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A great interview with Carlos Alomar about a long overdue discussion.
I have long been amused by the fact that “while David Bowie was creating a ‘new type of European song during the Berlin period” (yes I know that is hyperbole, but it is the accepted hyperbole), the beating heart of that music was the DAM rhythm section of Davis, Alomar, Murray.
Evidently, Alomar has moved beyond amusement, and thinks it’s time for he, Davis, and Murray to get their due.
I agree.
https://www.spin.com/2023/12/carlos-alomar-interview-david-bowie/
Comments
Carlos who...?
Seriously?
Yes, like Motown‘s Funk Brothers
Sarcasm. As in "George Martin was The Beatles".
Sounds like Carlos wants to stir up some controversy to promote his new band. He's had 40 years to say this and he waits until he has a new band to promote and Bowie is dead and gone.
And, of course, the evil baddies in the story are "white and British".
You know, that dude that thinks he didn’t get enough credit for the gig that made his career.
The guy whose contributions don’t get the credit they deserve because he wasn’t famous . Rock critics tend to overcredit the already-famous which influences how a lot of people perceive things.
What he says doesn’t seem the least bit outrageous or over the top.
Definitely an underrated rhythm section. I believe Bowie would often not even give them direction, and just let them record their own arrangements as backing tracks for his songs and sometimes not even be present in the studio when they did it.
100% agree
Yeah, my inner asshole just popped out for a second there. I hate that guy. People are always blaming me for things he does.
Don't worry, happens to me a lot too. You caught him quickly this time, that's the main thing, congrats 😂
Absolutely.
The story always was that Davis and Murray would generally have all their tracks finished within a week, and Alomar would stay back while Bowie and Eno would workshop, read entrails, listen to Madame Blavatsky gramophone records backwards, study the language of the peregrine falcon, and wait for Tony Visconti to bring some order to the ambition.
I think it is worth noting that Alomar doesn’t downplay the contribution of Eno’s process and acknowledges that it enhanced the creative process. The way the piece is edited kind of leans into making Alomar sound more controversial than he is being. He and Bowie remained on good terms and has generally been positive towards Bowie in interviews that I’ve read.
Alomar is very gracious about Eno’s processes and contributions.
The tone in my comment was more of a lampooning of the mythology that has built up around those sessions. And, of course, to give Visconti his due as producer.
However, probably as many people think he produced The Rise and Fall… as there are people who think Eno produced the Berlin trilogy.
So, maybe everything balances out…
Visconti is a really interesting guy which I only came to realize long (decades) after those records came out.
The Bowie documentary form a few years back has some really awesome interviews with those guys. Killer rhythm section and part of the reason those albums are as good as they are. They certainly deserve all the praise and then some. Very underrated unfortunately
It’s pretty amazing how many varied acts he produced.
I’ve long maintained that Alomar’s contributions were far more significant and overshadowed than most of Bowie’s listeners would ever know. The fans knew, of course. We followed the personnel on all the albums, read everything available, made the connections, listened to the art. Alomar was a brilliant groover, and while Bowie’s maestroship is what made this music come together, to have shape and in places genius, Alomar and others gave it that sound, and often its grounding.
Uhhh, yah... heh, pfft, seriously? (runs off to google Carlos Alamo)
that will take you in a very wrong direction...
(the dude is called Alomar)
Or you could read the article that started the thread?
Lol
What he says in the interview doesn’t come across as being controversial…the facts are pretty straightforward.
The “evil baddies” ( your characterization, not his) in the story are the rock “journalists” who tend to focus on the famous people they’ve heard of and probably don’t understand how important an arranger and musical director are.
Alomar makes the point that he doesn’t want to talk about Eno, not as a dis on Eno, but because Alomar is (understandably) irritated that journalists have tended to give Eno an undue amount of credit for Bowie’s sound during this period.
Alomar was an integral part of Bowie’s sound and evolution (something Bowie wouldn’t dispute) and yet he has typically gotten sideman/good rhythm guitar player mention by journalists while he was often arranger and musical director. Eno was treated like Bowie’s co-equal.
Why shouldn’t he talk about it? I think you will find the facts stand up to scrutiny.
p.s. It isn’t some conspiracy theory that rock journalism (at least in the period we are talking about) leaned white. The single most influential publisher (Jann Webber) in rock journalism has been explicit about his bias.
I would definitely be interest to know what Carlos Alamo did if you Googled him though…