About me:

Audio Director at Playtonic Games. I’ve headed up the audio team, working with top name talent, to deliver ‘Yooka-Laylee and the Impossible Lair’ (2019), for which i’ve written 30 mins of music. I joined the company shortly after their record breaking Kickstarter and swiftly established the audio department on the predecessor ‘Yooka-Laylee’ (2017).

Before that: I worked on ‘Batman: Arkham Knight’ (2015) at Rocksteady, where I responsible for the 80,000 lines of dialogue on the base game and all manner of sound design on various DLC packages that followed.

Before working in AAA, I brought my own companies game ‘Standpoint’ (2015) to Xbox One. I took contracts with many devs in the London Indie scene, delivering sound and music for apps, games and installations.

Responsible for dialogue on Rocksteady Studios title Batman: Arkham Knight. Director at Unruly Attractions and principle sound designer and composer on Standpoint. Current position: Audio Director at Playtonic Games creating SFX and music for Yooka-Laylee.

danielmurdoch.com

I  am 66  years  old  and  been  playing  music  off  and  on  all  my  life ,
 Starting  out  in  folk  clubs. In  the  60s   going to Les Cousins  in  Waldor St  and  a club called  Bunnjis, 
When  my  friend  found  a mouth-organ on  the  beach  i  learned  to play it   and  we  formed  a Blues  Band   
 MY  ideal  was  Sonny Boy  Willemson,  Browny  Mcgee
  and Sonny Terry.
That  led  to  joining rock bands  and  singing  round  pubs .  Bands  kept  splitting so i  decided to
    Sing some  Opera,  and  Art songs   [poetry  set  to  music with  just a piano]   I  turned  out  not  to  be  a bad  1st  Tenor  giving song  recitals.  I  have sang        G & S  with  a  orchestra  as a solo  artist  and  in  the  corals.   I  spent 3 years  singing  in  old time  
    Music halls [wanted to try barber-shop]  Left  that  and went into a punk  band.  After  the  punk  band  I  was  in a Duo  singing  and playing Cole Porter Songs   and  popular songs from the 20s to 60s  on  the   guitar  with a friend,  Loved  it
 Now  i am writing  and  playing my  own songs I  am  on Soundcloud   I  am  Dyslexic
But  good  with  music  I  worked  as  a  builder  for  30  years Am  now  going to take music a bit  more  sere-as   and  will play  the  folk  festivals  touring  in  a camper van.  Music  should  be  explored like a country  that  is  how  i  enjoy  it   


Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys’ hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they’d have been blitzing ballrooms in the early ’70s instead of opening for Stone Temple Pilots in the early ’90s), but Redd Kross have endured and endeared because they’ve always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they’ve devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late ’80s/early-’90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock’s post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the ’90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here’s the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band’s current lineup, who’ve re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They’re too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you’re two minutes and 51 seconds into the second song, “Stay Away From Downtown,” and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian “Dracula’s Daughters,” ends and the dynamic mid-’60s Beatles jingle “Meet Frankenstein” launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-”The Nu Temptations” (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the “Surrender”/Noel ‘n’ Liam rockers “Choose to Play” and “Winter Blues,” and the stunning summer psychedelic power pop that is the closing “Hazel Eyes”-you will know the truth. You tried the rest-but now you’ve had the best. The McDonalds were educated at Rock ‘n’ Roll High, and they’ve stayed true to their school. Here’s to their beautiful reunion! Redd Kross Forever!

Welcome to the ARCHIVE OF INDIAN MUSIC (AIM) – the repository of gramophone recordings of India!
AIM seeks to digitize and preserve for posterity the valuable slices of India’s cultural history and musical heritage. The Archive is a custodian of these treasures and makes these available for all through its different dissemination arms. 
Come, join us in this fascinating exploration of an era that has gone by, listen to some of the best voices and the most divine instruments of this country cutting across various genres- Hindustani classical, Carnatic classical, Theatre, Early cinema, Folk and the rest! 


<b>Gary Clark Jr </b>
Warner Records
Austin TX

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