mcgillianaire: (South Park Me)
[SOURCE]

"The critically acclaimed 2002 biopic Walk The Line depicts the life and career of Johnny Cash from his initial rise to stardom in the 1950s to his resurgence following a drug-fueled decline in the 1960s. The selection of this time span made perfect sense from a Hollywood perspective, but from a historical perspective, it left out more than half of the story. There was still another dramatic resurgence to come in the second half of Johnny Cash’s 50-year career, which reached another low point on this day in 1986, when Columbia Records dropped him from its roster after 26 years of history-making partnership.

Columbia first signed Johnny Cash in 1960, using a lucrative contract to lure him away from his Sun Records, his first label and also the early home of Elvis Presley, Jerry Lee Lewis and Carl Perkins. Cash’s first Columbia single, “All Over Again,” made the country Top 5, and his second, “Don’t Take Your Guns To Town” made it all the way to #1, while also crossing over to the pop Top 40. But the biggest hits of Cash’s career were yet to come, including an incredible eight #1 albums in an eight-year span: Ring of Fire: The Best of Johnny Cash (1963); I Walk The Line (1964); Johnny Cash’s Greatest Hits (1967); At Folsom Prison (1968); At San Quentin (1969); Hello, I’m Johnny Cash (1970); The Johnny Cash Show (1970); and Man In Black (1971). During this period, Johnny Cash established himself as a titanic figure in American popular culture while selling millions upon millions of records for Columbia, but by the mid-1980s, fashions in country music had shifted dramatically away from his old-school style, and the hits simply stopped coming.

In 1986, having also recently dropped jazz legend Miles Davis from its roster of artists, Columbia chose to end its no-longer-profitable relationship with Johnny Cash. Cash did not remain professionally adrift for long, however, releasing four original albums and numerous re-recordings of earlier material over the next seven years on Mercury Records. But it was not until 1994 that Cash truly found his creative bearings again. That was the year that he released the album American Recordings, the first in a series of albums on the label of the same name headed by Rick Rubin, the original producer of the Beastie Boys and the co-founder, with Russell Simmons, of Def Jam Records.

Under Rubin’s influence, Cash moved to a raw, stripped-down sound that proved to be enormously successful with critics, with country traditionalists and with hipster newcomers to country music. When his second Rubin-produced album, Unchained, won a Grammy for Best Country Album in 1998, American Recordings placed a full-page ad in Billboard magazine featuring a 1970 photo of Cash brandishing his middle finger under the sarcastic line of copy, “American Recordings and Johnny Cash would like to acknowledge the Nashville music establishment and country radio for your support.”

Johnny Cash went on to have two more massively successful solo albums with American Recordings prior to his death in 2003. Rick Rubin went on to become co-head of Columbia Records in 2007."
mcgillianaire: (Union Jack)
"But my father summed it up pretty well by saying, "Nobody in our family has ever voted Conservative, without a stiff drink before, and afterwards."" ~David Owen

If a week is a long time in politics1, what about a lifetime? Tasked with the challenge of teasing out salient introspections from the life and times of some of Britain's grandees, is the contemporary political historian, Peter Hennessy. He delivers an insightful programme, as it launches its third series with the enigmatic David Owen. Having listened to several episodes, Owen's is among the best. I also recommend the one with John Major from last year. In all, Hennessy has talked to:

01. Shirley Williams
02. Jack Straw
03. Norman Tebbit
04. Neil Kinnock
05. John Major
06. Roy Hattersley
07. David Steel
08. Margaret Beckett
09. David Owen

And by the end of this series he will have interviewed Norman Lamont and Clare Short too. Each episode is either 28 or 43 minutes (depending on the series), with the latter forming the perfect length to explore a lifetime without inducing boredom and avoid glossing over multiple events or issues. But there are a few peripheral shortcomings. For instance, by the end of this series the uneven ratio of guests by political party will have been exacerbated to comprise: 5 Labour, 3 Tories, 2 SDP/Lib Dems and 1 Liberal. Given that Williams and Owen were also cabinet secretaries with Labour, you could question whether the breakdown was a matter of design, bad timing or lack of Conservative enthusiasm (I find this doubtful). This only matters because it's produced by the BBC. There's also the issue of gender ratio with three women out of eleven by the end of this series. And one other minor criticism about Hennessy's interview technique. When teasing out their reflections, he sometimes comes across as presumptuous, but it may have been an intended tactic or perhaps more likely, my imaginative nitpicking. Those minor quibbles apart, it is an absolutely fantastic programme and essential listening for the anorak.

