As you know, Christie’s New York is handling the upcoming sale of a significant chunk of the personal guitar collection of David Gilmour. With more than 120 guitars, including his preferred Fender models of Broadcasters, Esquires, Telecasters and Stratocasters, the auction on 20th June marks a rare opportunity for guitar aficionados, musicians and collectors to explore one of the world’s most comprehensive groupings of guitars that hooked a generation. As we noted, prior to the sale, the entire David Gilmour Collection will be on display at Christie’s London between 27th – 31st March, followed by highlights of the collection on display in Los Angeles from 7th – 11th May, and will conclude with a full preview in New York from 14th – 19th June. You can book your viewing slot for the London staging now – visit this page at Christie’s website to select your preferred time (https://a.flexbooker.com/widget/34ee144d-e3ee-4663-83b3-101464fd20a7?fbclid=IwAR2MllKSAB_jr3k5oZXI21WgMw6AQaBnXcREHn-C7iQN-u80xGpEm6WbfKI#calendar). Reservations are free of charge, but necessarily limited to reduce congestion, so don’t delay. At time of writing this, most time slots are still available, although some of the later slots each day are gone. For those unable to attend, the auction house had created an incredible virtual tour of the upcoming George Michael collection – hopefully they will create the same for David’s guitars… We have no idea if photography will be permitted at the viewing (a question we’ve had a number of times already) although if you pre-order the catalogue for The David Gilmour Guitar Collection, direct from Christies (https://catalogues.christies.com/christies-shop/Product.aspx?offerId=52694), you should have great pictures of every item on offer. The catalogues are priced at £30/$50/€45 each plus postage, and please note that catalogues will not be despatched until the week commencing 13th May, so it is unlikely to be available to purchase at the London or LA preview events.
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Kailaya – ‘Montenegro For The Summer’ Multi-talented American-Ukrainian singer-songwriter Kailaya has now released her newest single ‘Montenegro For The Summer’. This alt-pop track, infused with jazz-afrobeat guitar and R&B flair, captures the playful spirit of a summer getaway and showcases Kailaya’s distinctive style, appealing to fans of artists like Camila Cabello, Cleo Sol, and KIRBY. […]
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NEW MUSIC: Any Given Room – Mind>matter
Six-member powerhouse of charisma Any Given Room live up to their slogan “good-ass pop music” with the enthusiastic track ‘Mind>matter’ If you’ve been looking for a feel-good banger – you’ve found it! ‘Mind>matter’ is a sparkling alternative-pop-indie-rock track (forgive the long label – it’s hard to give this track a single one) that flips the phrase …
The post NEW MUSIC: Any Given Room – Mind>matter appeared first on Turtle Tempo.
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Saucerful of Secrets: Live in New York City, Thursday, April 18th, 2019
As the Saucerful of Secrets approach the end of their North American tour, the band plays a more relaxed yet tighter sounding set… and host a special guest. Saucerful of Secrets has finally arrived in New York City and, as guitarist Lee Harris reminds us, it has been 13 years since Nicholas Berkeley Mason has pounded the skins in Gotham. As far as when he played here with Pink Floyd the first time, even Harris and Mason debate this on stage. All that matters to the crowd though, is that an actual member of Pink Floyd is here to play classic Pink Floyd, digging deep into the Syd Barrett era, and with a cast of musicians supporting Mason that even a former member of Pink Floyd swears sounds better than the original – but more on that later. As Mason says: this is not a tribute band but the real thing: Nick Mason’s Saucerful of Secrets. Although the set list for the Saucerful of Secrets shows hasn’t really changed much since the first handful of pub shows in London last May, each venue and each audience impart a unique vibe. The band feeds off of that. This evening, the set kicks off as usual: with Interstellar Overdrive and Astronomy Domine. The two songs drench the audience in a sonic atmosphere The Beacon Theatre has served well over many years. The audience responds in kind: clapping, singing, and swaying to every note blissfully. But by the time the band starts playing Lucifer Sam, something takes over (considering the title, that might spook you out… but it’s a totally benign possession): they sound simultaneously relaxed and tight, their performance flowing through an undercurrent of muscle memory and collegial comfort while the smallest ad libs and accents on specific parts of the song begin to shape the performance into its uniqueness. Venues serve as different vessels for sound in such diverse ways too… during Lucifer Sam it’s hard to ignore Dom Bekem’s keyboards: they really fill this theatre and weave the rest of the show together in a magical way that only the Beacon can afford to.
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