The famous tune Take five by Dave Brubeck almost was lost. After many, many takes the band was packing it in calling it quits when one member lagging behind a bit said "I got it". They all turned around from the door and recorded it again. Interview with a member of Brubeck original group on NPR.
In 1956 Elvis Presley walked into a Cadillac dealership looking like a hillbilly. The salesman was very rude and asked him to be careful not to scratch the vehicle. Elvis asked for the General Manager bought the Cadillac on the spot and demanded the commission be given to the the african american janitor that was cleaning the windows. Would have liked to see the look on the salesman's face!
Mick Jones of The Clash was a professional soccer player for Leeds Utd (and England) before turning to music, his strike partner Allan Clarke was in The Hollies and fiery midfield maestro Billy Bremner later joined Rockpile ...
No he didn't - this one has already been corrected some pages back. And here. What if Elton John joined King Crimson? »
Ur-goth anthem "Bela Lugosi's Dead" by Bauhaus is based on a bossa nova rhythm. Play it during your next visit to sunny Ipamena Beach.
John Peel was present at the press conference where Lee Harvey Oswald was presented to the world as Kennedy's assassin, posing as a reporter for a British newspaper. Ruby was alleged to have also been in the room at the time. Best Wishes, David
Frank Zappa gets the credit (or BLAME, depending on your opinion) for creating iTunes!!! From "The Real Frank Zappa Book": The next document explains the meeting mentioned above at Rothschild Venture Capital, held at a time in the long-forgotten past, when CDs weren't even on the market. . . A PROPOSAL FOR A SYSTEM TO REPLACE PHONOGRAPH RECORD MERCHANDISING Ordinary phonograph record merchandising as it exists today is a stupid process which concerns itself essentially with moving pieces of plastic, wrapped in pieces of cardboard, from one location to another. These objects, in quantity, are heavy and expensive to ship. The manufacturing process is complicated and crude. Quality control for the stamping of the discs is an exercise in futility. Dissatisfied customers routinely return records because they are warped and will not play. New digital technology may eventually solve the warpage problem and provide the consumer with better quality sound in the form of compact discs [CDs]. They are smaller, contain more music and would, presumably, cost less to ship. . . but they are much more expensive to buy and manufacture. To reproduce them, the consumer needs to purchase a digital device to replace his old hi-fi equipment (in the seven-hundreddollar price range). The bulk of the promotional effort at every record company today is expended on 'NEW MATERIAL' . . . the latest and the greatest of whatever the cocaine-tweezed rug-munchers decide to inflict on everybody this week. More often than not, these 'aesthetic decisions' result in mountains of useless vinyl/cardboard artifacts which cannot be sold at any price, and are therefore returned for disposal and recylcing. These mistakes are expensive. Put aside momentarily the current method of operation and think what is being wasted in terms of GREAT CATALOG ITEMS, squeezed out of the marketplace because of limited rack space in retail outlets, and the insatiable desire of quota-conscious company reps to fill every available slot with this week's new releases. Every major record company has vaults full of (and perpetual rights to) great recordings by major artists in many categories which might still provide enjoyment to music consumers if they were made available in a convenient form. MUSIC CONSUMERS LIKE TO CONSUME MUSIC. . . NOT SPECIFICALLY THE VINYL ARTIFACT WRAPPED IN CARDBOARD. It is our proposal to take advantage of the positive aspects of a negative trend afflicting the record industry today: home taping of material released on vinyl. First of all, we must realize that the taping of albums is not necessarily motivated by consumer 'stinginess.' If a consumer makes a home tape from a disc, that copy will probably sound better than a commercially manufactured high-speed duplication cassette legitimately released by the company. We propose to acquire the rights to digitally duplicate THE BEST of every record company's difficult-to-move Quality Catalog Items [Q.C.I.], store them in a central processing location, and have them accessible by phone or cable TV, directly patchable into the user's home taping appliances, with the option of direct digital-to-digital transfer to the F-l (SONY consumer-level digital tape encoder), Beta Hi-Fi, or ordinary analog cassette (requiring the installation of a rentable D-A converter in the phone itself. . . the main chip is about twelve dollars). All accounting for royalty payments, billing to the consumer, etc., would be automatic, built into the software for the system. The consumer has the option of subscribing to one or more 'special interest category,' charged at a monthly rate, WITHOUT REGARD FOR THE QUANTITY OF MUSIC THE CUSTOMER WISHES TO TAPE. Providing material in such quantity at a reduced cost could actually diminish the desire to duplicate and store it, since it would be available any time day or night. Monthly listings could be provided by catalog, reducing the on-line storage requirements of the computer. The entire service would be accessed by phone, even if the local reception is via TV cable. One advantage of the TV cable is: on those channels where nothing ever seems to happen (there's about seventy of them in L.A.), a visualization of the original cover art, including song lyrics, technical data, etc., could be displayed while the transmission is in progress, giving the project an electronic whiff of the original point-of-purchase merchandising built into the album when it was 'an album,' since there are many consumers who like to fondle & fetish the packaging while the music is being played. In this situation, Fondlement & Fetishism Potential [F.F.P.] is supplied, without the cost of shipping tons of cardboard around. Most of the hardware devices are, even as you read this, available as off-the- shelf items, just waiting to be plugged into each other in order to put an end to the record business as we now know it.
