The Abbey Road Studios recording console used in the creation of Pink Floyd's Dark Side of the Moon and numerous other albums sold at auction for $1.8 million. The EMI TG12345 MK IV recording console was expected to fetch $700,000 at Bonhams' TCM Presents … Rock and Roll Through the Lens sale. The identity of the buyer was not announced.
Along with the console, the lot comes with letters of provenance, including one from ex-Abbey Road Studio Manager Ken Townsend, an instruction manual, a documented history of the desk from Abbey Road technician Brian Gibson and a copy of Dark Side of the Moon.
The console was housed in Abbey Road's Studio 2 from 1971 to 1983. Along with Pink Floyd, three Beatles – Paul McCartney, George Harrison and Ringo Starr – recorded solo projects on the console, as well as Kate Bush and the Cure. Only two TG12345 MK IV consoles were created as part of a collaboration between Abbey Road and EMI engineers. The other was previously housed in Abbey Road's Studio 3 before moving to Studio 1; it's now housed in Austria's Prime Studios.
The seller, producer Mike Hedges, initially purchased the Studio 2 console from Abbey Road in 1983 when the studio upgraded its equipment. Hedges kept the console in his own studio and said it was still in "excellent working condition" upon its sale.
The Bob Dylan archive in Tulsa, Oklahoma is now open to select groups and individuals with qualified research projects. Those hoping to view and use the archive at the Helmerich Center for American Research at the Gilcrease Museum will have to submit a Research Associate Application to the librarian and a list of relevant items from the archive's online finding aid.
Select items from the collection will eventually be exhibited at the Bob Dylan Center, the primary public venue for the archive. The George Kaiser Family Foundation's Executive Director Ken Levit, and University of Tulsa President Gerard Clancy, announced that they are now accepting design proposals for the Bob Dylan Center, which will be housed in an existing building in Tulsa's Brady Arts District. An expected opening date has yet to be announced.
The call for proposals hints at TU's and the GKFF's hopes that Bob Dylan Center allow for public engagement with items from the archive, permanent and temporary exhibits, research facilities and space for educational programming, indoor events and performances.
In an interview with Rolling Stone, Levit spoke about broadening access to the Dylan archive in the future. "I don't think we will be serving the mission of our foundation if that is not contemplated in a very broad way," he said. "It's our goal that the materials be studied, enjoyed and reflected upon."
The University of Tulsa and the GKFF acquired the Dylan archive in 2016 for an estimated price between $15 and $20 million. The collection includes over 6,000 artifacts spanning nearly 60 years, including handwritten lyrics, photographs, contracts, private letters and video and audio recordings.
Already, two projects are in the works based on materials from the archive. Historian and Rolling Stone contributor Douglas Brinkley is working on a new book, Dusty Sweatbox Blues: Bob Dylan and the Open Road 1974 - 1978, about Dylan's mid-Seventies output that's expected to be published in 2018. Author and TU professor Randall Fuller is also researching a book about the relationship between Dylan and African American music.
Legendary photographer Mick Rock captures a jovial David Bowie and his Spiders From Mars hanging out in their dressing room in this exclusive clip from Shot! The Psycho-Spiritual Mantra of Rock, a new documentary about Rock.
In the Shot! excerpt, Rock talks about how artists accepted him as a peer and not just someone shooting photographs on assignment.
"I don't think they felt that I was an outsider," Rock says in the clip. "I was part of the fabric. I was celebrated and I think they all knew that. So I was a natural, organic Joseph Goebbels for the piece in the time. And I came pretty cheap."
Shot! The Psycho-Spiritual Mantra of Rock features unseen archival footage and unearthed audio recordings of some of Rock's most famous subjects, including Bowie, Queen, Lou Reed, Iggy Pop and Pink Floyd founder Syd Barrett.
In addition to Rock's landmark work and his relationships with rock legends, the documentary also focuses on the photographer's battle with drug addiction and a near-death experience he had in his youth.
Shot! will be released in theaters on April 7th, the same day the film heads to Amazon Video, iTunes and other services.
In a September 2015 interview with Rolling Stone, Rock spoke at length about working with Bowie early in the icon's career.
"He was very open and relaxed with me. It seemed kind of normal at the time," Rock said of Bowie. "He wasn't saying, 'Don't shoot this, don't shoot that.' He was a very positive and encouraging personality. He was not closed, he was very open. He wanted me to take the pictures."
Phil Collins was near the pinnacle of his fame when he released "Don't Lose My Number" as the third single from his 1985 LP No Jacket Required. Over the course of the past year, he'd landed huge hits with "Against All Odds," "Easy Lover," "Sussudio" and "One More Night," and that's not mentioning his work with Genesis, Eric Clapton, Robert Plant or Band Aid. A couple months later he'd play Live Aid in Philadelphia and London on the same day, and the next year Genesis would sell out stadiums worldwide and score hit after hit with Invisible Touch. It was Phil's world. The rest of us were just living in it.
VH1 hit the airwaves just six weeks after No Jacket Required came out. It's purpose was to air videos aimed at a slightly older demographic than MTV. Phil Collins was basically their patron saint. They played his videos nonstop, so it made sense that the "Don't Lose My Number" video would show him spoofing other videos of the era, including the Police's "Every Breath You Take," the Cars' "You Might Think" and David Lee Roth's "California Girls." They also throw him into Mad Max and generic Western and samurai movies.
If that creates a video without any sort of coherent storyline other than Collins trying to decide between various video treatments, there's a good reason. Much like "In the Air Tonight," Collins has no idea what "Don't Lose My Number" is about. The lyrics came to him spontaneously in the studio and don't really mean anything, though it's clear our hero Billy is being pursued by nefarious people and is in quite a bit of danger. Maybe he can call up Rikki from Steely Dan's "Rikki Don't Lose That Number" and together they can figure out what the hell is going on.