domingo, 7 de marzo de 2010
Las raíces del sello llegan a marzo de 1911, cuando Carl Gesellschaft Lindstrom (1867-1932) lanzó el sello Parlophon en Europa. En marzo de 1920, fue adquirido por la Transoceanic Trading Co. de Holanda., quienes establecieron la compañía Parlophone Co., Ltd en Londres, el 8 de agosto de 1923. Puesta bajo el ala de la Columbia británica en 1925, se convirtió luego en parte de EMI, cuando esa compañia fue formada por la fusión de Columbia y otros sellos en abril de 1931(ver nota EMI Music). La compañía comenzó a tener personalidad propia durante los años '50, bajo la dirección de Oscar Preuss y su asistente George Martin, a quien Preuss había rescatado de la audioteca de la BBC. La mayor parte de las publicaciones eran de música bailable liviana y música tradicional escocesa, hasta que Preuss se retiró y Martin se hizo cargo. Buscando un nicho, vió que los discos de comedia eran pocos y publicados con poca frecuencia. Así, comenzó a grabar a gente como Flanders y Swann, Peter Sellers y Mike y Bernie Winters. Incursionó en repertorio más contemporáneo, pulicando discos norteamericanos de rock'n'roll de Mac Curtis, Boyd Bennett y Charlie Gracie, entre otros, además de publicar talentos locales como The Vipers, Jim Dale, Rory Blackwell y Vince Eager. Con la llegada de los '60, llegaron artistas más vendedores, como Adam Faith, Mike Sarne, Shane Fenton y The Temperance Seven, pero fue en 1962 que Martin se aseguró un lugar el la historia del rock, aún cuando no lo impresionaron demasiado en un principio, Martin consideró que los Beatles eran un fichaje que valía la pena!. The Beatles, Cilla Black, Billy J. Kramer, Cliff Bennett, The Hollies y Adam Faith eran todos artistas Parlophone que dominaron los rankings en los '60. También había nombres menos conocidos como Byron Lee & The Dragonaires (Lee era un productor importante de Jamaica), Kippington Lodge (incluyendo a Nick Lowe), Davy Jones (quien luego sería conocido como David Bowie), The Herd (que incluía a Peter Frampton), y un muy joven Marc Bolan. Incluso seguían grabando música escocesa: Jimmy Shand venía a Londres desde Escocia, grababa una docena de Reels y se volvía a su casa, viendo como cada uno se publicaba como single a lo largo de un período de 12 meses. George Martin dejó el sello en 1965 para formar su propia compañía independiente, AIR, y Los Beatles formaron su propio sello, Apple, aunque sus discos siguieron publicándose usando la secuencia Parlophone, pero utilizando el sello Apple. Para principios de los '70, sólo los proyectos solistas de Los Beatles se publicaban por medio de Parlophone. Aún así en 1979 el sello tuvo una especie de revival, y en 1982, en el aniversario del sello, se publicó "101 Damnations" o "101 Maldiciones" de los imitadores de Los Beatles Scarlet Party. Desde entonces, el sello ha sido el hogar de publicaciones por los Dexy's Midnight Runners, Pet Shop Boys, Queen, EMF y The Sundays.
