The S&V Interview

Gavin Harrison knows what he wants, and he knows how to get it. The critically celebrated, session-bred progressive-oriented British drummer vaulted into superstar status during his jaw-dropping eight-year stint as a member of Porcupine Tree, and he's since moved even further up the wide-acclaim foodchain thanks to all the mind-bending work he's done during his current, ongoing gigs behind the kit with both King Crimson and The Pineapple Thief. The thing is, Harrison pays little or no heed to the constant praise for his innovative drumming, nor does he spend much time ruminating over his impeccable legacy.

ISF's Joel Silver tells our readers what they can do to optimize their displays' performance.

BG: What was your goal in founding the Imaging Science Foundation (ISF)?

“I’m just into the ethos of having great sound,” says Giles Martin, describing his surround sound mixing philosophy. “The intention of what we do is to make the journey as seamless as possible. I want people to enjoy what they’re listening to without thinking about it.” Martin’s “natural surround” philosophy is in full effect with the stellar 192-kHz/24-bit 5.1 mix he’s done for the 50th anniversary of A Hard Day’s Night, released on June 24 by The Criterion Collection in a Director-Approved Dual-Format Blu-ray and DVD Special Edition. (If you want to experience the film in a theater setting, it will be playing in almost 100 cities across the country on July 4, courtesy of Janus Films. Theaters and cities can be found by clicking here.)

Goo Goo Dolls guitarist/vocalist John Rzeznik and bassist/vocalist Robby Takac got on the line with us to discuss the finely prescribed music on their new album Miracle Pill, plus the best way to find analog sounds in a digital world, how to make albums that are immersive experiences, and what the secret to their longevity is.

Graham Parker has a surefire way of ensuring his longtime backing band The Rumour understands exactly how to execute the arrangements of his new songs: “You have to kick them a lot, very hard!” he says with a devilish laugh. He is, of course, joking (I think). Parker and The Rumour are quite in sync on Mystery Glue (Cadet Concept/UMe), as evidenced by the hard-edged wink/nudge narrative of “Pub Crawl,” the rollicking swing state of “Railroad Spikes,” and the silver-screen teardown on “My Life in Movieland,” which features Parker going to Tinseltown with (yes) a killer kazoo solo. Parker, 64, called from across the Pond to discuss his overall sonic goals for Mystery Glue, how and why his voice has improved over the years, and what he thinks of his earliest work. His passion for quality ain’t manufactured or just another sound.

Emerson, Lake & Palmer were always at the forefront of progressive music, and being original has been a hallmark of ELP ever since their adventurous self-titled 1970 debut. Now, the band’s sonic legacy has been distilled into a nice three-disc collection, The Anthology (Manticore/BMG), which also serves as a 39-track sampler of a full-bore catalog reissue series, which recently commenced with three two-discs sets, each complete with outtakes and bonus cuts, for 1970’s Emerson, Lake & Palmer, 1971’s Tarkus, and 1971’s Pictures From an Exhibition. I Skyped with ELP vocalist/multi-instrumentalist Greg Lake, 68, across The Pond to discuss how effectively ELP utilized the stereo soundfield, why he prefers the analog format, and what the ultimate key is to making good records. Ooh, what a Lucky Man he still is.