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Atlantic
10-07-2025
- Entertainment
- Atlantic
Before the Sphere, There Was the Wall
Picture yourself at a concert. If you're standing by the soundboard, usually near the rear center of the venue, you'll enjoy the best possible version of the band's performance—what the 'sound guy,' whose job it is to make everything coalesce inside the room, hears. But if you step away to grab a beer and end up watching from a different place, you'll hear something else. At an outdoor show, the experience is even more varied, because of the open acoustics and elements such as wind, which break up sound waves. Far too often, the song you've waited all night for may finally reach your ears as a distorted puddle. How does a band ensure that it sounds like the most pristine version of itself, no matter where the show takes place or where the audience listens? In the early 1970s, the Grateful Dead tried to solve this dilemma with the help of their on-again, off-again sound engineer, Owsley 'Bear' Stanley, who conceptualized one of the boldest innovations in music history: a literal 'wall of sound.' On hits such as the Ronettes' 'Be My Baby,' the music producer Phil Spector had famously created a figurative wall of sound by layering instruments and orchestral sweeps. But the Dead's wall was essentially a behemoth sound system, a hulking electrical mess of amps, speakers, wires—like the menacing heavy-metal rig in Mad Max: Fury Road, but far larger, louder, and, perhaps, more ludicrous. The grand idea was both utopian and egalitarian: The wall placed virtually every piece of technology needed for a live show behind the group, allowing the crowd to hear precisely what the Dead heard as they played. The wall, the journalist Brian Anderson writes in his new book, Loud and Clear, 'weighed as much as a dozen full-grown elephants' and 'stretched the length of a regulation basketball court.' At each tour stop, roadies would assemble the nearly 600 speakers that, when operable, stood at about the height of a small apartment building and sounded 'as loud as a jet engine at close range.' During outdoor shows, fans could be up to a quarter mile from the stage and still hear Jerry Garcia's guitar runs with depth and clarity. But a relatively short time after its creation, the complexity and expense of maintaining the wall catalyzed the band's first serious brush with burnout—and, Anderson argues, played a factor in its hiatus. In trying to shorten the pathway from instrument to eardrum, the Dead's wall had simultaneously created a host of previously nonexistent issues. On paper, the wall was a tool to expand the scope of their sky-reaching jams; more than any of their rock contemporaries, the Dead were known for extended, full-band improvisation. But relying on engineering in order to achieve a perfect sound brought a new set of anxieties: Because there was frequently some glitch with the wall, the band was often held back from reliably playing at its best. Stanley helped the Dead reach a new stratosphere of live performance, but he also established an impossible standard—one the band couldn't measure up to. Grateful Dead fandom invites—and thrives on—obsession. Though the Dead's jam-band sound is undoubtedly groovy, many of its songs concern heavy themes such as life and death. There's a deceptive weight to their songs, even when the tunes feel bright; the music is an ongoing search to unlock something hidden in the recesses of your mind. Though the band has a wonderful collection of studio recordings, the real juice is in the live stuff: the thousands of concerts performed over dozens of years, with a different set list every night. There's a lot to get lost in, and from their early days as a touring band, the Dead won legions of stoned and tripping devotees. Anderson's book, though, is dizzying in a different way: It's a detailed, almost show-by-show breakdown of the band's live performances across its first decade (roughly 1965 to 1974), augmented by insider stories. Readers meet not only Stanley but also other engineers, roadies, and crew members who worked long hours under difficult conditions to help the Dead put on incomparable shows. (Many of the roadies also relied on, according to one band member, 'mountains of blow.') But undergirding this occasionally exhausting narrative effort is a tale about the tension between innovation and hubris. The wall was, in a sense, a physical manifestation of a brainiac's acid trip; after Stanley took LSD at a legendary Dead show at an upstate–New York speedway, Anderson writes, he believed that he could weave an unbreakable connection between the wall, the band, and the crowd. His acid-tinged goal with the wall was 'hooking it up to a whole sea of people like one mind,' he said. For years, most other bands had played the same way in concert: with instruments connected to amps, and amps and vocals running through the house PA. Even when traveling with their own sound guy, they'd still be beholden to each venue's setup—unless they toted all of their own gear, which just wasn't realistic. The wall, in theory, allowed for both top-notch sound and show-by-show consistency. In practice, though, it was an unwieldy nightmare. Speakers often blew out or failed mid-show. Stanley drifted in and out of the band's orbit; other engineers and roadies expanded on his original visions. All the while, maintaining the rig became more convoluted: The band kept booking larger venues, thus requiring more sonic power, more crew members, and more attention to detail. Peak functionality was far from guaranteed, and Anderson convincingly makes the case that many early versions of the wall sounded better than the 'official' wall shows in 1974, because the smaller scale allowed for relatively more control (though it was far from an efficient process; early iterations could still take five hours to set up and another five to break down). Within the band itself, the wall was divisive. Bassist Phil Lesh called the wall 'apocalyptic,' but also compared it to the 'voice of God.' For him, the wall allowed for 'the most generally satisfying performance experience of my life with the band.' Bob Weir, who sang and played guitar, called the wall 'insane' and 'a logistical near impossibility.' Drummer Bill Kreutzmann, according to Anderson, said it was a 'creature that was supercool to look at, but impossible to tame.' And Garcia, it seems, would have been fine keeping things a