Do you have a link by chance? I don't see it on Tidal.Listening to it for the first time right now. While the mix is pretty good, I don't think it compares to the Tori Amos, George Michael, Tears for Fears or many of the other fantastic mixes that came out last year.
I am NOT a hater, the opposite!I have said it before and will say it again….
I also felt vindicated when I was watching an interview with Mike Levine from Triumph and he said that the group basically received no airplay in the USA because it was ALL PAYOLA!
I was sad faced for Triumph.I am NOT a hater, the opposite!
It's just like most people think that someone who criticizes their country is anti patriotic when it's the opposite, the people who critizice are the ones who LOVE their country because we want it to get BETTER...
Now, think about.. does anyone in their right mind think that a group like Fleetwood Mac did NOT have an ARMY of Payola behind them? All of those folks at Warmer Bros (their label), Mo Ostin, etc will most probably tell you out front that that is how the business works...
Hell, I GRADUATED from the best Music School in the world; Jazz, Production and Business wise and I learned from the pros themselves and it was no secret...same went for MTV: if you wanted your video to be played, in the GRAVEYARD time, it was close $100K for just ONCE, so spare me the mad faces and attitude guys, I love you but you can't change how things are...
Do you have a link by chance? I don't see it on Tidal.
The Grammys have become the music industries equivalent of the NFL's Pro bowl...Everyone seems to understand that the Grammys, like all such awards, are bullshit--in every category, not just immersive--and that at best a nomination will only glancingly or accidentally have much to do with merit. And yet every year we get all butt-hurt about what a travesty the nominee list is, how undeserving the finalists are, and what grave injustices have been done to our favorite overlooked recordings. (Most years I don't join the complain-train, actually, but this year I'll jump on board.)
But: at least professional audio engineers who understand immersive mixing have always been the ones doing the nominating and judging in this category, even after the broad, ceremony-wide rule changes that went into effect this year. (The makeup and power of the various Craft Committees have been "realigned," however, in ways that are still somewhat opaque to me. Also this.) Moreover, according to the first article linked at the end of this post, Michael Romanowski and George Massenburg--no slouches--are chairing a subcommittee of the Producers and Engineers Wing that's been tasked with "developing a [new] set of technical guidelines for immersive audio." (The old set, written in 2004, is still online here.)
Anyway, according to the Recording Academy's process FAQ, the Craft Production Committee determines the final nominees. Where the longlist that they whittle down comes from and how it's generated are still a little unclear. But I've always maintained that you can't wind up a finalist unless someone has nominated you in the first place--and I don't think that every potentially deserving recording necessarily ever gets nominated. Furthermore, I don't think that's the Recording Academy's fault. On the FAQ I just cited, the answer to the question "Who can enter recordings for consideration? Do I qualify" is:
So if a "Professional" or "Voting" member (and in the case of immersive recordings, that may also be limited to the 20-25 members on the Craft Production committee) doesn't think to submit a nomination for you between July 11th and August 31st (the Online Entry Period), and/or your "registered media company"--i.e., your label or your agent--doesn't get around to doing it either (maybe they just flaked, or they forgot to renew their membership or verify their online credentials on time, or it didn't occur to them that you had a record that qualified in that relatively minor category), then you're not gonna be a finalist, because you were never even on the longlist.
What Is Immersive Audio?: How Engineers, Artists & Industry Are Changing The State Of SoundImmersive audio tech allows sound technicians to think and work in three dimensions, and for listeners to get "inside" the sound. GRAMMY.com takes a deep dive into the past, present and future of immersive audio for home, the studio and live audience.www.grammy.com
And an occasion to dress up for HALLOWEEEN a few months early!The Grammys have become the music industries equivalent of the NFL's Pro bowl...
But with even worse music.The Grammys have become the music industries equivalent of the NFL's Pro bowl...
A funny thing is I actually DO stop watching But I'm of that age where I look back at how much time I have spent watching sports and realized... I'm done. Plus I am (or, was) a Knicks fan. There hasn't been anything to see since 1994.It never ends...
Metal Grammys Year by Year - Who Won + Who Should've WonRighting some wrongs and backing some strong picks by the Grammys!1063thebuzz.com
But while I love music, these award shows have long lost my interest. In 1989 the Grammys had a new category Best Hard Rock/Metal. Those of us old school Metallicats will remember this day for a long time. That night Jethro Tull’s album won and many of us felt like Metallica was robbed. But just like in sports, when your team gets robbed of a victory by a referees bad call you don’t just stop watching, right?
These Ain't Your Granny's GrammysJeff Blanco didn't watch the Grammys and he isn't alone. But he does have some rather pithy thoughts on why.thehayride.com
Were they on the telecast in any form?It's a shame. The only excitement I've had in the last 30 years on good music being recognized is the fact Wet Leg got a couple Grammys.
Enter your email address to join:
Register today and take advantage of membership benefits.
Enter your email address to join: