Tomita - Bolero (Vinyl, LP, Album)

Accessed 20 August July Journal of the Audio Engineering Society. CBS Labs. Retrieved 1 March June Wireless World : — Retrieved 20 February Atlantic Records. Retrieved 20 May The Billboard. Nielsen Business Media, Inc. ISSN Denver: Mainspring Press. Junkyard Clubhouse. Equalizing X Distort radio show. Archived from the original on 6 July Boardgame Geek. Retrieved 1 October Retrieved 28 March Retro Thing Geek. Retrieved 20 August Stylus Magazine. Your Computer. Sutton Publishing.

August November Archived from the original on 24 November Retrieved 1 March — via Archive. Retrieved 15 March Retrieved 24 February Archived from the original on 14 January Retrieved 17 June Retrieved 25 June Third Man Records. Retrieved 21 April Retrieved 21 August Gawker Media. Retrieved 6 May Retrieved 28 October Rush's YouTube page. Retrieved 13 October Infinity Light Science.

Categories : Audio Tomita - Bolero (Vinyl Lists of things considered unusual. Namespaces Article Talk. Views Read Edit View history. Help Album) to edit Community portal Recent changes Upload file. Download as PDF Printable version. It was pressed on green vinyl and limited to copies, each wrapped in a page cover. Also known as "8ban," for "8cm Bandai" these were developed in Japan by record pressing company Toyokasei and released in "blind-bag" format by toy company Bandai in They experienced a resurgence in the United States because of the interest of Jack White who released White Stripes singles in this format.

Disks in this format continue to be manufactured, particularly in association with Record Store Day during which 3" singles are made available exclusively through participating stores. Techno artist Jeff Mills released the single for "The Occurrence" on a disc that is a gramophone record on one side, and a compact disc on the other.

Although dubbed a 5-inch record, to be usable in most compact disc players, the record can be no bigger than mm or about 4. Due to space restrictions of the grooves, both songs were mixed as monaural. Children's records — 6-inch Little Golden Records made of bright yellow plastic were a common sight in children's playrooms in the United States from the late s to the early s.

The 78 RPM speed was used for some children's records of all sizes well into the s, as nearly all record players still included it and it allowed an old disused only player to be put to work as a toy, expendable if it got damaged by rough handling.

For example, the American magazine National Geographic 's January issue included a 6-inch flexi disc of whale sounds called "Songs of the Humpback Whale. Early American shellac records — Prior toVictor introduced 8-inch records to replace their inexpensive 7-inch product, but they were soon discontinued. A similar scenario occurred in Europe for Emerson and Melodiya discs.

Priced at 10 cents, they were replaced by a inch Electradisk later that year, priced at 20 cents. In other areas, flexi discs were usually square and often included in a magazine see Unusual materials below. Early American shellac records — Prior tonine-inch brown shellac records were issued under the Zon-O-Phone label.

The record featured two songs on the first side, and an etching of the album's promotional logo a coiled centipede on the second side. Each record had a capacity of about 40 minutes per side. Underground hardcore punk bands in the s started releasing EPs on all sizes of vinyl including 13 inches in size. Early American shellac records — Between andAmerican companies made recordings of inch records that played at the unusual speed of 60 RPM.

Radio stations also made their own inch lacquer "acetate" disc recordings in-house to delay the broadcast of live network feeds or to prerecord some of their own local programming. These "standard groove" discs used roughly the same large groove dimensions and spacing found on 78 RPM records and typically played for about 15 minutes per side, with very good fidelity—when heard over the air, indistinguishable from live to a casual, but not to a critical listener.

Old inch turntables are sometimes still found in radio broadcast studios, but it is now very unlikely that any disc larger than inch will ever be played on them. However, as no recording lathe can engrave a record accurately at such a slow speed, in actuality the disc was mastered at four-times speed or 16 RPM with the program material similarly being played at quadruple speed.

Audiobooks for the blind. Inexperiments were conducted by the American Printing House for the Blind in cooperation with the American Foundation for the Blind to create extra-high density discs so that a book or magazine could be contained on fewer records.

However, with mastering facilities of the period only going as low as 16 RPM, the quadruple-speed mastering required to get a playback speed of 4 RPM was deemed to have an insufficient audio quality. The highest successful density tested for in the experiment was 10 hours on one side of a inch disc although it was surmised by engineers that this could be extended to 12 hours per side if needed.

No books or periodicals were ever produced in the format, and it is not known if any of the experimental discs survive into the modern age. One inch record holds four hours of speech with the inch variety holding six hours and the 7-inch variety holding roughly 90 minutes.

These discs were made of thin plastic and were literally flexible, similar to an overhead projector transparency sheet. The first magazine to be circulated widely in the flexible disc format to blind individuals was U. Cassette tapes proved to be a far more popular format for such spoken content. Some manufacturers of very low-speed discs such as Highway Hi-Fi used shallow and narrow "ultra-microgrooves," requiring a 0.