The label's roots go back to March 1911 when Carl Gesellschaft Lindstrom (b. 1867, d. 1932) launched the Parlophon label in Europe. In March 1920 it was taken over by the Transoceanic Trading Co of Holland who formed the Parlophone Co. Ltd in London on 8 August 1923. Taken under UK Columbia's wing in 1925, it subsequently became part of EMI when that organization was formed by the merger of Columbia and several other labels in April 1931. The label started to come into its own during the '50s when it was run by Oscar Preuss and his assistant George Martin, whom he had rescued from the BBC Gramphone Library. They released largely lightweight dance music and Scottish reels until 1955 when Preuss retired and Martin took over. Looking for a new angle he saw that comedy records were few and far between and began to make recordings of such people as Flanders And Swann, Peter Sellers and Mike and Bernie Winters. He moved into more contemporary music by releasing American rock ‘n’ roll records by Mac Curtis, Boyd Bennett, Charlie Gracie and others, as well as putting out home-grown talent like the Vipers, Jim Dale, Rory Blackwell and Vince Eager. As the '60s arrived, so did the bigger selling artists such as Adam Faith, Mike Sarne, Shane Fenton and the Temperance Seven, but it was in 1962 that George Martin ensured his place in rock history. Although not over impressed with The Beatles at first, he did think them a worthwhile signing! The Beatles, Cilla Black, Billy J. Kramer, Cliff Bennett, the Hollies and Adam Faith were all Parlophone recording acts that dominated the charts in the '60s. There were also less well-known names such as Byron Lee And The Dragonaires (Lee was a top Jamaican producer), Kippington Lodge (including Nick Lowe), Davy Jones (later known as David Bowie), the Herd (featuring Peter Frampton) and a very young Marc Bolan. They even continued with the odd Scottish reel: Jimmy Shand would come down to London once a year, record several dozen tunes, return home and watch while they were slowly released as singles over a 12-month period. George Martin left in 1965 to form his own independent production company, AIR, and The Beatles set up their own Apple label — though their records were still released in Parlophone's sequence but with the Apple logo. By the early '70s only the solo Beatles releases were coming out in the Parlophone series. In 1979, however, the label underwent something of a revival and in 1982 on the anniversary of the release of "Love Me Do" they issued "101 Damnations" by Beatles soundalikes Scarlet Party. Since then the label has been the home for releases by Dexy's Midnight Runners, the Pet Shop Boys, Queen, EMF and the Sundays.
EMI puede encontrar sus orígenes en 1898, cuando William Barry Owen viajó desde Nueva York a Londres para establecer una compañía europea para vender los gramófonos de Emile Berliner. Otro norteamericano, Fred Gaisberg, estaba a cargo de las grabaciones, recorriendo Europa y Asia, haciendo discos de cera de artistas locales. La fabricación estaba centralizada en Hannover, Alemania, hasta que se abrió la fábrica en Hayes, al oeste de Londres, en 1908. Para 1910, la compañía había adoptado el logo y el nombre de "His Master's Voice" o "La Voz De Su Amo"(la famosa pintura del perro y el gramófono). Durante la década de 1920, absorbió el sello francés Pathé y la compañía Lindstrom (dueños del sello Parlophone), como así también otras compañías en Latinoamérica (la Argentina Odeón fue una de ellas). En 1931, los efectos de la depresión trajeron una fusión entre la compañía de gramófonos y su mayor competidora europea, Columbia (que no guarda relación con la Columbia norteamericana propiedad de Sony), que era mucho más fuerte en repertorio popular. La nueva ELECTRIC & MUSIC INDUSTRIES, Ltd. dominaba el mercado europeo y operaba un "cartel global" no oficial en conjunto con su contraparte norteamericana RCA Victor. La falta de competencia hizo que EMI poco receptiva a nuevas ideas y la compañía perdió terreno a merced de sus competidoras como Decca y CBS, retrasando la adopción del sigle de 45 rpm hasta 1952, cuatro años depués de su invención. Pero la suerte de la compañía mejoró cuando Joseph Lockwood fue nombrado director general en 1954 (después fue nombrado Caballero por sus servicios). Reconociendo la importancia del repertorio norteamericano, Lockwood compró Capitol Records y revolucionó la fabricación de discos y cintas en Gran Bretaña. Gran parte del fenomenal éxito de la compañía en los '60 se debió a un sólo artista, Los Beatles. PeroEMI cometió el error de diversificarse a las industrias de la electrónica médica y del ocio en los'70. Asimismo, en la compañía discográfica, hubo una seguidilla de altos directivos que no lograron generar una estrategia consistente. Las pérdidas generadas por esta situación, llevaron a la adquisición de EMI por parte de Thorn en 1979. La falta de conocimiento de la industria que evidenciaron los nuevos dueños, llevó a recurrentes rumores de que EMI Records estaba en venta. Estos rumores nunca se disiparon, hasta el nombramiento de otro norteamericano al frente de la compañía de música, Jim Fifield, en 1988. EMI habia comprado el grupo Imperial / United Artists / Blue Note, pero Fifield se embarcó en un plan de adquisiciones altamente ambicioso. Compró SBK songs, para convertir a EMI Music en la compañia de Publishing más grande del mundo, y también compró los sellos Chrysalis, IRS y Roulette. Hubo grandes éxitos de MC Hammer, Wilson Phillips, Bonnie Raitt y Garth Brooks, mientras que en Gran Bretaña la compañía entró en la escena del pop independiente, mediante una alianza con el sello Food, quienes contaban con Jesus Jones y Blur entre sus artistas. Para principios de los '90, EMI reportaba una participación en el mercado mundial de música del 12 %, y en Marzo de 1992, esto se incrementó dramáticamente con la compra del sello de Richard Branson, Virgin Records, por 510 millones de Libras Esterlinas. Decisiones desafortunadas, combinadas con el nacimiento y desarrollo de la tecnología de compresión mp3 y la aparición de conexiones de internet de banda ancha, han puesto a la industria de rodillas en el pasado reciente, y propiciado la compra del sello por parte del grupo inversor Terra Prima, el 21 de mayo de 2007.