little more down-to-earth. At the wall's official debut, on March 23, 1974, technical difficulties led to Garcia's guitar volume plunging moments into the first song. When you listen to this show today, the beginning sounds, well, kind of crappy. In the end, the Dead played only a few dozen shows with the fully built-up wall, as the cost and draining elaborateness of touring with the device eventually became too much. At the end of 1974, the Dead downsized its crew and, in Garcia's words, 'dumped' the structure. When they hit the road again almost two years later, their sound setup was more practical—in essence, sacrificing the perfect for the sustainable. They remained road dogs until Garcia's death in 1995, and have kept offshoots of the band rolling along since. Though I never saw the band perform with Garcia—I was 7 years old when he died of a heart attack—I've seen its different configurations over the years. Last summer I saw Dead & Company play as part of their residency at the Sphere in Las Vegas. That night demonstrated the clearest and most all-encompassing live sound I'd ever experienced. Most people have heard about the Sphere's mind-bending visuals and mondo LED screens; fewer may realize that it also contains 167,000 individual speakers (including in each seat). Though I was able to lose myself in the show, a very real part of me almost would have preferred hearing these same songs outside in the sun, in an uncontrolled setting, where any number of variables—the breeze, a storm, air pressure—might have affected the sound. Imperfection can feel just as right, in a different way, as technical perfection. It's freeing to accept that something might always be a little off, no matter the herculean effort; the Dead seemed to accept this too. Anderson's book makes a compelling argument that reaching for total audio domination was—and is—a noble endeavor, albeit one rife with pitfalls. But even the most advanced rig in the world doesn't necessarily make the songs any good. That much is up to the band.
ABC News
13-06-2025
- Entertainment
- ABC News
God Only Knows Brian Wilson was a humble music fan, just like the rest of us
The troubled and sometimes estranged daughter of the musical genius Brian Wilson famously described her young life waking each morning to the same song being played by her father at full volume. Every single day. Carnie Wilson, herself an accomplished musician, said she would wake to the first heartbeat-like thumps of the song echoing through the house: DUM. Da-da da DUM. A familiar wall of sound would roll through the drumbeat, then the percussion would hit, and then the yearning lyrics to the Ronettes' smash hit, Be My Baby, would soar once again. The night we met I knew I/needed you so Brian Wilson, the founder of the Beach Boys, often described the 1963 classic as the greatest song he knew. "I felt like I wanted to try to do something as good as that record, and I never did. I've never stopped trying. It's the greatest record ever produced, no doubt." Listening to one great musician stand in awe of another's piece of music, sounding humble and joyous just like any other fan, is a wonderfully intimate thing. When you realise that Bruce Springsteen or Florence Welch are buying the same records you buy and are also standing in their living room with the volume up wondering, how do they do that, you understand how connected you all are as music fans. How you all attend the same church and sing the same hymns. It is a remarkable leveller when a great musician declares themselves simply another fan. Brian Wilson's enduring love of that gorgeous piece of pop makes him a kid singing at the top of his voice in the car, just like us. In the wake of Brian Wilson's death this week at the age of 82, generations of musicians have spoken about how much they loved his songs too, about how meaningful they have been in their lives as fans and musicians, and there is one song in particular that they keep coming back to. Shall I try to list them all, the artists who say that the Beach Boys, the album Pet Sounds, and that one song have been some of the most important songs in their lives? Patti Smith, Bruno Mars, Iggy Pop, Elton John, Paul Simon, Janelle Monae, Carole King, Leonard Bernstein, Smokey Robinson, the Gibb brothers, The Eagles… I'll have to stop there, but will finish of course with John Lennon and Paul McCartney, who were unabashed fans. The two bands inspired each other and competed with each other in their early days. The Beatles' Rubber Soul spurred Brian to write Pet Sounds, which in turn sparked Sergeant Peppers: the best kind of rivalry when fans get the benefits. But what of this one song — the one song that all these musicians and others reference when they say it's one of the greatest ever written? The night Brian died, the singer-songwriter Sting was on tour in Germany, and this is how he commemorated him. The simple purity of God Only Knows, and the glorious harmonies of its recorded version have become a touchstone of modern music, and a shared password of musical passion: if someone you like likes this song too, then you're going to be just fine. Paul McCartney wrote on Instagram this week: "Brian had that mysterious sense of musical genius that made his songs so achingly special. The notes he heard in his head and passed to us were simple and brilliant at the same time." I've written before about how our most beloved musicians close a door on our early, formative lives as music fans when they die. We get to keep their music, but our connection to that thrilled, younger self gets ever more distant, and they seem to take an understanding of us with them. They have the secret of us because of our love for them. For many this week Brian was that idol, and I know when another goes, we all privately review the list of those who remain and dread the inevitable news of their loss one day. I've checked my list. For now, they are all here, although so many are missing. But I can still play their songs to keep them close. This weekend, read about the Melbourne eccentric who kept the people and faces of his city alive with a photo booth that nobody thought was anything more than an amusement. The persistence of memory, again. Have a safe and happy weekend, and here is just a handful of great artists who revere that Brian Wilson song, all in perfect harmony, to celebrate the BBC's enduring love of music, just like ours. Go well. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.
