Live and recent posts from across the Fediverse tagged #tonyvisconti, aggregated by home.social.
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If #TonyVisconti had done nothing else in his life, he would deserve to be remembered for producing #BangAGong by #TRex
#music #MusicSky #producers #glamrock #MarcBolan
www.youtube.com/watch?v=TVEh...
Bang a Gong (Get It On) by T.R...
If #TonyVisconti had done nothing else in his life, he would deserve to be remembered for producing #BangAGong by #TRex
#music #MusicSky #producers #glamrock #MarcBolan
www.youtube.com/watch?v=TVEh...
Bang a Gong (Get It On) by T.R...
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Bowie Put the Drums Through Time
One of the defining sounds on David Bowieβs Low came from a piece of technology Tony Visconti had only recently acquired: the Eventide H910...
#DavidBowie #Low #TonyVisconti #Eventide
lumlux-art.com/art-stream/b...
Bowie Put the Drums Through Ti...
Book Reviews
Anthology #70
Far Above the World, by Paul Morley
This sprawling anthology, subtitled The Time and Space of David Bowie [if you didnβt instantly recognise the lyric, although the cover image is instantly unmistakable] is part-biography and part philosophical exposition of David Bowieβs multifaceted personality and the ideas and experiences he craved & explored, driven by the impulses he didnβt, or couldnβt, understand, but which he didnβt dare question, for fear that they might evaporate, leaving him stumbling through life as an ordinary mortal; unexceptional, and unremarkable. Morley is obviously an admirer, and there is so much that can be said about Bowie, and his influence on late twentieth century music and the wider creative arts, but I do feel that Morley has made this work more extensive than it needed to be, with occasional diversions into the lives of other people, who didnβt necessarily even work with Bowie: they might just have been a person whom Bowie admired, or whose work might have influenced him. Having said that, there is plenty of interesting biographical material here, and some of his regular collaborators, such as, first & foremost, Tony Visconti, and Carlos Alomar, are given plenty of space of their own. There is a small β regrettably so, given how public a figure Bowie was β selection of photographs accompanying the text, but other than these, the book is subdivided into many relatively short chapters: even the layout of the contents list at the front of the book is designed to mimic the lightning flash image which Bowie wore on his face only for a fairly short period. He was undoubtedly an enigma, unknowable even to himself to a large extent, but he produced an incomparable wide range of music in many different genres; although his later misunderstood, and even reviled, expedition into the Tin Machine experiment is only very briefly touched upon; but he is a creator whose music I find it impossible to envisage having lived without in my formative years & early adulthood: I can still remember the shock, including my own, that reverberated around the world when his unexpected death was announced in 2016. If you have the stamina, and are a fan, this is a book worth ploughing through. The paperback I read was published in 2026 [2025] by Headline Publishing Group Limited, London, an Hachette UK Company, ISBN 978-1-4722-8948-3.
Decline and Fall, by Evelyn Waugh
I donβt normally feel obliged to seek out books which are regarded as classics, merely for that reason alone, but I was pleased to find this book, given that it is the first example of this authorβs work, perhaps surprising to some, which at the tender age of 72, I have ever read. It is set contemporaneously in England, just before it was published, so in 1926: a world recognisable in some respects, given the continuity of its culture, but also very different. Much of his work appears to be a gentle satire on British life, especially the middle & upper classes; he was from a comfortable background himself, so itβs not as if he had a chip on his shoulder, but he was clearly conscious of the wealth divide, a situation which is regrettably still with us just as evidently today. The story relates the transit in early adulthood of a young man who is rootless, being raised by a guardian, and begins when he is sent down from his fictional Oxford College, Scone, for a charge of misconduct, arising from an incident during a rowdy party in which he doesnβt participate, but which nevertheless results in him being βdebaggedβ. Strangelyβ although this is an early indication of his character β he doesnβt try to refute this charge, and consequently his guardian withdraws his allowance and even his inheritance, so he is forced to seek employment, which he finds at a rather seedy private school in north Wales. What follows, given his complete lack of experience and even aptitude for the post, is a mixture of good fortune & misadventures: without revealing any details, he seems to be rising towards a golden future when fate intervenes, and he comes crashing back down to earth, hence the bookβs title; although he seems able to accommodate these vicissitudes with some equanimity, which was perhaps a message from the author: that we are always capable of more than we probably give ourselves credit for. The humour is dated, of course, but most human characteristics donβt change very much in 100 years. The paperback I read was published in 2017 [2001, 1962, 1937, 1928] by Penguin Random House UK, London, ISBN 978-0-2412-9906-7.