EMI Records - EMI Music
The present-day EMI company can trace its origins to 1898 when William Barry Owen sailed from New York to London to set up a European company to market Emile Berliner's gramophone. Another American, Fred Gaisberg, was in charge of recording, travelling throughout Europe and Asia making wax discs of local artists. Manufacturing was centred on Hannover in Germany before the UK factory at Hayes, west London was opened in 1908. By 1910 the company had adopted the His Master's Voice name and logo (the famous ‘dog and trumpet’ painting) and during the '20s it absorbed the French Pathe label and the Lindstrom company, (which owned the Parlophone label) as well as other branches across Latin America (Argentinian label Odeón being one of them). In 1931, the effects of the Depression brought about a merger between the Gramophone Co and its main European rival, Columbia (no relation to the US company owned by Sony) which was stronger in popular repertoire. The new Electrical & Musical Industries (EMI) company dominated the European market and operated an unofficial global cartel in conjunction with its American counterpart, RCA Victor. Lack of competition made EMI unreceptive to new ideas and it lost ground to rivals such as Decca and CBS by delaying its adoption of the 45rpm single until 1952, four years after its invention. But EMI's fortunes improved when Joseph Lockwood (later knighted for his services) took over as managing director in 1954. Recognizing the importance of the US repertoire, he bought Capitol Records and revolutionized the distribution of records and tapes in the UK.
Much of the company's phenomenal success in the '60s was due to one act; the Beatles. But EMI made the mistake of diversifying into medical electronics and the leisure industries in the '70s. Similarly at the record company, a succession of senior executives could not provide a consistent strategy. Losses from its newer ventures led to EMI's takeover by Thorn in 1979. The new owners’ apparent lack of understanding of the music business led to constant rumours that EMI Records was for sale. These rumours were not dispelled until the appointment of another American, Jim Fifield, to run the music division in 1988. EMI had bought the Liberty/United Artists/Blue Note group in 1980, but Fifield embarked on a highly ambitious programme of acquisitions. He bought SBK Songs to make EMI the world's largest music publisher and also purchased the Chrysalis, IRS and Roulette labels. There were major hits from MC Hammer, Wilson Phillips, Bonnie Raitt and Garth Brooks, while in the UK, EMI entered the independent-pop scene through an agreement with the Food label, whose artists included Jesus Jones and Blur. By the early '90s, EMI was claiming a 12 per cent share of the world music market, and in March 1992 this dramatically increased with the purchase of Richard Branson's Virgin Records for £510 million. Unfortunate business decisions, combined with the birth and development of mp3 compression technology and broadband internet connections have brought the industry to its knees in the recent past, and have lead to the company's acqusition by Terra Prima, on May 21st, 2007.
miércoles, 31 de enero de 2007
This leading UK band first came together at the public school Charterhouse. Peter Gabriel (b. 13 May 1950, London, England; vocals), Tony Banks (b. 27 March 1951, East Heathly, Sussex, England; keyboards) and Chris Stewart (drums) were in an ensemble named the Garden Wall, and joined forces with Anthony Philips (guitar/vocals) and Mike Rutherford (b. 2 October 1950; bass/guitar/vocals), who were in a rival group, the Anon. In January 1967, the student musicians sent a demonstration tape to another Charterhouse alumnus, Jonathan King, then at Decca Records. King financed further recordings and also christened the band Genesis. They recorded one single, "The Silent Sun" in 1968, but it was not until the following year that their debut album FROM GENESIS TO REVELATION was issued.
