Podcasts about Trident Studios

Pawn Hearts es un álbum del grupo de rock progresivo Van der Graaf Generator publicado en 1971. Pawn Hearts fue grabado en Trident Studios, Londres (julio de 1971). Es uno de los discos más importantes del rock progresivo y también de la banda. El grupo muestra una gran clarividencia musical y combina momentos de paz y armonía con auténticos estallidos de furia musical y también vocal por parte del cantante.

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

No musician is more closely associated with London or left more footprints than Bowie, and you can trace its influence on his life and work (and vice versa) through a series of landmarks from the suburbs to the centre. Author and curator Paul Gorman has just published an annotated street-map – David Bowie's London - listing the places that played a formative role in his world and music, the places he rehearsed, performed, filmed and recorded, the homes of friends and managers, his schools and the addresses where he lived, worked and was photographed, made connections, bought clothes and generally raised the temperature. We talk here about many of those old haunts and the stories attached to them, which include… … mysterious manager Ralph Horton who got him to change his name to Bowie and then vanished from the face of the earth. … the fate of Heddon Street, home of K-West and the Ziggy phone-box.  … Marc Bolan refusing to let him sing at an all-night benefit at Middle Earth. … “the Fairy Godmother of the New Romantics” at the WAG Club. … when Lionel Bart came to Haddon Hall. … Bowie and Steve Marriott auditioning for the Lower Third. … how he levered his way into a Fabulous magazine fashion shoot. … “the end of the age of Showbiz”: performing Chim Chim Cher-ee at the Marquee when at a crossroads between rock and roll and cabaret. … the magical piano at the Trident Studios. … a chance encounter with the otherworldly Vince Taylor whose ‘UFO map' helped inspire the concept of Ziggy Stardust. … the legend of Mr Fish, creator of the man-dress on the cover of The Man Who Sold The World. … the days when people had a white Rolls Royce and matching Alsatian – and “the Great Sarong Scare of the ‘90s”. … and various fringe figures including his art teacher Owen Frampton, Konrads agents Bob Knight and Eric Easton, muse and heartbreaker Hermione Farthingale, producers Shel Talmy and Tony Hatch (“the original Mr Nasty from Opportunity Knocks”) and slum landlord and racketeer Peter Rackman. Order Paul's street-map here:https://www.amazon.co.uk/David-Bowies-London-Paul-Gorman/dp/1068523476Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Produced by Wayne Hall, Joseph Cottrell, Jeffrey Crecelius and Ken Fuller Mark was back this week and we welcomed YMP listener and Patron Jon Pickles onto the show to talk about the time he was a 'tea boy' at Trident Studios in London. You'll need to listen to the interview to hear all about it but Trident was the world-renowned studio where, amongst unnumbered highlights of rock music, Yes recorded overdubs for their first album, Queen recorded their first two albums and The Beatles recorded Let It Be and other seminal songs. Listen out for stories about Rick Wakeman, Bill Bruford, Trevor Horn and many more! A screenshot from the video below showing Trident Studios - note the control room above and the Bechstein Grand piano used by Rick Wakeman, Paul McCartney etc. What did Jon have to do as a 'tea boy'? Who did he meet and work with? What was it like being in Soho in those days? Let us know if you agree with us! Yes fans outside Trident Studios during Dave Watkinson's Yes 50th Anniversary Convention in 2018 https://youtu.be/c3OHmZ-5HQM?si=HcYFzRfl0b-wynRr https://youtu.be/rBX2n5HqQeg?si=YgquYin7Bvr22HRH I MADE IT TO ANTHEM 52! MY Other podcast - https://anthem52.com/ Yes - The Tormato Story Available now! YesMusicBooks.com YMP Patrons: Producers: Joseph Cottrell Wayne Hall Ken Fuller Jeffrey Crecelius Patrons: Aaron SteelmanLindAl Dell'AngeloLobate ScarpBarry GorskyMark BaggsBill WhittakerMark James LangBob MartilottaMark SlaterBrian HarrisMartin KjellbergBrian SullivanMichael HanderhanChris BandiniMichael O'ConnorCraig EstenesMiguel FalcãoDave OwenPaul HailesDavidPaul TomeiDavid HeydenRachel HadawayDavid PannellRobert NasirDavid WatkinsonRobert VandiverDeclan LogueRonnie NeeleyDemScott ColomboDoug CurranSimon BarrowFergus CubbageStephen LambeFred BarringerSteve DillGary BettsSteve LuziettiGeoff BailieSteve PerryGeoffrey MasonSteve RodeGuy DeRomeSteve ScottHenrik AntonssonSteven RoehrHogne Bø PettersenTerence SadlerTodd DudleyJohn CowanJohn ThomsonJohn HoldenJohn ViolaJamie McQuinnTim Stannard Become a Patron! Our Facebook YMP Discussion Group is open to anyone to join. One of the advantages of the new format is that all members of the group have the same ability to post content, so it's a bit more egalitarian, or somesuch. Please do search for the group and join in. https://www.facebook.com/groups/3216603008606331/ Please follow/subscribe! If you are still listening to the podcast on the website, please consider subscribing so you don't risk missing anything: Theme music The music I use is the last movement of Stravinsky's Firebird Suite. This has been used as introduction music at many Yes concerts.

A CAT Club presentation in association with Strange Brew podcasts. AN AUDIENCE WITH KEN SCOTT “The venue, the team and the audience were all wonderful and made my presentation at the CAT Club totally enjoyable. Thank you everyone!” Ken Scott. Here's a lovely write up from our good friend Elliot Smaje (he of Wall of Sound Records fame) about the final CAT Club gathering of 2024. Following on from the great Phill Brown just a few weeks prior to this event we saw another producer/engineer – the legend that is KEN SCOTT on the CAT Club stage in The Robin Hood's Pigeon Loft in Pontefract before another sold out audience . . . "Tonight's CAT Club ends a magnificent year of events with yet another triumph. Entertaining and engaging from start to finish, Ken Scott, along with the insightful interviewing skills of Jason Barnard presented us with 13 tracks that served as an overview of his extensive career in the world of music. Whilst looking at the list, one might conclude that it's a case of being in the right place at the right time, but it is clear from Ken's modest recount of his history that he has achieved what he has firstly by knowledge and also by passion. Maybe he was fortuitous to have found an industry that was still in it's infancy in discovering new sounds and techniques and technology and was still very open to being a place where the enthusiast was welcome to come in and have space to prove themselves, but he still had to prove his merit in being able to do that. The fact that he was in the mix on Beatles recordings very quickly and progressed up the ranks of responsibilities is a testimony to that ability. And as he also said, there's a percentage of being able to get on with people in there too and it was abundantly clear that Ken charmed the room within minutes with his insider stories of the making of these great records. Also of note is the diversity along the length of his career, starting at EMI Abbey Road and working with the likes of The Beatles and then to Trident Studios and collaborations with Bowie and Lou Reed. Then on to the likes of Elton John and Supertramp before exploring the world of jazz fusion and latterly Americana. But ultimately Ken was a great listen and I sure that we could have happily heard hours more of the same because ultimately as fans, hearing about things first hand is always that nth degree better. Thanks to Jason Barnard for great interviewing, Rev Reynolds for keeping us all in order, Drey for sound and making the ladies luurve, Lee and Stacey for hosting, Amanda Cooke for new found raffle technique and Liz Wheeldon for being book mistress for the night. The CAT Club has been like Crufts this year. It's attracted the best, the cream ( and the sons of!) the best of breed, the pedigree and the pedigree have loved being here. The CAT Club has become pedigree chums. Here's to 2025." Elliot Smaje. Very special thanks to JASON BARNARD of Strange Brew podcasts for his stint in the interviewer's chair and for all the time and effort he put into this one. This event took place on 12th December 2024 in the Pigeon Loft at The Robin Hood, Pontefract, West Yorkshire. To find out more about the CAT Club please visit: www.thecatclub.co.uk This podcast has been edited for content and for copyright reasons. Happy Trails.

