DOCSLIB.ORG

Jazzweek World Music Albums Feb

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jazzweek World Music Albums Feb airplay data JazzWeek World Music Albums Feb. 2, 2009 powered by TW LW 2W Peak Artist Title Label TW LW +/- Weeks Reports Adds 1 24 – 1 Hendrik Meurkens Samba To Go! Zoho 130 28 102 2 48 36 2 4 7 2 Novalima Coba Coba Cumbancha 116 100 16 5 37 10 3 5 4 2 The Wayne Wallace Latin Jazz Quintet Infinity Patois 97 100 -3 12 41 2 4 6 5 1 Taj Mahal Maestro Kan-Du/Heads Up 77 83 -6 18 33 0 5 20 74 5 Cocoa Tea Barack Obama [Single] Roaring Lion/VP 76 34 42 16 47 16 6 8 11 3 Femi Kuti Day By Day Mercer Street 63 67 -4 12 26 0 7 9 13 2 Buena Vista Social Club Buena Vista Social Club At Carnegie Hall World Circuit/Nonesuch 58 66 -8 16 23 1 8 13 12 1 Various Artists The Biggest Reggae One-Drop Anthems Greensleeves 51 48 3 7 24 0 2008 9 18 – 9 Mark Weinstein Lua E Sol Jazzheads 48 37 11 2 29 16 10 15 8 6 Various Artists Strictly The Best 39 VP 47 40 7 7 30 0 11 43 30 1 Hot Club Of Detroit Night Town Mack Avenue 46 19 27 32 37 0 12 48 – 12 Beausoleil Alligator Purse Yep Rock 45 18 27 2 21 14 13 32 26 1 Burning Spear Jah Is Real Burning 44 22 22 25 14 0 14 27 17 7 Beres Hammond A Moment In Time VP 39 26 13 26 27 0 15 11 14 3 El Guincho Alegranza XL 38 54 -16 13 14 1 15 10 10 5 Randy Brecker Randy In Brasil MAMA 38 61 -23 20 10 0 17 7 40 7 The Very Best Esau Mwamwaya + Radioclit : The Very Best Green Owl 37 68 -31 3 21 9 18 25 22 13 Senor Coconut And His Orchestra Around The World Essay/Nacional 32 27 5 13 16 1 19 – – 19 Chango Spasiuk Pynandi - Los Descalzos Harmonia Mundi/World 31 0 0 1 30 30 Village 20 17 3 2 Various Artists Calypsoul 70: Caribbean Soul & Calypso Strut 30 38 -8 23 12 0 Crossover 1969-1979 21 19 31 19 Mikey Spice Walk A Mile VP 29 35 -6 6 17 6 22 41 25 15 Various Artists Nylon Riddim Juke Boxx 28 19 9 16 8 1 22 14 15 1 Bebo Valdes & Javier Colina Live At The Village Vanguard Discos 605/Calle 54/Sony 28 44 -16 15 15 1 BMG Norte 24 12 6 3 Juana Molina Un Dia Domino 27 53 -26 17 15 3 25 21 24 21 Markus Schwartz Tanbou Nan Lakou Brooklyn Self-Released 26 32 -6 11 10 1 25 40 35 16 Curumin Japan Pop Show YB/Quannum Projects 26 19 7 18 15 4 27 26 19 19 Fantan Mojah Stronger Greensleeves 25 26 -1 7 20 2 27 28 16 16 Ablaye Cissoko & Volker Goetze Sira Obliqsound 25 26 -1 10 15 4 27 30 9 1 Bajofondo Mar Dulce Decca 25 25 0 38 14 0 30 16 23 6 Milton Nascimento & Jobim Trio Novas Bossas Blue Note 23 38 -15 17 18 2 30 60 18 5 Sonantes Sonantes Six Degrees 23 13 10 26 8 0 32 47 28 28 Various Artists Day Rave Riddim Big Ship 22 18 4 20 3 1 33 97 93 33 Heavy D Vibes Stride 21 6 15 3 6 2 