Where The Sour Turns Sweet/In The Beginning/Fireside Song/The Serpent/Am I Very Wrong/In The Wilderness/The Conqueror/In Hiding/One Day/Window/In Limbo/Silent Gun/A Place To Call My Own/The Silent Sun/That's Me/A Winter's Tale/One Eyed Hound
Its lack of success left them without a label until the enterprising Tony Stratton-Smith signed them to his recently formed Charisma Records in 1970. The group had already lost three drummers from their line-up before finding the perfect candidate that August. Phil Collins (b. 31 January 1951, London, England) had already worked with a professional group, Flaming Youth, and his involvement would later prove crucial in helping Genesis achieve international success. The already recorded TRESPASS was issued in October 1970, but sold poorly.
Looking For Someone/White Mountain/Visions Of Angels/Stagnation/Dusk/The Knife
Further line-up changes ensued with the arrival of new guitarist Steve Hackett (b. 12 February 1950, London, England). The group were already known for their highly theatrical stage act and costumes, but this did not help record sales. When the 1971 album NURSERY CRYME also failed commercially, the group were again in danger of being dropped from their label.
The Musical Box/For Absent Friends/The Return Of The Giant Hogweed/Seven Stones/Harlequin/Harold The Barrel/The Fountain Of Salmacis
Success on the continent brought renewed faith, which was vindicated with the release of FOXTROT. The album reached the UK Top 20 and included the epic live favourite "Supper's Ready."
Watcher Of The Skies/Time Table/Get 'Em Out By Friday/Can-Utility And The Coastliners/Horizons/Supper's Ready:Lover's Leap/The Guaranteed Eternal Sanctuary Man/Ikhnaton And Itsacon And Their Band Of Merry Men/How Dare I Be So Beautiful?Willow Farm/Apocalypse In 9/8/As Sure As Eggs Is Eggs (Aching Men's Feet)
Over the next two-and-a-half years, Genesis increased their profile with the best-selling albums SELLING ENGLAND BY THE POUND and THE LAMB LIES DOWN ON BROADWAY.
Dancing With The Moonlit Knight/I Know What I Like (In Your Wardrobe)/Firth Of Fifth/More Fool Me/The Battle Of Epping Forest/After The Ordeal/Medley:The Cinema Show-Aisle Of Plenty
The Lamb Lies Down On Broadway/Fly On A Windshield/Broadway Melody Of 1974/Cuckoo Cocoon/In The Cage/The Grand Parade Of Lifeless Packaging/Back In N.Y.C./Hairless Heart/Counting Out Time/Carpet Crawlers/The Chamber Of 32 Doors/Lilywhite Lilith/The Waiting Room/Anyway/The Supernatural Anaesthetist/The Lamia/Silent Sorrow In Empty Boats/The Colony Of Slippermen:The Arrival-A Visit To The Doctor-Raven/Ravine/The Light Dies Down On Broadway/Riding The Scree/In The Rapids/It
Having reached a new peak, however, their prospects were completely undermined by the shock departure of singer Gabriel in May 1975. Many commentators understandably wrote Genesis off at this point, particularly when it was announced that the new singer was to be their drummer Collins. The streamlined quartet proved remarkably resilient, however, and the succeeding albums TRICK OF THE TAIL and WIND & WUTHERING were well received.
Dance On A Volcano /Entangled/Squonk/Mad Man Moon/Robbery, Assault And Battery/Ripples/A Trick Of The Tail/Los Endos
Eleventh Earl Of Mar/One For The Vine/Your Own Special Way/Wot Gorilla/All In A Mouse's Night/Blood On The Rooftops/Unquiet Slumber For The Sleepers/In That Quiet Earth/Afterglow
In the summer of 1977, Hackett left to pursue a solo career, after which Genesis carried on as a trio, backed by various short-term employees. Amazingly, the group appeared to grow in popularity with the successive departure of each key member. During 1978, they received their first gold disc for the appropriately titled AND THEN THERE WERE THREE and two years later enjoyed a chart-topping album with DUKE.
