Archive for the ‘Music’ Category

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Obit watch: August 11, 2022.

Thursday, August 11th, 2022

Gary C. Schroen, CIA officer.

He was most famous for leading the first team of CIA people – probably the first team of Americans, period – into Afghanistan after 9/11.

Mr. Schroen selected seven men and gathered the weapons, outdoor gear and food they would need. The mission was code-named Jawbreaker. At least one representative from the military was supposed to join them, but the Pentagon pulled out of the mission at the last minute, declaring it too dangerous.
“There was no rescue force,” Bruce Riedel, a former C.I.A. case officer who worked frequently with Mr. Schroen, said in a phone interview. “If they got in trouble, there were no American troops to come rescue them.”
Before Mr. Schroen left for the mission, Mr. Black took him aside.
“I want to make it clear what your real job is,” Mr. Schroen recalled Mr. Black telling him. “Once the Taliban are broken, your job is to find bin Laden, kill him and bring his head back on dry ice.”

He also wrote a book, First In: An Insider’s Account of How the CIA Spearheaded the War on Terror in Afghanistan (affiliate link).

Darryl Hunt, bass player for the Pogues. I apologize for not inserting a musical interlude here, but I couldn’t find one that featured Mr. Hunt. If anybody has one, they are more than welcome to put a link in comments.

Posted in Books, History, Music, Obits | 2 Comments »

The Audio Files.

Tuesday, August 9th, 2022

This is a couple of days old, but I don’t think it has gotten a lot of attention, and it lightly pushes some of my buttons.

There’s a company called Mobile Fidelity, or MoFi. They press records. They also have some recordings available in SACD format, and sell record accessories and electronics. I talked to Mike the Musicologist, and he owns some of their SACD recordings, which I will take as a qualified endorsement.

MoFi’s big deal was that they supposedly used “original master tapes” for their recordings.

In the world of audiophiles — where provenance is everything and the quest is to get as close to the sound of an album’s original recording as possible — digital is considered almost unholy. And using digital while claiming not to is the gravest sin a manufacturer can commit.

Mike Esposito runs a record store in Phoenix, “The ‘In’ Groove”. He put up a video on July 14th claiming that, contrary to their advertising, MoFi “had actually been using digital files in its production chain” for their re-issues. (And apparently it wasn’t just re-issues of material that was originally recorded digitally.)

(Remember the early days of CD audio and the SPARS code? Wasn’t that a time?)

Anyway, a lot of audiophiles attacked Mr. Esposito for posting the video and implying MoFi’s claims were not legit.

MoFi, for their part, invited Mr. Esposito to visit them in California. So he went out there, and sat down with some of MoFi’s engineers…

That visit resulted in a second video, published July 20, in which MoFi’s engineers confirmed, with a kind of awkward casualness, that Esposito was correct with his claims. The company that made its name on authenticity had been deceptive about its practices. The episode is part of a crisis MoFi now concedes was mishandled.

I think this is that video.

“They were completely deceitful,” says Richard Drutman, 50, a New York City filmmaker who has purchased more than 50 of MoFi’s albums over the years. “I never would have ordered a single Mobile Fidelity product if I had known it was sourced from a digital master.”

…

“Not that you can’t make good records with digital, but it just isn’t as natural as when you use the original tape,” says Bernie Grundman, 78, the mastering engineer who worked on the original recordings of Steely Dan’s “Aja,” Michael Jackson’s “Thriller” and Dr. Dre’s “The Chronic.”

As you know, Bob, I don’t have a lot of sympathy for the kind of audiophile who spends $5,000 on a turntable for their 78 RPM records. On the other hand, I also don’t have a lot of sympathy for companies that get people to buy stuff by lying to them. On the gripping hand, who am I to look down on these people, when I spend a fair amount of my disposable income on obscure Smith and Wessons and first editions?

Mobile Fidelity and its parent company, Music Direct, were slow to respond to the revelation. But last week, the company began updating the sourcing information on its website and also agreed to its first interview, with The Washington Post. The company says it first used DSD, or Direct Stream Digital technology, on a 2011 reissue of Tony Bennett’s “I Left My Heart in San Francisco.” By the end of 2011, 60 percent of its vinyl releases incorporated DSD. All but one of the reissues as part of its One-Step series, which include $125 box-set editions of Santana, Carole King and the Eagles, have used that technology. Going forward, all MoFi cutting will incorporate DSD.