33 72 68 26 Senor Coconut El Baile Aleman Essay/Nacional 21 10 11 13 8 1 33 94 56 4 Elio Villafranca The Source In Between Ceiba Tree 21 7 14 24 10 1 36 – – 36 Various Artists Penthouse Showcase Volume 2 VP 20 0 0 1 13 13 36 68 69 24 Various Artists Reggae Gold 2008 VP 20 12 8 32 10 0 36 77 46 17 Various Artists Unfinished Business Riddim TJ 20 10 10 34 7 0 39 58 64 19 Busy Signal Loaded VP 19 13 6 21 13 0 40 23 20 20 Gilfema Gilfema + 2 Obliqsound 18 29 -11 15 15 0 40 2 2 1 Bombay Dub Orchestra 3 Cities Six Degrees 18 110 -92 15 6 0 40 46 48 14 Gyptian I Can Feel Your Pain VP 18 18 0 27 11 0 40 33 29 20 Janine Santana Soft As Granite NiNi 18 21 -3 12 10 0 40 145 – 1 Kasai Allstars Congotronics 3: In The 7th Moon, The Chief Crammed Discs 18 3 15 22 17 4 Turned Into A Swimming Fish And Ate The Head Of His Enemy By Magic 40 55 43 11 Various Artists Soca Gold 2008 VP 18 14 4 35 7 1 46 51 47 23 Marco Granados Music Of Venezuela Soundbrush 17 17 0 11 8 1 46 108 53 21 Various Artists Clean Sweep Riddim Boardhouse 17 5 12 10 3 0 48 42 49 1 Renaud Garcia-Fons Arcoluz Enja/Justin Time 16 19 -3 19 5 0 48 149 44 13 Seun Kuti & Fela’s Egypt 80 Many Things Disorient 16 3 13 26 6 1 50 65 76 11 Various Artists Putumayo Presents: Acoustic Arabia Putumayo 15 12 3 10 12 5 50 34 1 1 Various Artists Putumayo Presents: Cafe Cubano Putumayo 15 21 -6 6 2 0 50 87 37 9 Richie Spice Gideon Boot VP 15 8 7 39 11 0 Most Added (first airplay detection) Increased Airplay Chartbound Hendrik Meurkens Samba To Go! (Zoho) +36 Hendrik Meurkens Samba To Go! (Zoho) +102 Luba Mason Krazy Love (Kookie/Sunnyside Communications) Chango Spasiuk Pynandi - Los Descalzos (Harmonia Cocoa Tea Barack Obama [Single] (Roaring Lion/VP) +42 Various Artists Baddaz Riddim (Birchill) Mundi/World Village) +30 Hot Club Of Detroit Night Town (Mack Avenue) +27 Various Artists Big League Riddim (Star Kutt) Various Artists EuroDance (Balboa-Musart) Cocoa Tea Barack Obama [Single] (Roaring Lion/VP) +16 Beausoleil Alligator Purse (Yep Rock) +27 Various Artists CMJ Presents Phase Five NZ Music (NZ On Air/New Mark Weinstein Lua E Sol (Jazzheads) +16 Burning Spear Jah Is Real (Burning) +22 Zealand Commission) Beausoleil Alligator Purse (Yep Rock) +14 Novalima Coba Coba (Cumbancha) +16 Various Artists Gallis Riddim (Notnice) Various Artists Penthouse Showcase Volume 2 (VP) +13 Various Artists Scion CD Sampler Volume 19: Daptone Records Remixed (Daptone) Various Artists Good Life Riddim (Liv Up) John Legend Evolver (Home School/G.O.O.D./Columbia) jazzweek.com • February 2, 2009 All monitored airplay data is owned by Mediaguide, Inc. ©2009 Mediaguide, Inc. JazzWeek 6.
