,

Studio - 7. Red (King Criminele album)

1. Production.

David Cross left King Crimson in 1974, reducing the group to the trio of Robert Fripp, John Wetton and Bill Bruford. The trio recorded Red with the help of Cross and former band-members Ian McDonald and Mel Collins. Fripp disbanded King Crimson on September 24, 1974, and the album was released later that year with no accompanying tour.

While musically similar to its predecessor Starless and Bible Black, Red was produced very differently from previous King Crimson albums. For instance, while the acoustic guitar features prominently in previous releases, on Red it is heard only for a few bars in "Fallen Angel". Also, unlike previous King Crimson albums, Red features extensive use of guitar overdubs. Later albums lacked acoustic guitar entirely and reverted to a minimum of overdubs, though by that point the band featured multiple guitarists playing simultaneously.

The album opens with the title track, a driving, hard rock instrumental. It makes extensive use of the whole-tone scale for a dissonant, angular sound, and features multiple time signatures including 5/8, 7/8 and 4/4.[original research?] It also features a cello section.

The fourth track on the album, "Providence", was recorded live at Palace Theatre, Providence, USA, on June 30, 1974, and is the album's only live recording. Charles Snider refers to the album as a "swansong," and notes that "'Providence' packs just about everything improv-related from the last two albums into its eight short minutes."[2] A longer, unedited version of the track is available on the live four-CD set The Great Deceiver.

The lyrics and melody for "Starless" were written by John Wetton. He originally intended the song to be the title track of the group's previous album Starless and Bible Black. Fripp and Bruford initially disliked the song and declined to record it for that album. Instead the group chose an instrumental composition as the title track for the Starless and Bible Black album. However, "Starless" was later revived during the Red recording sessions. Fripp then added the instrumental guitar section to the song. As the title "Starless and Bible Black" had already been used, the original title was shortened to "Starless".

2. Legacy.

The record faltered on the British charts. In the United States, it reached #66 on the Billboard Top 200.

However, it remained a popular album with fans and critics. In 2001 Q magazine named Red as one of the "50 Heaviest Albums of All Time,"[3] and Kurt Cobain has cited the album as a major influence. [4][5] Musicologists Eric Tamm and Edward Macan both consider Red, and particularly the track "Starless", to be the highlight of King Crimson's recorded output. Users of Rate Your Music.com have rated it the Number 1 album of 1974, and 49th greatest album of all time.[6]

3. Releases.

The album had CD releases in 1989 and 2001, each newly remastered by Fripp at the time. The newest version appeared on September 21st 2009, containing a 5.1 Surround Sound mix on DVD-Audio (created by Steven Wilson of Porcupine Tree, in collaboration with Fripp).

6. Notes.

  1. ^ Barnes, Mike (November 2009). "Royal Flush". Mojo (London: Bauer Media Group) (192): 106. ISSN 1351-0193.
  2. ^ Snider, Charles (2008). The Strawberry Bricks Guide to Progressive Rock. Lulu. p. 181. ISBN 9780615175669. http://books.google.com/books?id=9nkarh6kA8oC&client=firefox-a.
  3. ^ 50 Heaviest Albums of All Time
  4. ^ Interview with Robert Fripp
  5. ^ Interview with Bill Bruford (in italian)
  6. ^ http://rateyourmusic.com/release/album/king_crimson/red/

7. External links.

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vrijdag 4 december 2009

King Crimson - In The Court Of The Crimson King 40th Anniversary Editions

King Crimson - In The Court Of The Crimson King 40th Anniversary Editions

Recorded over a period of 10 days in August 1969 & released on October 10th of the same year In The Court Of The Crimson King stands as one of the defining albums of British rock music & one of the finest debut albums of all time. Described at the time as "an uncanny masterpiece" by Pete Townshend, the album has achieved legendary status over the years. It is the only studio document of an extraordinary year in the life of King Crimson; a year that began with the group's first rehearsals on January 13th, included a residency at the Marquee Club, a concert in Hyde Park with The Rolling Stones, the recording and release of the album and ended with the dissolution of the lineup at the close of Crimson's 1st American tour in December.

In the 40 years since its release In The Court of the Crimson King has never been out of print or unavailable in any of the world's main music markets & continues to enjoy consistently high sales.

Now expanded with a completely new mix, previously unreleased tracks & a stunning 5.1 Surround Sound mix. Steven Wilson said of the mixing work "The intention is certainly not to try to replace or supersede the 1969 mix (which, like many classic albums, is what it is partly because of the limitations of the original recording circumstances), but to provide an alternate perspective to what must now be considered not only a rock masterpiece, but also the foundation stone of progressive rock."

Personnel:

Robert Fripp:- guitar
Ian McDonald: reeds, woodwind, vibes, keyboards, mellotron, vocals
Greg Lake: bass guitar, lead vocals
Michael Giles: drums, percussion, vocals
Peter Sinfield: words and illumination

Available in three formats: double cd, cd/dvda and 5cd/1dvda deluxe box set.