Elizabeth Taylor was the grandmother of "PUNK"! Trouser Press magazine had a cartoon of Believe it or not withTaylor as Cleopatra with the Group the "Wild Ones" that recorded the song "Wild Thing" on an album called "At Arthur's".
Dennis Wilson added a piece of him in the full throws of sexual relations with an unknown woman at the end of The Beach Boys "All I Want to Do", 20/20 1969. Now in well mastered HD with nice Dynamic Range, crank it up - right channel - noisy bed springs, too! Jeff
You can also hear something like this (obviously not involving Dennis Wilson) deep in the mix of "Rainy Day" by the Rascals.
no its not, its Hedy. Her story is interesting and rather dramatic and worth a read Hedy Lamarr - Wikipedia, the free encyclopedia » its wasnt really "wi-fi" she and her co-inventor created, it was a radio controlled remote torpedo guidance system, and elements and certain principles of it are used in wi-fi. ---------------- Blue Oyster Cult supposedly was given their name by Richard Meltzer, or maybe Sandy Pearlman, who saw drummer Albert Bouchards new Ludwig drums and asked him what the color was and he said "Blue Oyster Pearl". ------------ Billy Gibbons wife's real name is Gilligan. ------------ Tony Gilkyson (guitarist for X and Lone Justice) was the son of a folk singer and songwriter, Terry, who wrote "The Bear Neccessities of Life" for Disneys Jungle Book movie. -------------- Steve Howe once claimed his first band was fired from a club for playing 15 Chuck Berry songs in a row. I cant confirm this but have been told this story many times. -------------- Abba almost had to change their name when it was discovered that was also the name of a fish cannery/production factory in Sweden. Somehow the group persuaded the factory to allow it. -------------- Led Zeppelin appeared on an Abba album. In a very small way. Zeppelin decided to record "In thru the Out Door" in Abbas Polar Studios, in part because both Jonesy and Benny Anderson had recently got the giant Yamaha GX-1 keyboard, state of the art at the time. Sounds could be written to patches and stored on little plug-in devices, sort of similar to a flash drive. It made sense for Jones to write his patches and then bring the discs up to Sweden and plug them into Benny's keyboard. When Zeppelin wasnt recording, one night Benny went in and played a bit with the keyboard, trying out Jones's sound patches. He told Jones, some of these are great, can I copy them, and Jones said yes, and some of those Zeppelin custom keyboard sounds ended up on Abbas next album, I think it was Super Trouper. ----------- Carl Palmer toured with a drumset made of solid steel. It sounded incredible but was so heavy, the roadies hated it, and eventually one night it crushed the drum riser. Palmer sold it, I'm not sure how this progressed, but eventually Ringo had it permanently installed in his house. ------------- Micky Dolenz was on a TV show called Circus Boy as a very young lad. Supposedly he was allowed to fool around on the circus organ here and there and its Mickey who came up with the charismatic B-3 line on I'm a Believer, which was taken from some circus-type theme he learned on the TV show. ---------- thats enough, I could go on forever with this stupidity. and half of it may well turn out to be lies anyway.
Jeff Baxter's post-Steely Dan/Doobies interest in music-related data-compression algorithms and large-capacity storage devices led to his second career as a defence consultant to the Bush administration (and beyond)
There is only one artist who has been a) produced by Brian Wilson and b) released a single with Motown. Not at the same time though.
