The Lost Art Of Conversation - Pink Floyd - The Endless River (CD, Album)

The dialogue is extraordinary, the movie really is quite amazing. Emerald has an unusual style, which makes me want to see her film win even more. This is a tough category. I found it a little farcical. NICK: Again, all strong movies in this category. The only thing I would say is that Daniel seemed like the lead actor to me, but he is sure to win for his role as Fred Hampton, one of the leaders of the Black Panther movement.

NICK: This is a spectacular list of actresses. Billie Holiday. Andra brought something new to the role of Billie. It is a complex character to play and she got it right. It was strange and twisted, and highlighted how prevalent bad behaviour is. She was Album). She was unbelievable in the part of Ma Rainey, just outstanding.

It was difficult role, and her expressions and body language was as much a part of her performance as her words, and that made it a win for me. I was speechless. Every movement, gesture and glance was heartbreaking. It was hard to get through it in my opinion, so forget Gary Oldman. I liked the remaining four films very much. It was intellectual. That leaves three. Every one of these movies deserved a nomination. Undoubtedly a great movie, but not my favourite, as I mentioned.

It tells a fabulous story. All the performances, the script, how it kept me interested the entire time, and how it stayed with me afterwards. How will we do? Members of the fan community can listen to the entire audio on duranduranmusic. Here, the band members and some collaborators look back on the album on its tenth anniversary. I was intimidated to do this video since Duran Duran already had the best videos. What could I do to meet them at their level?

Looking back, I believe it is one of my best executed music videos. The whole experience was a highlight of my career. Though it took a long time to prepare, the project felt spontaneous and was a fun shoot. This video has every single ingredient to make a great music video, style, beauty, fun, and most importantly, a great song.

I enjoyed all of the collaborations involved on this video, it was a win for everybody. It was like a cast reunion for the supermodels, and was an incredible moment in time for all of us involved. Collaborating with the band on the concept was fantastic.

I will never forget the excitement and will always look back at this great moment in time with gratitude. The song itself was a different sound for the band, a much harder edge to it. I wanted it to do something to reflect that, more organic and spontaneous. Initially my idea was no idea, just fly to London and film whatever happens around them.

John and I had discussed other memorable band performances that were spontaneous, like The Beatles on the roof at Apple Records, The Rolling Stones on a flatbed truck driving through Manhattan and the Sex Pistols river boat party on the Queens Jubilee. The band had given me an orchestral piece for the opening and closing of the video.

The idea was for them to describe the making of the album in their own words, so I asked Gavin Elder, who shoots all the behind the scenes footage of the band, if I could use the stuff he had made during the making of the record. I also asked Gavin to shoot, along with myself, the performance. Technology was moving really fast then, and cameras were getting better and smaller by the hour.

The first high definition pocket sized camera was the Flip. It was the size of a cell phone and it just had a basic zoom lens, but the quality, for that time, was better than any cell phone. Then we spent a day at the rehearsal space, which the band had art directed themselves with tin foil on the walls.

Although we had playback of the track, I wanted the band to play live as well, so I could cut between the two. After we finished filming the performance, we all jumped in a car and drove to the Tate Modern where I shot them walking along the embankment and in and around the Tate Modern. People were doing double takes, seeing Duran Duran walking along with everyone else.

I could never have pulled this off with a traditional video shoot. I spent the next two days individually with each band member. When we finished, we took a walk through beautiful Richmond Park.

For Nick, we went to Brompton Cemetery. When I was with Simon and Nick at the Mark Ronson show, I saw Nick juggling some oranges, and saw how good he was, so I asked him to do that again; Nick reminded me of Oscar Wilde or one of the great English romantic poets like Shelley and Byron from the 19th Century. Last but not least was a trip out to the west country towards Bath to see John. We got up before dawn and walked out into the snow-covered English countryside.

I also wanted to tribute the importance of the Duran fans, and the legacy the band have left on a whole new generation of fans. The band constantly re-invent themselves. My good friend Paul Boyd co-produced the video and edited the short version of the video.

When I left a few hours later, the car was still there, with more people surrounding it, and it turned out to be Paris Hilton with a broken- down car! I asked her to jump up and down on the trampoline, and I have to say she was a great sport. Credit goes out to Anna Patel who edited the extended version and to Paul Boyd who edited the short version. Six guys jammed into that tiny space made for a kind of creative melting pot. Any and all ideas were welcome. We worked thru writing and recording around 50 to 60 song ideas.

Once we had enough songs put together, we started recording them properly at Eastcote Studios. The days for me were long, but fun.

Little did I know that they were to get a lot longer very quickly…. Nick was keen to get started on this, so at the end of the session around 9pm most nightsNick and I went back to Prod 3 on our own and began to work on the song. During the day I was working with Mark and the rest of the band on the album recording and then working into the early hours of the morning with Nick going to bed when the birds were chirping became a common thing.