Down And Out/Burning Rope/Snowbound/Undertow/Ballad Of Big/Many Too Many/Deep In The Motherlode/Scenes From A Night's Dream/Say It's Alright Joe/The Lady Lies/Follow You, Follow Me
Behind The Lines/Duchess/Guide Vocal/Man Of Our Times/Misunderstanding/ Heathaze/Turn It On Again/Alone Tonight/Cul-De-Sac/Please Don't Ask/Duke's Travels/Duke's End
With various solo excursions underway, Genesis still managed to sustain its identity as a working group and reached new levels of popularity with hits in the USA. By late 1981, they were in the US Top 10 with ABACAB and could rightly claim to be one of the most popular groups in the world.
Abacab/No Reply At All/Me And Sarah Jane/Keep It Dark/Medley:Dodo-Lurker/Man On The Corner/Who Dunnit?/Like It Or Not/Another Record
Helped by Collins' high profile as a soloist, they enjoyed their biggest UK singles hit with "Mama" and followed with "That's All" and "Illegal Alien." Both GENESIS and INVISIBLE TOUCH topped the UK charts, while the latter also reached number 1 in the USA.
Mama/That's All/Home By The Sea/Second Home By The Sea/Illegal Alien/Just A Job To Do/Taking It All Too Hard/Silver Rainbow/It's Gonna Get Better
Invisible Touch/Tonight, Tonight, Tonight/Land Of Confusion/In Too Deep/Anything She Does/Domino:In The Glow Of The Night/The Last Domino/Throwing It All Away/The Brazilian
By the mid-'80s, the group format was not sufficient to contain all their various projects and Collins pursued a parallel solo career, while Rutherford formed the hit group Mike & The Mechanics. Meanwhile, Genesis soldiered on, reuniting at various intervals for tours and albums. There was no sign of decline in their popularity and in America they scored a number 1 single in 1986 with "Invisible Touch," while the following four singles all made the US Top 5. Although their working partnership is less prolific these days, the concept of Genesis continues, amid a myriad of offshoot projects. In 1991, the group reconvened to record and issue WE CAN'T DANCE.
No Son Of Mine/Jesus He Knows Me/Driving The Last Spike/I Can't Dance/Never A Time/Dreaming While You Sleep/Tell Me Why/Living Forever/Hold On My Heart/Way Of The World/Since I Lost You/Fading Lights
Although this was their first album in over five years it immediately scaled the charts throughout the world confirming their status as one of the world's leading bands. After years of balancing his group affiliation and solo career, Collins announced his departure from Genesis in early April 1996.
jueves, 25 de enero de 2007
lunes, 22 de enero de 2007
Founded in 1973 by entrepreneur Richard Branson, the Virgin label was the natural extension of his successful retail stores, and previously, mail-order organization. Its first release, Mike Oldfield's TUBULAR BELLS had been turned down by most of Britain's major companies, but the album became a runaway smash, selling in excess of 5 million copies. It established Virgin's early reputation as a haven for experimental English rock as demonstrated by the early signing of Hatfield & The North, Robert Wyatt and Henry Cow. Avant garde continental acts, including Faust, Gong, Slapp Happy and Wigwam were also attracted by Virgin's enthusiasm for unconventional music, while the acquisition of America's Captain Beefheart, although later fraught by litigation, emphasized a desire to challenge. However, the advent of punk changed the label's perceived image to that of passé hippie and its catalogue was rendered old-fashioned almost overnight. This was rectified in 1977 with the signing of the Sex Pistols, and Virgin consolidated their new departure with releases by the Skids, the Ruts and XTC, the last-named of which has remained with the label to date. (The band's Andy Partridge stated that the reason Virgin have maintained XTC under contract for so long with only moderate sales is for ‘tax-loss’ purposes!) A steady promotion of reggae, punk's rebellious bedfellow, drew dividends through excellent albums by the Mighty Diamonds, Peter Tosh and U Roy, issued on their Front Line subsidiary. Yet it was not until the early '80s that Virgin established itself as a major outlet with international hits by the Human League, Heaven 17, Culture Club and Simple Minds. The success of Phil Collins, who came to the label through its acquisition of his former outlet, Charisma, established the artist as the company's one true household name, feted by royalty and a star of the magnitude of Elton John and Paul McCartney. Virgin's transition from idealism to pragmatism was reflected in its eclectic back catalogue, while the parent corporation boasted thriving recording facilities, an equally strong publishing arm and a series of flourishing subsidiaries, including Virgin America, the roster of which included Bob Mould and Lenny Kravitz. In a bid to concentrate more on the Virgin Atlantic airline, and future projects such as an independent British rail company, Branson sold his interests in Virgin Records to Thorn EMI in 1992, thereby bringing the story to a close.
