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What are you listening to/fav type of music

For the boys      ::)      :D

Boys boys boys - Sabrina
http://www.youtube.com/watch?v=eiuHdUkuRi0&feature=related
 
For "commercially popular" music, I'm trying to decide whether Gerry Rafferty's Baker Street or Al Stewart's Year of the Cat has a better saxophone line.......


For you Justin Beiber fans trying to play along, you'll have to wait about 2/3 of the way through Al Stewart to hear the first sax part, but he's not done there. Just sayin'
 
I'm listening to "Scary Monsters and Nice Sprites" by Skrillex. He's not an artist I thought I'd be into but so far I like his stuff.


http://www.youtube.com/watch?v=WSeNSzJ2-Jw&feature=relmfu
 
The boys and I will be sitting down with a few bottles of bourbon and having a "The Last Waltz"/"Ramble at The Ryman" marathon tonight.

RIP, Levon Helm.

http://latimesblogs.latimes.com/music_blog/2012/04/levon-helm-cancer-the-band-drummer-singer.html

Love "The Band", and Levon's solo stuff was even better.

 
Imelda May- Love Tattoo.  This chick can bring it!
 
Interesting look at the way the music industry is changing. Would be music stars take note:

http://www.wired.com/underwire/2012/05/5-music-apps-scaremiddlemen/

5 Powerful Music Apps That Should Make Middlemen Nervous
By Eliot Van Buskirk, Evolver.fm

In the early days of Web 1.0 beta (i.e., the ’90s), most of us who were paying attention thought music middlemen were on their way out. Technology on the near horizon would allow bands to sell tickets, merchandise and recordings directly to fans, while promoting their music through early internet radio, where payola and corporate sway over the FM dial wasn’t a factor.

Everything looked like it would operate outside the usual confines of labels, publishers, distributors, marketers, retailers, ticket sellers, promoters and the rest of the middlemen that had built up over the past hundred years or so between artists and fans.

It didn’t happen, in part because music doesn’t take place in a vacuum. Musicians, like anyone else, need a support system in order to create a market. And so Ticketmaster still dominates ticketing, and in just about every other area (sales, radio, promotion, social networking), bands still go through intermediaries to reach fans — often at the expense of considerable friction, even if they run their own label. There’s that 30 cents they have to pay music retailers from every sale on Amazon or iTunes, not to mention hundreds of millions of dollars in cash and equity paid out by Spotify and other startups as artists complain of sub-penny royalty checks.

Maybe it’s the social media bubble, which recalls those heady days in ’90s San Francisco when your pet turtle could have secured funding for a cat-food-to-dogs startup, but we’re sniffing a return of the “direct to fan” ecosystem. This time, some of it could stick:

Ticketing: Crowdsurge

Let’s start here, because people love to hate on Ticketmaster. The kneejerk haters are somewhat justified in their revulsion of a company that appears to charge music fans for doing extra work by replacing cashiers. But the haters are at least partially wrong because they tend not to acknowledge that “convenience fees” are typically shared between Ticketmaster, the promoter, the venue, management, the bands themselves and possibly other parties. Yes, many of the bands you love as you hate Ticketmaster are snatching up some of those fees.

That’s one reason Ticketmaster isn’t going anywhere — especially now that it has merged with Live Nation. It’s just too entrenched, and pretty much everyone except music fans loves those fees. However, there’s a crack in Ticketmaster’s armor: the allotment of tickets given to bands themselves. As noted by The New York Times‘ account of the jam band String Cheese Incident’s Ticketmaster fee circumvention, Ticketmaster’s standard practice is to give bands 8 percent of the tickets to a show, with which they can do whatever they want — sell them, give them to friends, family and superfans, sprinkle them on homeless people or whatever.

Bands are monopolies. There’s only one of them. That gives them some negotiating power to ask for more than that 8 percent of the door. They can sell that, or 10 percent, 20 percent or even 30 percent of tickets, assuming they can pressure Ticketmaster and venues for more tickets, as one industry insider who wishes to remain nameless told Evolver.fm they will. Among the contenders for helping them offload that inventory, Crowdsurge holds particular promise. It’s a white-label service that charges nothing at a basic level — a thin middleman that lets bands (and venues and promoters) essentially run their own mini-Ticketmaster.

Music and Merchandise Store: Bandcamp

Most fans don’t go directly to Bandcamp when they want to buy a download, because it doesn’t have everything, the way iTunes and Amazon do. However, if they visit a place on the web that the band controls at least part of (the band’s website, Facebook, YouTube, Vimeo, Twitter, etc.), they might find themselves directed to Bandcamp to buy stuff or even download it for free.