Load more

Recommended publications
  • Outsiders' Music: Progressive Country, Reggae
    CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s Chapter Outline I. The Outlaws: Progressive Country Music A. During the late 1960s and early 1970s, mainstream country music was dominated by: 1. the slick Nashville sound, 2. hardcore country (Merle Haggard), and 3. blends of country and pop promoted on AM radio. B. A new generation of country artists was embracing music and attitudes that grew out of the 1960s counterculture; this movement was called progressive country. 1. Inspired by honky-tonk and rockabilly mix of Bakersfield country music, singer-songwriters (Bob Dylan), and country rock (Gram Parsons) 2. Progressive country performers wrote songs that were more intellectual and liberal in outlook than their contemporaries’ songs. 3. Artists were more concerned with testing the limits of the country music tradition than with scoring hits. 4. The movement’s key artists included CHAPTER TWELVE: OUTSIDERS’ MUSIC: PROGRESSIVE COUNTRY, REGGAE, SALSA, PUNK, FUNK, AND RAP, 1970s a) Willie Nelson, b) Kris Kristopherson, c) Tom T. Hall, and d) Townes Van Zandt. 5. These artists were not polished singers by conventional standards, but they wrote distinctive, individualist songs and had compelling voices. 6. They developed a cult following, and progressive country began to inch its way into the mainstream (usually in the form of cover versions). a) “Harper Valley PTA” (1) Original by Tom T. Hall (2) Cover version by Jeannie C. Riley; Number One pop and country (1968) b) “Help Me Make It through the Night” (1) Original by Kris Kristofferson (2) Cover version by Sammi Smith (1971) C.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC).
    [Show full text]
  • Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.
    [Show full text]
  • Dancehall, Rap, Reggaeton: Beats, Rhymes, and Routes Indicate If Seminar And/Or Writing II Course
    Music History 79 General Education Course Information Sheet Please submit this sheet for each proposed course Department & Course Number MUS HST 79 Course Title Dancehall, Rap, Reggaeton: Beats, Rhymes, and Routes Indicate if Seminar and/or Writing II course 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. The course will analyze the history, aesthetics, and social relevance of the following musical genres: dancehall, rap, and reggaeton. In addition, it will introduce students to a variety of related musical genres and increase their ability to hear differences among styles of popular music and to interpret the meanings of such differences. 3. "List faculty member(s) who will serve as instructor (give academic rank): Jerome Camal, Visiting Assistant Professor Do you intend to use graduate student instructors (TAs) in this course? Yes x No If yes, please indicate the number of TAs 2 4. Indicate when do you anticipate teaching this course over the next three years: 2010-2011 Fall Winter Spring Enrollment Enrollment Enrollment 2011-2012 Fall Winter Spring x Enrollment Enrollment Enrollment 120 2012-2013 Fall Winter Spring Enrollment Enrollment Enrollment 5.
    [Show full text]
  • The Riddim Method: Aesthetics, Practice, and Ownership in Jamaican Dancehall1
    Popular Music (2006) Volume 25/3. Copyright © 2006 Cambridge University Press, pp. 447–470 doi:10.1017/S0261143006000997 Printed in the United Kingdom The riddim method: aesthetics, practice, and ownership in Jamaican dancehall1 PETER MANUEL† and WAYNE MARSHALL‡ †127 Park Ave, Leonia, NJ 07605, USA ‡88 Holworthy Street, Cambridge, MA 02138, USA Abstract The Jamaican system of recording and performance, from the 1950s to the present, constitutes a distinctive approach to notions of composition, originality and ownership. Emerging from a tradition of live performance practice mediated by (and informing) sound recordings, the relative autonomy of riddims and voicings in the Jamaican system challenges conventional ideas about the integrity of a song and the degree to which international copyright law applies to local conceptions, as enshrined in decades of practice, of musical materials as public domain. With the spread of the ‘riddim method’ to the sites of Jamaican mass migration, as evidenced by similar approaches in hip hop, reggaeton, drum’n’bass and bhangra, reggae’s aesthetic system has found adherents among artists and audiences outside of Jamaica. This paper maps out, through historical description, ethnographic data, and musical analysis, the Jamaican system as a unique and increasingly influential approach to music-making in the digital age. The advent of commercial, mass-mediated popular music genres in the twentieth century has contributed to the spread, in many music cultures worldwide, of a certain conventional ‘mainstream’ form of song, comprising an original, autonomous and reproducible entity with a relatively unique integration of lyrics, melody and chordal accompaniment. In mainstream Western music culture, the thirty-two-bar AABA structure, perhaps repeated twice or thrice with some sort of variation, constituted a quintessential type of this conventional song form.