It was great to be in the middle of that creation. He would sit just behind me with his Jupiter 8 in between us making sounds and teaching me how he did it. Seems like only a few years ago that we were doing this album. I can remember us all in a room together jamming and bouncing ideas off each other for weeks on end. It was a very old school and democratic process, writing this way, and I think this approach to creating is part of the reason the band still get along so well together.

His attention to detail was quite something. I also have great memories of the world tour that followed to support the album. Initially, we went in and had a big meeting with Mark Ronson. We went in to the studio and got really in to it. After a while, Mark had to leave to make his own record.

He set the vibe and we just moved forward. I think we got some amazing tracks during this period. The history of our relationship with them, and all that history leads to NOW — so all you really do need is…now! I also thought the video was great in terms of gender politics and feminism, as well as being a very original idea.

It was a magnificent day shooting that video in London, and I absolutely loved having Naomi Campbell play me and Mrs. Le Bon was in the video too — the quiet one. It was a real thrill to make a whole album with Mark Ronson.

I think he helped us find the pathway back to the roots of Duran Duran. We had a lot of fun together recording my keyboard parts with vintage analogue synths. In fact, after the album was completed, Mark went on a spending spree and pretty much duplicated my keyboard collection for his own studio — I was of course most grateful because whenever I visited him, it saved me from having to transport my fragile synthesizers back and forth. Whilst our original plan was to release the video much earlier alongside the single, I am glad we did not did not give up on the idea and were able to follow it through a few months later.

The tour was long and had many highlights. This worked particularly well in Australia, but I fear my stories were getting increasing longer as I could see John fidgeting on the other side of the stage. We employed similar production techniques and instrumentation. Wish that had made it to radio and video. I love it! Astronomia is a collaboration between the artists Nick Rhodes and Wendy Bevan.

It is a creative collision of analogue synthesizers, violins, voices and orchestral arrangements fueled by their shared attraction to the Universe. The Fall of Saturn ; is the first of four albums in the Astronomia project, released on March 20,followed by three further releases, on the equinoxes and solstices for the remainder of the year. Each individual piece is a sonic painting, a tapestry of rich textures and haunting melodies forming soundscapes with an otherworldly atmosphere. Looking to the transcendent beauty of the skies, this genre defying debut album explores the fluidity of human emotions.

All fifty two pieces we wrote for the Astronomia project have become a memoir locked into a time capsule; musical notation to be released into the mysterious abyss.

A moment to reflect upon our fragility, the way we treat each other and our planet. Working with Wendy, together we have been able to circumvent the system of predictable and generic sounds. We have created our own unique solar system outside of convention and it feels natural, it has a pulse and a temperature. Its new format merges music and talk and will kick off on Jan. Joined by longtime associate Katy Krassner, the two will discuss new music that excites them, picking up from a series that appeared on the Duran Duran site during lockdown.

So I switched on my ears, and went on a trip down a sonic rabbit hole. What a revelation — there is so much great new talent, so much music out there…. And so a radio show is born. The Roland Lifetime Achievement Award recognizes individuals for their invaluable contributions to the music industry while using Roland gear throughout their careers.

Best known as one of the driving forces behind the British band Duran Duran, Rhodes formed the group at 16 alongside bassist John Taylor.

Artists from around the world celebrated Rhodes during the award presentation, including personal congratulations from Mike Garson, Jimmy Jam, Ben Folds, Giorgio Moroder, and many more. Thanks for giving me a lifetime of love for analog synths and Roland gear.

He started as a kid with a dream. The Lost Art Of Conversation - Pink Floyd - The Endless River (CD and his best friend go out and chase that dream, and here we are 40 years later celebrating. Roland Executive Officer Synths Masahiro Minowa expressed gratitude to Rhodes on behalf of the Roland Corporation synthesizer product design team for the way Rhodes brought keyboard players to the front of pop music and for bringing ionic status to Roland synthesizers.

Over the years, the ways you have used our instruments, and the unique and memorable sounds you have created, have driven our engineers to develop new instruments and new sounds. The relationship has been so important for us. We look forward to this creative cycle with you for many years. I am honored to receive it, particularly as Roland has been such a big part of my life since the beginning of my career.

These were the instruments that really formed the sound palette that I developed my creativity from. Edit Cart Checkout Close. Recipient Name. Recipient Email. From Name. From Email. Eyes To Pearls. Louder Than Words. Track Listing - Disc 2. Anisina [Audio-Visual Content]. Untitled [Audio-Visual Content]. Evrika a [Audio-Visual Content]. Nervana [Audio-Visual Content]. Allons-y [Audio-Visual Content]. Evrika b [Audio-Visual Content]. TBS9 [Audio Content]. TBS 14 [Audio Content]. Nervana [Audio Content].