They can be played with a normal mono or stereo stylus 0. Talking books for the blind in Europe. During the same period, especially in the UK, producers manufactured this speed prior to the days when 16 RPM could provide intelligible voice recognition quality over repeated plays. Pre-standardization period — Beforeparticularly beforea number of proprietary formats existed, with recordings made at speeds including 60 RPM although most were between 72 and 82 RPM.

Pre-standardization period — Beforeand before the 78 RPM was considered a worldwide standard, European records were often recorded at Pre-standardization period — Beforeand before the 78 RPM was considered a worldwide standard, American records were often recorded at Pre-standardization period — Beforeparticularly beforea number of proprietary formats existed, with recordings made at speeds including RPM although most were between 72 and 82 RPM.

Beethoven's 9th Symphony. Karajan's recording of the 9th Symphony has the second and third movements sharing a side, resulting in a side 27 minutes and 42 seconds. Red Sails in the Sunset.

The B-side on this Midnight Oil release clocks in at over the standard 26 minutes by 13 seconds. Both sides of the UK version of this Rolling Stones release exceed 26 minutes in length.

The A-side of this Brian Eno album exceeds 30 minutes. Both sides of this Genesis release exceed 27 minutes. A Wizard, A True Star. The second side of this Todd Rundgren album reaches nearly 30 minutes. The second side of this Bob Dylan album is just shy of 30 minutes. Tori Amos ' debut album. Each side surpasses 27 minutes of music. See also: Punk rock and Symphonic pop. Main articles: Post-punk and Post-progressive.

See also: New wave music. Main article: Neo-progressive rock. Main article: Progressive metal. A multipart suite by Dream Theater that combines elements of progressive rock and heavy LP. Not to be confused with Neo-progressive rock. Main article: List of progressive rock artists.

Eclecticism, like formalism, connotes a predilection towards style synthesis, or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms and cultural codes.

Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles.

But by this monolothic position had again broken down. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success. Genesis were hugely successful in Continental Europe at a time when they were still limited to a cult following in Britain and the US. Jethro Tull's Thick As a Bricka self-satirising concept album that consisted of a single minute track, arose from the band's disagreement with the labelling of their previous Aqualung as a concept album.

Retrieved 25 January Retrieved 17 June Retrieved 31 January The A. Latham, Alison ed. The Oxford Companion to Music. Oxford: Oxford University Press. ISBN Retrieved 15 February Thomas Dunne Books. Concise History of Rock Music. Mel Bay Publications. Sun-Times News Group. HighBeam Research. Accessed 27 June McClatchy-Tribune Information Services.

LP 15 June Accessed 3 July Sretno dijete. Zagreb: Fraktura. Belgrade: Geopoetika. Retrieved 23 January — via PressReader. Accessed 23 June Apr Jun Guitar Player. May Dialog LLC. Features ". Sunday Mercury Birmingham, England. MGN Ltd. The Strange Case of Waters and Gilmour". Krause Publications. The Washington Post. Washingtonpost Newsweek Interactive. Rolling Stone. Accessed 4 July The Chicago Reader. Interviewed by Will Hodgkinson. Classic Rock. New Statesman Ltd. Retrieved 20 November Trouser Press.

Ultimate Classic Rock. This Man". Portland Monthly. The Guardian. Retrieved 9 November Boone, eds. Understanding Rock: Essays in Musical Analysis. Oxford University Press. Backbeat Books. Retrieved 5 March Of these, Martin highlights Chicago in particular for their experimentation with suites and extended compositions, such as the " Ballet for a Girl in Buchannon " on Chicago II. Canterbury scene bands emphasised the use of wind instruments, complex chord changes and long improvisations.

The term "progressive rock", which appeared in the liner notes of Caravan's self-titled debut LPcame to be applied to bands that used classical music techniques to expand the styles and concepts available to rock music.

Most of these were folk-rock albums that gave little indication of what the band's mature sound would become, but King Crimson's In the Court of the Crimson King was a fully formed example of the genre. Most of the genre's major bands released their most critically acclaimed albums during the years — Progressive rock came to be appreciated overseas, but it mostly remained a European, and especially British, phenomenon.

Few American bands engaged in it, and the purest representatives of the genre, such as Starcastle and Happy the Manremained limited to their own geographic regions. The overlap in audiences led to the success of arena rock bands, such as BostonKansasand Styxwho combined elements of the two styles.

Progressive rock achieved popularity in Continental Europe more quickly than it did in the US. Italy remained generally uninterested in rock music until the strong Italian progressive rock scene developed in the early s.

Many of these groups were very influential even among bands that had little enthusiasm for the symphonic variety of progressive rock. Concurrently, African-American popular musicians drew from progressive rock's conceptual album-oriented approach.

