On Music…

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How ReadyToPlay Can Save Your Music Collection

(via Seagate blog) by Steve Pipe

Quick — when was the last time you listened to music on a compact disc? If you’re like many consumers, you probably have stacks of CDs gathering dust at the back of an entertainment cabinet or boxed up in a closet. You’d like to get them all onto your computer and smartphone, but that’s a daunting task… How can you easily digitize hundreds or thousands of CDs?

CDs — a once-dominant format — have lost ground to streaming services like Spotify, Apple Music and Pandora. That doesn’t mean CDs are dead — far from it. For the first time since 2011, sales of physical media surpassed digital downloads, according to new data from the Recording Industry Association of America. Physical media (which includes CDs and vinyl) declined 4 percent in 2017, compared to 25 percent for digital.

More people are streaming music, but many still want to digitize their favorite CDs

That’s good news for Jeff Tedesco, president of ReadyToPlay, a Palo Alto, California-based company that “rips,” or digitizes, CD collections. Tedesco started his company in 2004, when more and more people were making the switch to digital, thanks to MP3 players like the iPod…

Read more:

https://blog.seagate.com/human/readytoplay-can-save-music-collection/?utm_source=FBPAGE&utm_medium=social&utm_content=100024802

Quora: Why did Stevie Nicks Leave Fleetwood Mac?

(image via rollingstone.com)

(via Quora) Answered by Chrys Jordan

The main reason was over the song Silver Springs.

Stevie recorded the song for Fleetwood Mac’s 1977 Rumours album. But the band decided not to use it, reportedly because it was too long.

As Stevie tells the story, she shrieked with rage when Mick Fleetwood told her they wouldn’t be using Silver Springs. Stevie might have quit the band then if she’d established herself as a solo artist. But she hadn’t, not yet…

Read more:

https://www.quora.com/Why-did-Stevie-Nicks-leave-Fleetwood-Mac

Carol Kaye, The First Lady of Bass Guitar

(via Culture Sonar) by John Montagna

The Fender “Precision Bass” Guitar first appeared in 1951, and within a few short years the bass guitar created a seismic shift in popular music thanks to a number of forward-thinking musicians. Chief among these bold explorers is female bass player Carol Kaye, born in Everett, Washington in 1935.

Initially, on the fast track to success as a jazz guitarist in Los Angeles, Kaye was thrust into the lucrative Hollywood studio scene at a 1957 recording session with Sam Cooke. One morning at Capitol Studios the bassist didn’t show up, and Kaye spontaneously picked up a “Fender bass” and took over. Plectrum in hand, she immediately seized upon the creative potential of the instrument and became an indispensable member of the now-famous “Wrecking Crew” collective of session musicians. The Crew defined the sound of American popular music in the 1960s, but Kaye’s musicality, creativity, and distinctive tone (the result of flatwound strings and a pick) helped redefine the bass guitar’s role in the rhythm section. Some might not know Carol Kaye’s name, but if they’ve ever been near a radio (or a TV set) you’ve heard her bass playing. Here is some of her signature work.

Read more:

https://www.culturesonar.com/carol-kaye-first-lady-bass-guitar/

Battle of the Ax Men: Who Really Built the First Electric Rock ‘n’ Roll Guitar?

(via Collector’s Weekly) by Ben Marks

Many places deserve to be called the birthplace of rock ’n’ roll. Memphis often gets the nod because that’s where Sam Phillips of Sun Records recorded Elvis Presley belting out an impromptu, uptempo cover of “That’s All Right” in 1954. Cleveland makes the list since it’s the place where, in 1951, a local disc jockey named Alan Freed coined the genre’s name. Chicago’s claim precedes Cleveland’s by several years; in 1948, McKinley Morganfield, aka Muddy Waters, took the tiny stage of a neighborhood tavern called Club Zanzibar, pulled up a chair, and played his hollow-body electric guitar so loud, the sounds emanating from his small amplifier crashed upon the sweaty crowd in waves of soul-stirring distortion.

Those would all be good choices, but for author Ian Port, whose new book, The Birth of Loud, has just been published by Scribner, the birthplace of rock ’n’ roll could also be the former farming community of Fullerton in Orange County, California. That’s where an electronics autodidact name Clarence Leonidas “Leo” Fender founded a radio repair shop in 1938. By 1943, Fender and a friend named Clayton “Doc” Kaufman, who was Fender’s business partner in those days, had taken a solid plank of oak, painted it glossy black, attached a pickup at one end, and strung its length with steel strings

Read more:

https://www.collectorsweekly.com/articles/who-really-built-the-first-electric-rock-n-roll-guitar/

They Really Don’t Make Music Like They Used To

CreditCreditPeter Dazeley/The Image Bank, via Getty Images

(via The New York Times) By Greg Milner

It’s Grammy time, and as always, watching the awards ceremony on Sunday will include a subtext of cross-generational carping: “They don’t make music the way they used to,” the boomers and Gen Xers will mutter. And they’ll be right. Music today, at least most of it, is fundamentally different from what it was in the days of yore — the 1970s and 80s.

Last year, the industry celebrated a sales milestone. The Recording Industry Association of America certified that the Eagles’ “Their Greatest Hits (1971-1975),” was the best-selling album of all time, with sales of 38 million. (The formula took account of vinyl, CD and streaming purchases. Purists will have to put aside the fact that a greatest hits collection is not really an LP album as most of us know it.)

It was a full-circle moment — the album, released almost exactly 43 years ago, was the first to be awarded platinum status (sales of one million), an evocative reminder that songs were once commodities so valuable that millions of people would even buy them in repackaged form. It was also a taken as a quiet victory for people who believe that music today is too loud…

Read more:

A History of the Moody Blues

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