…

Marketing has been a key element of the MoFi model. Most releases include a banner on the album cover proclaiming it the “Original Master Recording.” And every One-Step, which cut out parts of the production process to supposedly get closer to the original tape, includes a thick explainer sheet in which the company outlines in exacting detail how it creates its records. But there has been one very important item missing: any mention of a digital step.
The company has obscured the truth in other ways. MoFi employees have done interviews for years without mentioning digital. In 2020, Grant McLean, a Canadian customer, got into a debate with a friend about MoFi’s sourcing. McLean believed in the company and wrote to confirm that he was right. In a response he provided to The Post, a customer service representative wrote McLean that “there is no analog to digital conversion in our vinyl cutting process.”

…

The fallout of the MoFi revelation has thrown the audiophile community into something of an existential crisis. The quality of digitized music has long been criticized because of how much data was stripped out of files so MP3s could fit on mobile devices. But these days, with the right equipment, digital recordings can be so good that they can fool even the best of ears. Many of MoFi’s now-exposed records were on Fremer’s and Esposito’s own lists of the best-sounding analog albums.

What else is there to say? Other than, if you can’t tell the difference, is there a difference?

Posted in Geek, Music | 2 Comments »

Obit watch: August 9, 2022.

Tuesday, August 9th, 2022

I’m thinking about no longer posting obits.

Recently, it seems like as soon as I post one obit watch, two or three or more people die. Clearly, correlation implies causality: my posting obits is making people die, therefore, if I stop posting, people will stop passing away. Right?

Well, it’s a theory, anyway.

David McCullough, historian and author. It is an odd thing: I enjoy history, but I mostly haven’t read any of McCullough’s work, and I don’t know why. (I say “mostly” because we did have some of those Reader’s Digest Condensed Books volumes around the house when I was very young, and one of them had The Johnstown Flood in it. I remember being fascinated, but more for the account of the actual flood itself than the human and engineering factors leading up to it. I should probably grab a copy of the real book somewhere and read it.)

Olivia Newton-John.

In 1970, she was asked to join a crudely manufactured group named Toomorrow, formed by the American producer Don Kirshner in an attempt to repeat his earlier success with the Monkees. Following his grand design, the group starred in a science-fiction film written for them and recorded its soundtrack. Both projects tanked.
“It was terrible, and I was terrible in it,” she later told The New York Times.

The name of the film is also “Toomorrow“, as best as I can tell. There’s a PAL DVD listed on Amazon as “currently unavailable”, but you can get the soundtrack on vinyl.

Lawrence emailed the obit for Lamont Dozier.

In collaboration with the brothers Brian and Eddie Holland, Mr. Dozier wrote songs for dozens of musical acts, but the trio worked most often with Martha and the Vandellas (“Heat Wave,” “Jimmy Mack”), the Four Tops (“Bernadette,” “I Can’t Help Myself”) and especially the Supremes (“You Can’t Hurry Love,” “Baby Love”). Between 1963 and 1972, the Holland-Dozier-Holland team was responsible for more than 80 singles that hit the Top 40 of the pop or R&B charts, including 15 songs that reached No. 1. “It was as if we were playing the lottery and winning every time,” Mr. Dozier wrote in his autobiography, “How Sweet It Is” (2019, written with Scott B. Bomar).

…

Sometimes he would have an idea for a song’s feel: He wrote the Four Tops’ “Reach Out I’ll Be There” thinking about Bob Dylan’s phrasing on “Like a Rolling Stone.” Sometimes he concocted an attention-grabbing gimmick, like the staccato guitars at the beginning of the Supremes’ “You Keep Me Hangin’ On” that evoked a radio news bulletin.
And sometimes Mr. Dozier uttered a real-life sentence that worked in song, as he did one night when he was in a Detroit motel with a girlfriend and a different girlfriend started pounding on the door. He pleaded with the interloper, “Stop, in the name of love” — and then realized the potency of what he had said. The Holland-Dozier-Holland team quickly hammered the sentence into a three-minute single, the Supremes’ “Stop! In the Name of Love.”

Posted in Books, History, Movies, Music, Obits | 3 Comments »

Obit watch: August 6, 2022.

Saturday, August 6th, 2022

Today’s kind of a run-down of people who aren’t as famous as I usually cover, but whose obits I find interesting in one way or another.

Dee Hock. He’s generally credited with having built the consortium that became Visa into what it is today.