All editions now shipping.

Please note, all the King Crimson DVD-As are Region 0 NTSC and should play on all players worldwide.

double cd

buy (�8.50 GBP)

cd-dvda

buy (�11.50 GBP)

5cd-1dvda

buy (�41.99 GBP)

Tracks

Double CD version:

CD 1:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

New stereo mixes by Steven Wilson and Robert Fripp.

Bonus tracks:

5 tracks of alternate takes & versions mixed by Steven Wilson from original multitracks.
1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

1-5 2009 2009 stereo album mix from the original multitrack master tapes.

6. Moonchild (full version)
As Robert chose to feature the edit of Moonchild in the album running order, the full version is included here.
7. I Talk to the Wind (Duo version) An alternate take featuring just Robert Fripp & Ian McDonald.
8. I Talk to the Wind (Alternate mix) An alternate take featuring different solos.
9. Epitaph (Backing track)
10. Wind session
Extracts from the session that produced the distinctive intro to 21st Century Schizoid Man.

1-6 mixed & produced by Robert Fripp & Steven Wilson.
7-10 mixed & produced by Steven Wilson, Executive Producer; Robert Fripp.

Audio mastered by Simon Heyworth, assisted by Joe Gilder at Super Audio Mastering, Devon.

CD2:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

2004 stereo mix and original 1969 vinyl mix.

Plus 5 bonus tracks (details in 'notes').

CD/DVDA version:

CD:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

New stereo mixes by Steven Wilson and Robert Fripp.

Bonus tracks:

5 tracks of alternate takes & versions mixed by Steven Wilson from original multitracks.
1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

1-5 2009 2009 stereo album mix from the original multitrack master tapes.

6. Moonchild (full version)
As Robert chose to feature the edit of Moonchild in the album running order, the full version is included here.
7. I Talk to the Wind (Duo version) An alternate take featuring just Robert Fripp & Ian McDonald.
8. I Talk to the Wind (Alternate mix) An alternate take featuring different solos.
9. Epitaph (Backing track)
10. Wind session
Extracts from the session that produced the distinctive intro to 21st Century Schizoid Man.

1-6 mixed & produced by Robert Fripp & Steven Wilson.
7-10 mixed & produced by Steven Wilson, Executive Producer; Robert Fripp.

Audio mastered by Simon Heyworth, assisted by Joe Gilder at Super Audio Mastering, Devon.

DVD-A:

PART I

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

5.1 Surround Sound mixes available in DTS 5.1 (playable in all DVD players/DVD-Rom drives etc. with a compatible speaker setup) & MLP Lossless Audio (DVD-A players only).

All 5.1 tracks mixed & produced by Steven Wilson, Executive producer: Robert Fripp.

PART II

24/48 High Resolution Stereo mixes of full CD audio content (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo mixes (DVD-A players only).

PART III

The Alternate Album: In the Court of the Crimson King

Alternate takes mixed for the first time from the original studio recordings.

1. 21st Century Schizoid Man (Trio version - instrumental)
2. I Talk to the Wind (Studio run through)
3. Epitaph (Alternate Version)
4. Moonchild (Take 1)
5. The Court of the Crimson King (Take 3)

Mixed & produced by Steven Wilson, Executive producer: Robert Fripp.

24/48 High Resolution Stereo (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo (DVD-A players only).

PART IV

Original album mix, 2004 remaster

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

24/48 High Resolution Stereo (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo (DVD-A players only).

PART V

Video Content

1. 21st Century Schizoid Man (edit), film from Hyde Park concert July 5th 1969 available for the first time with original audio from the actual performance.

All material previously unreleased or previously unreleased in these versions except
DVD content Part IV, previously released in standard 16 bit resolution as CD DGM0501 - In the Court of the Crimson King.

DVD-A mastered & assembled by Neil Wilkes at Opus Productions, London.

5CD/1DVDA Deluxe Box Set version:

CD 1:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

1-5 2009 New Stereo album mix. The 2009 remix from the original multitrack master tapes.

6. Moonchild (full version)
As Robert chose to feature the edit of Moonchild in the album running order, the full version is included here
7. I Talk to the Wind (Duo version) An alternate take featuring just Robert & Ian
8. I Talk to the Wind (Alternate mix) An alternate take featuring different solos
9. Epitaph (Backing track)
10. Wind session
Extracts from the session that produced the distinctive intro to 21st Century Schizoid Man

1-6 mixed & produced by Robert Fripp & Steven Wilson,
7-10 mixed & produced by Steven Wilson, Executive Producer; Robert Fripp.

Audio mastered by Simon Heyworth, assisted by Joe Gilder at Super Audio Mastering, Devon.

CD 2:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

1-5 Original album mix, 2004 Remaster.

