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What the End of the App Era Means for the Music Business

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The average smartphone user downloads less than 1 app per month, according to comScore. The era of apps is ending, and we’re moving in an era of artificial intelligence interacting with us through messaging apps, chatbots, voice-controlled interfaces, and smart devices.

What happens to music in this context? How do you make sure your music stands out? How do you communicate your brand when the interface goes from visual to conversational? And what strategic opportunities and challenges does the conversational interface present to streaming services?

The Current In Minneapolis Begins Their 5-Part Series On Husker Du

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In the first of this illuminating five-part history of the great Twin Cities punks Husker Du, we meet the band before they became a band, following Grant Hart and Greg Norton as they grow up in St. Paul, and then encounter Bob Mould, a new kid at Macalester College with a Flying V guitar and a love for punk rock equal to theirs.

Questlove On Prince’s “1999” Shows He’s A Great Music Writer

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I STILL maintain that on Oct 27th 1982, Prince made his most INFLUENTIAL album. 1980’s #DirtyMind was the paradigm shift. ‘86’s #Parade was abstract. #SignOTheTimes (87) was the sprawling masterclass of versatility & blurred lines. (87) #TheBlackAlbum was his fonkiest. The most vulnerable (& best) 7 mins of his career lies in his most transparent lp #Controversy (81). #ATWIAD (85) is all over the place & #PurpleRain (84) is indeed his most focused & powerful. That said: I feel that to get to @Prince’s DNA one has to examine the total reach of his 5th offering “1999” His sound patches are so unique & so original that they became default “Prince Sounds”. Roger Linn’s drum patches have been in existence for 2 yrs at this point (Herbie was 1st w 1980’s Mr Hands) & the progression was interesting. But in #Prince’s hands? Man, he just cared more. It was enough to convince me he was playing them in real time. I never knew music could be programmed and sequenced before I heard this album. Those kick breakdowns in the final moments of the title cut, all the drum fills in the (actual 2nd in history to Sly’s Thank You/Talking To Me redo) Remix of #LittleRedCorvette, those angry 3 crashes tryin (and failing) to mask & conceal how far downtown he was willing to leave her uptown in Automatic. And “Something In The Water?”…ha ha forget it. His Oberheim synth programming was also MILES ahead of everyone else (Rick James stole Lisa Coleman’s synth from the Dirty Mind tour to record his bestselling #StreetSongs lp. So Rick does owe Prince gratitude. the 4 video offerings? w/ all the neon-smokey-videuendo Damn near pioneered the home vidrotic aesthetic. At precisely less than one month older than Thriller it’s a hard argument figuring out what had more impact (as albums I’m giving 1999 the 51% advantage for I believe MJ was bigger than Thriller—thus making it a social movement & more than just 9 cohesive songs on a platter) I mean I know all opinions are subjective. But I know one thing for sure: no one was ever the same after this album was released. Happy 35th #1999

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Unseen Audition Tapes For The Kids Of Stranger Things

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Everything is out in the open during the audition tapes of the kids from the Netflix show, Stranger Things.

Thelonious Monk’s ‘The Complete Prestige 10-Inch LP Collection’ out December 15

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Craft Recordings, the Catalog Division of Concord Music, is proud to announce the release of Thelonious Monk’s The Complete Prestige 10-Inch LP Collection. Due out December 15th, the limited-edition box set includes all five of the 10″ vinyl LPs which the pianist recorded for the jazz label, spanning 1952 to 1954. Each album has been faithfully reproduced – from the jacket design to the LP labels – while the audio has been carefully restored and remastered by Joe Tarantino from the original analog tapes, with lacquer cutting by George Horn and Anne-Marie Seunram at Fantasy Studios. Rounding out the collection is a booklet with new liner notes by Robin D. G. Kelley, author of Thelonious Monk: The Life and Times of an American Original. The Complete Prestige 10-Inch LP Collection will also be released in high-res and standard audio formats across all streaming and digital platforms.

Thelonious Sphere Monk (1917-1982), who would have turned 100 this year, remains one of the most highly regarded jazz artists in history, known for his unique style on and off the piano. Monk was a rule-breaker, pushing the limits of his genre, with his dissonant chords, unconventional melodies and progressive rhythms. Initially dismissed an eccentric by the musical elite, Monk stood his ground, and came to be celebrated for his complexities; considered by many to be a genius.

However, in the early ’50s, the artist was still struggling to find critical and commercial acceptance. In his liner notes, Robin D. G. Kelley refers to this era as the “golden years in terms of [Monk’s] creative output” but, he adds, “these were also dark times.” Following an unjust run-in with the law, the jazz musician’s cabaret card was revoked, preventing him from performing at New York clubs, and restricting his income. The artist’s fortune began to change, though, in 1952, when Prestige Records’ founder Bob Weinstock offered Monk a recording contract. Weeks later, the Thelonious Monk Trio ̶ consisting of Art Blakey (as well as Max Roach on select tracks) on drums and Gary Mapp on bass, went to work in the studio, with a young Ira Gitler as producer. The resulting 10-inch LP release was Thelonious. By the fall of 1953, Monk returned to the studio, this time with a quintet, for Thelonious Monk Quintet Blows For LP, featuring Sonny Rollins on tenor saxophone. Thelonious Monk Quintetand Thelonious Plays followed in 1954. In the final 10-inch LP in this collection, recorded in October of 1954, Monk was actually a last-minute replacement for Elmo Hope at a Sonny Rollins session. But he ultimately received co-billing on the resultant 10″ LP release, Sonny Rollins and Thelonious Monk. Also produced by Gitler, the LP includes an 11-minute jam of Vincent Youmans’ “More Than You Know” which, as Kelley puts it, became “the session’s masterpiece, a sublime dialogue between two great masters of modern music.”