Service Model, by Adrian Tchaikovsky
This clever novel deserves to be read very widely, to serve as a stark warning of the dangers of rampant AI-driven automation; unfortunately, it isnβt possible to reveal very much of the plot without spoiling the story, which unfolds nicely; although the main premise is pretty obvious from early on in the narrative; not that this diminishes the import of the message in any way. The story is set in an unnamed country, which could be Britain, given that the author is British; but it could also be the USA, because some of the spelling & dialect is US; however, that could also be another example of my aversion to USAmericanisms, as a result of being out of touch with the way the language is commonly used now, by younger people in English-speaking countries, concomitant with my age. Charles is a robot valet, working for his Master in a mansion on an estate: this is apparently a very common situation in this time, and as far as it might be possible for a βhuman-facingβ robot to have what could be interpreted as feelings, Charles is perfectly content with his function, and fulfils it diligently to the best his programming will allow. That is, until an event occurs which changes his whole existence: the death of his master, which Charles inadvertently has a hand in. What follows thereafter is a complete unravelling of the logic of the world as Charles understood it, and he embarks on a quest for answers, encountering increasingly bizarre situations along the way, and one intermittent companion which will prove to be fundamental to his resolution of the conundrum. Although the author clearly has a good understanding of high-level technology, the latter doesnβt hinder the story, and to reiterate, I only hope that people with sufficient influence absorb the message here: if it wasnβt already blindingly obvious, that is. The paperback I read was published in 2025 [2024] by Tor, an imprint of the Pan Macmillan, London, ISBN 978-1-0350-4568-6.
A Damned Serious Business, by Gerald Seymour
The name of this espionage thriller from this accomplished author, who has very wide experience reporting from locations of political tension & warfare around the world, derives from a saying from the hero of the protagonist: the former being the Duke of Wellington, and the latter going by the nickname Boot. The reason for this is that Boot is almost obsessively fixated on the battle of Waterloo, and spends as much of his free time as he is able to at & around the field of action in Belgium, which he is able to do reasonably freely, given that he is a senior figure in MI6, which is here referred to as VBX [for Vauxhall Bridge Crossing]. Realistically, it probably is very difficult to escape the shadow of Smiley in such characterisations, but there is a distinct similarity here in personality, clothing & physical description; which could of course be a respectful tip of the hat from the acolyte to the master. The mission, which isnβt explicitly Bootβs last, but he is well advanced in his career, involves delivering a bomb to a meeting in Russia, just over the border from Estonia, of young but highly valued computer hackers with their gangmasters and the FSB officers who provide a roof, i.e., a place of safety in which to work, which consists of stealing any valuable data from the enemy, the West but also, ideally, money; so Boot wants this to be an unattributable strike back at this thorn in the side of the UK. His rationale is that the bad actors are so paranoid that they will immediately blame each other first for whatever damage transpires, rather than thinking that the Western security services might be responsible. I think Iβve read enough of this type of thriller to cynically expect the mission to go wrong; otherwise, it wouldnβt be much of a story, would it? The main question is how badly, and where & when. Using his trusted & competent subordinates, the Maid [Marian, his office-based fixer & occasional carer] and Daff [Daphne, the βfield fixerβ], he recruits Merc, a battle-scarred but fearless solder, currently serving in Afghanistan, and three middle-aged but unattached Estonian men, all of whom lost grandfathers to the Russians, to assist him on the ground by passing the bomb to one of the hackers. The book is written in Seymourβs trademark breathless style, often detailing a stream of consciousness lacking personal pronouns, and I am guessing it is quite accurate, so it is a gripping read. The paperback I read was published in 2018 by Hodder & Stoughton, an Hachette UK company, London, ISBN 978-1-4736-6351-0.
#AI #Belgium #CarlosAlomar #DukeOfWellington #Estonia #FSB #MI6 #OxfordUniversity #Robots #Russia #TinMachine #TonyVisconti #Waterloo
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The Slider
#trex #theslider #seventiesrock #rockmusic #glamrock #powerpop #marcbolan #tonyvisconti T. Rexs release their seventh on July 21, 1972 -- one of the classics of the 70's glam era. This one came after the monster Electric Warrior album. Marc Bolan took Elton John's advice and recorded the album at the Chateau d'Herouville near Paris. The production was handled by long-time collaborator Tony Visconti.