6. 21st Century Schizoid Man Morgan studios recording, instrumental
7. I Talk to the Wind Recently discovered track from the first BBC session, audio restored from bootleg source.
8. 21st Century Schizoid Man A BBC transcription disc of this track was found some time after the original release of the Epitaph album providing.
much-improved sound quality
9. The Court of the Crimson King (Part 1)
10. The Court of the Crimson King (Part 2) De-clicked vinyl transfer of the original UK Island Records mono single version of the song as split across two sides of 7" vinyl.

CD 3:

The Alternate Album: In the Court of the Crimson King

1. 21st Century Schizoid Man (Trio version - instrumental)
2. I Talk to the Wind (Studio run through)
3. Epitaph (Alternate Version)
4. Moonchild (Take 1)
5. The Court of the Crimson King (Take 3)

Alternate takes mixed for the first time from the original studio recordings.

6. 21st Century Schizoid Man
7. I Talk to the Wind
8. Epitaph
9. Moonchild
10. The Court of the Crimson King

De-clicked vinyl transfer of the original stereo first Island Records issued pink label UK pressing run. Sourced from two vinyl LPs - one of which is Robert Fripp's personal archive copy.

CD 4

1. 21st Century Schizoid Man
2. The Court of the Crimson King
3. Get Thy Bearings
4. Epitaph
5 Mantra
6. Travel Weary Capricorn
7. Mars

Tracks 1-7 restored bootleg, recorded Live at Hyde Park, London, July 5th 1969.

8. The Court of the Crimson King
9. A Man A City
10 Epitaph
11. 21st Century Schizoid Man

Tracks 8-11 restored bootleg, recorded Live at Fillmore East, New York, November 1969.

CD 5:

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

Mono album mix used for radio promotion only in the USA.

6. The Court of the Crimson King

Edited, mono single mix used for radio promotion only in the USA. De-clicked from original vinyl source copies.

DVD-A:

PART I

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

5.1 Surround Sound mixes available in DTS 5.1 (playable in all DVD players/DVD-Rom drives etc. with a compatible speaker setup) & MLP Lossless Audio (DVD-A players only).

All 5.1 tracks mixed & produced by Steven Wilson, Executive producer: Robert Fripp.

PART II

24/48 High Resolution Stereo mixes of full CD audio content (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo mixes (DVD-A players only).

PART III

The Alternate Album: In the Court of the Crimson King

Alternate takes mixed for the first time from the original studio recordings.

1. 21st Century Schizoid Man (Trio version - instrumental)
2. I Talk to the Wind (Studio run through)
3. Epitaph (Alternate Version)
4. Moonchild (Take 1)
5. The Court of the Crimson King (Take 3)

Mixed & produced by Steven Wilson, Executive producer: Robert Fripp.

24/48 High Resolution Stereo (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo (DVD-A players only).

PART IV

Original album mix, 2004 remaster

1. 21st Century Schizoid Man
2. I Talk to the Wind
3. Epitaph
4. Moonchild
5. The Court of the Crimson King

24/48 High Resolution Stereo (playable in all DVD players/DVD-Rom drives etc.) & 24/96 High Resolution Stereo (DVD-A players only).

PART V

Video Content

1. 21st Century Schizoid Man (edit), film from Hyde Park concert July 5th 1969 available for the first time with original audio from the actual performance.

All material previously unreleased or previously unreleased in these versions except
DVD content Part IV, previously released in standard 16 bit resolution as CD DGM0501 - In the Court of the Crimson King.

DVD-A mastered & assembled by Neil Wilkes at Opus Productions, London.

Notes

Double CD version:

* Steven Wilson & Robert Fripp have collaborated to produce a completely new stereo mix drawn directly from the original multitrack tapes
* CD1 features the new mix plus 5 additional tracks drawn from the original recording sessions - a complete version of Moonchild (edited on the new stereo mix), a flute/guitar duet of I Talk to the Wind, an alternate mix of I Talk to the Wind, the full Epitaph backing track & the session recording of the 'wind' noises used to introduce the album at the start of 21st Century Schizoid Man
* CD2 features the 2004 remaster of the original album drawn from the original master tape plus bonus tracks including the Morgan studios instrumental take of 21st Century Schizoid Man, 2 tracks from 1969 BBC John Peel sessions, (21st Century Schizoid Man & I Talk to the Wind (the latter previously unreleased) and de-clicked vinyl transfer of the original mono a+b side single edits of In the Court of the Crimson King.
* Presented as a 2CD Jewel case edition with new sleeve notes by Robert Fripp & King Crimson biographer Sid Smith along with rare photos & archive material.