These early albums in The Complete Prestige 10-Inch LP Collection offer an intriguing look into this distinctive and resolute artist before he found full acclaim and acceptance, and feature an impressive collective personnel that includes some of jazz’s finest. “Listening to these tracks more than sixty years after they were recorded, it’s stunning how compelling, modern and original Monk’s music still sounds, even through the filter of 21st-century ears,” observes the collection’s producer, Nick Phillips. “That’s the mark of a true musical genius, indeed.”

TRACK LISTING

Disc 1:
Thelonious Monk Trio: Thelonious

Side A
1. Little Rootie Tootie
2. Sweet And Lovely
3. Bye-Ya
4. Monk’s Dream
Side B
1. Trinkle, Tinkle
2. These Foolish Things
3. Bemsha Swing
4. Reflections
Personnel:
Thelonious Monk – piano
Gary Mapp – bass
Art Blakey – drums (A1 through A4)
Max Roach – drums (B1 through B4)

Recorded at Van Gelder Studio in Hackensack, NJ; October 15, 1952 (A1 to A4) and December 18, 1952 (B1 to B4).

Disc 2:
Thelonious Monk Quintet Blows For LP
Featuring Sonny Rollins

Side A
1. Let’s Call This
2. Think Of One
Side B
1. Friday The Thirteenth
Personnel:
Thelonious Monk – piano
Sonny Rollins – tenor saxophone
Julius Watkins – French horn
Percy Heath – bass
Willie Jones – drums

Recorded at WOR Studios, New York City; November 13, 1953

Disc 3:
Thelonious Monk Quintet

Side A
1. We See
2. Smoke Gets In Your Eyes
Side B
1. Locomotive
2. Hackensack
Personnel:
Thelonious Monk – piano
Ray Copeland – trumpet
Frank Foster – tenor saxophone
Curly Russell – bass
Art Blakey – drums

Recorded at Van Gelder Studio, Hackensack, NJ; May 11, 1954.

Disc 4:
Thelonious Monk Plays

Side A
1. Work
2. Nutty
Side B
1. Blue Monk
2. Just A Gigolo
Personnel:
Thelonious Monk – piano
Percy Heath – bass
Art Blakey – drums

Recorded at Van Gelder Studio, Hackensack, NJ; September 22, 1954

Disc 5:
Sonny Rollins and Thelonious Monk

Side A
1. The Way You Look Tonight
2. I Want To Be Happy
Side B
1. More Than You Know
Personnel:
Thelonious Monk – piano
Sonny Rollins – tenor saxophone
Tommy Potter – bass
Art Taylor – drums

Recorded at Van Gelder Studio, Hackensack, New Jersey; October 25, 1954

Exploring the Nine Inch Nails Live Setup with Alessandro Cortini and Ilan Rubin

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The multi-instrumentalist and drummer explain how to transform Trent Reznor’s Nine Inch Nails recordings into performance.

Photo Gallery: Tori Amos at Toronto’s Massey Hall

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All photos by Mini’s Memories. You can contact her at minismemories@hotmail.com

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Luna Lee Performs The Doors’ “Riders On The Storm” On The Gayegeum

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Musician Luna Lee’s latest gayageum arrangement is The Doors’s classic Riders on the Storm.

Paul McCartney’s Isolated Vocals For “Jet”

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Jet was the first British and American single to be released from Paul McCartney and Wings’ Band on the Run album. The song’s title was inspired by McCartney’s Labrador Retriever dog named “Jet”, as he says in Paul McCartney: In His Own Words.

We’ve got a Labrador puppy who is a runt, the runt of a litter. We bought her along a roadside in a little pet shop, out in the country one day. She was a bit of a wild dog, a wild girl who wouldn’t stay in. We have a big wall around our house in London, and she wouldn’t stay in, she always used to jump the wall. She’d go out on the town for the evening, like Lady and the Tramp. She must have met up with some big black Labrador or something. She came back one day pregnant. She proceeded to walk into the garage and have this litter… Seven little black puppies, perfect little black Labradors, and she’s not black, she’s tan. So we worked out it must have been a black Labrador. What we do is if either of the dogs we have has a litter, we try to keep them for the puppy stage, so we get the best bit of them, and then when they get a bit unmanageable we ask people if they want to have a puppy. So Jet was one of the puppies. We give them all names. We’ve had some great names, there was one puppy called Golden Molasses. I rather like that. Then there was one called Brown Megs, named after a Capitol executive. They’ve all gone now. The people change the names if they don’t like them.

Slash from Guns N’ Roses Turns Into A Pumpkin In Amazing Halloween Video

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Just in time for Halloween, Slash has been immortalized as a pumpkin, and the likeness, let alone the craftsmanship has to be seen to be believed. Seen here, the Slash-o’-lantern, which was created by AXS and professional pumpkin carver John Neill (known as the “Pumpkin Guru”), perfectly captured the lead guitarist of Guns N’ Roses iconic look—complete with his famous hat and hair. The process took a total of 16 hours and was created to celebrate Halloween, along with the upcoming concerts on the legendary rock band’s tour. The fun, timelapse video turns the hours of work into 60 seconds.

“With the hat, glasses, nose ring and hair, there are few rockers more iconic and it was kick to carve Slash,” said Jon Neill, a world-renowned champion carver celebrity seen on Food Network, Snickers Halloween Commercial, Nickelodeon and more. “It wasn’t without it’s challenges, and it actually ended up being two pumpkins overall — one for his face and one for his hat. But fair to say it was a rockin’ likeness, easily one of my favorite of the season to carve.”