Audio Recordings, Downloads and Streaming

Subterms

    Latest story

    150 Shares62 Views

    Shel Talmy, Who Produced the Who and the Kinks, Dies at 87

    by

    Though he was American, he helped define the sound of the British Invasion after settling in London in the early 1960s.Shel Talmy, the American-born record producer who helped unleash the id of the British Invasion with a raw, grinding sound on proto-punk salvos like “You Really Got Me” by the Kinks and “My Generation” by the Who, died on Wednesday at his home in Los Angeles. He was 87.His death was announced in a post on his Facebook page, where he had been sharing detailed reminiscences about many of his past recordings with a long list of acts, which also included Manfred Mann, Chad & Jeremy, the Easybeats and a teenage David Bowie (who at the time was using his given surname, Jones).Mr. Talmy’s climb to the top of the British music scene actually began in Los Angeles, where Mr. Talmy, who was born in Chicago, had lived since his teens. In 1962, he was working as a recording engineer at a studio in Hollywood when he headed for London for what he expected would be a five-week vacation, hoping he might scrape together enough work there to pay for the trip.Before he left, his friend Nick Venet, who produced the Beach Boys for Capitol Records, offered him the acetates of some of his hit records to help Mr. Talmy drum up work. In a 2012 interview with Finding Zoso, a fan site devoted to the Led Zeppelin guitarist Jimmy Page, whom Mr. Talmy used on many sessions, he recalled that Mr. Venet had told him: “Help yourself to my discs, whatever you want to use you can use. You can tell them it was yours.”Once there, Mr. Talmy passed off hit records like “Surfin’ Safari” as his own in a meeting with Dick Rowe of Decca Records. “I thought, what the hell,” he said in an interview with the music writer Richie Unterberger, “I’m not going to be here long, I might as well be as brash as possible.” By the end of the meeting, he said, Mr. Rowe had told him, “You start next week.”Mr. Talmy had already notched his first hit, “Charmaine,” a country-inflected number by the Irish vocal trio the Bachelors, when his ruse became obvious. But, by that point, he was on his way.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 100 Shares98 Views

      in Elections

      Chris Wallace to Quit CNN After 3 Years

      by

      The 77-year-old veteran anchor told The Daily Beast that he planned to venture into streaming or podcasting.Chris Wallace, a veteran TV anchor who left Fox News for CNN three years ago, announced on Monday that he was leaving his post to venture into the streaming or podcasting worlds.Mr. Wallace, 77, told The Daily Beast that he was leaving the network to pursue independent content creation, where, he told the outlet, “the action seems to be.” He mentioned he was still unsure what form of content he would make, but said his career in broadcasting was over.He said his decision to leave CNN at the end of his three-year contract did not come from discontent. “I have nothing but positive things to say. CNN was very good to me,” he said.One of the network’s most recognizable faces, Mr. Wallace started in 2022 as an on-screen commentator and hosted a weekly talk show called “Who’s Talking to Chris Wallace?” He also anchored CNN’s coverage of the U.S. presidential election last week.Before joining CNN, Mr. Wallace worked at Fox News for 18 years and hosted “Fox News Sunday.” He turned heads at the conservative news outlet when he spoke out against President Trump’s “direct, sustained assault on freedom of the press” in 2020. He moderated an unruly presidential debate in 2020 between President Trump and Joseph R. Biden Jr.Mr. Wallace had initially joined the network to be part of its new CNN+ service, which imploded just weeks after its much-promoted release.CNN’s chief executive, Mark Thompson, confirmed Mr. Wallace’s departure in a statement posted by the network.A representative for Mr. Wallace did not respond immediately to a request for comment. More

    • 138 Shares199 Views

      in Elections

      R. Peter Munves, Master Marketer of Classical Music, Dies at 97

      by

      As an executive at Columbia and RCA Records, he popularized the classics for mass audiences by applying the same techniques used to sell pop music.R. Peter Munves, a record company executive who revolutionized the marketing of classical music, died on Aug. 19 in Glen Cove, N.Y. He was 97.His death, in a nursing home, was confirmed by his son Ben.Mr. Munves carved out a moneymaking niche in what for much of its history has been a low-margin, struggling industry, selling classical music to mass audiences by applying the techniques of pop music marketing.In the 1960s, while at Columbia Records, he created a series called “Classical Greatest Hits” that packaged bits of Brahms, Mozart, Bach and other composers onto single LPs. In 1968 he signed the electronic musician Wendy Carlos to record “Switched-On Bach” — pieces by Bach on the Moog synthesizer.Both ideas were big hits, commercially if not with the critics. Time magazine reported in a 1971 profile of Mr. Munves that the “Greatest Hits” series “scored a solid bull’s-eye in the market and rang up $1,000,000” in revenues. The “Switched-On Bach” album, Time said, was Columbia’s “all-time best classical seller.”In 1968, Mr. Munves signed the electronic musician Wendy Carlos to record an album of Bach compositions on the Moog synthesizer. It was said to be Columbia’s best-selling classical album of all time.Columbia/CBSIn 1981 Mr. Munves produced an album that compiled 222 well-known themes from classical music. One critic called it a “marketing masterpiece.”Columbia/CBSMr. Munves went on to produce an album called “Themefinder” — a compilation of 222 well-known themes from classical music that the New York Times music critic Edward Rothstein called a “marketing masterpiece” upon its release in 1981, adding that Mr. Munves was “an inspired producer.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 150 Shares179 Views

      in Elections

      Taylor Swift Bests K-Pop Band to Stay No. 1 for Seventh Week

      by

      Swift’s ‘The Tortured Poets Department’ held off Ateez’s ‘Golden Hour: Part.1.’ The singer-songwriter Shaboozey opened at No. 5.Taylor Swift’s “The Tortured Poets Department” is the No. 1 album once again, leading the Billboard 200 chart for a seventh straight time.Since it came out in April with historic numbers — breaking records for streaming and vinyl sales, and posting the biggest opening week of Swift’s career — “Tortured Poets” has been unstoppable, even as its performance has gradually cooled. In recent weeks it has held off challenges from Billie Eilish and Dua Lipa, and this week it blocks the latest from the K-pop boy band Ateez.In its latest week out, “Tortured Poets” had the equivalent of 148,000 sales in the United States, including 157 million streams and 27,000 copies sold as a complete package, according to the tracking service Luminate. Since its release, the album has had the equivalent of about 4.3 million sales and just shy of 2.5 billion streams in the United States alone.Of the 14 albums that Swift has sent to No. 1 in her career — going back to “Fearless,” her second LP, back in 2008 — “Tortured Poets” has now had the longest consecutive stretch at the top, exceeding “Folklore,” which in 2020 spent its first six weeks at No. 1 on Billboard’s flagship LP chart. (Several of Swift’s albums, including “Folklore,” have had more turns at No. 1 overall, but not in a row.)Also this week, Ateez’s “Golden Hour: Part.1,” a six-track “mini-album,” opens in second place with 131,000 equivalent sales, largely from its popularity on CD and vinyl. “Where I’ve Been, Isn’t Where I’m Going” by Shaboozey, a singer-songwriter who was featured on Beyoncé’s latest album, “Cowboy Carter,” opens at No. 5 with the equivalent of 50,000.Eilish’s “Hit Me Hard and Soft” falls to No. 3 after spending its first two weeks in second place, and Morgan Wallen’s “One Thing at a Time” is No. 4 in its 67th week on the chart. More

    • 125 Shares129 Views

      in Elections

      Jean-Philippe Allard, Jazz Producer and Musicians’ Advocate, Dies at 67

      by

      He called himself a “professional listener,” and he tended to develop lifelong relationships with the artists he worked with.Jean-Philippe Allard, a French record executive and producer who helped revive the careers of jazz greats who had been all but forgotten in the United States, and who earned a reputation for uncommonly fierce advocacy on behalf of musicians, died on May 17 in Paris. He was 67.The music producer Brian Bacchus, a close friend and frequent collaborator, said Mr. Allard died in a hospital from cancer, which had returned after a long remission.Artists ranging from Abbey Lincoln to Juliette Gréco to Kenny Barron all said they had never worked with a more musician-friendly producer.“Regarding my work, I would always consider it as co-producing with the artist,” Mr. Allard told the music journalist Willard Jenkins in an interview in March. “Some producers are musicians or arrangers, like Teo Maceo or Larry Klein; others are engineers; some are professional listeners. I would fall in this last category: listening to the artist before the session, listening to the music during the session, and listening to the mixing engineer.”He tended to develop lifelong relationships with the artists he worked with. “His ear was always open to the artist, and he was always concerned about what was best for the artist,” the vocalist Dee Dee Bridgewater said in an interview. “He saw me. He embraced me. He wasn’t afraid of me. He encouraged my independence. He encouraged me speaking out.”Mr. Allard, right, in the studio with the bassist Charlie Haden, one of the many prominent jazz musicians he worked with.Cheung Ching Ming, via PolyGram/UniversalWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 100 Shares109 Views

      in Elections

      Marlena Shaw, Venerable Nightclub Chanteuse, Dies at 84

      by

      She sang jazz (with Count Basie, among others) and later funk and disco, frequently in intimate venues, where she regaled audiences with tales of old love affairs.Marlena Shaw, who cultivated a sultry stage presence and husky voice from the final echoes of the big-band era, to the go-go Playboy Clubs of the 1960s, to the rise of funk, to disco and finally to the modern cabaret circuit, died on Jan. 19. She was 84.Her daughter MarLa Bradshaw announced her death on social media but did not share any further details.Ms. Shaw first came to public notice in the mid-1960s, when she performed at Playboy Clubs around the country. Describing one of those performances in 1966, The Los Angeles Times labeled her a “pretty girl singer” but also called her “the surprise of the bill.” That same year, Jet magazine reported that “three record companies were waving contracts in her face” after a New York engagement.She signed with Cadet Records, which in 1967 released her recording of “Mercy, Mercy, Mercy,” a vocal version of the Joe Zawinul tune that had been a hit for Cannonball Adderley. It reached No. 58 on the Billboard pop chart and 33 on the R&B chart.It also got the attention of Count Basie, who invited Ms. Shaw to try out for a job singing with his band.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

    • 150 Shares169 Views

      in Elections

      That Spotify Daylist That Really ‘Gets’ You? It Was Written by A.I.

      by

      The music-streaming platform’s new “daylist” feature serves users three personalized playlists a day, with titles ranging from quirky to bewildering.Have your Sunday scaries ever given way to a “Nervous Ocean Monday Morning”? Does the weekend truly begin on Friday, or on a “Wild and Free Chaotic Thursday Afternoon”? How should one dress for a “Paranormal Dark Cabaret Evening”?Those odd strings of words are titles of “daylists,” a newish offering from the music-streaming giant Spotify. The feature provides users three new algorithmically generated playlists a day, each with an ultra-specific title that practically begs to be screencapped and posted.The often baffling titles have recently captured the attention of social media, propelling the service to fresh popularity about four months after its September debut. In post after post, users seem amused by the feature’s ability to see right through them.“Spotify called me out a little bit with this daylist,” one X user wrote of her own playlist. Its title: “Midwest Emo Flannel Tuesday Early Morning.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More