CD/DVDA version:

* The classic album has been mixed for 5.1 Surround Sound from the original studio masters by Steven Wilson (Porcupine Tree), with Crimson founder Robert Fripp acting as executive producer.
* Additionally Steven Wilson & Robert Fripp have collaborated to produce a completely new stereo mix drawn directly from the original multitrack tapes
* CD features 5 additional tracks drawn from the original recording sessions - a complete version of Moonchild (edited on the new stereo mix) - a flute/guitar duet of I Talk to the Wind, an alternate mix of I Talk to the Wind, the full Epitaph backing track & the session recording of the 'wind' noises used to introduce the album at the start of 21st Century Schizoid Man.
* DVD-A (compatible with all DVD players & DVD Rom players) features a 5.1 DTS Mix and High Resolution Stereo mixes (24bit/48khz).
* DVD-A players can, additionally, access a 5.1 Lossless audio mix and Lossless Stereo mixes (24bit/96khz)
* DVD-A also features High Resolution & Lossless stereo mixes of both the full original stereo and the new stereo album mixes
* DVD-A features 10 additional tracks drawn from the original recording sessions, including a complete alternate version of the album using instrumental & vocal takes.All previously unreleased in Lossless Audio & High Resolution stereo.
* Features short performance footage of classic Hyde Park performance of 21st Century Schizoid Man with original audio from the show
* Presented as a 2 x digipack format in a slipcase with new sleeve notes by Robert Fripp & King Crimson biographer Sid Smith along with rare photos & archive material.

5CD/1DVDA Deluxe Box Set version:

* The deluxe box set features all of the material on the double CD & DVD-A editions and is presented in a 12" x 12" size box, which includes King Crimson memorabilia, a full size 24 page booklet with expanded sleevenotes & photos + additional CD content (details in 'tracks').

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Studio - 1. In the Court of the Crimson King : 7. Cultural references, 8. References.

Studio - 1. In the Court of the Crimson King

7. Cultural references.

Question book-new.svg
 This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2008)
  • Stephen King makes references to "Crimson King" and "The Court of the Crimson King" in his novel Insomnia and the Dark Tower series.
  • S.M. Stirling's 2008 SF novel In the Courts of the Crimson Kings, featuring a plot set in an alternate universe Mars resembling Golden Age pulp fiction.[1]
  • Due to the philosophical and spiritual nature of Peter Sinfield's lyrics Christian apologist Ravi Zacharias has quoted from this album on several occasions. One example comes from a lecture titled "The Existence of God" which quotes from Epitaph, "knowledge is a deadly friend, if no one sets the rules". Zacharias's commentary usually contrasts sharply with the views expressed in the lyrics.
  • Howard Stern's band The Losers has covered the title track of this album live on the air.
  • The popular MMORPG EverQuest II based all of the Non-Player Characters in the zone The Court of Al'Afaz on characters in this album.
  • The Finnish doom metal band Reverend Bizarre named their first album In the Rectory of the Bizarre Reverend in a conscious homage to King Crimson.[citation needed]
  • Christina Ricci's character does a tap-dance to "Moonchild" in the film Buffalo 66.
  • Black metal band Lurker of Chalice (a sideproject of Leviathan) have a track called "In the Court of the Crimson King Diamond" in a double homage to this album and the lead singer of Mercyful Fate; it appears on their second demo.
  • "The Court of the Crimson King" is featured in a scene of the 2006 movie Children of Men.
  • The prog-rock band Upsilon Acrux titled an album "In the Acrux of the Upsilon King".
  • "The Court of the Crimson King" LP album is featured in Katsuhiro Otomo's short story, Hair (1979).
  • Madman Atomic Comics #6 by Michael Allred (reprinted in Madman Atomic Comics Volume #1) is titled "Crushed in the Court of the Crimson King" and features "The Crimson King" as a character in the story.
  • Saxon covered "The Court of the Crimson King" on their 2001 album Killing Ground.
  • UK Channel 4 drama titled "Red Riding" was aired on British television on 5 March 2009 and featured the song "The Court of the Crimson King" in its opening episode of the 3 episodes.
  • New Jersey hardcore outfit Rorschach covered "21st Century Schizoid Man".
  • Canadian hard rock band April Wine covered "21st Century Schizoid Man" on their 1979 release, Harder ... Faster.
  • Italian band Afterhours also covered the song "21th Century Schizoid Man" in a live recording.
  • Ozzy Osbourne covered "21st Century Schizoid Man" on his 2005 compilation album Under Cover.
  • "21st Century Schizoid Man" is a playable track in Guitar Hero 5.
  • "21st Century Schizoid Man" was released in 2009 as a digital download [2] by The Human Experimente, featuring performances by Jeff Fayman, Robert Fripp, and Maynard James Keenan, in a mix resembling a movie soundtrack.
  • The album was mentioned (and briefly pictured) in a fourth-season episode of The Venture Brothers, "Perchance To Dean".