1 Possibly misattributed to former British prime minister and Labour leader, Harold Wilson.
mcgillianaire: (Bedouin in Desert)
[SOURCE]

"On July 13, 1985, at Wembley Stadium in London, Prince Charles and Princess Diana officially open Live Aid, a worldwide rock concert organized to raise money for the relief of famine-stricken Africans. Continued at JFK Stadium in Philadelphia and at other arenas around the world, the 16-hour “superconcert” was globally linked by satellite to more than a billion viewers in 110 nations. In a triumph of technology and good will, the event raised more than $125 million in famine relief for Africa.

Live Aid was the brainchild of Bob Geldof, the singer of an Irish rock group called the Boomtown Rats. In 1984, Geldof traveled to Ethiopia after hearing news reports of a horrific famine that had killed hundreds of thousands of Ethiopians and threatened to kill millions more. After returning to London, he called Britain’s and Ireland’s top pop artists together to record a single to benefit Ethiopian famine relief. “Do They Know It’s Christmas?” was written by Geldof and Ultravox singer Midge Ure and performed by “Band Aid,” an ensemble that featured Culture Club, Duran Duran, Phil Collins, U2, Wham!, and others. It was the best-selling single in Britain to that date and raised more than $10 million.

“Do They Know It’s Christmas?” was also a No. 1 hit in the United States and inspired U.S. pop artists to come together and perform “We Are the World,” a song written by Michael Jackson and Lionel Ritchie. “USA for Africa,” as the U.S. ensemble was known, featured Jackson, Ritchie, Geldof, Harry Belafonte, Bob Dylan, Cyndi Lauper, Paul Simon, Bruce Springsteen, Tina Turner, Stevie Wonder, and many others. The single went to the top of the charts and eventually raised $44 million.

With the crisis continuing in Ethiopia, and the neighboring Sudan also stricken with famine, Geldof proposed Live Aid, an ambitious global charity concert aimed at raising more funds and increasing awareness of the plight of many Africans. Organized in just 10 weeks, Live Aid was staged on Saturday, July 13, 1985. More than 75 acts performed, including Elton John, Madonna, Santana, Run DMC, Sade, Sting, Bryan Adams, the Beach Boys, Mick Jagger, David Bowie, Queen, Duran Duran, U2, the Who, Tom Petty, Neil Young, and Eric Clapton. The majority of these artists performed at either Wembley Stadium in London, where a crowd of 70,000 turned out, or at Philadelphia’s JFK Stadium, where 100,000 watched. Thirteen satellites beamed a live television broadcast of the event to more than one billion viewers in 110 countries. More than 40 of these nations held telethons for African famine relief during the broadcast.

A memorable moment of the concert was Phil Collins’ performance in Philadelphia after flying by Concorde from London, where he performed at Wembley earlier in the day. He later played drums in a reunion of the surviving members of Led Zeppelin. Beatle Paul McCartney and the Who’s Pete Townsend held Bob Geldof aloft on their shoulders during the London finale, which featured a collective performance of “Do They Know It’s Christmas?” Six hours later, the U.S. concert ended with “We Are the World.”

Live Aid eventually raised $127 million in famine relief for African nations, and the publicity it generated encouraged Western nations to make available enough surplus grain to end the immediate hunger crisis in Africa. Geldof was later knighted by Queen Elizabeth II for his efforts.

In early July 2005, Geldof staged a series of “Live 8″ concerts in 11 countries around the world to help raise awareness of global poverty. Organizers, led by Geldof, purposely scheduled the concert days before the annual G8 summit in an effort to increase political pressure on G8 nations to address issues facing the extremely poor around the world. Live 8 claims that an estimated 3 billion people watched 1,000 musicians perform in 11 shows, which were broadcast on 182 television networks and by 2,000 radio stations. Unlike Live Aid, Live 8 was intentionally not billed as a fundraiser–Geldof’s slogan was, “We don’t want your money, we want your voice.” Perhaps in part because of the spotlight brought to such issues by Live 8, the G8 subsequently voted to cancel the debt of 18 of the world’s poorest nations, make AIDS drugs more accessible, and double levels of annual aid to Africa, to $50 billion by 2010."
mcgillianaire: (Cricket Stumps)
I've updated my entry from a couple years ago to reflect this week's episode with Freddie Flintoff. As with almost every episode of this awesome programme, it's worth a listen, not least for that gorgeous Lancastrian accent.
mcgillianaire: (BBC Logo)
0700 - BBC Radio 4             - Today
0900 - BBC Radio 2             - Sounds of the 60s
1000 - BBC Radio 6 Music       - The Huey Show
1300 - BBC Radio 2             - Pick of the Pops
1500 - BBC Radio Asian Network - Official Asian Download Chart
1600 - BBC Radio 1             - Dance Anthems
1800 - BBC Radio 6 Music       - Craig Charles Funk and Soul Show
2100 - BBC World Service       - Newshour
2200 - BBC Radio 2             - Sounds of the 80s
mcgillianaire: (India Flag)