Unlike the standard 30 percent charged by Amazon MP3 and iTunes, Bandcamp takes half that — 15 percent. In addition, it includes all sorts of options, such as free music giveaways and variable pricing, and other goodies missing from the bigger players, like the ability to sell T-shirts.

Funding: Kickstarter

As with Bandcamp, you’ve almost certainly heard of Kickstarter, which funds everything from post-urban cowboy movies to light-up guitar fretboards. Kickstarter has recently grabbed the spotlight as a source of funding for bands, following Amanda Palmer’s ridiculously successful campaign, which looks like it’s going to top $700,000 with 15 days still to go. As noted by Techdirt, Jordis Unga is also seeing some money flow in via Kickstarter.

In a traditional sense, record labels are banks. They loan bands money to make an album, and then get them to pay it back. Of course, bands can record most of an album themselves these days, and often just need to pay for mastering and maybe some studio time/production expertise. Kickstarter is perfectly positioned to hook them up with the money to do so, as these latest campaigns proved beyond any doubt.

Perhaps because it grabs headlines outside the music world, the generally themed Kickstarter appears to be succeeding where music-focused fan-funding efforts foundered. Slicethepie, Sellaband and other services that let fans fund bands enjoyed a brief heyday, in the press if not in the market, but Kickstarter seems to have cracked the code. Bands that can put together a compelling video and have a decent-size fan base on the internet can use Kickstarter to rack up serious funding in weeks, all without answering to any sort of overlord. (See also: Indiegogo.)

Tour Funding: GigFunder

For funding tours specifically, GigFunder has a unique appeal in the crowdfunding space. It counts on fans who really, really want a band to show up in their city (or, more likely, their town or village) to help make it happen. To do that, fans pledge to pay money to see the band if they make it to that location — and if the band doesn’t raise enough to do that, nobody has to pay anything to anyone.

GigFunder charges 7 percent if the tour happens, which covers the 3 percent PayPal fee for the transactions. In addition to show tickets, fans who pledge money to a successful campaign can be rewarded with just about anything, just like on Kickstarter: T-shirts, signed merchandise, Playbuttons, and so on.

Subscription: Distro.fm

Hey people in bands: Do you think you could operate your own music subscription, like a little version of Spotify Premium that only includes your music — not only the stuff you release on albums, just after you’ve recorded it, but your live shows, rehearsal tapes, tour van observations, remixes and everyone’s various side projects? Sounds complicated, right? Not anymore.

The recently launched Distro.fm can handle all the technology stuff for you, so you can charge your fans 10 bucks a year (or so) for everything you want to send them. When that year is up, you can ask them to resubscribe. Your fans can stream all of that stuff, download it or play it within Distro’s upcoming app, which will be able to cache the songs so they can play them without eating up their precious little data plans.

What’s not to like? Not much, from what we could tell. Bands from Atlas Sound to Phish are already using Distro.fm, even in these early days. If people are fans of more than one band on the service, they can subscribe to them all in that one place. All the bands have to do is upload the music and send people there.

We just have one request: Can Distro.fm please add a way to remove bands? We really didn’t mean to subscribe to Phish (see screenshot).

Radio: My App Idea That Nobody Has Built Yet (Honorable Mention)

When people listen to online radio, most of them choose stations based around a specific artist, and most of them do it on Pandora. My idea, which nobody has built yet so far as I can tell, is to make those “artist” stations into actual artist stations, delivered as standalone apps.

These would include music handpicked by the artist; played by those artists on their devices; and rated by the artist. If so many people listen to artist radio anyway, my thinking goes, why not do artist radio for real? The reason we include this idea here, aside from the fact that we really like it, is that an artist radio app could embed everything else listed on this page. That would offer artists a simple, sticky platform on which to promote their tours, Kickstarter campaigns, subscription options, ticket sales and so on.

Did we miss anything? Let us know.
 
http://www.youtube.com/watch?v=d0T2GaesWzg
Pink Floyd the gunner dream. gun dream
VIDEO MADE WITH SCEANS FROM THE MOVIE " BAND OF BROTHERS "the gunner's dream
 
Canadian dance/trance artist deadmau5 with the Veldt

I was actually taken by the lyrics, which reminded me of something...that being a 1950 Ray Bradbury short story also called the Veldt. Read the story as well, quite disturbing and rather prescient at the same time. http://www.veddma.com/veddma/Veldt.htm
 
And as for what pases for music on the radio these days:

http://www.telegraph.co.uk/culture/music/9430338/Modern-music-really-does-sound-the-same.html

Modern music really does sound the same
For fans of the golden oldies it is confirmation of something they have already known: modern music really is louder and has less variety than 50 years ago.

