Wired 2016

Remastered by Ryan Smith at Sterling Sound from the original analog tape. Recorded in 1976 with the legendary George Martin as producer (The Beatles), both reprise their magic from Beck's Blow By Blow with an awesome array of jazz-rock-funk fusion, which is often sited as one of this genres finest recordings. This time for the eight incredible tracks, Jeff brings back the great Max Middleton on keys and Richard Bailey on drums, as well as new additions and future mainstay keyboardist Jan Hammer and the power drums of Michael Narada Walden, plus bassist Wilbur Bascomb. With legendary tracks such as Charles Mingus's "Goodbye Pork Pie Hat," and Jan Hammer's "Blue Wind," Wired soon became a radio and retail staple which has truly endured and stood the test of time. Rightfully so, this album continues to inspire and influence a whole new generation of guitar players and music lovers worldwide.

Originally released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast.

Powerful jazz-rock fusion with a touch of funk, "Wired" is Beck's follow-up to the popular "Blow By Blow". Extending on the blues breakthroughs he made with the Yardbirds, Beck's style had by this time crystalized into something lyric and soaring, showing the influence of John McLaughlin and The Mahavishnu Orchestra, while retaining the slightly manic edge that has remained his trademark.

Wired is the third solo album by British guitarist Jeff Beck, originally released on Epic Records in 1976. An instrumental album, it peaked at No. 16 on the Billboard 200 and has been certified platinum by the RIAA. Of the album tracks, four are originals by Narada Michael Walden and one by Hammer. Max Middleton contributed the homage to Led Zeppelin, "Led Boots", and Beck chose to interpret the Charles Mingus ode to saxophonist Lester Young, "Goodbye Pork Pie Hat", from the classic 1959 jazz album Mingus Ah Um. These last two tracks have been long-time staples of Beck's performance repertoire.

Formed nearly a decade ago, galvanized by Tampa hardcore and inspired by its miscreant noise, "A Corpse Wired For Sound signals" a new chapter for Merchandise. Following 2014’s "After The End" - a full-band effort recorded in a closet - the band stripped back to its core of Carson Cox (vocals, electronics), Dave Vassalotti (guitar, electronics) and Pat Brady (bass). The trio travelled to Rosà, Italy for their first ever sessions in a recording studio, with a local, ICIO. The nine-song, nocturnal A Corpse Wired For Sound was recorded half in the studio and half at home, in Tampa as well as Cox’s newly adopted bases of New York and Berlin - the culmination of a long-distance collaboration between Cox and Vassalotti.

Hailing from Manchester, England, indie rock quartet the Courteeners received regular comparisons in the U.K. press to the leading lights of three previous waves of Mancunian Brit-pop: the Smiths, the Stone Roses, and Oasis. The band's alternately jangly and bombastic brand of indie guitar rock bears the influence of all three acts, as well as comparisons to contemporaries like Arctic Monkeys and Kasabian. Featuring vocalist Liam Fray, lead guitarist Daniel Conan Moores, bassist Mark Cupello, and drummer Michael Campbell, the Courteeners formed in Manchester in 2006, when the 22-year-old Fray – already known around town for his acoustic singer/songwriter gigs – brought three of his childhood friends together to form a proper band.

This book constitutes the refereed proceedings of the 14th IFIP WG 6.2 International Conference on Wired/Wireless Internet Communications, WWIC 2016, held in Thessaloniki, Greece, in May 2016.

Time takes its toll on everything that surrounds us. It destroys what is physical, crumbling even the sturdiest foundations, and it destroys our minds—our memories—shaping and twisting them into something new. You are never ready to face the past, but the past never lets you go. And so I find myself at the door, the handle disturbingly cold to the touch. I pull it open and enter what was once a place of solitude turned nightmare. I’m home, Father.