Wales Online
28-05-2025
- Entertainment
- Wales Online
Noel Gallagher has revealed the one song he wouldn't be without and it's so different to Oasis
Noel Gallagher has revealed the one song he wouldn't be without and it's so different to Oasis Noel Gallagher will be back on stage with his brother Liam this summer, performing songs from their time in Oasis, but the rock legend has spoken about a song that's a far cry from their Britpop sound It turns out Oasis's Noel has an extensive taste in different musical genres (Image: Getty ) Noel Gallagher has previously revealed eight of his most treasured songs of all time, with one surprising top choice that diverges sharply from the sound of Oasis. The rock icon is set to reunite with his brother Liam for an epic return to the stage this summer, beginning in Cardiff's Principality Stadium, marking their first joint appearance since 2009. Noel is synonymous with the definitive sound of Oasis, but it appears one tune he would not be without hails from a band entirely unlike them. During an episode of the BBC's Desert Island Discs, Noel shared the eight tracks he'd choose to have if he found himself isolated on an island. From superstar gigs to cosy pubs, find out What's On in Wales by signing up to our newsletter here He kicked off with 'Pretty Vacant' by the Sex Pistols, praising it as a "great pop album that changed everything and it was the rebirth of youth culture that was pretty much dead". His last choice, taking eighth spot, was 'Ticket to Ride' by The Beatles, with Noel proclaiming the Liverpool legends as "the greatest band of all time" and commenting: "I can't really go through this without mentioning The Beatles." However, the track he would rush to save if all his discs were being swept out to sea starkly contrasts with the vibes of Oasis – the classic 'Be My Baby' by The Ronettes. Article continues below Noel has attributed this selection to Sara MacDonald, whom he met in Ibiza in 2000 and went on to marry in 2011. In a discussion prior to their announced divorce in 2023, Noel spoke with the BBC about why he'd choose to preserve this particular song over the others. He remarked: "I am going to save Be My Baby by The Ronettes because it would make me smile and clench my fists at the same time and think... I still haven't forgiven her for that but I do love her." Noel was referring to an earlier part of the conversation where he shared that his then-wife, Sara, chose 'Be My Baby' for their first dance at their wedding. Even with a history of performing two consecutive nights at Knebworth to a crowd of 250,000, Noel found the prospect of dancing in front of friends and family heavy going. He described how he dreaded the forthcoming dance, saying: "I was dreading that moment coming up, like I have to dance like an adult, and I said just do me one favour, when we get on there, don't show off because I am clearly a northerner, and a man." Yet, when 'Be My Baby' started playing, Noel recounted that Sara became like "Olivia Newton-John". It was actually his daughter, Anais, noticing her father's unease, who orchestrated getting everyone up to dance, thereby easing Noel's discomfort. Preferring to pen tunes rather than jive to them, Noel provided insights into his songwriting process when asked if he could predict a hit. He shared his perspective on music creation, noting: "There is no golden rule but there are kind of little sign posts that you recognise," adding, "If a song comes quickly, it usually means it is good because it has just fallen out of the sky. "Don't Look Back in Anger took, you know, 15 minutes. If I had known that night that that song would live for so long, and become such a thing, I would never have finished it because it would never have been perfect enough to think, 'Oh in 25 years people are going to be playing this at their weddings.' It was just another song." He called Hand in Glove by The Smiths "one of the greatest songs ever" and heaped praise on U2's The Joshua Tree album, adding: "You listen to it now and it is easily one of the greatest batches of songs any band has ever written. "I love U2. I don't know, if you don't get it, you don't get it, and shame on you for not." Liam and Noel Gallagher (Image: Simon Emmett/Fear PR/PA Wire ) Oasis are set to perform an impressive 17 dates across the UK this summer, including seven shows at London's Wembley Stadium. The list also includes performances at Manchester's Heaton Park, and Cardiff's Principality Stadium, among others. So far the cheapest date we've found is July 25 at Wembley, with the lowest cost tickets at £230. Meanwhile, the cheapest price for Cardiff Principality Stadium is July 5, at £290. If you're keen to conduct your