By Nick Collins, Science Correspondent6:22PM BST 26 Jul 2012518 Comments

The scepticism about modern music shared by many middle-aged fans has been vindicated by a study of half a century's worth of pop music, which found that today's hits really do all sound the same.

Parents who find their children's thumping stereos too much to bear will also be comforted to know that it isn't just the effect of age: modern songs have also grown progressively louder over the past 50 years.

The study, by Spanish researchers, analysed an archive known as the Million Song Dataset to discover how the course of music changed between 1955 and 2010.

While loudness has steadily increased since the 1950s, the team found that the variety of chords, melodies and types of sound being used by musicians has become ever smaller.

Joan Serra of the Spanish National Research Council, who led the study published in the Scientific Reports journal, said: "We found evidence of a progressive homogenisation of the musical discourse.

"The diversity of transitions between note combinations – roughly speaking chords plus melodies – has consistently diminished in the past 50 years."
The "timbre" of songs – the number of different tones they include, for example from different instruments – has also become narrower, he added.
The study was the first to conduct a large-scale measurement of "intrinsic loudness", or the volume a song is recorded at, which determines how loud it will sound compared with other songs at a particular setting on an amplifier.

It appeared to support long-standing claims that the music industry is engaged in a "loudness war" in which volumes are gradually being increased.
Although older songs may be more varied and rich, the researchers advised that they could be made to sound more "fashionable and groundbreaking" if they were re-recorded and made blander and louder.

They wrote: "An old tune could perfectly sound novel and fashionable, provided that it consisted of common harmonic progressions, changed the instrumentation, and increased the average loudness."

But science also rides to the rescue. Using a process based on evolution to take generations of random notes and selecting the most 'pleasing" ones, a piece of music has "evolved". The end result is stunning (read article)  (Darwintunes.org)

http://www.telegraph.co.uk/science/science-news/9339058/Scientists-create-perfect-pop-song-through-natural-selection.html

Scientists create 'perfect' pop song through natural selection
The "perfect pop song" is being created by scientists using Darwin's principle of natural selection to turn an assortment of random sounds into musical movements.

A computer programme picked out the most popular clips, then paired them up in various combinations to produce a set of new 'offspring' loops which incorporated some aspects from each of their 'parent' tracks Photo: Alamy
By Nick Collins, Science Correspondent7:00AM BST 18 Jun 201255 Comments

Just as the strongest and healthiest plants and animals pass on their good genes to future generations, researchers claim music evolves as musicians copy the best aspects of other artists' work while filtering out their less popular traits.

This means that every time someone buys a song, they are contributing to the "natural selection" process by which the best songs are rewarded with success and the worst ones fade into obscurity, the scientists said.

The researchers, from Imperial College London, tested their theory by combining a series of random noises into 100 eight-second loops, before asking 7,000 internet users to listen to them and rate how much they enjoyed them.

Listen to the music produced whilst testing the theory by The Telegraph

A computer programme picked out the most popular clips, then paired them up in various combinations to produce a set of new "offspring" loops which incorporated some aspects from each of their "parent" tracks.

Prof Armand Leroi, co-author of the study, said: "That's how natural selection created all of life on Earth, and if blind variation and selection can do that, then we reckoned it should be able to make a pop tune. So we set up an experiment to explain it."

The song bears an uncanny resemblance to The Who's 1971 song Baba O'Riley.

The experiment was repeated thousands of times before a group of volunteers was asked to rate how enjoyable a series of tracks were, without knowing which "generation" each clip came from.

Music loops from later generations were consistently rated as better than those from an earlier stage of the experiment, suggesting the music was steadily improving, the scientists reported.

At the time their study was published in the Proceedings of the National Academy of Sciences journal the experiment was still ongoing and had been through 2,513 generations of evolution.
 
Annie Lennox(Eurythmic's) George Throgood,, Adele.... 50's-60's slow dancing rock n roll (close up) O-boy.
 
GnyHwy said:
I will be blowing my ear drums out with the heaviest music I can find on youtube that I can still understand the lyrics.  Will add a good tune once I figure out the winner.

Promote this man!  ;D
 
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