 Gary Kemp has been posting reels of his recent visits to old haunts in Soho where he and his early bands used to rehearse, this in the run-up to releasing a third solo album, ‘This Destination', in January. We talk to him here about how records were made and promoted in the ‘80s and how radically that's changed today. Which includes … … “all media is now about getting and keeping people's attention”. … the first time he heard one of his songs on the radio. … Bowie, Bolan, Queen and Elton John at Trident Studios. … how bands copy the groove of a track. … technology and the curse of too much choice. … why TikTok's changed the way songs are written. … how the first Spandau Ballet album was made. … the phone call from Richard Hawley that kick-started a song. … the craft of 10cc and Steely Dan and why it doesn't work on 2024 radio. … the male attitude to bands who are largely followed by women. … cunning ways to infiltrate the NME in the early ‘80s. … plus Robert Elms in jodhpurs and “fly dentists” in the Saucerful Of Secrets audience.   Pre-order This Destination here:https://lnk.to/GaryKempThisDestinationFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

 Gary Kemp has been posting reels of his recent visits to old haunts in Soho where he and his early bands used to rehearse, this in the run-up to releasing a third solo album, ‘This Destination', in January. We talk to him here about how records were made and promoted in the ‘80s and how radically that's changed today. Which includes … … “all media is now about getting and keeping people's attention”. … the first time he heard one of his songs on the radio. … Bowie, Bolan, Queen and Elton John at Trident Studios. … how bands copy the groove of a track. … technology and the curse of too much choice. … why TikTok's changed the way songs are written. … how the first Spandau Ballet album was made. … the phone call from Richard Hawley that kick-started a song. … the craft of 10cc and Steely Dan and why it doesn't work on 2024 radio. … the male attitude to bands who are largely followed by women. … cunning ways to infiltrate the NME in the early ‘80s. … plus Robert Elms in jodhpurs and “fly dentists” in the Saucerful Of Secrets audience.   Pre-order This Destination here:https://lnk.to/GaryKempThisDestinationFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

 Gary Kemp has been posting reels of his recent visits to old haunts in Soho where he and his early bands used to rehearse, this in the run-up to releasing a third solo album, ‘This Destination', in January. We talk to him here about how records were made and promoted in the ‘80s and how radically that's changed today. Which includes … … “all media is now about getting and keeping people's attention”. … the first time he heard one of his songs on the radio. … Bowie, Bolan, Queen and Elton John at Trident Studios. … how bands copy the groove of a track. … technology and the curse of too much choice. … why TikTok's changed the way songs are written. … how the first Spandau Ballet album was made. … the phone call from Richard Hawley that kick-started a song. … the craft of 10cc and Steely Dan and why it doesn't work on 2024 radio. … the male attitude to bands who are largely followed by women. … cunning ways to infiltrate the NME in the early ‘80s. … plus Robert Elms in jodhpurs and “fly dentists” in the Saucerful Of Secrets audience.   Pre-order This Destination here:https://lnk.to/GaryKempThisDestinationFind out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Send us a Text Message. Jethro Tull is one of the stranger turns taken by rock music over more than 50 years. Mick and Jeff look back at some of the band's best work, and, maybe, some of their strangest. The “Album You Must Hear Before You Die” is Queen II, a sensational album released the year before Queen took over the world!  Both Mick & Jeff love it! Jeff takes a look at what AI is doing to music.  We're not worried, because, as Joe Walsh says, AI can't even trash a hotel room!  While he's at it, he then looks at who is “knocking on Heaven's door” this month. Yet another very full episode! Episode playlist Professional Flautist watches Jethro Tull:  https://youtu.be/0SCdFmSqcjk?si=gRbdG9nsk0rW4Od7  “Too Old to Rock & Roll / Too Young to die”  References:  Queen II, EMI Records, Elektra Records, Trident Studios, Roy Thomas Baker, Jethro Tull, Marquee Club, flute, John Glasscock, Ian Anderson. Martin Barre, “Locomotive Breath”, “Aqualung”, “Loudermilk”, Ocean, “Thick as a Brick”, “Passion Play”, “Too Old to Rock & Roll / Too Young to die”, “Songs from the Wood”, “Heavy Horses”, “Broadsword and the Beast”, The Jethro Tull Christmas Album, Clive Bunker, John Glascock, Black Sabbath's Tony Iommi, salmon farming, Michael Stipe, Kirk Hammett, Nick Cave, Thick as a Brick 2: Whatever Happened to Gerald Bostock?, “Jethro Tull: The Rock Opera”, “RökFlöte”, Norse mythology, “The Zealot Gene”  

Same As It Never Was - The Role of the Producer in the Post-Major Label Era   The post-major label era has changed everything about making music. Artists can go it on their own, from writing and recording to releasing and promoting their work. We talk with well known producers about how the role has changed for them, and what remains the same. Live-streamed from NAMM Show 2024. Panelists: Larry Klein (Joni Mitchell, Shawn Colvin) Mark Needham (Dolly Parton, Imagine Dragons, The Killers) Ross Hogarth (Van Halen, Keb' Mo', Edgar Winter) Adam Moseley (The Cure, Roxette, Richard Marx, Avril Lavigne) Erik Zobler (Kenny Loggins, Anita Baker, George Duke) Moderator: Daniel Liston Keller

Adam Moseley began his career at Trident Studios in London as a chef and construction worker, working his way through the ranks to engineer and produce recordings with U2, Lenny Kravitz, Rush, Kiss, and many more. We talk about his approach to production, the creative process, and the lessons he brings to his classes at UCLA Herb Alpert School of Music.