This led to a progressive-soul movement in the s that inspired a newfound sophisticated musicality and ambitious lyricism in black pop. Political and social trends of the late s shifted away from the early s hippie attitudes that had led to the genre's development and popularity. The rise in punk cynicism made the utopian ideals expressed in progressive rock lyrics unfashionable. Promoting and developing experimental music was not part of the marketing strategy for these large corporations, who focused their attention on identifying and targeting profitable market niches.

Four of progressive rock's most successful bands — King Crimson, Yes, ELP and Genesis — went on hiatus or experienced major personnel changes during the mids. Those bands who continued to record often simplified their sound, and the genre fragmented from the late s onwards.

The era of record labels investing in their artists, giving them freedom to experiment and limited control over their content and marketing, ended with the late s. A number of symphonic pop bands, such as Supertramp10ccthe Alan Parsons Project and the Electric Light Orchestrabrought the orchestral-style arrangements into a context that emphasised pop singles while allowing for occasional instances of exploration. Few new progressive rock bands formed during this era, and those who did found that record labels were not interested in signing them.

By the early s, progressive rock was thought to be all but dead as a style, an idea reinforced by the fact that some of the principal progressive groups had developed a more commercial sound. What went out of the music of these now ex-progressive groups Some established artists moved towards music that was simpler and more commercially viable.

These groups retained some of the song complexity and orchestral-style arrangements, but they moved away from lyrical mysticism in favour of more conventional themes such as relationships.

These radio-friendly groups have been called "prog lite". The album, which brought punk anger into progressive rock, [] was a huge success and was later filmed as Pink Floyd — The Wall.

Punk and prog were not necessarily as opposed as is commonly believed. Both genres reject commercialism, and punk bands did see a need for musical advancement. World musicespecially African and Asian traditions, was also a major influence. The term " post-progressive " identifies progressive rock that returns to its original principles while dissociating from s prog styles, [] and may be located after A good deal of the more interesting rock since that time is clearly 'post-Talking Heads' music, but this means that it LP post-progressive rock as well.

A second wave [] of progressive rock bands appeared in the early s and have since been categorised as a separate " neo-progressive rock " subgenre. Only Marillion [] and Saga [] experienced international success.

Neo-progressive bands tended to use Peter Gabriel -era Genesis as their "principal model". A third wave of progressive rock bands, who can also be described as a second generation of neo-progressive bands, [] emerged in the s. The use of the term "progressive" to describe groups that follow in the style of bands from ten to twenty years earlier is somewhat controversial, as it has been seen as a contradiction of the spirit of experimentation and progress.

The shred music of the s was a major influence on the progressive rock groups of the s. Progressive rock and heavy metal have similar timelines. Both emerged from lates psychedelia to achieve great earlys success despite a lack of radio airplay and support from critics, then faded in the mid-to-late s and experienced revivals in the early s. Each genre experienced a fragmentation of styles at this time, and many metal bands from the new wave of British heavy metal — most notably Iron Maiden — onwards displayed progressive rock influences.

Progressive rock elements appear in other metal subgenres. Black metal is conceptual by definition, due to its prominent theme of questioning the values of Christianity. New prog describes the wave of progressive rock bands in the s who revived the genre. According to Entertainment Weekly ' s Evan Serpick: "Along with recent success stories like System of a Down and up-and-comers like the Dillinger Escape PlanLightning BoltCoheed and Cambriaand the Mars Volta create incredibly complex and inventive music that sounds like a heavier, more aggressive version of '70s behemoths such as Led Zeppelin and King Crimson.

The Progressive Music Awards were launched in by the British magazine Prog to honour the genre's established acts and to promote its newer bands. Honorees, however, are not invited to perform at the awards ceremony, as the promoters want an event "that doesn't last three weeks". Many prominent progressive rock bands got their initial exposure at large rock festivals that were held in Britain during the late s and early s.

King Crimson made their first major appearance at the Hyde Park free concertbefore a crowd estimated to be as large as , in support of the Rolling Stones. Hawkwind appeared at many British festivals throughout the s, although they sometimes showed up uninvited, set up a stage on the periphery of the event, and played for free.

Renewed interest in the genre in the s led to the development of progressive rock festivals. CalProg was held annually in Whittier, California during the s. The genre has received both critical acclaim and criticism throughout the years.

Its intellectual, fantastic and apolitical lyrics, and shunning of rock's blues roots, were abandonments of the very things that many critics valued in rock music. Most of the musicians involved were male, as was the case for most rock of the time, [] Female singers were better represented in progressive folk bands, [] who displayed a broader range of vocal styles than the progressive rock bands [] with whom they frequently toured and shared band members.

British and European audiences typically followed concert hall behaviour protocols associated with classical music performances, and were more reserved in their behaviour than audiences for other forms of rock.