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Tony Visconti explains how David Bowie's final album 'Blackstar' was made - https://youtu.be/5AEwSH8B-mc?si=RwCmfH81CqBZ-Y7- #DavidBowie #blackstar #TonyVisconti #jazz #rock #music
51 Years Ago Today This Single Redefined a Rock Icon
51 years ago today, David Bowie made a move that few rock stars at the height of theirβ¦
#NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #DavidBowie #Entertainment #reinvention #theYoungAmericans #TonyVisconti #ZiggyStardust
https://www.newsbeep.com/us/482923/
T. Rex, T. Rex, 1970 on Reprise
Debut album as βT. Rexβ for Marc Bolan and Mickey Finn, having previously released as Tyrannosaurus Rex, out on Reprise in 1970. Tony Visconti produced and reportedly added bass and recorder to some tracks.
The electric guitar Bolan holds on the gatefold cover signals the shift into a more rock sound from the folkier early records but also still a fair amount of strings and acoustic stuff here.
My copy is the 2024 VMP Reissue on green (βJewel of Frostβ) 180g vinyl.
#1970 #1970s #2024 #marcBolan #mickeyFinn #reissue #reprise #tRex #tonyVisconti #vinyl #vinylMePlease #vinylcollection
β#DavidBowie #tonyvisconti #realityβ / βTony Visconti Discusses the Making of 'The Next Day'β (1 user) https://www.youtube.com/watch?v=qgWJg6E23fc
T. Rex, T. Rextasy: The Best of T. Rex, 1970-1973, 1985 on Warner Bros.
Mid-eighties compilation of T. Rex. Between 1970 and 1973, the band had eleven top 10 singles in the UK β including many here. Produced by Tony Visconti.
I came to T. Rex indirectly through The Replacements (who covered β20th Century Boyβ on Let it Be), Bauhaus (who covered βTelegram Samβ) and The Power Station (who covered βBang a Gongβ) as well as all the Bowie intersections and references.
My copy, via Beverly Coin & Jewel in Beverly MA, included an ad for Marc Bolan on Video β available in VHS or Beta from Passport Music / JEM (see image below).
#1970 #1973 #1985 #BeverlyCoinJewel #BeverlyMA #MarcBolan #Reissue #TRex #TonyVisconti #vinyl #vinylcollection #vinylfinds #WarnerBrothers
David Bowie β Low (1977, UK)
[This guest post was written by Brook Ellingwood (aka @theotherbrook) about number 537 on The List, to coincide with its spot in our #BowieADay listening schedule.[1] The album was submitted by buffyleigh.]
On first listen David Bowieβs 1977 album Low can seem a cold and sterile affair. Getting to its heart takes some effort and, apparently, at least a thousand words or so.
The influence of minimalist and electronic German bands like Neu!, Kraftwerk, and Tangerine Dream is all over the record, making it not just stark but also a stark departure from the sound of his last single, the danceable funky βGolden Years.β But the title track of the album that song came from, Station to Station, was the first clear movement in the direction of Low and the two following albums that have in retrospect been dubbed Bowieβs βBerlin Trilogy.β
Despite that label, nearly all the instruments on Low were actually recorded at Franceβs ChΓ’teau dβHΓ©rouville, forever memorialized in the title of Elton Johnβs album Honky ChΓ’teau. Fearing for his physical and mental health Bowie decamped for Europe, leaving the cocaine-fueled life he was leading in Los Angeles along with the βwould-be romantic with absolutely no emotionβ Thin White Duke persona heβd adopted. He reached out to Iggy Pop with an offer both to produce an album for him and to give him a similar chance to escape the environment driving his own addictions.
The Idiot, Popβs first album without the Stooges, features him singing his lyrics over backing tracks on which Bowie is moving even farther towards the German bandsβ sounds. Itβs the music of two friends in recovery intentionally shedding their old skins. The music of German artists declaring freedom from their nationβs recent history fit the mood. (Given that some of what Bowie was shedding was a perceived fascistic side to the Thin White Duke may further explain the attraction.)
Maybe whatβs most βBerlinβ about Low isnβt the music that influenced it, or that recording finished there. The album evokes a feeling of disconnectedness one imagines was familiar in a city cut in two by a wall, the western half surrounded by antagonistic authoritarianism while retaining the freedoms of another Germany some 200 kilometers away. When Bowie arrived in Berlin he fell in love with the city.