The Endless River [5. Pink Floyd. Unsung Richard Wright. Anisina David Gilmour. The first song recorded was "Wah-Wah". Preston said he had reservations about this approach but "with George's stuff it was perfect. He recalls that Harrison and Price worked out the album's horn arrangements together in the studio. In his autobiography, Whitlock describes the All Things Must Pass sessions as "spectacular in every way", although he says that the project was informed by Harrison's preoccupation with his former bandmates and ongoing difficulties with Klein and Apple.

Although Harrison had estimated in a New York radio interview that the solo album would take no more than eight weeks to complete, [] [] recording, overdubbing and mixing on All Things Must Pass lasted for five months, until late October.

Early in July, work on All Things Must Pass was temporarily brought to a halt as Harrison headed north to see his dying mother for the last time. In Spector's absence, Harrison completed the album's backing tracks and carried out preliminary overdubs, doing much of the latter work at Trident Studios with former Beatles engineer Ken Scott.

Harrison completed this stage of the project on 12 August. John Barham's orchestrations were recorded during the next phase of the album's production, [] starting in early September, along with many The Lost Art Of Conversation - Pink Floyd - The Endless River (CD contributions from Harrison, such as his lead vocals, slide guitar parts and multi-tracked backing vocals the latter credited to "the George O'Hara-Smith Singers".

According to Scott, he and Harrison worked alone for "weeks and months" on the overdubs, as Harrison recorded the backing vocals and lead guitar parts. In some cases, they slowed the tape down to allow Harrison to sing the high-register vocal lines.

Spector has praised Harrison's guitar and vocal work on the overdubs, saying: "Perfectionist is not the right word. Anyone can be a perfectionist. He was beyond that But it was the first record And anybody who's familiar with Phil [Spector]'s work — it was like Cinemascope sound.

On 28 October, Harrison and Boyd arrived in New York, where he and Spector carried out final preparation for the album's release, such as sequencing. Allan Steckler, Apple Records' US manager, was "stunned" by the quality of the material and assured Harrison that he should issue all the songs. Spector's signature production style gave All Things Must Pass a heavy, reverb -oriented sound, which Harrison came to regret.

Voormann has said that Harrison "cluttered" the album's sound in this way, and "admitted later that he put too much stuff on top". Harrison commissioned Tom Wilkes to design a hinged box in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover. You needed arms like an orang-utan to carry half a dozen. The stark black-and-white cover photo was taken on the main lawn at Friar Park [72] by Wilkes' Camouflage Productions partner, Barry Feinstein.

Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window. EMI and its US counterpart, Capitol Recordshad originally scheduled the album for release in Octoberand advance promotion began in September. Music should be used for the perception of God, not jitterbugging. Another factor behind the album's first weeks of release was Harrison's meeting with McCartney in New York, [] the failure of which led to McCartney filing suit in London's High Court to dissolve the Beatles' legal partnership.

All Things Must Pass was number 1 on the UK's official albums chart for eight The Lost Art Of Conversation - Pink Floyd - The Endless River (CD, although untilchart records incorrectly stated that it had peaked at number 4. The extent of Harrison's success surprised the music industry and largely overshadowed Lennon's concurrently released Plastic Ono Band album, which Spector also co-produced. All Things Must Pass received almost universal critical acclaim on release [] — as much for the music and lyrical content as for the fact that, of all the former Beatles, it was the work of supposed junior partner George Harrison.

Ben Gerson of Rolling Stone deemed All Things Must Pass "both an intensely personal statement and a grandiose gesture, a triumph over artistic modesty" [2] and referenced the three-record set as an "extravaganza of piety and sacrifice and joy, whose sheer magnitude and ambition may dub it the War and Peace of rock 'n' roll". Melody Maker ' s Richard Williams summed up the surprise many felt at Harrison's apparent transformation: All Things Must Passhe said, provided "the rock equivalent of the shock felt by pre-war moviegoers when Garbo first opened her mouth in a talkie : Garbo talks!

In The New York TimesDon Heckman deemed the album "a release that shouldn't be missed" [] and outlined his "complex" reaction to being presented with a sequence of Harrison songs for the first time: The Lost Art Of Conversation - Pink Floyd - The Endless River (CD at the range of Harrison's talents; fascination at the effects of Phil Spector's participation as the album's producer; curiosity about the many messages that waft through the Harrison songs".

In response to rumours that the Beatles were due to reunite, Gabree said that, on the strength of the Harrison and Lennon solo albums, "I, for one, don't care if they ever do. An album that sounded contemporary in was viewed as dated and faddish later in the decade. In subsequent years, Lennon and McCartney would strive mightily to scale the same heights as All Things Must Pass with solo works such as Imagine and Band on the Runbut they would never top it.

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