This confused musicians during US tours, as they found American audiences less attentive and more prone to outbursts during quiet passages. These aspirations towards high culture reflect progressive rock's origins as a music created largely by upper - and middle -class, white-collarcollege-educated males from Southern England.

The music never reflected the concerns of or was embraced by working-class listeners, [] except in the US, where listeners appreciated the musicians' virtuosity.

I still like the original term that comes from progressive rock — but that was with a small 'p' and a small 'r'. Prog Rock, on the other hand, has different connotations — of grandeur and pomposity," commented Jethro Tull frontman Ian Anderson on the nuance of the genre.

I think that was OK. The reality is that certain members of Yes were quite humorous about it; they could laugh at themselves — as, indeed, Emerson Lake and Palmer privately laughed amongst themselves about themselves.

Some of it was a little bit overblown, but in the case of much of the music, it was absolutely spot on. From Wikipedia, the free encyclopedia. For the radio format, see Progressive rock radio format. Rock music subgenre. Further information: Progressive music.

See also: Progressive pop and Art rock. One of the best ways to define progressive rock is that it is a heterogeneous and troublesome genre — a formulation that becomes clear the moment we leave behind characterizations based only on the most visible bands of the early to mids — Paul Hegarty and Martin Halliwell [17]. For the radio format, see Progressive rock radio format. Rock music subgenre. Further information: Progressive music. See also: Progressive pop and Art rock. One of the best ways to define progressive rock is that it is a heterogeneous and troublesome genre — a formulation that becomes clear the moment we leave behind characterizations based only on the most visible bands of the early to mids — Paul Hegarty and Martin Halliwell [17].

See also: Formalism music and Eclecticism in music. Further information: Timeline of progressive rock. See also: Progressive jazz. Main articles: Pet Sounds and Sgt. Pepper's Lonely Hearts Club Band. Main articles: Proto-progPsychedelic rockand Acid rock. See also: Rock opera and Canterbury scene. This section possibly contains inappropriate or misinterpreted citations that do not verify the text. Please help improve this article by checking for citation inaccuracies.

March Learn how and when to remove this template message. Macan writes that King Crimson's album "displays every element of the mature progressive rock genre See also: Krautrock. Main article: Progressive soul. See also: Punk rock and Symphonic pop. Main articles: Post-punk and Post-progressive. See also: New wave music. Main article: Neo-progressive rock. Main article: Progressive metal. A multipart suite by Dream Theater that combines elements of progressive rock and heavy metal.

Not to be confused with Neo-progressive rock. Main article: List of progressive rock artists. Eclecticism, like formalism, connotes a predilection towards style synthesis, or integration. However, contrary to formalist tendencies, eclecticism foregrounds discontinuities between historical and contemporary styles and electronic media, sometimes referring simultaneously to vastly different musical genres, idioms and cultural codes.

Sometimes it appears that there are only peripheries. Sometimes, audiences gravitate towards a centre. The most prominent period when this happened was in the early to mid s when it seems that almost everyone, irrespective of age, class or cultural background, listened to the Beatles.

But by this monolothic position had again broken down. US audiences were first exposed to new music on the radio, and bands in the US required radio airplay for success. Genesis were hugely successful in Continental Europe at a time when they were still limited to a cult following in Britain and the US. Jethro Tull's Thick As a Bricka self-satirising concept album that consisted of a single minute track, arose from the band's disagreement with the labelling of their previous Aqualung as a concept album.

Retrieved 25 January Retrieved 17 June Retrieved 31 January The A. Latham, Alison ed. The Oxford Companion to Music. Oxford: Oxford University Press. ISBN Retrieved 15 February Thomas Dunne Books. Concise History of Rock Music. Mel Bay Publications. Sun-Times News Group. HighBeam Research. Accessed 27 June McClatchy-Tribune Information Services. Retrieved 15 June Accessed 3 July Sretno dijete.

Zagreb: Fraktura. Belgrade: Geopoetika. Retrieved 23 January — via PressReader. Accessed 23 June Apr Jun Guitar Player. May Dialog LLC. Features ". Sunday Mercury Birmingham, England. MGN Ltd. The Strange Case of Waters and Gilmour". Krause Publications. The Washington Post. Washingtonpost Newsweek Interactive.

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9 thoughts on “Tomita - Bolero (Vinyl, LP, Album)”

  1. Progressive rock (shortened as prog; also known as classical rock or symphonic rock; sometimes conflated with art rock) is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid- to late s, peaking in the early s. Initially termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in.

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  5. Progressive rock (shortened as prog; also known as classical rock or symphonic rock; sometimes conflated with art rock) is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid- to late s, peaking in the early s. Initially termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in.

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  8. Progressive rock (shortened as prog; also known as classical rock or symphonic rock; sometimes conflated with art rock) is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid- to late s, peaking in the early s. Initially termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned .

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