Reach into your pocket.
It’s likely your hand is now in contact with a music player or audio storage device. Whether it is an MP3 player, a multimedia phone or a flash drive, music is incredibly compact and portable in the 21st century.
However, in the age of digital sound there are still those who opt for the smooth, black disc that has charmed audiophiles for decades — the vinyl record.
While CD sales and digital downloads constitute the majority of music purchases today, vinyl has made its way back from relative obscurity to be the chosed medium of a significant portion of listeners.
Read the rest at cityonahillpress.com
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records in texas selling well!
For the record: vinyl makes a comeback in a nostalgic digital age
By Dan Lambert
George Reynoso, owner of All That Music and Video, Collectors’ Marketplace, staged a “Goodbye to LPs” promotion at his store in 1999.
“Basically, we cleared out all the LPs for cheap,” Reynoso says. “Ten years later, LPs are now a big part of our business.”
Record Store Day, a fourth annual national event, is Saturday, April 16, and Reynoso’s store at 1506-D Lee Trevino will open extra early, at 9 a.m., with between 6,000-8,000 records for sale outdoors at the sidewalk sale.
So what happened? How did vinyl rise from the dead? Or was it just in hiding?
Read the rest at whatsuppub.com
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a clever article in the irish times, makes perfect sense to me
How covers turned the world karaoke
Cover versions have always been with us, but now that so many artists are trying to live off the kudos of other people’s songs, is the music scene at risk of being run over by its own retreads, asks KEVIN COURTNEY
‘THIS IS A song Charles Manson stole from The Beatles: we’re stealing it back,” announces Bono in a scene from the U2 movie Rattle and Hum , just before U2 launch into a ragged rendition of Helter Skelter . No wonder the McCormick brothers wanted to kill him, coming up with pronouncements like that. As cover versions go, though, it’s not the worst. It’s certainly not as bad as the movie’s other cover, Bob Dylan’s All Along the Watchtower, which U2 demolish with arrogant abandon. Still, at least they didn’t accuse Jimi Hendrix of stealing that one.
Should U2 have just stuck with doing their own songs and left the classics well alone? Maybe, but it’s clear that, by referencing some of pop’s biggest touchstones (and a few blues legends), U2 were staking out their own place in the pantheon, hoping to prove to their growing US audience that they could jam along with the big boys. For them and for many other bands, doing the right cover version was a shortcut to kudos.
We are now living in a karaoke world, where every second song on the radio is likely to be a cover version, and young copycats parade their purloined wares on The X Factor and You’re A Star....
Read the rest at irishtimes.com
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Neil Young Preps New Archival Release with A Treasure Live Album
By Alex Hudson
Bob Dylan isn't the only folk icon to roll out a seemingly endless stream of archival releases. Canuck hero Neil Young has also got in on the fun by unveiling some long-lost classics -- most notably the massive Archives box set. Next up is A Treasure, a live album recorded during Young's 1984-85 U.S. tour.
The 12-track collection will likely appeal to hardcore Neil Young followers rather than casual fans, since it doesn't offer much in the way of hits. According to a press release, five of the songs are previously unreleased. It also has cuts from his 1985 album Old Ways.
A Treasure features Young's country band, the International Harvesters. This includes the late Ben Keith on steel and slide guitar, plus Rufus Thibodeaux (fiddle), Spooner Oldham (paino), Hargus "Pig" Robbins (piano), Tim Drummond (bass), Joe Allen (bass), and Karl Himmel (drums). In a statement, Young said, "I just love to hear those guys. They're all country music legends."
Read more and get the track list at exclaim.ca
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informative article about the stones and some of their famous album cover art:
At His Satanic Majesty’s Request
Tim Maddison
The Rolling Stones initially appalled the nation’s parents with their ‘brutish’ looks as much as their horrifying rhythm and blues beat music. But for a band possessing some of the most recognisable faces on the planet, there was a time when they cultivated a striking invisibility.
After the psychedelic foolery of Their Satanic Majesties Request, 1968’s Beggars Banquet not only revealed the Stones revitalised by the blues but also saw the band proposing to replace their earlier run of relentlessly dreary album cover photos – with an extraordinary Barry Feinstein image of a squalid graffiti-scribbled lavatory that Jagger, Richards and Anita Pallenberg had chanced upon, a place reeking of needles, urine and drunken couplings.
Read more at spectator.co.uk
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no tats personally, however, some of these are pretty cool!
20 Awesome Album Cover Art-Inspired Tattoos
check more great tattoos at artnewsworldwide.com
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'How To Become Clairvoyant,' Robbie Robertson's New Album, Debuts at No. 8 on the Top Current Canadian Album Chart
PRNewswire/ -- Robbie Robertson's How To Become Clairvoyant enters the Top Current Canadian Album Chart at No. 8 – marking the highest debut of a solo Robbie Robertson record in the SoundScan era. The news comes on the heels of Robertson's induction into the Canadian Songwriter Hall of Fame last Saturday. In June, Canada Post will issue a stamp with Robertson's likeness as part of its Canadian Recording Artists stamp series.
Rolling Stone hailed How To Become Clairvoyant – his first release in over a decade – as "Robertson's Grand Return...hypnotic." Goldmine also awarded it four stars, calling it "Robertson's best yet" while NPR said: "If ever there was an album that was well worth a long wait, Robbie Robertson's fifth solo album is the one."
How To Become Clairvoyant was released by 429/Macro-Biotic Records, which is distributed by Fontana North/Universal Music in Canada.
For more information on ROBBIE ROBERTSON, Visit:
www.robbie-robertson.com
www.429records.com
SOURCE 429 Records
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