It's not often an English pop song is a copy of a Tamil film song, but one example is American hip-hop artist will.i.am's "It's My Birthday", a UK number one hit single last year. It's surprising how this song escaped my notice, but it's always a pleasure to make such discoveries. Wikipedia confirms the connection between the two songs. Indeed there is a reference to the Tamil original in the opening lines of the English song. To come across this while listening to piano renditions of English pop songs on Spotify was especially gratifying, because I had just wondered whether Spotify also stored piano renditions of Tamil and Bollywood numbers. I still don't know the answer to that question, but you could be fooled into thinking there was at least one in the database.
mcgillianaire: (Ministry of Sound)
About two months ago I posted a single playlist of my ongoing best-ever songs in English compilation. But perhaps you'd rather listen to them by time-period? If so this entry is for you.

Links to Spotify [Word Doc]:
Pre-1960s         [Link]
1960s & 70s*      [Link]
1980s             [Link]
1960s, 70s & 80s
1990s             [Link]
20th Century
2000s             [Link]
(* I'm in the process of separating the 60s & 70s songs into their own playlists.)
mcgillianaire: (Ministry of Sound)
About two months ago I posted a single playlist of my ongoing best-ever songs in English compilation. But perhaps you'd rather listen to them by time-period? If so this entry is for you.

Links to Spotify [Word Doc]:
Pre-1960s         [Link]
1960s & 70s*      [Link]
1980s             [Link]
1960s, 70s & 80s
1990s             [Link]
20th Century
2000s             [Link]
(* I'm in the process of separating the 60s & 70s songs into their own playlists.)
mcgillianaire: (Ministry of Sound)
Three-and-a-half years ago I "decided to embark on an ambitious project to bring myself up-to-speed with music. I thought it would be a delightful idea to compile a DVD (the one with the highest capacity, 9GBish I think) with the world's greatest music of all-time." That's what I wrote here then and today I'm proud to report back to you the fruits of that labour. Before I do, a major round of thanks to everybody who contributed their feedback with tracks and artists I couldn't leave out from a "greatest-ever" list. I think you'll each find something to your liking, even if several other inclusions raise an odd eyebrow or few. In a project like this it's impossible to please everybody. Ultimately, this is my compilation and it caters to my tastes.

The playlist encompasses over seven decades of English (pop) music. The oldest songs are from the 1930s, the most recent is from 2009. I haven't included anything since then because frankly, the majority of them haven't stood the (arbitrary) test of time yet. The playlist is also incomplete so don't be surprised to find tracks missing in it. It's a work-in-progress and will remain so, as long as time doesn't stand still. But there's enough to bring back memories and create new ones. I just happened to have reached the 1000 song milestone.

Unfortunately, I cannot make a DVD of this compilation because quite simply, I do not own CDs or records of most tracks. At the time of making the original post, I intended to download all the MP3s and burn them onto a DVD. I've since realised the importance of copyright infringement and decided to keep the whole thing legal. To my good fortune, I was introduced to Spotify less than a year after making the original post. It's fair to say Spotify is the only reason this project came to fruition. Less than two months of using it for free, I recognised the benefits of a premium subscription. For just £10 a month, I had unlimited access to every Spotify track available in the UK. I can't stress enough how amazing this was for a music lover.

Spotify has its limitations but that's the price you pay for staying on the right side of the law. Artists like The Beatles, Led Zeppelin, Pink Floyd, Metallica and Oasis are not available due to lack of licensing agreements. But hopefully that will change in the future. Even so, there's still so much else to choose from. I've even managed to compile a 1000 greatest-ever tracks!

So without further ado, I present you The Best English Songs of All-Time. You can view and play it in Spotify. Or you can view the playlist in a Word document, with links to Spotify.

Please continue leaving your feedback about tracks and artists that I've left out. In the meantime, enjoy!
mcgillianaire: (Ministry of Sound)
Three-and-a-half years ago I "decided to embark on an ambitious project to bring myself up-to-speed with music. I thought it would be a delightful idea to compile a DVD (the one with the highest capacity, 9GBish I think) with the world's greatest music of all-time." That's what I wrote here then and today I'm proud to report back to you the fruits of that labour. Before I do, a major round of thanks to everybody who contributed their feedback with tracks and artists I couldn't leave out from a "greatest-ever" list. I think you'll each find something to your liking, even if several other inclusions raise an odd eyebrow or few. In a project like this it's impossible to please everybody. Ultimately, this is my compilation and it caters to my tastes.