"Jamming with Legends: Derek Trucks & Remembering James Casey"Larry Mishkin begin with a discussion about a recent Phish concert featuring a special guest appearance by Derek Trucks, during which they performed songs like "Golden Age," "First Tube," and "Possum." They reflect on the unique chemistry between Derek Trucks and Trey Anastasio and how it elevated the performance.The second part of the episode is a tribute to James Casey, a talented saxophonist who recently passed away at the age of 40 due to colon cancer. They mention his contributions to the jam band community and his ability to harmonize and play alongside iconic musicians like Trey Anastasio and Phil Lesh. Larry share heartfelt messages from Trey Anastasio, Bill Kreutzmann, and Billy Strings, highlighting James Casey's remarkable musical talents and the impact he had on those who worked with him..Produced by PodConx  Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast  Derek Trucks walked out on stage at Saratoga Springs Performing Arts Center (“SSPAC”) on August 26th and that is just too good to ignore.  So three songs from that show with Derek Trucks playing along. Also, James Casey died at 40 from colon cancer.  Amazing musician, tremendous Sax player and great singer.  Played as part of the “brass” section for Trey Anastasio Band along with Jennifer Hartwick and Natalie Cressman.  The same brass section also toured with Phil Lesh and Friends - I just saw them with James this past March at the Salt Shed in Chicago (I did not know he was sick).  Second set of songs from three of his performances, two vocal and one playing sax. Phish with Derek Trucks8/26/2023                Saratoga Springs Performing Arts Center (“SPAC”) INTRO:                  Golden Age3:14 – 4:31Phish w Derek Trucks Live - YouTube                 Song was written and first performed by TV On The Radio, first single from their album Dear Science, released on August 26, 2008. SPIN magazine rated it the 8th best song of the year.                 Phish began covering the song in 2009                First played on November 27, 2009 at Times Union Center (Pepsi Arena/MVP Arena) in Albany, NY                To date played 70 times, with this performance being the most recent (Dick's is still to come so by Monday, this may be incorrect)                 TV on the Radio (TVOTR[2][3]) is an American rock band from Brooklyn, New York, formed in 2001. The band consists of Tunde Adebimpe (vocals, loops), David Andrew Sitek (guitars, keyboards, loops), Kyp Malone (vocals, guitars, bass, loops), and Jaleel Bunton (drums, bass, vocals, loops, guitars). Gerard Smith (bass, keyboards, loops) was a member of the band from 2005 until his death in 2011.TVOTR has released five studio albums: Desperate Youth, Blood Thirsty Babes (2004), Return to Cookie Mountain (2006), Dear Science (2008), Nine Types of Light (2011), and Seeds (2014), alongside several EPs.                 The band's third album, Dear Science, was released on September 23, 2008, on Interscope. It was made available for streaming on their Myspace page and subsequently leaked onto the internet on September 6, 2008. The album was named the best album of 2008 by Rolling Stone,[8]The Guardian,[9]Spin,[10]The A.V. Club,[11]MTV,[12]Entertainment Weekly,[13]Pitchfork Media's readers' poll,[14] as well as the Pazz and Jop critic's poll.[15] It was also named the second best album of 2008 by NME and the fourth best by Planet Sound. SHOW #1:           First Tube:20 – 1:38Phish with Derek Trucks - First Tube. Saratoga Springs 8/26/23 #phish #derektrucks - YouTube  “First Tube,” is the 12th and final track on the band's 2000 album, Farmhouse Anastasio led a performance by a one-off band called 8 Foot Fluorescent Tubes on April 17, 1998, at the original Higher Ground in Winooski, just outside Burlington, Vermont. The show was the first time Anastasio performed in public with Lawton and Markellis, who were joined by guitarist/vocalist Tom Lawson of The Pants, saxophonist Dave Grippo, trombonist James Harvey and vocalist Heloise Williams of Viperhouse.“First Tube” was seemingly named for its placement as the first song played at the 8 Foot Fluorescent Tubes show, which also saw the premieres of future Phish/TAB songs “Sand,” “Mozambique” and “Last Tube.” Trey, Tony and Russ would go on to form the first incarnation of the Trey Anastasio Band which made its debut — back at the Higher Ground — in February 1999. That concert again featured “First Tube” as part of the setlist.The same TAB trio was also the lineup on Trey's first solo tour in May 1999. By the end of that acoustic/electric tour, “First Tube” was a full-on show-stopper that highlighted many electric second sets. Along with fellow 8 Foot Fluorescent Tubes original “Mozambique,” “First Tube” made its Phish debut on September 9, 1999, in Vancouver, British Columbia.One of two instrumentals on Farmhouse — along with “The Inlaw Josie Wales” — “First Tube” earned Phish a Grammy Award Nomination for Best Rock Instrumental Performance in 2001. Nominated alongside Peter Frampton, Kenny Wayne Shepherd and Joe Satriani, Phish lost to Metallica, Michael Kamen and the San Francisco Symphony's “The Call of Ktulu” First Tube” was played by Phish four times when they returned in 2003 but not at all in 2004, the year that began a second break lasting until 2009. Since coming back from the second hiatus, “First Tube” has remained a staple of both Phish concerts and Trey solo shows  SHOW #2:           Possum53:40 – 55:09Phish w Derek Trucks Live - YouTube The Man Who Stepped into Yesterday (often abbreviated as TMWSIY) is a 1987 concept album written by Trey Anastasio, the guitarist and lead vocalist of the American rock band Phish, as his senior thesis while attending Goddard College. Composed in 1987, the thesis included an essay piece and collection of songs (recorded by Phish) relating an epic tale from the band's fictional land of Gamehendge. On the album, the story of Gamehendge is told in nine parts, with short spoken narration in between. The saga can be compared to rock concept album projects like The Doors' Celebration of the Lizard or Rush's 2112 suite.The story's primary protagonist is Colonel Forbin. Other major characters include Tela, the "jewel of Wilson's foul domain" and the "evil" Wilson himself. Several of the album's spoken narrative sections are accompanied by background music borrowed from sections of the Phish songs "Esther" and "McGrupp and the Watchful Hosemasters". The final track, "Possum", is the only song on the album not written by Anastasio, having been written by former Phish member Jeff Holdsworth and later added to the Gamehendge cycle.Jeff Holdsworth is a musician who was a founding member of the rock band Phish.[1] Founded at the Redstone campus dormitories of the University of Vermont (UVM) in the fall of 1983, the band originally featured Holdsworth and Trey Anastasio sharing lead vocal and guitar duties, Jon Fishman on drums, and Mike Gordon on bass guitar. Holdsworth left the band in 1986 after graduating from UVM to pursue a career in electrical engineering, shortly before the band recorded their debut self-produced album, The White Tape, though he had played on some of the demo recordings (done in a dorm room) that would later be re-recorded for that album. His songs "Possum" and "Camel Walk" continue to be Phish live show favorites.  James Casey                       ARTICLE Show #3:             Dear PrudencePhil & Friends (Casey singing)  Rick Mitarotonda (Goose), John Medeski, Grahame Lesh, Nicki Bluhm, James Casey, Katie Jacoby, John MoloMarch 17 2023Capitol Theater3:12 – 4:36Phil Lesh & Friends - Dear Prudence - Feat. Rick Mitarotonda (Goose) + James Casey (TAB) - 3/17/23 - YouTube Dear Prudence" is a song by the English rock band the Beatles from their 1968 double album The Beatles (also known as "the White Album"). The song was written by John Lennon and credited to the Lennon–McCartneypartnership. Written in Rishikesh during the group's trip to India in early 1968, it was inspired by actress Mia Farrow's sister, Prudence Farrow, who became obsessive about meditating while practising with Maharishi Mahesh Yogi.[2] Her designated partners on the meditation course, Lennon and George Harrison, attempted to coax Farrow out of her seclusion, which led to Lennon writing the song. Lennon wrote "Dear Prudence" using a finger-picking guitar technique that he learned from singer-songwriter Donovan. Its lyrics are simple and innocent and celebrate the beauty of nature. The Beatles recorded the song at Trident Studios in late August 1968 as a three-piece after Ringo Starr temporarily left the group out of protest at McCartney's criticism of his drumming on "Back in the U.S.S.R." and the tensions that typified the sessions for the White Album. Dear Prudence" has received praise from music critics, with many praising its lyrics and the band's performance. Lennon later selected it as one of his favourite songs by the Beatles. The song has been covered by many artists, including the Jerry Garcia Band, Ramsey Lewis and Siouxsie and the Banshees, whose version was a top-five hit in the UK in 1983. SHOW #4:           No Men In No Man'sTAB (Casey Sax solo)11.19.2022Reading PA:55 – 2:03TAB's James Casey…Smokin Sax Solo. NMINML. 11/19/2022. Reading, PA - YouTube Written by Trey and Tom Marshall (American lyricist, keyboardist and singer-songwriter best known for his association with Trey Anastasio from Princeton Day School in New Jersey and the rock band Phish.[1] He has been the primary external lyricist for Phish during their career (1983–2004, 2009–present), with songwriting credits for more than 95 originals. In addition to his songwriting work, Marshall also fronts the rock band Amfibian and hosts the Phish podcast Under the Scales.[2] Marshall is the co-founder of Osiris, a podcast network in partnership with Jambase.) From Phish album Big Boat, released October 7, 2016 First played by Phish on July 21, 2015 at Les Schwab Amphitheater in Bend, Oregon (debuted with Blaze On and Shade, next they broke out Mercury)Last played (excluding Dick's) July 30, 2023 at MSG67 times OUTRO:                Touch of GreyPhil & Friends (Casey singing) Grahame Lesh, John Medeski, Rick Mitarotonda, John Molo, James Casey, Natalie Cressman, Jennifer Hartswick10.22.2022Capitol Theater3:44 – 5:16James Casey, Touch of Grey, Phil Lesh & Friends 10/22/22 - YouTube Written by Jerry and Robert Hunter,First played in September 15, 1982 at the Cap Center, Landover MarylandLast on July 9, 1995 at Soldier Field, ChicagoPlayed 211 times 