As chief executive, he oversaw the development of the first electronic authorization system and the first interbank electronic clearing and settlement system. Banks would issue the cards, not Visa, and they were mandated to add the magnetic stripe to their cards.

Melissa Bank. The Girls’ Guide to Hunting and Fishing was a big deal (I never read it). Her follow-up book seems to have been well regarded, but didn’t do as well, and she was working on a third book when she died at 61.

Mary Ellin Barrett. She was one of Irving Berlin’s daughters, and wrote a book about her father (Irving Berlin: A Daughter’s Memoir).

In it, Ms. Barrett offered a new portrait of her father: droll, self-effacing, with an unspoken perfectionism that would doom him to bitterness in old age but that for four decades of maturity pushed him to dazzling artistic achievements, along with attentiveness to his family.
That has become a definitive insider’s view of Irving Berlin. The Times critic Stephen Holden credited Ms. Barrett with the ability to balance affection for her father with awareness of his flaws, and he called her book a “touching, wise, gracefully written memoir.”

Albert Woodfox, who spent 42 years in solitary at Angola.

Mr. Woodfox was placed in solitary confinement in 1972 after being accused of murdering Brent Miller, a 23-year-old corrections officer. A tangled legal ordeal ensued, including two convictions, both overturned, and three indictments stretching over four decades.
The case struck most commentators as problematic. No forensic evidence linked Mr. Woodfox to the crime, so the authorities’ argument depended on witnesses, who over time were discredited or proved unreliable.

Sid Jacobson, comics writer.

Posted in Books, Law, Music, Obits | 1 Comment »

Obit watch: July 1, 2022.

Friday, July 1st, 2022

Richard Taruskin, musicologist.

An emeritus professor at the University of California, Berkeley, and a specialist in Russian music, Mr. Taruskin was the author of a number of groundbreaking musicological studies, including the sweeping six-volume Oxford History of Western Music. He was also a contributor to The New York Times, where his trenchant, witty, and erudite writings represented a bygone era in which clashes over the meaning of classical music held mainstream import.
“He was the most important living writer on classical music, either in academia or in journalism,” said Alex Ross, music critic of The New Yorker, in a recent interview. “He knew everything, his ideas were potent, and he wrote with dashing style.”

…

His words were anything but sterile: Mr. Taruskin courted controversy in nearly everything he wrote. In the late 1980s, he helped ignite the so-called “Shostakovich Wars” by critiquing the veracity of “Testimony: The Memoirs of Dmitri Shostakovich, as related to and edited by Solomon Volkov” (1979), which portrayed the composer as a secret dissident. (Mr. Volkov is a journalist, historian and musicologist.) Drawing on a careful debunking by the scholar Laurel Fay, Mr. Taruskin called the book’s positive reception “the greatest critical scandal I have ever witnessed.”

…

Mr. Taruskin’s most consequential flamethrowing was his campaign against the movement for “historically authentic” performances of early music. In a series of essays anthologized in his 1995 book “Text and Act,” he argued that the use of period instruments and techniques was an outgrowth of contemporary tastes. He didn’t want conductors like Nikolaus Harnoncourt and Roger Norrington to stop performing; he just wanted them to drop the pretense of “authenticity.” And many did.
“Being the true voice of one’s time is (as Shaw might have said) roughly 40,000 times as vital and important as being the assumed voice of history,” he wrote in The Times in 1990. “To be the expressive medium of one’s own age is — obviously, no? — a far worthier aim than historical verisimilitude. What is verisimilitude, after all, but correctness? And correctness is the paltriest of virtues. It is something to demand of students, not artists.”

…

“I have always considered it important for musicologists to put their expertise at the service of ‘average consumers’ and alert them to the possibility that they are being hoodwinked, not only by commercial interests but by complaisant academics, biased critics, and pretentious performers,” he wrote in 1994.
Mr. Ross said: “Whether you judged him right or wrong, he made you feel that the art form truly mattered on the wider cultural stage.” Mr. Taruskin’s polemics, he added, “ultimately served a constructive goal of taking classical music out of fantasyland and into the real world.”

Posted in Books, History, Music, Obits | Comments Closed

Thing I did not know.

Friday, June 24th, 2022

The director of Elvis Presley’s 1968 comeback special (Steve Binder) also directed…”The Star Wars Holiday Special”.

Posted in 1970s, Bagatelle, Elvis, Music, TV | Comments Closed

Obit watch: June 10, 2022.