8. References.

  1. ^ Barnes, Mike (November 2009). "Royal Flush". Mojo (London: Bauer Media Group) (192): 106. ISSN 1351-0193.
  2. ^ RIAA: Gold & Platinum
  3. ^ Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture, Oxford University Press, ISBN 0-19-509888-9, p. 23.
  4. ^ "King Crimson biography". Discipline Global Mobile (dgmlive.com). http://www.dgmlive.com/kc/index.htm?bio=true. Retrieved 2007-08-29.
  5. ^ Robert Fripp: Elephant Talk interview
  6. ^ BatGuano.com
  7. ^ Interview with Robert Fripp in Rock and Folk - ETWiki
  8. ^ http://www.swhq.co.uk/index.cfm
  9. ^ http://www.dgmlive.com/news.htm DGM news
  10. ^ Sid Smith (2009-08-15). "In The Court of the Crimson King". http://www.dgmlive.com/news.htm?entry=2575. Retrieved 2009-10-11.
  11. ^ http://songsouponsea.com/Promenade/lyrics/gallery/BarrySleeve.html
Retrieved from "http://en.wikipedia.org/wiki/In_the_Court_of_the_Crimson_King"

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Studio - 1. In the Court of the Crimson King, June - August 1969, Wessex Sound Studios, London.[Island Records] October10, 1969.remastered, November 22, 2004, 40th Annaversary release, November 10, 2009.

Studio - 1. In the Court of the Crimson King

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In the Court of the Crimson King

Studio album by King Crimson
Released October 10, 1969
Recorded June-August 1969, Wessex Sound Studios, London
Genre Progressive rock
Length 43:54
Label Island
Producer King Crimson
Professional reviews
King Crimson chronology

In the Court of the Crimson King
(1969)		 In the Wake of Poseidon
(1970)

Singles from In the Court of the Crimson King
  1. "The Court of the Crimson King"
    Released: 1969

In the Court of the Crimson King (an observation by King Crimson) is the 1969 debut album by the British progressive rock group King Crimson. The album reached #3 on the British charts. The album is certified gold in the United States.[2]

The album is generally viewed as one of the strongest of the progressive rock genre, where King Crimson largely stripped away the blues-based foundations of rock music and mixed together with jazz and European symphonic elements. In his 1997 book Rocking the Classics, critic and musicologist Edward Macan notes that In the Court of the Crimson King "may be the most influential progressive rock album ever released".[3] The Who's Pete Townshend was quoted as calling the album "an uncanny masterpiece".[4]

The album was remastered and re-released on vinyl and CD several times during the 1980s and 1990s, although all these versions were based on masters that had some inevitable tape degradation. The original first-generation stereo master tapes were finally located in a Virgin Records storage vault in 2003, leading to a much improved remastered CD version released in 2004 and a surround sound mix to be released in 2009 for the album's 40th anniversary.

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donderdag 3 december 2009

Golden Earring : 3. Discography, 3.1. Studio albums.

Golden Earring

3. Discography

3.1. Studio albums.


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dinsdag 1 december 2009

Studio - 11. Let It Bleed 1. History, 2. Cover. 5. Sales chart performance, 6. References.

Studio - 11. Let It Bleed

1. History.

Although they had begun the recording of "You Can't Always Get What You Want" in May 1968, before Beggars Banquet had been released, recording for Let It Bleed began in earnest in February 1969 and would continue sporadically until November. Brian Jones performs on only two tracks, playing the autoharp on "You Got the Silver" and percussion on "Midnight Rambler" (although the latter is not audible on normal playback equipment). His replacement, Mick Taylor, plays guitar on two tracks, "Country Honk" and "Live With Me". Keith Richards, who had already shared vocal duties with Mick Jagger on "Connection", "Something Happened to Me Yesterday", and "Salt of the Earth", sang his first solo lead vocal on a Rolling Stones recording with "You Got the Silver".

The album has been called a great summing up of the dark underbelly of the 1960s.[citation needed] Let It Bleed is the second of the Stones' run of four studio LPs that are generally regarded as among their greatest achievements artistically, equalled only by the best of their great 45s from that decade. The other three albums are Beggars Banquet (1968), Sticky Fingers (1971), and Exile on Main Street (1972).[6]

The album is often thought to be a response to Let It Be by The Beatles; though the Beatles would not release either the song or the album of that name until 1970, the major recording sessions had taken place in January 1969, prior to the majority of the Let It Bleed sessions, and it was generally known that the project existed. Theories vary as to whether the title was making fun of the Beatles' misplaced optimism and inability to complete their own album, or was an expression of solidarity with a recording process that had been just as taxing as the Stones'.

Released in December, Let It Bleed reached #1 in the UK (temporarily knocking The Beatles' Abbey Road out of the top slot) and number 3 on the Billboard Top Pop Albums chart in the US, where it eventually went double platinum. The album was also critically well-received.

In 1998 Q magazine readers voted Let It Bleed the 69th greatest album of all time, while in 2000 the same magazine placed it at number 28 in its list of the 100 Greatest British Albums Ever. In 2001, the TV network VH1 placed Let It Bleed at number 24 on their best album survey. In 2003, it was listed as number 32 on the List of Rolling Stone's 500 Greatest Albums of All Time.