own research on these resale websites, here are the links you need: Viagogo and resale tickets Sites such as viagogo, Stubhub, and Vivid Seats allow fans to buy resale tickets from other fans. However, it is important to note that ticket conditions often prohibit resale after initial purchase. Those tickets may not be valid for admittance to gigs. Fans intending to buy tickets for live events through resale websites should check the ticket terms and conditions, to confirm whether resale is prohibited, before they buy. Ticket terms and conditions can be checked with the original seller, such as Ticketmaster or Live Nation. If resale is prohibited, tickets bought second-hand could be voided and admission to the event refused. Article continues below
Yahoo
17-05-2025
- Entertainment
- Yahoo
Zendaya Undergoes Another Major Hair Change For Latest Campaign
Zendaya fronts Louis Vuitton's third and final Murakami re-edition campaign. The actress's new hairstyle resembled one of Ronnie Spector's famous looks. Zendaya will portray The Ronettes frontwoman in an upcoming debuted bangs in her latest Louis Vuitton campaign. In honor of the brand's third and final Murakami re-edition drop, the Challengers star posed with a plethora of cherry-printed accessories, wearing a new hairstyle that nodded to one of her upcoming roles. Zendaya's bouncy blowout was styled with full fringe, reminiscent of one of Ronnie Spector's signature hairdos. The actress has been cast as The Ronettes frontwoman in an upcoming biopic directed by Barry Jenkins. Zendaya has been attached to the project for years and got to know Spector before she passed away in 2022. It wasn't until March that Deadline announced the film finally would go into production. Based on Spector's memoir Be My Baby, the film will likely cover her turbulent relationship with music producer Phil Spector. Following Spector's passing, Zendaya paid her respects to the singer on Instagram, posting a never-before-seen polaroid of the pair in 2018. "This news just breaks my heart," she wrote. "There's not a time I saw her without her iconic red lips and full teased hair, a true rockstar through and through. Ronnie, being able to know you has been one of the greatest honors of my life." "Thank you for sharing your life with me," Zendaya continued. "Rest in great power Ronnie. I hope to make you proud." In January, Louis Vuitton revealed the first of three Murakami re-edition collections in honor of the collaboration's 20th anniversary. In the early 2000s, the brand's former creative director Marc Jacobs teamed up with the Japanese artist to create handbags and accessories featuring Murakami's anime-inspired graphics. Read the original article on InStyle
Yahoo
02-04-2025
- Entertainment
- Yahoo
Zendaya is set to play 'the bad girl of rock n roll' Ronnie Spector
The upcoming biopic of musical legend Ronnie Spector is now full steam ahead, with a trio of big names – both behind and in-front of the camera – having signed on to Be My Baby. The Emmy-winning actress Zendaya will play Spector in the film, which will focus heavily on the front woman of The Ronettes and her relationship with the producer Phil Spector. No other cast members have been announced. It is another huge role for the actress, who will be juggling multiple commitments around filming. The 28-year-old is also starring in Christopher Nolan's The Odyssey, as well as retuning for the third film in the Dune franchise, and reprising her role as Rue in HBO teen drama, Euphoria. Zendaya had a personal relationship with Spector, who passed away in 2022 aged 78 after a cancer diagnosis. Following Spector's death, Zendaya wrote on Instagram: 'To speak about her as if she's not with us feels strange as she is so incredibly full of life. 'There's not a time I saw her without her iconic red lips and full teased hair, a true rockstar through and through. Thank you for sharing your life with me, I could listen to your stories for hours and hours. 'Thank you for your unmeasured talent, your unwavering love for performing, your strength, resilience and your grace. 'There is absolutely nothing that could dim the light you cast. I admire you so much and am so grateful for the bond we share.' Be My Baby will be directed by Barry Jenkins, who also helmed the 2016 Academy award-winning film Moonlight. The screenplay will be written Dave Kajganich, who was behind 2022 Luca Guadagnino romantic horror Bones and All. Currently, there is no set release date for Be My Baby, as the film currently enters pre-production. You Might Also Like 8 spring/summer 2019 nail trends to be wearing now 10 best summer shorts to wear beyond the beach 10 pairs of knee-high boots to transform your autumn look