Vor 50 Jahren veröffentlichte Lou Reed sein zweites Soloalbum "Transformer". Produziert wurde das Album unter anderem von Musiklegende David Bowie. Neben David Bowie war vor allem auch Mick Ronson für das Album von Lou Reed verantwortlich, der auch bei Bowie selbst in der Band gespielt hat und auch dessen Musik produziert hat. Das erklärt auch, warum der Sound von "Transformer" so "Bowiesque" ist. Lou Reed selber war vor seiner Solokarriere auch Gründungsmitglied, Sänger, Songwriter und Gitarrist von Velvet Underground. Die Band gilt bis heute als Wegbereiter für das erst später entstandene Genre: Punk! Die Band wurde vor allem von Pop-Art-Künstler Andy Warhol gefördert, der auch das ikonische Plattencover mit der Banane von Velvet Underground gestaltete. Das erste Soloalbum von Andy Warhol war kein kommerzieller Erfolg, erst mit dem zweiten Album "Transformer" gelang ihm der Durchbruch, was vor allem am Erfolg der Single "Walk On The Wild Side" lag. In dem Song singt Lou Reed auch über Jacky, Holly und Co. – wer oder was diese Personen waren, darüber sprechen wir unter anderem in dieser Podcastfolge. __________ Über diese Songs vom Album “Transformer” wird im Podcast gesprochen 09:58 Mins – “Vicious” 17:12 Mins – “Perfect Day” 28:27 Mins – “New York Telephone Conversation” 33:15 Mins – “Walk On The Wild Side” 49:57 Mins – “Satellite of Love” 55:42 Mins – “Good Night Ladies” __________ Über diese Songs wird außerdem im Podcast gesprochen 03:58 Mins – “Simple Man” von Andreas Kümmert 21:56 Mins – “Perfect Day” von Duran Duran __________ Shownotes: Die Geschichte hinter dem Song “Walk On The Wild Side”: https://www.neatorama.com/2012/09/17/The-Story-Behind-Lou-Reeds-Walk-on-the-Wild-Side/ Albumreview zu “Transformer” bei Allmusic.com: https://www.allmusic.com/album/transformer-mw0000191542 Zu den Trident Studios bei Facebook: https://www.facebook.com/tridentstudios Buchtipp: “Glam” von Poptheoretiker Simon Reynolds: https://www.ventil-verlag.de/titel/1791/glam Interview mit Lou Reed im Rolling Stone: https://www.rollingstone.de/interview-mit-lou-reed-ha-ha-ha-und-wie-ich-darueber-lache-361287/ Nachruf auf Lou Reed: https://www.rollingstone.de/lou-reed-der-tod-eines-empfindsamen-grenzgaengers-2255341/ Website von Studiogast und Sänger Andreas Kümmert: https://www.andreas-kuemmert.de/ __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Schreibt uns an: meilensteine@swr.de

 Hey Jude - Part ThreeEverything about Hey Jude was different: recorded at Trident Studios, seven minutes long, appearing on a brand new record label. It seemed like a new beginning, but maybe it was the beginning of the end. Live on tape from Dublin & Belfast, it's Nothing Is Real. Website: http://www.nothingisrealpod.comTwitter: @BeatlesPodFacebook Group: http://tiny.cc/NIRFBGYouTube: http://tiny.cc/NIRYT Support: http://tiny.cc/NIRsupportSupport this show http://supporter.acast.com/nothing-is-real-a-beatles-podcast. See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/nothing-is-real-a-beatles-podcast.

A microphone is a good enough platform for getting back at people, but an entire recording studio is even better.  Popular music is littered with songs getting back at an ex lover, from Waylon Jennings to Taylor Swift, but a fair number of the tracks you know by heart are actually clap-backs to the people in the mixing booth or the record label offices. YBOF Book; Audiobook (basically everywhere but Audible); Merch! Hang out with your fellow Brainiacs  .Reach out and touch Moxie on Facebook, Twitter,  or Instagram. Support the show Music by Kevin MacLeod, Steve Oxen, David Fesliyan.   Links to all the research resources are on our website.   I love this podcast and am so happy Moxie is so prolific! A very compelling mix of the obscure to the commonplace, and a riveting listen no matter what.

Queen's fourth studio album is the one that would launch them into super stardom and bring them personal financial success as well.  A Night at the Opera got its name from the Marx Brothers film, and many consider it to be the best album Queen ever made.The band lineup was Freddie Mercury on lead vocals, Brian May on guitar, John Deacon on bass, and Roger Taylor on drums.  Backing vocals were performed by May and Taylor - John Deacon was the only band member who didn't sing.The first three Queen albums were produced under a contract that resulted in the band receiving almost none of the money earned by the albums, and the group had to negotiate their way out of the deal with Trident Studios.  A Night at the Opera was quite complex, and rumored to be the most expensive album ever made at the time.  Recording took place in seven different studios on 24-track tape.  June and July of 1975 was devoted to rehearsing and developing new material, and recording was done from August to November.  Unlike many bands, the songwriting was done by all four band members.  Many innovations were used including multitracked vocals, guitar overdubs, and various instruments including the grand piano, a Wurlitzer electric piano, double bass, gongs and timpani - but no synthesizers.  The album name was inspired by the Marx Brother's movie of the same name, which the band watched on VHS during recording sessions.  They would subsequently befriend Groucho Marx, and would again reference a Marx Brothers film with their album "A Day at the Races."  A Night At the Opera would peak at number 4 on the Billboard 200, was the first Queen album to be certified platinum in the U.S., and would be nominated for two Grammy awards. You're My Best FriendThe second single from the album  was the first Queen single to be written by bassist John Deacon, who composed it for his wife while learning to play the piano.  Deacon also played the Wurlitzer electric piano on this single, and overdubbed the bass part afterwards.'39Brian May wrote and sings this deep cut as a sci fi number.  The crew of an exploring ship travels off on a one-year mission, but because of the time dilation effects associated with relativistic speeds they return 100 years later.  Mercury and Taylor sang backing vocals on this track, though Freddie Mercury would sing lead when it was performed in concerts.Love of My LifeFreddie Mercury wrote this track for Mary, and it would be covered by many bands.  This song would also become an anthem during Queen concerts in which the audience sings the song, and the band would play only the instruments from the stage without vocals.  Brian May played the harp, and Mercury played the piano solo.Bohemian RhapsodyA cult classic, this was the first single released from the album, to the chagrin of the record company since it was about twice as long as the typical single at the time.  The vocal arrangements were thought up by Freddie Mercury during recording - on a daily basis.  He wrote down the arrangements in blocks on a phone book.  The song would become a hit during its time, and once again when used in the movie "Wayne's World" in 1992. ENTERTAINMENT TRACK:Stardust by David Essex (from the motion picture “Stardust")This movie chronicles the rise and fall of Jim MacLaine, an international rock star.  David Essex plays the lead role and sings this song from the film. STAFF PICKS:I Cheat the Hangman by the Doobie BrothersBruce starts off the staff picks with a ghost story.  Guitarist Patrick Simmons wrote and sang lead on this track with inspiration from the short story by Ambrose Bierce entitled "An Occurrence at Owl Creek Bridge."  It is about a ghost returning to his home after the Civil War and not realizing he's dead. SOS  by ABBARob's staff pick is a palindrome, both in the song name and the band.  This is the sixth single from ABBA's self-titled third album. ABBA took its name from the first initial of each of the band members.  This single made it to number 15 on the U.S. charts.  S.O.S. would help define ABBA as a pop group.Blue Mist by Mama's PrideWayne brings us a minor-key track from the pride of Saint Louis - Mama's Pride.  The song describes the feelings produced by a break-up.  Mama's Pride was a warm-up act for popular 70's bands like Lynyrd Skynyrd, The Allman Brothers Band, Todd Rundgren, and Alice Cooper.  The group disbanded in 1982, but has done periodic reunions in Saint Louis since 2003. Nights on Broadway by the Bee GeesBrian's track features the Bee Gees just before their launch into falsetto stardom with “Saturday Night Fever.”  This is one of the first songs on which the Bee Gees employed some falsetto vocals, yet it retains a more soulful sound than the hits of the later disco era.   INSTRUMENTAL TRACK:The Hustle by Van McCoyThis disco line dance phenomenon closes out or mid-70's podcast.