In August 2002, this album was reissued in a new remastered CD and SACD digipak by ABKCO Records.

2. Cover.

The cover displays a surreal sculpture designed by Robert Brownjohn.[7] The image consists of the Let It Bleed record being played by the tone-arm of an antique phonograph, and a record-changer spindle supporting several items stacked on a plate in place of a stack of records: a tape canister labelled Stones - Let It Bleed, a clock face, a pizza, a tyre and a cake with elaborate icing topped by figurines representing the band. The cake parts of the construction were prepared by then-unknown cookery writer Delia Smith.[8] The reverse of the LP sleeve[9] shows the same "record-stack" melange in a state of disarray. The artwork was inspired by the working title of the album, which was Automatic Changer.[10]

The inside of the album sleeve features the message "This record should be played loud".

The track listing on the record sleeve did not follow the tracklisting on the record. According to Brownjohn, he altered the track listing purely for visual reasons; the correct order was shown on the record's label. When ABKCO first issued the album on CD in 1986, the CD track listing followed that of the LP sleeve, not the actual track order of the original album. This was corrected on the 2002 re-issue.

5. Sales chart performance.

5.1. Album.
Year Chart Position
1969 UK Albums Chart 1[12]
1969 Billboard Pop Albums 3[13]
5.2. Singles.
Year Single Chart Position
1973 "You Can't Always Get What You Want" The Billboard Hot 100 42[14]

6. References.

  1. ^ a b c "Let It Bleed". AllMusic. http://allmusic.com/cg/amg.dll?p=amg&sql=10:d9fexqt5ldfe. Retrieved 2009-10-31.
  2. ^ "The Rolling Stone Let it Bleed". BBC. http://www.bbc.co.uk/music/release/6hmq/. Retrieved 2009-10-31.
  3. ^ a b "Let It Bleed CD". Muze Inc.. http://www.cduniverse.com/search/xx/music/pid/4940211/a/Let+It+Bleed.htm. Retrieved 2008-06-21.
  4. ^ "The Rolling Stone Let it Bleed". PopMatters. http://www.popmatters.com/music/reviews/r/rollingstones-letitbleedmft.shtml. Retrieved 2009-10-31.
  5. ^ "The Rolling Stone Let it Bleed". The RollingStone. http://www.rollingstone.com/artists/therollingstones/albums/album/158769/review/6067534/let_it_bleed. Retrieved 2009-10-31.
  6. ^ "The Immortals - The Greatest Artists of All Time: 4) The Rolling Stones". The RollingStone. http://www.rollingstone.com/news/story/5939207/4_the_rolling_stones. Retrieved 2009-10-31.
  7. ^ Robert Brownjohn Design Museum article on Robert Brownjohn
  8. ^ Delia Smith
  9. ^ back cover image
  10. ^ Wyman, Bill. 2002. Rolling With the Stones
  11. ^ The choir asked to have its name removed from the album's credits.[citation needed]
  12. ^ "List of number-one albums from the 1960s (UK) 1969". Wikipedia. http://en.wikipedia.org/wiki/List_of_number-one_albums_from_the_1960s_%28UK%29#1969. Retrieved 2009-07-24.
  13. ^ "The Rolling Stones Complete Hit Albums List (1964-2008)". BeatZenith. http://www.beatzenith.com/the_rolling_stones/rsalbumslist.htm. Retrieved 2009-07-24.
  14. ^ "The Rolling Stones Complete Hit Singles List (1963-2006)". BeatZenith. http://www.beatzenith.com/the_rolling_stones/rsingleslist.htm. Retrieved 2009-07-24.


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Studio - 7. Aftermath (The Rolling Stones album) 4. Chart positions, 5. References, 6. External links.

Studio - 7. Aftermath (The Rolling Stones album)

4. Chart positions.

4.1. Album.
Year Chart Position
1966 UK Albums Chart 1[citation needed]
1966 Billboard Pop Albums 2[citation needed]
4.2. Singles.
Year Single Chart Position
1966 "Paint It, Black" UK Top 50 Singles 1[citation needed]
1966 "Paint It, Black" The Billboard Hot 100 1[citation needed]
1966 "Mother's Little Helper" The Billboard Hot 100 8[citation needed]
1966 "Lady Jane" The Billboard Hot 100 24[citation needed]

5. References.

Question book-new.svg
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Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2008)

6. External links.

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maandag 30 november 2009

The Rolling Stones 2. Musical evolution.

The Rolling Stones

2. Musical evolution.

The Rolling Stones are notable in modern popular music for assimilating various musical genres into their recording and performance, ultimately making the styles their very own. The band's career is marked by a continual reference and reliance on musical styles like American blues, country, folk, reggae, dance; world music exemplified by the Master Musicians of Jajouka; as well as traditional English styles that use stringed instrumentation like harps. The band cut their musical teeth by covering early rock and roll and blues songs, and have never stopped playing live or recording cover songs.