The playlist encompasses over seven decades of English (pop) music. The oldest songs are from the 1930s, the most recent is from 2009. I haven't included anything since then because frankly, the majority of them haven't stood the (arbitrary) test of time yet. The playlist is also incomplete so don't be surprised to find tracks missing in it. It's a work-in-progress and will remain so, as long as time doesn't stand still. But there's enough to bring back memories and create new ones. I just happened to have reached the 1000 song milestone.

Unfortunately, I cannot make a DVD of this compilation because quite simply, I do not own CDs or records of most tracks. At the time of making the original post, I intended to download all the MP3s and burn them onto a DVD. I've since realised the importance of copyright infringement and decided to keep the whole thing legal. To my good fortune, I was introduced to Spotify less than a year after making the original post. It's fair to say Spotify is the only reason this project came to fruition. Less than two months of using it for free, I recognised the benefits of a premium subscription. For just £10 a month, I had unlimited access to every Spotify track available in the UK. I can't stress enough how amazing this was for a music lover.

Spotify has its limitations but that's the price you pay for staying on the right side of the law. Artists like The Beatles, Led Zeppelin, Pink Floyd, Metallica and Oasis are not available due to lack of licensing agreements. But hopefully that will change in the future. Even so, there's still so much else to choose from. I've even managed to compile a 1000 greatest-ever tracks!

So without further ado, I present you The Best English Songs of All-Time. You can view and play it in Spotify. Or you can view the playlist in a Word document, with links to Spotify.

Please continue leaving your feedback about tracks and artists that I've left out. In the meantime, enjoy!
mcgillianaire: (Ministry of Sound)
Three-and-a-half years ago I "decided to embark on an ambitious project to bring myself up-to-speed with music. I thought it would be a delightful idea to compile a DVD (the one with the highest capacity, 9GBish I think) with the world's greatest music of all-time." That's what I wrote here then and today I'm proud to report back to you the fruits of that labour. Before I do, a major round of thanks to everybody who contributed their feedback with tracks and artists I couldn't leave out from a "greatest-ever" list. I think you'll each find something to your liking, even if several other inclusions raise an odd eyebrow or few. In a project like this it's impossible to please everybody. Ultimately, this is my compilation and it caters to my tastes.

The playlist encompasses over seven decades of English (pop) music. The oldest songs are from the 1930s, the most recent is from 2009. I haven't included anything since then because frankly, the majority of them haven't stood the (arbitrary) test of time yet. The playlist is also incomplete so don't be surprised to find tracks missing in it. It's a work-in-progress and will remain so, as long as time doesn't stand still. But there's enough to bring back memories and create new ones. I just happened to have reached the 1000 song milestone.

Unfortunately, I cannot make a DVD of this compilation because quite simply, I do not own CDs or records of most tracks. At the time of making the original post, I intended to download all the MP3s and burn them onto a DVD. I've since realised the importance of copyright infringement and decided to keep the whole thing legal. To my good fortune, I was introduced to Spotify less than a year after making the original post. It's fair to say Spotify is the only reason this project came to fruition. Less than two months of using it for free, I recognised the benefits of a premium subscription. For just £10 a month, I had unlimited access to every Spotify track available in the UK. I can't stress enough how amazing this was for a music lover.

Spotify has its limitations but that's the price you pay for staying on the right side of the law. Artists like The Beatles, Led Zeppelin, Pink Floyd, Metallica and Oasis are not available due to lack of licensing agreements. But hopefully that will change in the future. Even so, there's still so much else to choose from. I've even managed to compile a 1000 greatest-ever tracks!

So without further ado, I present you The Best English Songs of All-Time. You can view and play it in Spotify. Or you can view the playlist in a Word document, with links to Spotify.