We brought notes for this one! Another of John's great songs with an odd time signature. Featuring blistering bass, a killer John Lennon guitar solo, wicked drums and Billy Preston. The first song recorded for the Abbey Road album, I Want You (She's So Heavy) gets high marks from Billy and Jay. This episode dives into Trident Studios, Billy Preston, white noise and more amazing Beatle outros. If you don't love this song as much as we do, you just may after listening to this episode of Looking Through The Glass Onion. We bet you like it better than Robbie Roberson did...

Hoy te hablaré de un lugar insonorizado y acondicionado acústicamente para registrar el sonido. Por supuesto, hoy los estudios de grabación serán el tema del estudio de hoy, algunos legendarios, en su interior bandas clásicas grabaron grandes discos, los Real World Studios de Peter Gabriel en Wiltshire Inglaterra, los Trident Studios en el corazón del Soho, los Sunset Sound Recorders de Sunset Boulevard en California, Purple Rain de Prince se grabó allí, los Sun Studios en Memphis Tennessee, donde Elvis o Roy Orbison grabaron sus discos en una sola toma, The Abbey Road en Londres, cuartel general de los Beatles, los Electric Lady Studios en Greenwich Village, New York fundado por Jimi Hendrix, los Capitol Studios en el centro de Hollywood, abriendo las puertas a Frank Sinatra o Nat King Cole, o The Village en Santa Monica, donde se grabaron legendarios disco de Rolling Stones, Pink Floyd, Supertramp o incluso Lady Gaga. Para mi Podcast número 109, los estudios de grabación donde se grabaron el puñado de canciones que sonarán en este estudio de titulo: Versiones perfectas.Playlist de mi Podcast:00 - Blaudzun-Solar (Intro).01 - Randy Crawford-You Might Need Somebody.02 - Steely Dan-Do It Again.03 - Toto-Waiting For Your Love.04 - Steve Winwood-While You See A Chance.05 - Stealers Wheel-Stuck In The Middle With You.06 - Eric Clapton-Lay Down Sally.07 - The Avalanches-Interstellar Love (feat. Leon Bridges).08- Everything But The Girl-These Early Days.09 - Alanis Morissette-Ablaze.10 - Fleetwood Mac-Seven Wonders(Extended Version).11 - Wild Cherry-Play That Funky Music.12 - George Benson-Give Me the Night.13 - David Bowei-Let's Dance.14 - Gerry Rafferty-Baker Street.15 - Blaudzun-Solar (Despedida).

He's produced records for and worked with everyone from "Testamant", "Exodus", "Machine Head, "Vio-Lence", "Hatriot" and "Sadus" to "Night Ranger" and "Ted Nugent" to countless others. My guest on Episode 208 of The Brooklyn Blast Furnace Podcast is Juan Urteaga. Record Producer, Engineer and Owner of "Trident Studios" located about a half hour outside of the San Francisco Bay Area. We go back to his old bands to the formation of his former band "Vile" to why he began recording bands. From the shitty local bands to working with legends. A bit different being he's the first producer I've had on but as always, a lot of fun to do.

Kinda a miracle we left Laurel Canyon in one piece. Going back to Trident Studios for a hot minute. Don't listen to this one if you don't like our impressions.

En este episodio de Rock is Here vamos a conocer los Trident Studios, donde se grabaron discos inolvidables de grandes artistas, desde los Beatles a Bowie, pasando por Queen, Genesis o Lou Reed.Hoy te invito a que caminemos por el Soho londinense. Prácticamente a la vuelta de Soho Square Gardens vas a encontrar un callejón peatonal, bastante angosto, que se llama St Anne’s Court. No tiene más de un par de cuadras de largo y, entre algunos negocios comerciales y boliches para comer algo, vas a ver la puerta del número 17. Ahí funcionaron los estudios Trident, entre 1968 y 1981.¿Y qué tenía este estudio de particular? Nada menos que una consola de grabación de 8 canales. Para que te des una idea, el famoso estudio Abbey Road de la compañía EMI tenía una consola con apenas 4 canales. Y además, el Trident estaba equipado con el sistema Dolby para reducción de ruidos. Todo un avance tecnológico para la época.Estos estudios fueron utilizados también por Apple Records, la compañía discográfica fundada por The Beatles, para grabar a alguno de sus artistas. Por ejemplo a Billy Preston o a James Taylor.Otros artistas que también pasaron por acá: Supertramp, con “Crime of the Century”; Jeff Beck, con “Wired”; los Stones grabaron parte de “Midnight rambler”... Sigue la lista: Judas Priest, Lou Reed con “Transformer”; Elton John, quien grabó su segundo disco y muchísimos clásicos...El Genesis de Peter Gabriel registró en Trident nada menos que los discos “Nursery Crime”, “Trespass”, “A trick of the tale” y “Wind and Wuthering”...Tres de los Beatles también usaron estos estudios para sus carreras solistas. Ringo registró su hit “It don’t come easy”, Lennon grabó “Cold turkey” con la Plastic Ono Band y George inmortalizó partes de su disco triple “All things must pass”.Como te decía, los estudios Trident funcionaron ahí hasta el año 1981. Actualmente, funciona una productora audiovisual, pero mantiene una placa recordatoria, arriba de la puerta, en homenaje a David Bowie.Y quizás un dato que no sepas: los propios Beatles grabaron acá algunas tomas para sus famosísimos Álbum Blanco y para el disco Abbey Road, como por ejemplo “I want you (She’s so heavy)” o “Dear prudence”.No dejes de visitarnos en rockishere.com, nuestra página web desde donde vas a poder escuchar todos los episodios de este podcast y también conocer más sobre todo el proyecto: los libros (sobre Londres y otras ciudades), las visitas guiadas y mucho más.Gracias por escucharnos. Soy Marcelo Lamela y nos despedimos con “Suffragette City”, del disco “The Rise and Fall of Ziggy Stardust”, grabado justamente en Trident en 1971 por David Bowie.Tracks incluidos:“Ziggy Stardust”, David Bowie“Cygnus X-1 - Book Two: Hemispheres”, Rush“Seven seas of Rhye”, Queen“Walk on the wild side”, Lou Reed“Something in the way she moves”, James Taylor“Your Song”, Elton John“The Musical Box”, Genesis“My sweet Lord”, George Harrison“Space Oddity”, David Bowie“Dear Prudence”, The Beatles“Suffragette City”, David Bowie See acast.com/privacy for privacy and opt-out information.

NEWS SoundCloud may pay institute artist-centric royalties Immersive audio easy with wallpaper speakers GUEST Console designer and "father of British EQ" John Oram John Oram started his career in the music business as the drummer for Mariann Faithful and a fill-in for the Yardbirds. On the side he began working at Vox during its heyday, contributing his expertise to the development of the wha-wha pedal, the fuzz box, the Continental organ, and the Super Beatle amplifier. From there he joined the legendary Trident Studios as design consultant and Chief of Design creating many consoles including the Fleximix, the TSM, and the iconic Series 80. He then founded Reflex Music Technology, inventing electro-acoustic preamps and pickups and supplying OEM products to guitar-makers Martin, Washburn, Charvel, Jackson, Lowden and many more famous guitar names. He then established Oram Pro Audio, where he continues to design and sell analog consoles and rack modules. During the interview we spoke about growing up in the music scene in the UK, working at Vox, the real story behind Trident, the secret to the sound of his EQ, having Covid twice, and much more. On the intro I’ll take a look at Soundcloud going to an artist-centric payment model, and wallpaper loudspeakers. var podscribeEmbedVars = { epGuid: 'https://bobbyoinnercircle.com/?p=2750', rssUrl: 'https://bobbyoinnercircle.com/feed/podcast/', backgroundColor: 'white', font: undefined, fontColor: undefined, speakerFontColor: undefined, height: '600px', showEditButton: false, showSpeakers: true, showTimestamps: true };

The Most New York L.P of all time, recorded in London. Lotta David Fricke energy on this one. Oh yeh, we are an official Trident Studios podcast now.

