CELTICA -Pipes Rock! Official videos
Published on 3 Apr 2017Megawatt performed by Celtica during the Wild Wild Wild West Steampunk Convention at Old Tucson Studios in spring 2017. Thanks to all the creative, awesome Steampunk-people who made the video a colorful extravagaza.
July 10, 2018
CELTICA – Pipes Rock: Megawatt (Official Video)
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July 9, 2018
We used to joke about the “Pre-Fab Four”, but now every major artist is pre-fab
Not only pre-fabricated, but with a global audience that has been trained to like their music in advance. You could go so far as to say they’ve been brainwashed into liking it. ESR commented on this and shared the following video.
Not just a get-off-my-lawn rant, very exact information on how modern production techniques and producers’ economic incentives squeeze the life and variety out of popular music.
I actually didn’t know how bad it had gotten out there, I never hear any of this chart-topping crap because I select my music from niche genres without lyrics – instrumental prog metal, jazz fusion, space ambient. I thought that was just me, but maybe such strict selectivity is what one has to do to avoid being inundated in garbage these days.
July 3, 2018
The Animals – The House of the Rising Sun
José Antonio
Published on Sep 3, 2010By José Antonio…. Because the original version of this video, has low quality in both audio and video, I took the trouble to improve with better sound, better image quality, better zoom and better edition with the best of intentions, thanks.
En vista de que la versión original de este video, tiene baja calidad tanto en audio como en video, me tomé la molestia de mejorarlo con mejor sonido, mejor calidad de imágen, mejor zoom y mejor edición con la mejor de las intenciones, gracias.
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July 2, 2018
Drowsy Maggie – Scottish Indian Punjabi Mix (The Snake Charmer)
TheSnakeCharmer
Published on 4 Jun 2018When a 200 year old Traditional Scottish Folk song gets a Punjabi Dubstep revival by The Snake Charmer. A multi cultural music video with Britain’s Castles, highland dancers, Bagpipes, Graffiti walls from India, punjabi folk, bhangra dancers, Russian violinist and a crazy dhol player get together to showcase the amazing diversity in the world and how we all have something in common and can contribute to each other despite the distance and differences. Enjoy this brand new Celtic punjabi mix with Bagpipes.
Patreon (Support me for as less as $1) – https://www.patreon.com/thesnakecharmer
GET MP3
iTunes – https://goo.gl/eoszgf
Google Play – https://goo.gl/3sGBgbBagpipes – Archy Jay
Violin – MadinaHighland Dancers – Northumberland Church of England Academy combined cadet Force, Laura Greyson, Whistle School of Highland Dance.
Bhangra Group – https://www.facebook.com/bhangrainspire/
Dhol Player – Sarthak Pahwa
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June 29, 2018
Sultans of Swing (metal cover by Leo Moracchioli feat. Mary Spender)
Frog Leap Studios
Published on 30 Mar 2018Original by Dire Straits
Check Mary´s channel here:
http://bit.ly/2pi8zsAWant to send me something?
Postboks 27 4333 Oltedal,
Rogaland NorwayHi there, my name is Leo and I run a studio on the westside of Norway where I record and produce bands, do video work and play live shows.
On my youtube channel there is lots of videos with covers, gear reviews, studio updates and other shenaningans.
For my covers I play everything myself as well as record, mix, master, shoot and edit the music & videos.
Please subscribe if you like what you see/hear and I am forever gratefull to everyone who buys songs so I can keep doing this as a living.
H/T to ESR for the link.
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June 3, 2018
Brand X – Nuclear Burn (1976)
aquarianrealm
Published on Nov 7, 2010AMG: Brand X were a British jazz-rock fusion outfit formed by Genesis drummer Phil Collins and Atomic Rooster guitarist John Goodsall as a side project from their regular groups. Their initial lineup also included keyboardist Robin Lumley and bassist Percy Jones (the Liverpool Scene, the Scaffold). Brand X’s debut album, Unorthodox Behaviour, was released in 1976; a live album, Livestock, and the studio effort Moroccan Roll followed in 1977. Collins left the group to concentrate on Genesis, and for 1978’s Masques, he was replaced by Al Di Meola drummer Chuck Burgi, as well as additional keyboardist Peter Robinson, who had played with Stanley Clarke. Three further albums — 1979’s Product, 1980’s Do They Hurt?, and 1982’s Is There Anything About? — followed before the group disbanded. In the mid-’90s, Lumley, Goodsall, and Jones reunited, issuing several live collections in the years to follow.