2.1. Infusion of American blues.

Jagger and Richards shared an admiration of Jimmy Reed, Muddy Waters and Little Walter, and their interest influenced Brian Jones, of whom Richards says, "He was more into T-Bone Walker and jazz-blues stuff. We'd turn him onto Chuck Berry and say, 'Look, it's all the same shit, man, and you can do it.'"[4] Charlie Watts, a traditional jazz drummer, was also turned onto the blues after his introduction to the Stones. "Keith and Brian turned me on to Jimmy Reed and people like that. I learned that Earl Phillips was playing on those records like a jazz drummer, playing swing, with a straight four..."[103]

Jagger, recalling when he first heard the likes of Chuck Berry, Bo Diddley, Muddy Waters, Fats Domino and other major American R&B artists, said it "seemed the most real thing"[104] he had heard up to that point. Similarly, Keith Richards, describing the first time he listened to Muddy Waters, said it was the "most powerful music [he had] ever heard...the most expressive."[105]

2.2. Early songwriting.

Despite the Rolling Stones' predilection for blues and R&B numbers on their early live setlists, the first original compositions by the band reflected a more wide-ranging interest. The first Jagger/Richards single, "Tell Me (You're Coming Back)," is called by critic Richie Unterberger a "pop/rock ballad... When [Jagger and Richards] began to write songs, they were usually not derived from the blues, but were often surprisingly fey, slow, Mersey-type pop numbers."[106] "As Tears Go By," the ballad originally written for Marianne Faithfull, was one of the first songs written by Jagger and Richards and also one of many written by the duo for other artists. Jagger said of the song, "It's a relatively mature song considering the rest of the output at the time. And we didn't think of [recording] it, because the Rolling Stones were a butch blues group."[107] The Stones did later record a version which became a top five hit in the US.[108]

On the early experience, Richards said, "The amazing thing is that although Mick and I thought these songs were really puerile and kindergarten-time, every one that got put out made a decent showing in the charts. That gave us extraordinary confidence to carry on, because at the beginning songwriting was something we were going to do in order to say to Andrew [Loog Oldham], 'Well, at least we gave it a try...'"[109] Jagger said, "We were very pop-orientated. We didn't sit around listening to Muddy Waters; we listened to everything. In some ways it's easy to write to order... Keith and I got into the groove of writing those kind of tunes; they were done in ten minutes. I think we thought it was a bit of a laugh, and it turned out to be something of an apprenticeship for us."[109]

The writing of the single "The Last Time," The Rolling Stones' first major single, proved a turning point. Richards called it "a bridge into thinking about writing for the Stones. It gave us a level of confidence; a pathway of how to do it."[44] The song was based on a traditional gospel song popularised by The Staples Singers, but the Rolling Stones' number features a distinctive guitar riff (played on stage by Brian Jones).

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zondag 29 november 2009

Studio - 4. Five Bridges 1. History, 5. References.

Studio - 4. Five Bridges

1. History.

The work was commissioned for the Newcastle Arts Festival and premiered with a full orchestra conducted by Joseph Eger on October 10, 1969 (the recorded version is from October 17 in Croydon's Fairfield Halls). The title refers to the city's five bridges spanning the River Tyne (two more have since been built over the river), and the album cover features an image of the Tyne Bridge.

The five movements are:

5. References.

  1. ^ a b "Nice, The - Five Bridges (LP) at Discogs". www.discogs.com. http://www.discogs.com/Nice-Five-Bridges/release/496187. Retrieved 2009-10-03.
  2. ^ "allmusic ((( Five Bridges > Overview )))". www.allmusic.com. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:d9fuxqe5ld6e. Retrieved 2009-10-03.
  3. ^ "Chart Stats - The Nice - Five Bridges". www.chartstats.com. http://www.chartstats.com/albuminfo.php?id=2636. Retrieved 2009-10-03.
  • Fantasia - orchestra with solo piano interludes by Keith Emerson
  • Second Bridge - trio without orchestra
  • Chorale - Lee Jackson's vocals with orchestra, alternating with piano trio interludes
  • High Level Fugue - piano with accompanying cymbals
  • Finale - a restating of the Second Bridge with additional jazz horn players.

The most elaborate orchestral writing is the Fantasia, but even this is fairly rudimentary, which is understandable as it was Emerson's first foray into this medium. Emerson credits Friedrich Gulda for inspiring the High Level Fugue, which uses jazz figures in the strict classical form. Individually, the movements are not worthy of special notice, but the suite as a whole is remarkable for its successful integration of the disparate materials. The ambitious nature of the production is also laudable - the entire suite was recorded at a concert performance and meetings of pop groups and orchestras were not at all commonplace.

