I really love Kraftwerk, so trust me when I tell you that this album of steel drum covers of Kraftwerk songs is more fun than a basket of puppies.
I can’t see how this is even legal. If this were happening with, say, stocks instead of concert tickets, someone would be getting indicted.
I bought this sampler back in 1981, when I was 13 years old and had a paper route. It was a double vinyl LP for $2.99, which was quite a steal.
In retrospect, it was a pretty much all over the place musically, but then, so was I.
Someone mentioned this comp on Facebook a few months ago and I ended up looking it up on Discogs.
I decided to try to see how many of the tracks I could track down, 35 years later, and was pleasantly amazed to find that, with only a little work, I was able to find that every track was legally streamable. (Re-assembling this on Spotify, Tidal, or other services is left as an exercise for the reader.)
When you think about it, that’s pretty incredible: a compilation of new artists, selected specifically for their relative obscurity, and 35 years later all of the songs are easily available through the mechanisms most used by modern listeners to play music in their homes and on the go. What are the odds that a slate of 22 catalog artists from 1946 would have been available in 1981?
I don’t know if this is useful at all if you don’t subscribe to Apple Music, but I wanted to see how their new(ish) embedding/linking tools work. It’s also an excuse to share a few songs from what has been my favorite record label for a few years now, Ghost Box Records.
I’ve been using last.fm for almost 11 years now. Primarily, I use it as a statistical database of my listening habits, or at least the portion of my listening that happens on internet connected devices / services.
Of course, last.fm is useful for more than just cataloguing your listening habits. It’s a streaming radio service, a community site for talking about music and more. For me, though, it’s always been most amusing as the place where I can go to remind myself what I was listening to 5 years ago, or which songs I’ve listened to most, or whatever. For example, I found myself wondering how many songs I listen to in a day on days when I work at home. 40 lines of Python later (including whitespace 😉 and reasonable exception handling) and I had my answer.
Unfortunately I’m not sure if this is useful at all to non-subscribers, but I put a few minutes into compiling a playlist on Rdio this morning.
The idea behind it its simple: songs that get in and get out in less than two and a half minutes. No flab, no self-indulgence, not many solos. 😃
The embedded iframe is currently a Flash wrapper. (sigh)
Maybe they fix that someday...
I initially was just going to link to this excellent article in a links post, but it’s so well done that it deserves a post of its own. As I’ve mentioned before, I’ve been obsessed with the BBC Radiophonic Workshop and latter day music that’s absorbed its influence. This is a copiously linked article that’s loaded with trivia for anyone who has even a passing interest.
Give yourself a few minutes to read it; you won’t be disappointed.
Over on Facebook, I somehow walked into a buzzsaw… er I volunteered a list of my favorite ever techno tracks. Below are YouTube links to them. There are embeds available below the fold. (If Facebook were less of a silo, I would have simply embedded the post here – the comments were worth looking at.)
I've been listening to a lot of this sort of thing lately: library music, hauntology, whatever genre name you want to hang on it. For those of us "of a certain age" it's the sound of old instructional films, elementary school filmstrips, etc. I suppose it's a sort of nostalgia, but it's looking back at a time that never was; a Gernsback continuum of shiny jumpsuits and jetpacks.
I owe a longer post about this sort of thing, honestly, but for now I'll leave you with a simple video.
There's a new release on my favorite record label, Ghost Box: Electronic pop pioneer John Foxx, with Jim Jupp (Belbury Poly) and Jon Brooks (the Advisory Circle). There's a nice Pye Corner Audio mix on the EP as well.
The fadeout of this song pretty much encapsulates everything I love about music.
I was a junior in high school when I got into ZTT Records in a huge way. Apple’s Ping may have a long way to go as a social network, but I have to admit it’s a huge thrill directly interacting with a musician I grew up following.
I'd had a stressful workday plus an afternoon commute in one of the nastiest traffic environments the U.S.A. Thankfully the iPod knew exactly what was needed and served these up on the way back to my hotel.
I don't often do this sort of thing, but this is a really great deal and it only lasts one day...
For a while AmazonMP3 has been offering some crazy good one-day deals via Twitter. I've gotten a few really good albums for almost no money, and today's is a really special one.
There are no hidden affiliate links or anything, it's just a really good deal worth spreading around.
Disclaimer: I think (but I'm not positive) this is a US-only deal. Also, if you're reading this after 2008-Nov-30 (Sunday) you're already too late, sorry.
We rebooted our Muxtape over at moodmat, and I took the opportunity to push a long overdue refresh of my personal mux at the same time. No criteria here, it’s just a bunch of music I like. No themes or genres or anything else, just tunes.
More festival coverage at Moodmat.
Hoped to be able to blog things realtime, but <sad panda>no wifi onsite.</sad panda>
So “Fairplay Version 3” apparently has the ability to handle expiring content. If I had to hazard a guess, I’d say that Apple could, if they wanted, apply the same expiration logic to music. Steve Jobs has repeatedly stated that customers don’t like to rent their music, and the relative success of online music sellers (e.g. iTunes, Amazon, eMusic) as opposed to renters (Rhapsody, etc.) would seem to bear that out.
Still, it’s an interesting new wrinkle.
It is a very humbling experience to make a multimillion-dollar mistake, but it
is also very memorable. I vividly recall the night we decided how to organize
the actual writing of external specifications for OS/360. The manager of
architecture, the manager of control program implementation, and I were
threshing out the plan, schedule, and division of responsibilities.
The architecture manager had 10 good men. He asserted that they could write
the specifications and do it right. It would take ten months, three more
than the schedule allowed.
The control program manager had 150 men. He asserted that they could prepare
the specifications, with the architecture team coordinating; it would be
well-done and practical, and he could do it on schedule. Futhermore, if
the architecture team did it, his 150 men would sit twiddling their thumbs
for ten months.
To this the architecture manager responded that if I gave the control program
team the responsibility, the result would not in fact be on time, but would
also be three months late, and of much lower quality. I did, and it was. He
was right on both counts. Moreover, the lack of conceptual integrity made
the system far more costly to build and change, and I would estimate that it
added a year to debugging time.
- Frederick Brooks Jr., “The Mythical Man Month”