    [Show full text]
  • 3 Rap Subgenres
    Jazyk černého britského a černého amerického rapu Bakalářská práce Studijní program: B7507 – Specializace v pedagogice Studijní obory: 7504R300 – Španělský jazyk se zaměřením na vzdělávání 7507R036 – Anglický jazyk se zaměřením na vzdělávání Autor práce: Jan Wolf Vedoucí práce: Christopher Muffett, M.A. Liberec 2019 The Language of Black British and Black American Rap Bachelor thesis Study programme: B7507 – Specialization in Pedagogy Study branches: 7504R300 – Spanish for Education 7507R036 – English for Education Author: Jan Wolf Supervisor: Christopher Muffett, M.A. Liberec 2019 Prohlášení Byl jsem seznámen s tím, že na mou bakalářskou práci se plně vzta- huje zákon č. 121/2000 Sb., o právu autorském, zejména § 60 – školní dílo. Beru na vědomí, že Technická univerzita v Liberci (TUL) nezasahuje do mých autorských práv užitím mé bakalářské práce pro vnitřní potřebu TUL. Užiji-li bakalářskou práci nebo poskytnu-li licenci k jejímu využití, jsem si vědom povinnosti informovat o této skutečnosti TUL; v tomto pří- padě má TUL právo ode mne požadovat úhradu nákladů, které vyna- ložila na vytvoření díla, až do jejich skutečné výše. Bakalářskou práci jsem vypracoval samostatně s použitím uvedené literatury a na základě konzultací s vedoucím mé bakalářské práce a konzultantem. Současně čestně prohlašuji, že texty tištěné verze práce a elektronické verze práce vložené do IS STAG se shodují. 23. 6. 2019 Jan Wolf Acknowledgements First of all, I would like to thank my supervisor, Christopher Muffett, M.A. for his advice, guidance and support. Also, I want to give thanks to my family for supporting me druing my studies. Lastly, I would like to show my appreciation to all the teachers at the English Department at the Faculty of Science, Humanities and Education of the Technical University in Liberec for allowing me to improve the level of my English.
    [Show full text]
  • Untitled Will Be out in Di Near Near Future Tracks on the Matisyahu Album, I Did Something with Like Inna Week Time
    BACKAYARD DEEM TEaM Chief Editor Amilcar Lewis Creative/Art Director Noel-Andrew Bennett Managing Editor Madeleine Moulton (US) Production Managers Clayton James (US) Noel Sutherland Contributing Editors Jim Sewastynowicz (US) Phillip Lobban 3G Editor Matt Sarrel Designer/Photo Advisor Andre Morgan (JA) Fashion Editor Cheridah Ashley (JA) Assistant Fashion Editor Serchen Morris Stylist Judy Bennett Florida Correspondents Sanjay Scott Leroy Whilby, Noel Sutherland Contributing Photographers Tone, Andre Morgan, Pam Fraser Contributing Writers MusicPhill, Headline Entertainment, Jim Sewastynowicz, Matt Sarrel Caribbean Ad Sales Audrey Lewis US Ad Sales EL US Promotions Anna Sumilat Madsol-Desar Distribution Novelty Manufacturing OJ36 Records, LMH Ltd. PR Director Audrey Lewis (JA) Online Sean Bennett (Webmaster) [email protected] [email protected] JAMAICA 9C, 67 Constant Spring Rd. Kingston 10, Jamaica W.I. (876)384-4078;(876)364-1398;fax(876)960-6445 email: [email protected] UNITED STATES Brooklyn, NY, 11236, USA e-mail: [email protected] YEAH I SAID IT LOST AND FOUND It seems that every time our country makes one positive step forward, we take a million negative steps backward (and for a country with about three million people living in it, that's a lot of steps we are all taking). International media and the millions of eyes around the world don't care if it's just that one bad apple. We are all being judged by the actions of a handful of individuals, whether it's the politician trying to hide his/her indiscretions, to the hustler that harasses the visitors to our shores. It all affects our future.