We brought notes for this one! Another of John’s great songs with an odd time signature. Featuring blistering bass, a killer John Lennon guitar solo, wicked drums and Billy Preston. The first song recorded for the Abbey Road album, I Want You (She’s So Heavy) gets high marks from Billy and Jay. This episode dives into Trident Studios, Billy Preston, white noise and more amazing Beatle outros. If you don’t love this song as much as we do, you just may after listening to this episode of Looking Through The Glass Onion. We bet you like it better than Robbie Roberson did...www.billymcguigan.com/beatlessongpodcast

With the unprecedented pandemic, musicians are looking for new ways to collaborate across long distances. They’re finding that the Trackd app already offers a lean, mobile recording and collaborating experience. Grant Tilbury, explains how Trackd lets artists capture moments, edit multi-track audio, and release “Virtual Vinyl” to social media all on one’s smartphone. Learn how Trackd was born out of the innovative spirit that made London’s Trident Studios famous, and how Trackd is reviving that legend. Find out how artists are using Trackd, from releasing unheard demos, to writing collaborative songs for kids to sing at Buckingham Palace, to collaborating with Dave Stewart (of Eurythmics fame). The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit MusicTectonics.com to learn more, and find us on Twitter, Facebook, and Instagram. Let us know what you think!

Acaba de salir a la venta la tremenda caja 'Origin of Muse' con un montón de material inédito de los primeros años de la banda. Repasamos los mejores momentos. 01. Muscle Museum #2 02. Sunburn (Live, Fortress Studios, 1999) 03. Plug In Baby (Newton Abbot Demos) 04. Earthquake(Newton Abbot Demos) 05. Uno (Alternate Version, Rak Studios, 1999) 06. Do We Need This (Live, Fortress Studios, 1999) 07. Recess (Unreleased alternate version, Trident Studios, 1999) 08. Muscle Museum (Live, The Pyramid Centre, Portsmouth, 1999) 09. Cave (Acoustic Live Demo, Airfield Studios, 1999) 10. Dead Star (Origin of Symmetry B-Sides) 11. New Born (Origin Of Symmetry, Live at Reading Festival)

Acaba de salir a la venta la tremenda caja 'Origin of Muse' con un montón de material inédito de los primeros años de la banda. Repasamos los mejores momentos. 01. Muscle Museum #2 02. Sunburn (Live, Fortress Studios, 1999) 03. Plug In Baby (Newton Abbot Demos) 04. Earthquake(Newton Abbot Demos) 05. Uno (Alternate Version, Rak Studios, 1999) 06. Do We Need This (Live, Fortress Studios, 1999) 07. Recess (Unreleased alternate version, Trident Studios, 1999) 08. Muscle Museum (Live, The Pyramid Centre, Portsmouth, 1999) 09. Cave (Acoustic Live Demo, Airfield Studios, 1999) 10. Dead Star (Origin of Symmetry B-Sides) 11. New Born (Origin Of Symmetry, Live at Reading Festival)

Zetro talks with Juan Urteaga of Trident Studios --- Support this podcast: https://anchor.fm/zetros-toxic-vault0/support

En este episodio de Rock is Here vamos a conocer los Trident Studios, donde se grabaron discos inolvidables de grandes artistas, desde los Beatles a Bowie, pasando por Queen, Genesis o Lou Reed.Hoy te invito a que caminemos por el Soho londinense. Prácticamente a la vuelta de Soho Square Gardens vas a encontrar un callejón peatonal, bastante angosto, que se llama St Anne’s Court. No tiene más de un par de cuadras de largo y, entre algunos negocios comerciales y boliches para comer algo, vas a ver la puerta del número 17. Ahí funcionaron los estudios Trident, entre 1968 y 1981. ¿Y qué tenía este estudio de particular? Nada menos que una consola de grabación de 8 canales. Para que te des una idea, el famoso estudio Abbey Road de la compañía EMI tenía una consola con apenas 4 canales. Y además, el Trident estaba equipado con el sistema Dolby para reducción de ruidos. Todo un avance tecnológico para la época.Estos estudios fueron utilizados también por Apple Records, la compañía discográfica fundada por The Beatles, para grabar a alguno de sus artistas. Por ejemplo a Billy Preston o a James Taylor.Otros artistas que también pasaron por acá: Supertramp, con “Crime of the Century”; Jeff Beck, con “Wired”; los Stones grabaron parte de “Midnight rambler”... Sigue la lista: Judas Priest, Lou Reed con “Transformer”; Elton John, quien grabó su segundo disco y muchísimos clásicos... El Genesis de Peter Gabriel registró en Trident nada menos que los discos “Nursery Crime”, “Trespass”, “A trick of the tale” y “Wind and Wuthering”...Tres de los Beatles también usaron estos estudios para sus carreras solistas. Ringo registró su hit “It don’t come easy”, Lennon grabó “Cold turkey” con la Plastic Ono Band y George inmortalizó partes de su disco triple “All things must pass”.Como te decía, los estudios Trident funcionaron ahí hasta el año 1981. Actualmente, funciona una productora audiovisual, pero mantiene una placa recordatoria, arriba de la puerta, en homenaje a David Bowie.Y quizás un dato que no sepas: los propios Beatles grabaron acá algunas tomas para sus famosísimos Álbum Blanco y para el disco Abbey Road, como por ejemplo “I want you (She’s so heavy)” o “Dear prudence”.No dejes de visitarnos en rockishere.com, nuestra página web desde donde vas a poder escuchar todos los episodios de este podcast y también conocer más sobre todo el proyecto: los libros (sobre Londres y otras ciudades), las visitas guiadas y mucho más.Gracias por escucharnos. Soy Marcelo Lamela y nos despedimos con “Suffragette City”, del disco “The Rise and Fall of Ziggy Stardust”, grabado justamente en Trident en 1971 por David Bowie.Tracks incluidos:“Ziggy Stardust”, David Bowie“Cygnus X-1 - Book Two: Hemispheres”, Rush“Seven seas of Rhye”, Queen“Walk on the wild side”, Lou Reed“Something in the way she moves”, James Taylor“Your Song”, Elton John“The Musical Box”, Genesis“My sweet Lord”, George Harrison“Space Oddity”, David Bowie“Dear Prudence”, The Beatles“Suffragette City”, David Bowie

**Queen II** (1974) es el segundo álbum en estudio de la banda británica Queen. Originalmente producido en formato de Long Play en vinilo, se lanzó por primera vez en 1974. La terminación del álbum coincidió con la crisis del petróleo de 1973 y por lo tanto, las medidas de ahorro de energía influyeron en el retraso del lanzamiento del disco por varios meses debido a que la industria del plástico depende en gran parte de derivados del petróleo. Se grabó en los Trident Studios, en Londres en agosto de 1973, y fue dirigido por Mike Stone. La canción más larga del álbum es The March of the Black Queen y las más corta es Procession. El título de la obra denota con números romanos su posterioridad al primer álbum del grupo de título homónimo.