H/T to ESR for the link.
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May 26, 2018
Remy: The Longest Time (TSA Version)
ReasonTV
Published on 25 May 2018Remy prepares summer travelers for groping season.
“The Longest Time” parody written and performed by Remy. Background vocals and Mastering by Ben Karlstrom. Video produced and edited by Austin Bragg.
—–
LYRICS:
Whoa-oo-aa-ooah
For the longest time
If you book a ticket for a flight
Stow your baggage and some of your rights
Travel, you’re hoping
But first you’ll get a groping
And you’ll be waiting for the longest timeMy last job? I guess it paid the bills
This pays more for using the same skills
At first we hound you
Then we put our arms around you
And you’ll be waiting for the longest timeWhoa-oo-aa-ooah
For the longest timeSupervisors try to sneak bombs by
Of 100, 80 make it by
I like those chances
I forgot how nice your pants is
I haven’t touched them for the longest timeI had other jobs at the start
I said to myself “just follow your heart”
Now I know the woman that you are
I’ll swab your Magic cards
And you’ll miss your connection…Who could guess what consequence this brings
We have issues keeping nicer things
Our record’s so bad I think you ought to know this summer
you’ll be waiting for the longest timeWhoa-oo-aa-ooah
For the longest time
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May 18, 2018
Minnie the Moocher by Hugh Laurie and Stephen Fry
imamazedby
Published on 25 Jul 2010Stephen Fry and Hugh Laurie in Jeeves and Wooster.
I DO NOT OWN Jeeves and Wooster! ;(
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May 17, 2018
Dire Straits – “Sultans Of Swing” Gayageum ver. by Luna
Luna Lee
Published on Aug 17, 2016
H/T to uDiscover Music for the link.
We’re indebted to the Open Culture website for bringing to our attention the work of the Korean musician Luna Lee. She performs Western music on the gayageum, a traditional 12-stringed instrument from Korea that’s something like a zither. Dating from the 6th century, it’s from the same family as the guzheng from China and the koto from Japan. One of her remakes will be particularly fascinating to Dire Straits fans.
Luna’s clip of her performance of the band’s early, classic Mark Knopfler composition “Sultans Of Swing”, nimbly performed on the aforementioned gayageum, already has some two million views. It may be hard to imagine a Korean-Greek-sounding instrumental version of this enduring tune, but here it is
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May 6, 2018
QotD: The hierarchy of success for rock groups
How do you define success for a rock group? The nature of the ladder is very clear at the bottom: the rungs are marked with “playing competently in the same key,” “playing for money for the first time,” “becoming spiritual leaders of a local music scene,” “having a national hit single” … it is all easy to work out. At the top, though, the standards are no longer technical and commercial. They become historical.
Above the level of “mere” successful hit-makers, there are artists whose core discography, or even their entire career in the studio, becomes part of a larger cultural story — the Led Zeppelins, Black Sabbaths and Kinks. And there’s a level above that, at which a group’s individual tracks become the subject of extensive study, entire mini-literatures — where even B-sides and cast-offs attract interest, and every move, every day, is extensively documented. That level’s pretty much Bob Dylan and the Beatles.
Colby Cosh, “The improbable media journey of The Tragically Hip”, National Post, 2016-08-22.
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April 22, 2018
The Lament for the Rohirrim – Lord of the Rings – Clamavi De Profundis
Clamavi De Profundis
Published on 31 Mar 2018Here is our version of J.R.R. Tolkien’s poem, “The Lament for the Rohirrim!” We hope you enjoy it:)
A note on our interpretation:
We approached this piece more “organically”. The melody was composed by singing the lyrics, seeking to be true to the notion of vocal folk tradition. Therefore, the feel of this song is more rhythmically free and more focused on simply dwelling on the questions and answers of the text. There are two sections of the piece: the melody is sung first in a “contemplative” setting, and then repeated in a more “epic” setting, to explore varying sentiments drawn from this beautiful text.
We hope you enjoy this as much as we did creating it! Thanks very much for listening and for your support!