Also included on the Five Bridges album were live performances from the same Fairfield Hall concert of the Sibelius Intermezzo and a movement from Tchaikovsky's Pathetique Symphony. Both involved the orchestra playing the "straight" music juxtaposed with the trio's interpretations. Newly discovered material from this concert was later issued as part of a 3-CD set entitled Here Come The Nice.

The Five Bridges album also included a blending of Bob Dylan's Country Pie with Bach's Brandenburg Concerto No. 6 (with a quote of Coleman Hawkins' jazz line Rifftide as well) and a studio recording of the original One of Those People.


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Studio - 5. Bringing It All Back Home 4. Charts, 5. Outtakes, 6. Aftermath, 9. References.

Studio - 5. Bringing It All Back Home

4. Charts.

4.1. Album.

Year Chart Position
1965 Billboard 200 6
1965 UK Top 75 1

4.2. Singles.

Year Single Chart Position
1965 "Subterranean Homesick Blues" Billboard Hot 100 39
1965 "Subterranean Homesick Blues" UK Top 75 9
1965 "Maggie's Farm" Billboard Hot 100 Didn't chart
1965 "Maggie's Farm" UK Top 75 22

5. Outtakes.

The following outtakes were recorded for possible inclusion to Bringing It All Back Home.

  • "California" (early version of "Outlaw Blues", circulating)
  • "Farewell Angelina"
  • "If You Gotta Go, Go Now (Or Else You Got to Stay All Night)"
  • "I'll Keep It With Mine"
  • "Sitting on a Barb Wire Fence"
  • "You Don't Have to Do That" (titled "Bending Down on My Stomick Lookin' West" on recording sheet)(fragment)

The raunchy "If You Gotta Go, Go Now (Or Else You Got To Stay All Night)" was issued as a single in Europe, but it would not be issued in the U.S. or the UK until The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991. An upbeat, electric performance, the song is relatively straightforward, with the title providing much of the subtext. Fairport Convention recorded a tongue-in-cheek, acoustic French-language version, "Si Tu Dois Partir," for their celebrated third album, Unhalfbricking.

"I'll Keep It With Mine" was written before Another Side of Bob Dylan and was given to Nico in 1964. Nico was not yet a recording artist at the time, and she would eventually record the song for Chelsea Girl (released in 1967), but not before Judy Collins recorded her own version in 1965. Fairport Convention would also record their own version on their critically acclaimed second album, What We Did on Our Holidays. Widely considered a strong composition from this period (Clinton Heylin called it "one of his finest songs"), a complete acoustic version, with Dylan playing piano and harmonica, was released on 1985's Biograph. An electric recording exists as well - not of an actual take but of a rehearsal from January 1966 (the sound of an engineer saying "what you were doing" through a control room mike briefly interrupts the recording) - was released on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991.

"Farewell Angelina" was ultimately given to Joan Baez, who released it in 1965 as the title track of her album, Farewell, Angelina. The Greek singer Nana Mouskouri recorded her own versions of this song in French ("Adieu Angelina") in 1967 and German ("Schlaf-ein Angelina") in 1975.

"You Don't Have to Do That" is one of the great "what if" songs of Dylan's mid-1960s output. A very brief recording, under a minute long, has Dylan playing a snippet of the song, which Dylan abandoned midway through to begin playing the piano.

"Sitting on a Barbed Wire Fence", first recorded during this album's sessions, would later be revisited during the Highway 61 Revisited sessions (later issued on The Bootleg Series Vol 1-3).

6. Aftermath.

The release of Bringing It All Back Home coincided with the final show of a joint tour with Joan Baez. By now, Dylan had grown far more popular and acclaimed than Baez, and his music had radically evolved from their former shared folk style in a totally unique direction. It would be the last time they would perform extensively together until 1975. (She would accompany him on another tour in May 1965, but Dylan would not ask her to perform with him.) The timing was appropriate as Bringing It All Back Home signaled a new era.

One of Dylan's most celebrated albums, Bringing It All Back Home was soon hailed as one of the greatest albums in rock history. In 1979 Rolling Stone Record Guide, critic Dave Marsh wrote a glowing appraisal: "By fusing the Chuck Berry beat of the Rolling Stones and the Beatles with the leftist, folk tradition of the folk revival, Dylan really had brought it back home, creating a new kind of rock & roll [...] that made every type of artistic tradition available to rock." Clinton Heylin later wrote that Bringing It All Back Home was possibly "the most influential album of its era. Almost everything to come in contemporary popular song can be found therein." In 2003, the album was ranked number 31 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Before the year was over, Dylan would record and release another album, Highway 61 Revisited, which would take his new lyrical and musical direction even further.

9. References.

  1. ^ Williams, P. (2004). Bob Dylan: Performing Artist, 1960-1973 (2nd edition ed.). Omnibus Press. p. 138. ISBN 9781844490950.


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