90125 Singles Produced by Robert Nasir, Jeffrey Crecelius, Wayne Hall, Preston Frazier and Bill Govier We are finally back to the YEs singles series and we have reached 90125. It's an amazing set of singles plus a plethora of different versions and remixes. We also have a chance to reflect on the YES Featuring ARW 50th Anniversary announcements - wow - it's quite an episode. Why are the 90125 singles so good? What would Cinema have been like as a band? 12 inch dance remixes - what was the idea? Listen to the episode then let us know what you think! Become a YMP Patron! If you would like to support the Yes Music Podcast, there is a Patreon page where you can sign up. The iOS and Android YMP apps are no longer available unless you have an old version still on your device. https://www.youtube.com/watch?v=SVOuYquXuuc https://www.youtube.com/watch?v=8-hJFoSgXfM https://www.youtube.com/watch?v=OeVgcIFEh3I Show notes and links UK's Debut Album To Be Released On Limited Edition 180 Gram Vinyl  Exclusively To Record Store Day Participating Retailers Los Angeles - Celebrating the 40th anniversary of UK's critically acclaimed self-titled debut record released on Polydor in 1978, Eddie Jobson is making this seminal album available on vinyl for the first time since its original release. It will be released on April 21st, and available exclusively to Record Store Day participating retailers worldwide. The record is pressed on 180 gram vinyl, and includes an 8 page full color booklet designed exclusively for this release. The album is remastered from the original tapes located at Abbey Road Studios in London, which is the same master that was used in the now out of print “Ultimate Collector's Edition” box set that compiled all the works of UK's 3 albums, along with rarities, live material and 5.1 versions across 18 discs. “I'm pleased to recognize the 40th Anniversary of this seminal album with this carefully remastered vinyl release. This is now a legacy recording, made even more significant with the recent passing of both Wetton and Holdsworth, that I hope will represent a benchmark for future musicians.” - Eddie Jobson The Music In October 1977 the new supergroup featuring Eddie Jobson, Bill Bruford, John Wetton and Allan Holdsworth entered the rehearsal room, each armed with a panoply of musical ideas. Each song, theme, part or riff was logged in, like a jigsaw piece, and so the organizing and arranging of the individual pieces began. External expectations were high, not just for what these four individual innovators might create together, but because Trident Studios in Soho was already booked to record the results of their highly anticipated collaboration. The music of UK would be developed over several weeks. Wetton would reintroduce “Thirty Years,” a song first tried out with the Wakeman trio; Bruford brought in some harmonic, but mostly rhythmic ideas. Holdsworth's contributions revolved around his distinctive chord voicings, forming the foundation of such tracks as “Nevermore” and “Mental Medication.” Meanwhile, Jobson - the more formal composer of the group - brought in pages of musical notation that included the entire “In The Dead of Night” suite, minus vocal melody lines, but including “By The Light of Day” and the Zappa-influenced “Presto Vivace,” along with a complete version of “Alaska,” the verse of “Time To Kill” and half of “Nevermore.” The myriad musical ideas were painstakingly stitched together, mainly by Bruford and Jobson, but it would be Wetton's melodic and lyrical sense that would ultimately glue the disparate stylings into something resembling cohesive songs. Notwithstanding the considerable stylistic contributions of Holdsworth and Bruford, with a full sixty percent of the new album material emanating from Jobson's compositions, and with the addition of Wetton's vocal melodies and lyrics, the first UK album truly marked an auspicious beg...

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑（新浪微博：@GrenadierGuard2）杨一（新浪微博：@杨一1） 【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任[01:00]中国科幻小说的发展历程[03:06]晚清科幻小说作家如何了解最新科技发展[04:18]早期有关“彗星撞地球”的小说[08:30]晚清科幻小说研究怎样开展[10:00]现代科技的发展为欧洲人带来的冲击[11:25]研究的时间跨度[12:05]一战前智识阶级的状态[12:55]晚清科幻小说研究的发展历程[14:00]蒸汽朋克与维多利亚时代小说的迷人之处[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别[24:20]维多利亚时代科幻小说在中国的影响[25:10]中国是否有蒸汽朋克小说[33:00]为什么英国的历史写作会出现彻底毁灭的意向[39:40]美国的蒸汽朋克小说[40:00]同时期日本的科幻小说及其影响【推荐书目】世界末日记；佛琳玛丽安；荡寇志；俞万春；中华书局新石头记；吴趼人；花城最后一个人；玛丽雪莱As Easy as A.B.C. ; Kipling, RudyardIn the Days of the Comet ; H. G. Wells骄傲之塔；塔奇曼；中信出版社 差分机；威廉·吉布森/布鲁斯·斯特林；新星出版社After London or Wild England ; Richard Jefferies潜水艇；伊坂幸太郎新中国未来记；梁启超比一千个太阳还亮；奥本海默冰与火之歌；乔治·R.R.马丁罗马帝国衰亡史；爱德华·吉本 【影单】彗星来的那一夜；詹姆斯·沃德 ·布柯特；2013Hugo；马丁· 斯科塞斯；2011The Circle；詹姆斯·庞索特；2 017阿薇尔与虚构世界；克里斯汀·丹米 尔斯 / 弗兰克·叶根吉；2015美国众神；201 7浪客剑心；大友启 史；2012【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右微信公众号：播客一下

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑、杨一【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任●[01:00]中国科幻小说的发展历程●[03:06]晚清科幻小说作家如何了解最新科技发展●[04:18]早期有关“彗星撞地球”的小说●[08:30]晚清科幻小说研究怎样开展●[10:00]现代科技的发展为欧洲人带来的冲击●[11:25]研究的时间跨度●[12:05]一战前智识阶级的状态●[12:55]晚清科幻小说研究的发展历程●[14:00]蒸汽朋克与维多利亚时代小说的迷人之处●[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别●[24:20]维多利亚时代科幻小说在中国的影响●[25:10]中国是否有蒸汽朋克小说●[33:00]为什么英国的历史写作会出现彻底毁灭的意向●[39:40]美国的蒸汽朋克小说【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】微博：@忽左忽右leftright

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑、杨一【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任●[01:00]中国科幻小说的发展历程●[03:06]晚清科幻小说作家如何了解最新科技发展●[04:18]早期有关“彗星撞地球”的小说●[08:30]晚清科幻小说研究怎样开展●[10:00]现代科技的发展为欧洲人带来的冲击●[11:25]研究的时间跨度●[12:05]一战前智识阶级的状态●[12:55]晚清科幻小说研究的发展历程●[14:00]蒸汽朋克与维多利亚时代小说的迷人之处●[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别●[24:20]维多利亚时代科幻小说在中国的影响●[25:10]中国是否有蒸汽朋克小说●[33:00]为什么英国的历史写作会出现彻底毁灭的意向●[39:40]美国的蒸汽朋克小说【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】微博：@忽左忽右leftright

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑、杨一【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任●[01:00]中国科幻小说的发展历程●[03:06]晚清科幻小说作家如何了解最新科技发展●[04:18]早期有关“彗星撞地球”的小说●[08:30]晚清科幻小说研究怎样开展●[10:00]现代科技的发展为欧洲人带来的冲击●[11:25]研究的时间跨度●[12:05]一战前智识阶级的状态●[12:55]晚清科幻小说研究的发展历程●[14:00]蒸汽朋克与维多利亚时代小说的迷人之处●[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别●[24:20]维多利亚时代科幻小说在中国的影响●[25:10]中国是否有蒸汽朋克小说●[33:00]为什么英国的历史写作会出现彻底毁灭的意向●[39:40]美国的蒸汽朋克小说【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】微博：@忽左忽右leftright

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑（新浪微博：@GrenadierGuard2）杨一（新浪微博：@杨一1） 【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任[01:00]中国科幻小说的发展历程[03:06]晚清科幻小说作家如何了解最新科技发展[04:18]早期有关“彗星撞地球”的小说[08:30]晚清科幻小说研究怎样开展[10:00]现代科技的发展为欧洲人带来的冲击[11:25]研究的时间跨度[12:05]一战前智识阶级的状态[12:55]晚清科幻小说研究的发展历程[14:00]蒸汽朋克与维多利亚时代小说的迷人之处[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别[24:20]维多利亚时代科幻小说在中国的影响[25:10]中国是否有蒸汽朋克小说[33:00]为什么英国的历史写作会出现彻底毁灭的意向[39:40]美国的蒸汽朋克小说[40:00]同时期日本的科幻小说及其影响【推荐书目】世界末日记；佛琳玛丽安；荡寇志；俞万春；中华书局新石头记；吴趼人；花城最后一个人；玛丽雪莱As Easy as A.B.C. ; Kipling, RudyardIn the Days of the Comet ; H. G. Wells骄傲之塔；塔奇曼；中信出版社 差分机；威廉·吉布森/布鲁斯·斯特林；新星出版社After London or Wild England ; Richard Jefferies潜水艇；伊坂幸太郎新中国未来记；梁启超比一千个太阳还亮；奥本海默冰与火之歌；乔治·R.R.马丁罗马帝国衰亡史；爱德华·吉本 【影单】彗星来的那一夜；詹姆斯·沃德 ·布柯特；2013Hugo；马丁· 斯科塞斯；2011The Circle；詹姆斯·庞索特；2 017阿薇尔与虚构世界；克里斯汀·丹米 尔斯 / 弗兰克·叶根吉；2015美国众神；201 7浪客剑心；大友启 史；2012【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用「苹果播客」、Spotify或任意安卓播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM、蜻蜓FM、 荔枝FM、网易云音乐收听。 【本节目由JustPod出品】【互动方式】微博：@忽左忽右leftright 微博：@播客一下 微信公众号：忽左忽右微信公众号：播客一下