viernes, 19 de enero de 2007
During the "Ahí Vamos!" sessions, wearing his production hat, with Gustavo Cerati:
Here he is "sitting at the table" in his second home:
In England, he would have been Knighted, and you'd have to call him "Sir Tweety!". In Argentina you just say: "Qué hacé Tweety"!
Lastly, here's the link to his website: www.tweetygonzalez.com
jueves, 18 de enero de 2007
I released these compilations in 1995-96. Collectively, they sold over 350,000 units, and are still part of Universal Music Argentina's catalogue. In those days, the local Argentinian market was flooded with multi-major company compilations such as the "Now This is What I Call Music" and "Kutschel Rock" collections, and we still beat them!
Click on the images to see a larger picture.
domingo, 14 de enero de 2007
sábado, 13 de enero de 2007
Conocer a Jenny fue realmente divertido. Es lo que hace que nuestro trabajo valga la pena. Ella es un espíritu libre y muy seria respecto de su trabajo. Fuimos a todos lados juntos, en compañía de Adrián Muscari y nuestro jefe, THE BOSS, Martin Davis (qué gran tipo, man!!!). Hicimos toneladas de promo en radio, TV y prensa y tuve el privilegio de traducir para ella. Entre otras cosas, estuvimos en Rumores, del amigo CARLOS MONTI!! (otro tipazo). Para cerrar la visita, cenamos bifes en Happening de Puerto Madero con Juan Alberto Mateyko (digo, no sé, me parece...), Martin Davis y Adrián Muscari. La noche anterior habíamos visitado un show de Tango en la calle Balcarce al 600.
Todo esto ocurrió a fines de 1999. En Edel Music éramos pocos, pero un equipo sólido como una roca!. Allí trabajamos también junto a la hija de Rodolfo Ranni, y el amigo Néstor Borio.
GRACIAS ADRIÁN Y MARTIN.
lunes, 8 de enero de 2007
domingo, 7 de enero de 2007
- 2001: A Space Odyssey
- All That Jazz
- An Officer And A Gentleman
- Anchors Aweigh
- Around The World In 80 Days
- Back To The Future
- Blazing Saddles
- Breakfast At Tiffany's
- Bridge Over The River Kwai
- Close Encounters Of The Third Kind
- Cyrano De Bergerac
- David Copperfield
- Dead Poets Society
- Doctor Zhivago
- Dr. Jekyll And Mr. Hyde
- E.T. - The Extra-Terrestrial
- Enter The Dragon
- From Hell
- Gone With The Wind
- Good Morning, Vietnam
- Henry V
- History Of The World, Part 1
- Hot Shots!
- Jesus Christ Superstar
- Love Story
- Midnight Express
- Moby Dick
- Moulin Rouge
- New York, New York
- Oliver Twist
- Rob Roy
- Saturday Night Fever
- The Alamo
- The Blues Brothers
- The Dirty Dozen
- The Dirty Dozen
- The Godfather
- The Jazz Singer
- The Life Of Brian
- The Man Who Would Be King
- The Phantom Of The Opera
- This Is Spinal Tap
- Top Secret
- West Side Story
- When Harry Met Sally
- Who Framed Roger Rabbit?
- Young Frankenstein