Please continue leaving your feedback about tracks and artists that I've left out. In the meantime, enjoy!
mcgillianaire: (Ari G)
Its database alone is worth the £10 monthly fee. But imagine if someone had created a public playlist of every composition in chronological order by your favourite composers? Or if you could listen to audiobooks on the life & works of the same composers, or an audiobook dedicated to a single work by the composer? Or a playlist of the best works by British composers, the best Trumpet solo tracks, pop songs based on Classical works, your favourite Operas, the list goes on. With Spotify, your dreams come true. Or mine at any rate. And worried you'll miss the latest Classical tracks added to Spotify? There's a playlist for that too. And a blog to go with it. If like me you love Western Classical music, look no further than Spotify.
mcgillianaire: (Hooka Pipe)


Ever wondered what happens when you combine Indian sitar music with Spanish flamenco? Look no further than this latest album by the daughter of Pandit Ravi Shankar. The last time I listened to Anoushka, she was touring the world playing ragas alongside her legendary father. Dad and I even had the pleasure of watching them both live in front of a packed audience in Montreal some years ago. But this album is quite different and even magical in parts, particularly Track 2 embedded above.

LINKS:
Guardian Review
Link to Album in Spotify
mcgillianaire: (Ari G)


There's a good chance this is going to be the next Number 1 single on the Official UK Asian Charts and although it was only officially released a few weeks ago, it made its way to the airwaves at the beginning of the summer. Composed by an Indian musical director as part of the soundtrack for the Bollywood movie Ra One, the singer is Senegalese-American pop star Akon. And it's got English, Hindi and even Tamil lyrics. With a catchy beat it's win-win-win as far as I'm concerned!
mcgillianaire: (Lock Stock Still-frame)


Can you think of a better way for the most famous musical act in history to sign off, than this impromptu live gig on a central London rooftop? It was a cold day in January 1969 and The Beatles had not played live since 1965. They were in the midst of recording their final album, Let It Be, when they found themselves on the roof of Apple Records on Savile Row and disrupting businesses' lunch nearby. The Fab Four played five songs from their last effort including Get Back in the clip above (accompanied by Billy Preston on keyboards). You can watch a longer version here. By the time the Old Bill made it to the roof, a healthy crowd had gathered on neighbouring rooftops and the street below. And in response to their warm applause at the end of the last song (a repeat of Get Back because the coppers had missed the beginning of the show!), Lennon quipped, "I'd like to say 'thank you' on behalf of the group and ourselves, and I hope we passed the audition!" (Hat tip)
mcgillianaire: (Scale of Justice)
When copyrights were first created in 1709, it protected creative works for 14 years with the option to extend that by another 14 if the author was still alive. Over time the length of the copyright period was extended to: 42 years in 1842, or the life of the author plus seven years; to 50 years in 1911 and to life plus 70 years in 1996 for a "literary, dramatic, musical or artistic work", while sound recordings were protected for 50 years. That was until two days ago when the European Commission extended the copyright term on sound recordings from 50 to 70 years. Such extensions are bad for innovation. The legal safeguards were introduced to offer an incentive to create, but instead the current regime makes a mockery of that original purpose by working as an active disincentive. Indeed, a copyright period that extends beyond the life of the author is clearly not an incentive to create, it's a mechanism for publishers and record companies to boost revenues, often long after the author has died. In many cases, the publishers and record companies are merely the latest owners of the author's copyright, having invested nothing into the creative process that went into the work in the first place. Yet thanks to their deep pockets and our ridiculous copyright law regime, they're able to stifle creative innovation. For example, in America it's well known that copyright extensions have tended to happen whenever Disney is about to lose the exclusive rights to Mickey Mouse. And the way things are going it's not hard to imagine that eventually, the most powerful publishers and record companies will extend copyright periods to an indefinite limit until they last forever. It's not too late to join the fight against it!
mcgillianaire: (Cricket Stumps)




I must admit this was probably one of the most surreal things I've ever heard on the radio and to hear it live during yesterday's play had me doing double takes. And I'm sure I wasn't alone. But to be gifted two slog sweeps for six by Sir Geoff (he's not really knighted) on the same day was quite something. As rare as a blue moon I suppose. Enjoy them both and while you can. We may not hear anything like it for a long time to come! TMS Zindabad! And long live Mr Boycott!
mcgillianaire: (Default)
Every time a celebrity passes away, people write the nastiest stuff about them. But regardless of how the person may have died or whether they couldn't care less about their death, it is wrong to react in such a way. A death is a tragic event especially when it happens to someone so young. Like us they are the sons, daughters, brothers, sisters, nephews, nieces and best friends of other people who love them dearly and will mourn their loss. I suspect most of the people who write such vile or even mildly distasteful rubbish would not say the same about a loved one who may have suffered from similar problems and/or died in similar circumstances. Grow up!

Profile

mcgillianaire: (Default)
mcgillianaire

2025

S M T W T F S

Syndicate

RSS Atom

Most Popular Tags

Style Credit

Expand Cut Tags

No cut tags
Page generated Jun. 18th, 2025 02:53 pm
Powered by Dreamwidth Studios