Elon Musk的猎鹰重型火箭升空，让世界重温了一把阿波罗计划带来的兴奋感。本期我们来回顾一下，一个世纪前的维多利亚时代（即晚清时代），中西方知识分子和民众是如何回应现代科学乃至太空发现对生活造成的冲击感，这些回应又如何以文学的形式被记录下来。【主持】程衍樑、杨一【嘉宾】肖一之，布朗大学比较文学博士沙青青，上海图书馆信息咨询与研究中心竞争情报部副主任●[01:00]中国科幻小说的发展历程●[03:06]晚清科幻小说作家如何了解最新科技发展●[04:18]早期有关“彗星撞地球”的小说●[08:30]晚清科幻小说研究怎样开展●[10:00]现代科技的发展为欧洲人带来的冲击●[11:25]研究的时间跨度●[12:05]一战前智识阶级的状态●[12:55]晚清科幻小说研究的发展历程●[14:00]蒸汽朋克与维多利亚时代小说的迷人之处●[19:50]维多利亚时代的科幻作家与同时代其他科幻作家的区别●[24:20]维多利亚时代科幻小说在中国的影响●[25:10]中国是否有蒸汽朋克小说●[33:00]为什么英国的历史写作会出现彻底毁灭的意向●[39:40]美国的蒸汽朋克小说【音乐】"The Chase"（Howard Shore·Hugo Original Score·2011·Howe Records）"Starman"（David Bowie·The Rise and Fall of Ziggy Stardust and the Spiders from Mars·1972·Trident Studios）【logo设计】杨文骥【收听方式】推荐您使用泛用型播客客户端订阅收听《忽左忽右》，也可通过喜马拉雅FM收听。【互动方式】微博：@忽左忽右leftright

Peter Kelsey is an award winning recording and mixing engineer who has earned 4 Emmy's, 1 Grammy and a black belt in Tae Kwon Do.Born in the UK, Peter began his remarkable career at the infamous Trident Studios in London. He has worked with artists including Elton John, Tina Turner, Kenny Loggins, Brian Eno, David Bowie, Carly Simon, Linda Ronstadt, Peter Asher, Graham Parker, Weird Al Jankovic, Weather Report, Jean-Luc Ponty, Kitaro, Veronique Sanson, Joe Zawinul, Rupert Hine and Dick Van Dyke  His television and film credits include Ally McBeal, Boston Legal, CSI, The Middle, Arrested Development, Chicago Hope, Knots Landing, The Practice, Picket Fences, Thirty Something, Turbo Power Rangers, My Name Is Earl and No Pain No Gain. Please welcome my guest Peter Kelsey.  

Lou Reed's masterpiece put together with a little help of his friends David Bowie and Mick Ronson. All songs written by Lou Reed and produced by David Bowie and Mick Ronson for RCA Records at Trident Studios. We don't own this music, nor do we claim to. We're just big fans.

Emitido el 18/06/2015 en www.radioutopia.es Volvemos a la carga con el segundo programa especial dedicado al "White Album" que los Beatles grabaron en 1968. Si en el primer capítulo repasábamos como se iniciaban las grabaciones y en que condiciones se encontraban los cuatro Beatles, en el programa de hoy nos sumergimos de lleno en las sesiones que de repartieron por dos estudios de Londres, Abbey Road y Trident Studios, situado en el barrio del Soho, allí los Beatles por primera vez grabarían en un 8 pistas. En este segundo programa también escuchamos las colaboraciones y arreglos que estaban haciendo para otros artistas emergentes fichados por Apple Records como Jackie Lomax, James Taylor o Billy Preston. En el estudio contamos con la colaboración de JAVIER RANGEL, sin su ayuda no hubiera sido posible realizar un programa tan detallado. Y también nos ayuda FELIPE COUSELO con sus siempre sabias palabras sobre uno de los mejores grupos de la historia. Espero que disfrutes tanto escuchando el programa como nosotros haciéndolo. Lo que sonó: 1 - Revolution 2 - Cry Baby Cry 3 - Can You Take Me Back (Descarte) 4 - Hey Jude 5 - Not Guilty (Peter Sellers Tape) 6 - Mother Nature's Son 7 - What's The New Mary Jane (Esher Demo) 8 - Rocky Raccon (Esher Demo) 9 - Lectura del libro de Geoff Emerick 10 - Etcetera + Wild Honey Pie 11 - Back In The U.S.S.R. 12 - Dear Prudence 13 - Glass Onion 14 - I Will 15 - Jackie Lomax - Sour Milk Sea (Harrison) 16 - James Taylor - Carolina In My Mind 17 - Billy Preston - Do What You Want 18 - Birthday 19 - Piggies 20 - Happines Is A Warn Gun 21 - Savoy Truffle 22 - Martha My Dear (Dedicada a Marta) 23 - Long Long Long 24 - I'm So Tired 25 - The Continuing Story Of Bungalow Bill 26 - Why Don't We Do It In The Road? 22 - Julia 23 - Audio de Felipe Couselo 24 - George Harrison - Circles (Gone Troppo 1982) 25 - Paul McCartney - Junk (McCartney 1970) 26 - John Lennon - Jealous Guy (Imagine 1971) (Child Of Nature Demo 1968)

Emitido el 18/06/2015 en www.radioutopia.es Volvemos a la carga con el segundo programa especial dedicado al "White Album" que los Beatles grabaron en 1968. Si en el primer capítulo repasábamos como se iniciaban las grabaciones y en que condiciones se encontraban los cuatro Beatles, en el programa de hoy nos sumergimos de lleno en las sesiones que de repartieron por dos estudios de Londres, Abbey Road y Trident Studios, situado en el barrio del Soho, allí los Beatles por primera vez grabarían en un 8 pistas. En este segundo programa también escuchamos las colaboraciones y arreglos que estaban haciendo para otros artistas emergentes fichados por Apple Records como Jackie Lomax, James Taylor o Billy Preston. En el estudio contamos con la colaboración de JAVIER RANGEL, sin su ayuda no hubiera sido posible realizar un programa tan detallado. Y también nos ayuda FELIPE COUSELO con sus siempre sabias palabras sobre uno de los mejores grupos de la historia. Espero que disfrutes tanto escuchando el programa como nosotros haciéndolo. Lo que sonó: 1 - Revolution 2 - Cry Baby Cry 3 - Can You Take Me Back (Descarte) 4 - Hey Jude 5 - Not Guilty (Peter Sellers Tape) 6 - Mother Nature's Son 7 - What's The New Mary Jane (Esher Demo) 8 - Rocky Raccon (Esher Demo) 9 - Lectura del libro de Geoff Emerick 10 - Etcetera + Wild Honey Pie 11 - Back In The U.S.S.R. 12 - Dear Prudence 13 - Glass Onion 14 - I Will 15 - Jackie Lomax - Sour Milk Sea (Harrison) 16 - James Taylor - Carolina In My Mind 17 - Billy Preston - Do What You Want 18 - Birthday 19 - Piggies 20 - Happines Is A Warn Gun 21 - Savoy Truffle 22 - Martha My Dear (Dedicada a Marta) 23 - Long Long Long 24 - I'm So Tired 25 - The Continuing Story Of Bungalow Bill 26 - Why Don't We Do It In The Road? 22 - Julia 23 - Audio de Felipe Couselo 24 - George Harrison - Circles (Gone Troppo 1982) 25 - Paul McCartney - Junk (McCartney 1970) 26 - John Lennon - Jealous Guy (Imagine 1971) (Child Of Nature Demo 1968)

Trident Studios son uno de los lugares de grabaci