We are unable to get permission to sell this song so we are posting it here free for your enjoyment. If you want a copy of the mp3, we are offering it to those who support us on Patreon!
My brother composed and arranged the piece. My family sang it.
Please no bad language in the comments. We want this to be family friendly:)
Lyrics:
Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
And the bright hair flowing?
Where is the hand on the harpstring,
And the red fire glowing?
Where is the spring and the harvest
And the tall corn growing?
They have passed like rain on the mountain,
Like a wind in the meadow;
The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?
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April 18, 2018
Bo Burnham – Today’s Country Songs
J GiL
Published on 8 Jul 2016
H/T to Victor for the link.
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April 12, 2018
Canadian Music Policy Coalition pushes to revive the idea of an “iPod tax”
Michael Geist on one particular rent-seeking submission to the federal government pushing for changes to Canadian copyright law:
The long-awaited Canadian copyright review is set to kick off hearings next week as a House of Commons committee embarks on a year-long process that will hear from a wide range of stakeholders. My Globe and Mail op-ed notes that according to documents obtained under the Access to Information Act, however, one stakeholder – the Canadian Music Policy Coalition, an umbrella group representing 17 music associations – got an early start on the review process last fall by quietly submitting a 30-page reform proposal to government officials.
The proposal, titled “Sounding Like a Broken Record: Principled Copyright Recommendations from the Music Industry”, calls for radical changes that would spark significant new consumer fees and Internet regulation. The plan features new levies on smartphones and tablets, Internet service provider tracking of subscribers and content blocking, longer copyright terms, and even the industry’s ability to cancel commercial agreements with Internet companies if the benefits from the deal become “disproportionate.”
The coalition, which includes the Canadian Council of Music Industry Associations, the Canadian Music Publishers Association, and copyright collectives such as SOCAN, asks the government to follow three main principles as part of its reform process: real-world applicability, forward-thinking rights, and consistent rules.
But the coalition proposal largely avoids discussing the current state of the industry, perhaps with the intent of leaving some with the impression that file sharing remains a significant problem. The reality is the music industry in Canada, led by the massive growth of authorized music streaming services, has enjoyed a remarkable string of successes since the last time copyright law was overhauled in 2012.
The Canadian music market is growing much faster than the world average, with Canada jumping past Australia last year to become the sixth largest music market in the world. Music collective SOCAN, a coalition member, has seen Internet streaming revenues balloon from $3.4 million in 2013 to a record-setting $49.3 million in 2017.
Moreover, data confirms that music piracy has diminished dramatically in Canada. Music Canada reports that Canada is below global averages for “stream ripping”, the process of downloading streamed versions of songs from services such as YouTube. Last month Sandvine reported that file sharing technology BitTorrent is responsible for only 1.6 per cent of Canadian Internet traffic, down from as much as 15 per cent in 2014.
Yet despite the success of Internet streaming services and the marginalization of file sharing activity, the coalition has crafted a reform proposal that would be more at home in 2008 than in 2018. For example, the industry is now calling for new fees to be set by the Copyright Board on all smartphones and tablets to compensate for personal copying. The revival of the so-called “iPod tax” would today go far further than just digital music players, as the coalition is asking the government to amend the Copyright Act to allow for fees to be imposed on all devices.
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April 10, 2018
New Year’s Day in 2019 will be a big day for works finally entering public domain
The US government messed around with the copyright laws so that from 1998 until the end of this year, very little material was allowed to slip out of copyright protection and into the public domain. (Many people point their fingers at the Disney corporate lawyers and their pliable friends in Washington DC for this oddity.) In The Atlantic, Glenn Fleishman explains some of the legal issues that will finally begin to allow works to enter public domain status in the US normally next year:
The Great American Novel enters the public domain on January 1, 2019 — quite literally. Not the concept, but the book by William Carlos Williams. It will be joined by hundreds of thousands of other books, musical scores, and films first published in the United States during 1923. It’s the first time since 1998 for a mass shift to the public domain of material protected under copyright. It’s also the beginning of a new annual tradition: For several decades from 2019 onward, each New Year’s Day will unleash a full year’s worth of works published 95 years earlier.