    [Show full text]
  • Chanting up Zion: Reggae As Productive Mechanism for Repatriated Rastafari In
    Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy University of Washington 2017 Reading Committee: Shannon Dudley, Chair Giulia Bonacci Katell Morand Christina Sunardi Program Authorized to Offer Degree: Music i @Copyright 2017 David Aarons ii University of Washington Abstract Chanting up Zion: Reggae as Productive Mechanism for Repatriated Rastafari in Ethiopia David Aarons Chair of the Supervisory Committee: Shannon Dudley Ethnomusicology Since the 1960s, Rastafari from Jamaica and other countries have been “returning” to Ethiopia in the belief that it is their Promised Land, Zion. Based on extensive ethnographic research in Ethiopia between 2015 and 2017, this project examines the ways in which repatriated Rastafari use music to transform their Promised Land into a reality amidst various challenges. Since they are denied legal citizenship, Rastafari deploy reggae in creative and strategic ways to gain cultural citizenship and recognition in Ethiopia. This research examines how reggae music operates as a productive mechanism, that is, how human actors use music to produce social and tangible phenomena in the world. Combining theories on music’s productive capabilities with Rastafari ideologies on word-sound, this research further seeks to provide deeper insight into the ways Rastafari effect change through performative arts. I examine how Rastafari mobilize particular discourses that both challenge and reproduce hegemonic systems, creating space for themselves in Ethiopia through music. Rastafari use reggae in strategic ways to insert themselves into the contested national narratives of Ethiopia, and participate in the practice of space-making in Addis Ababa and Shashemene through sound projects.
    [Show full text]
  • Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music
    Versions, Dubs and Riddims: Dub and the Transient Dynamics of Jamaican Music Feature Article Thomas Vendryes Ecole Normale Supérieure de Cachan (France) Abstract Dub emerged in Jamaica in the early 1970s, and, for a decade, it became a prolific and intensely innovative dimension of Jamaican popular music. Yet, during the mid- 1980s, while dub flourished at the international level, influencing popular music in general, the genre of dub declined in popularity in Jamaica. How could this musical innovation, so evidently associated with Jamaica, expand and develop internationally while at the same time decline in Jamaica itself? In this paper, I explore the modalities and evolution of Jamaican music production and consumption. Through a description of the Jamaican music industry context, with reference to individual artists’ paths and a summary of Jamaican dub production, I show that even as the Jamaican music milieu was highly favorable to the emergence of dub, dub proliferated as a genre only by developing ties to a diaspora of international audiences and practitioners. Keywords: production studies, Jamaican popular music, history of dub, audio-engineer, riddim, performance mixing Thomas Vendryes is Associate Professor at the Department of Social Sciences of the École Normale Supérieure de Cachan and researcher at the Centre d’Économie de la Sorbonne (France). His research focuses on socio-economic change in developing countries. Dancecult: Journal of Electronic Dance Music Culture 7(2): 5–24 ISSN 1947-5403 ©2015 Dancecult http://dj.dancecult.net http://dx.doi.org/10.12801/1947-5403.2015.07.02.01 6 Dancecult 7(2) “What will happen to dub in 1983?” —Scientist Encounters Pac-man LP (back cover) Dub is Eternal —The 420 DubKraft Anthology Introduction Emerging from the practice of versioning (i.e.