I feel that its coldness makes Low second only to Bowieβs wrenching Blackstar swan song as his most emotionally honest record. Side One is bracketed by two instrumentals; βSpeed of Life,β the most propulsive piece on the album which can be interpreted as his coke years put to music, and βA New Career in a New Townβ with its minor key piano figure and harmonica (the first time Bowie had played it on a recording since 1972βs βThe Jean Genie) openly declaring his decision to make a break and start over.
Between those instrumentals, the lyrics of five vocal songs are snapshots of a life out of control. βBaby, Iβve been / Breaking glass in your room againβ¦β βIβm always crashing in the same carβ¦β βPlease be mine / Share my life /Stay with me / Be my wifeβ¦β
Having put his past on Side One, Bowie felt free to make Side Two his present. Brian Eno joined him to collaborate on those four songs, pushing the band Bowie had assembled into entirely new territory. Itβs tempting to think of the side as instrumental but Bowie does sing on three of the songs. Itβs just that the singing is devoid of discernible lyrics, his voice becoming another atmospheric instrument wordlessly describing both a certain kind of Cold War European bleakness and his own emotional condition.
There was no certainty that RCA would even release the album when they heard it. The labelβs first reaction was to tell him to go back to the studio and make something more like Young Americans.
When he refused their second reaction was to postpone its release, dumping it on the market in the post-Christmas doldrums without any significant promotion. Bowie himself seemed to treat it more as something heβd done for personal instead of business reasons and declined to perform in support of it. Instead he went on tour as Iggyβs keyboard player.
Even perceptive and forward-looking critics were initially perplexed by Low. But as the next two Berlin Trilogy albums, Heroes and Lodger, expanded and contextualized this new direction they began to reassess their earlier reviews. Now itβs not unusual to see the album declared as perhaps Bowieβs best, and boldest, work.
Leaving behind the characters heβd been filtering his work through is what gives Low its sense of icy intimacy. And if the album is a personal one for Bowie, my own attachment to it is personal as well.
At 12 or 13, I was interested in knowing more Bowie than Iβd heard on the radio but didnβt have much in the way of expendable income. So I bought the only album of his I found in the closeout bin. Low wasnβt just my first Bowie album, it was one of the first three or four albums I owned period, and listening to it over and over on my jerry-rigged bedroom stereo probably did something permanent to my synapses. Before long, he would return to a poppier style with the release of Scary Monsters and Iβd learn his discography much more completely, but Iβd never give up my experience of Low as an entry point.
Bowie was never shy to put theatrical emotions into his singing but these songs, even the wordless ones, are largely sung in a flat affect stripped of pathos and lacking showy vocal runs. Along with the startlingly different sound producer Tony Visconti found on the album by running drums through an Eventide harmonizer, that vocal style was to become a major influence on post-punk acts a few years later. Joy Division even first performed under the name Warsaw, taken from Side Two, track one, βWarszawaβ the Polish name for the city.
Maybe what Low shows us that David Bowie actually was the alter-ego of David Bowie, a pretend sophisticated pop star persona assumed by an art rocker who every now and then took off the mask and made music as himself.
#1001OtherAlbums #1970s #ambient #artRock #Bowie #BowieForever #BowieADay #BrianEno #DavidBowie #experimental #IggyPop #ListenToThis #music #musicDiscovery #Musodon #TonyVisconti
ALAN BYRNE β Philip Lynott: Renegade
https://eternal-terror.com/?p=64707
RELEASE YEAR: 2024BAND URL: https://www.sonicbondpublishing.co.uk/other-books/phil-lynott-renegade
It was with great joy that I received and opened a parcel in late December containing one of Sonicbond Publishingβs latest titles, namely this updated version of Alan Byrneβs Renegade, which is a study of (and a reflection on) the sadly missed Philip Lynott of Thin Lizzy fame.
From his [β¦]
#alanByrne #badReputation #blackRose #bookReview #brianDowney #chinatown #fighting #garyMoore #grandSlam #hardRock #heavyMetal #jailbreak #nightlife #outInTheFields #philLynott #philipLynott #renegade #scottGorham #shadesOfABlueOrphanage #sonicbondPublishing #thinLizzy #thunderAndLightning #tonyVisconti #vagabondsOfTheWesternWorld
David Bowie, Young Americans, 1975 on RCA Victor
Mid-Seventies Bowie, with guests like Earl Slick, John Lennon, David Sanborn, abd Luther Vandross (who also did the vocal arrangements). Bowie called this βPlastic Soulβ and he recorded in Philadelphia and New York.