This coming January, Charlie Chaplin’s film The Pilgrim and Cecil B. DeMille’s The 10 Commandments will slip the shackles of ownership, allowing any individual or company to release them freely, mash them up with other work, or sell them with no restriction. This will be true also for some compositions by Bela Bartok, Aldous Huxley’s Antic Hay, Winston Churchill’s The World Crisis, Carl Sandburg’s Rootabaga Pigeons, e.e. cummings’s Tulips and Chimneys, Noël Coward’s London Calling! musical, Edith Wharton’s A Son at the Front, many stories by P.G. Wodehouse, and hosts upon hosts of forgotten works, according to research by the Duke University School of Law’s Center for the Study of the Public Domain.
Throughout the 20th century, changes in copyright law led to longer periods of protection for works that had been created decades earlier, which altered a pattern of relatively brief copyright protection that dates back to the founding of the nation. This came from two separate impetuses. First, the United States had long stood alone in defining copyright as a fixed period of time instead of using an author’s life plus a certain number of years following it, which most of the world had agreed to in 1886. Second, the ever-increasing value of intellectual property could be exploited with a longer term.
Here’s a graphical representation of how the copyright laws interact with Amazon’s ability/interest in stocking or otherwise making available older still-in-copyright works (graphic from 2015):
So, what’s the Disney connection?
The details of copyright law get complicated fast, but they date back to the original grant in the Constitution that gives Congress the right to bestow exclusive rights to a creator for “limited times.” In the first copyright act in 1790, that was 14 years, with the option to apply for an automatically granted 14-year renewal. By 1909, both terms had grown to 28 years. In 1976, the law was radically changed to harmonize with the Berne Convention, an international agreement originally signed in 1886. This switched expiration to an author’s life plus 50 years. In 1998, an act named for Sonny Bono, recently deceased and a defender of Hollywood’s expansive rights, bumped that to 70 years.
The Sonny Bono Act was widely seen as a way to keep Disney’s Steamboat Willie from slipping into the public domain, which would allow that first appearance of Mickey Mouse in 1928 from being freely copied and distributed. By tweaking the law, Mickey got another 20-year reprieve. When that expires, Steamboat Willie can be given away, sold, remixed, turned pornographic, or anything else. (Mickey himself doesn’t lose protection as such, but his graphical appearance, his dialog, and any specific behavior in Steamboat Willie — his character traits — become likewise freely available. This was decided in a case involving Sherlock Holmes in 2014.)
The reason that New Year’s Day 2019 has special significance arises from the 1976 changes in copyright law’s retroactive extensions. First, the 1976 law extended the 56-year period (28 plus an equal renewal) to 75 years. That meant work through 1922 was protected until 1998. Then, in 1998, the Sonny Bono Act also fixed a period of 95 years for anything placed under copyright from 1923 to 1977, after which the measure isn’t fixed, but based on when an author perishes. Hence the long gap from 1998 until now, and why the drought’s about to end.
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February 27, 2018
QotD: Anthems
If you were an alien visiting Earth you would quickly conclude from the evidence of your eyes and ears that national anthems probably originate in sport, and were designed to serve it. But even this mistaken conclusion would further befuddle you. If an anthem is intended to stir the blood and awaken athletes to duty in international contests, why are anthems also performed at games between teams belonging to the same country? Is it some sort of test?
Looking at the content and histories of the anthems themselves would not help you much. Some of them are military marches. Some of them are revolutionary street songs that came, over time or through immediate fiat, to represent an entire state. Some are “hymns.” Some are poetry — mostly bad poetry, and mostly by lyricists not otherwise remembered. Some are, like ours, a sort of mashup: poetry grafted onto a march. (The prescribed tempo for O Canada is “alla marcia”, and it is best when performed by the book.)
Every country has to have an anthem, it seems, for circular reasons. An anthem is a feature of a country, and it proves you are a country if other countries blare your anthem in the direction of your supreme leader on state visits. All anthems are performed upon roughly the same occasions everywhere. But if you could take a God’s eye view you, would see one nation warning its neighbours that they will drown in blood if they look across the border cross-eyed. The next nation over is singing about how it is a beacon of peace — particularly to its immediate neighbours, the unreasoning scum. The next nation is asking for God’s blessing on its handsome, wise royal family. The one after that is celebrating the violent overthrow of its handsome, wise royal family.
Colby Cosh, “Let’s talk about anthems”, National Post, 2016-07-14.
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