    [Show full text]
  • Dubstep - Wikipedia, the Free Encyclopedia Dubstep from Wikipedia, the Free Encyclopedia
    6/18/2014 Dubstep - Wikipedia, the free encyclopedia Dubstep From Wikipedia, the free encyclopedia Dubstep /ˈdʌbstɛp/ is a genre of electronic dance music that originated in South London, England. It emerged in the late Dubstep 1990s as a development within a lineage of related styles Stylistic Reggae, dub, grime, 2-step garage, such as 2-step garage, broken beat, drum and bass, jungle, origins drum and bass, breakstep dub and reggae.[1] In the UK the origins of the genre can be Cultural Late 1990s — early 2000s, traced back to the growth of the Jamaican sound system origins London, England, United Kingdom party scene in the early 1980s.[1][2] The music generally features syncopated drum and percussion patterns with bass Typical Sequencer, turntables, sampler, drum lines that contain prominent sub bass frequencies. instruments machine, synthesiser, keyboard, personal computer The earliest dubstep releases date back to 1998, and were Derivative Future garage, post-dubstep, brostep, usually featured as B-sides of 2-step garage single releases. forms trap These tracks were darker, more experimental remixes with less emphasis on vocals, and attempted to incorporate Other topics elements of breakbeat and drum and bass into 2-step. In List of musicians, Drumstep, Dubstyle 2001, this and other strains of dark garage music began to be showcased and promoted at London's night club Plastic People, at the "Forward" night (sometimes stylised as FWD>>), which went on to be considerably influential to the development of dubstep. The term "dubstep" in reference to a genre of music began to be used by around 2002 by labels such as Big Apple, Ammunition, and Tempa, by which time stylistic trends used in creating these remixes started to become more noticeable and distinct from 2-step and grime.[3] A very early supporter of the sound was BBC Radio 1 DJ John Peel, who started playing it from 2003 onwards.
    [Show full text]
  • Future Bass Snare Sample
    Future Bass Snare Sample Limitable and concerned Crawford often billets some Gay-Lussac forte or dazzles idly. Wynn filagrees her comptroller left-handed, she copyreads it pointedly. Troubleshooter Vaughn parachuting ecclesiastically or enamelling moderately when Gabriello is crescendo. Future Snares Sample Pack Abletunes. This future bass-y sample pack contains 203 Loops range from 90bpm to 160 bpm. Kickstart your next shift with samples from Future Bass Trap air Sample Tools by Cr2 Browse preview and download all 317 samples loops or download only the sounds you want. Future Bass & Future Pop Drums RED SOUNDS. Whether is're an advanced music producer or restore complete beginner you're daily to circle some decent quality royalty free future bass sample. ESW Future Bass Drums WAV Kontakt Maschine Synthmob. Subside Sample Pack Vol1 future basstrapelectronic FREE. Products Future Bass Freaky Loops. In the pack you can preserve sharp hi hats high-pitched snares boomy urban kicks. We've searched the web to compile an epic list check Free Future Bass Sample Packs for youth From Samples to Loops Vocals Drums. How people Make Future Bass 9 Simple Steps EDMProd. The kit includes future bass styled drums synth and percussion loops a few. Kicks claps snares and fx for Future tracks DOWNLOAD. Drawing on road new sounds from above Sample Magic team Future Beat into a. Future Bass Toolkit FREE Serum Presets & Sample Pack. For what different genres like your-hop Trap RnB Future Bass House EDM Pop and. Future Bass Snares The Producer's Forum. Chill Trap for Future Bass Production with Maschine by CAPSUN Chill in and.
    [Show full text]
  • What Is Post-Punk?
    What is Post-Punk? A Genre Study of Avant-Garde Pop, 1977-1982 Mimi Haddon Schulich School of Music McGill University, Montréal April 2015 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Mimi Haddon 2015 iii TABLE OF CONTENTS Abstract ........................................................................................................................................... vi Résumé ......................................................................................................................................... vii Acknowledgements ..................................................................................................................... viii List of Musical Examples ................................................................................................................ x List of Diagrams and Tables ........................................................................................................... xi List of Figures ............................................................................................................................... xii INTRODUCTION ........................................................................................................................... 1 Historiography and Genre ........................................................................................................ 4 Genre as Musical Style ..........................................................................................................
    [Show full text]