My copy via Toddβs Farm Flea Market in Rowley MA β as I gradually complete the full Bowie catalog up to 2016.
#1970s #1975 #DavidBowie #DavidSanborn #EarlSlick #JohnLennon #RCAVictor #RowleyMA #ToddSFarmFleaMarket #TonyVisconti #vinyl #vinylcollection #vinylfinds
David Bowie, Blackstar, 2016 on ISO Records / Columbia
Wow, what a final album. So much to say about Blackstar, recorded more or less in secret in New York with Tony Visconti and some local jazz musicians, and released two days before his death.
My copy, like many Iβve seen in the used market, has a tear in the die cut cover which is in the shape of a star, with the b-side label (all black) showing through. The rear jacket tracklist and the [β¦]
#2010s #2016 #Columbia #DavidBowie #ISORecords #Rock #TonyVisconti #vinyl #vinylcollection #vinylfinds
Bowie song Heroes inspired by starβs day with girlfriend, new documentary says https://www.theguardian.com/music/article/2024/sep/06/bowie-song-heroes-inspired-by-stars-day-with-girlfriend-new-documentary-says #TonyVisconti #DavidBowie #Popandrock #Culture #Radio4 #Music #BBC
"'Heroes'" is a song by the English musician #DavidBowie from his 12th studio album of the same name. Co-written by Bowie and #BrianEno and co-produced by Bowie and #TonyVisconti, the song was recorded in mid-1977 at #HansaStudio2 in #WestBerlin. The backing track was recorded fully before lyrics were written; Bowie and Eno added #synthesiser #overdubs while #RobertFripp contributed guitar. To record the vocal, Visconti devised a "multi-latch" system.
https://www.youtube.com/watch?v=GIKehChI__k
Low by David Bowie was released on 14 January 1977. Listen to Art Decade: https://youtu.be/7gsPtcQbymc?si=UAhBCo0Xs3OiU9cT
#DavidBowie #BrianEno #TonyVisconti #MastoArt #OnThisDayInMusic
Not too much that's new here. Some good photos presumably from Visconti's personal slide collection #DavidBowie #Bowie #TonyVisconti #Music https://www.theguardian.com/music/2023/oct/19/tony-visconti-record-producer-david-bowie-marc-bolan
Tverb room reverb plugin by Eventide on sale for $69 USD https://rekkerd.org/eventide-tverb-room-reverb-plugin-sale/
#AAX #AU #Eventide #PluginBoutique #Reverb #Sale #TonyVisconti #VST
A high-ball of #AdamAnt at his most frenetic and ridiculous; a pastiche of Elvis, the Sex Pistols, a roving carnival side-show, gimmicks from a spaghetti western film in spaceβ¦and a basket full of hooks and anthemic choruses. Just bonkers. It was produced by the legendary #TonyVisconti (David #Bowie, Kaiser Chiefs, #iggypop and longtime collaborator Marco Pirroni (Sinead OβConnor, #Siouxie Sioux, The Slits) co-wrote almost all the tunes.
https://zeruch.wordpress.com/2023/06/13/sounds-that-have-been-made-episode-65-adam-ant-apollo-9/
Here Tony Visconti breaks down how they produced the track:
#DavidBowie #70sMusic #SoundAndVision
David Bowie - Sound And Vision β’ TopPop
In a BBC radio interview about his producing career #TonyVisconti said the record company was worried about releasing this as a single because the vocals don't kick in for 90 seconds.
But that's why it's great...
https://www.youtube.com/watch?v=sW_4r2ks93s&ab_channel=TopPop
This cartoon about David Bowie, Brian Eno, and Tony Visconti recording Bowie's song "Warszawa" never gets boring.
The depiction of Visconti is especially hilarious.
For many years
Berlin had appealed to me
as a sort of
sanctuary-like situation.
It was one of the few cities
where I could move around
in virtual anonymity.
I was going broke.
It was cheap to live.
#DavidBowie
#BrianEno
#TonyVisconti
#Low
14 Jan 1977
#progressive #rock #pop #synth
https://youtu.be/peR7MwTAESY