Friday, June 10th, 2022

Julee Cruise, musician. You probably recognize the name from “Twin Peaks”:

Cruise’s best-known work is her single “Falling,” whose instrumental version written by composer Angelo Badalamenti, served as the theme song for Lynch’s belovedly weird 1990 Twin Peaks TV series, later winning a Grammy for best pop instrumental. The singer with the haunting voice also had cameos as a roadhouse crooner in the series and the 1992 spinoff movie, Twin Peaks: Fire Walk With Me; she sang the closing credits on an episode of the 2017 Showtime TV reboot, Twin Peaks: the Return.

She also toured with the B-52s (“from 1992-1999 as a fill-in for member Cindy Wilson“).

Posted in Music, Obits | Comments Closed

Obit watch: June 8, 2022.

Wednesday, June 8th, 2022

Jim Seals, of Seals and Crofts.

Paul Vance, most famous for “Itsy Bitsy Teenie Weenie Yellow Polka Dot Bikini”.

Posted in Music, Obits | Comments Closed

Obit watch: June 6, 2022.

Monday, June 6th, 2022

Linda Lawson, actress. Other credits include “Sea Hunt”, “Hawaiian Eye”, and “Ben Casey”.

Alec John Such, drummer bassist [thanks, LP] for Bon Jovi.

Lawrence sent over an obit for Isidoro Raponi, who did a lot of practical effects work.

His biggest triumph in the sector was helping to design, build and operate E.T. for the 1982 Steven Spielberg film E.T. The Extra-Terrestrial. His résumé includes work on such other big films as King Kong, Alien, Close Encounters of the Third Kind., Baby: Secret of the Lost Legend, Gangs of New York, The Aviator, The Green Mile and The Shawshank Redemption.

Posted in Movies, Music, Obits, TV | 1 Comment »

Obit watch: May 29, 2022.

Sunday, May 29th, 2022

Still in on the road mode:

Bo Hopkins, actor. My mother described him as one of those “oh, yeah, that guy” guys.

Ronnie Hawkins, musician. I feel like some of my readers will have more to say about him (and they are welcome to do so in the comments) but I did like this:

“Ninety percent of what I made went to women, whiskey, drugs and cars,” he said. “I guess I just wasted the other 10 percent.”

Posted in Movies, Music, Obits | 1 Comment »

Obit watch: May 27, 2022.

Friday, May 27th, 2022

Still somewhat time constrained due to my vacation, so short and quick: Alan White, drummer for Yes. (He replaced Bill Bruford in 1972.)

Andy Fletcher, of Depeche Mode.

Posted in Music, Obits | Comments Closed

Obit watch: May 24, 2022.

Tuesday, May 24th, 2022

Simon Preston, organist.

Mr. Preston, who was admired as one of the most important English church musicians of his generation, was an archetypal product of a choral tradition that, with unstinting energy and an insatiable demand for high standards, he reinvigorated — and eventually moved beyond. His solo career took him to organ lofts across the world, and he recorded prolifically, including with the conductors Yehudi Menuhin in Handel, Seiji Ozawa in Poulenc and James Levine in Saint-Saëns.

…

But Mr. Preston, who maintained a vigorous solo schedule throughout that period, came to chafe at the tedious routine of playing and conducting regular services. He decided to leave the abbey and to concentrate on his freelance career, one that came to include more than a decade spent working with the Deutsche Grammophon label on the organ works of Bach, in whose more grandly scaled compositions he excelled.
“It was hard to imagine that anyone could have displayed the mighty Skinner instrument of St. Bartholomew’s Church, said to be the largest pipe organ in New York, more fully and effectively,” critic James R. Oestreich of The New York Times wrote in reviewing one of Mr. Preston’s many recitals in the city in 1992.

Noted:

While singing at King’s College, he trained under the organ scholar Hugh McLean, into whose prestigious former post he would move after studies at the Royal Academy of Music. He returned to King’s at an auspicious moment; the new organist and director of music, David Willcocks, was to markedly raise the stature of a choir now widely known for its Christmas broadcasts. Mr. Preston contributed an arrangement of the carol “I Saw Three Ships” that remains in festive use, at King’s and elsewhere.

Robert J. Vlasic, pickle guy. He was 96.

“We decided that pickles are a fun food,” Mr. Vlasic told The New York Times in 1974. “We decided we didn’t want to take ourselves or our business too seriously.”

Posted in Food, Music, Obits | Comments Closed

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