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December 1992
VOLUME 16, NUMBER 12 MASTERS OF THE FEATURES FREE UNIVERSE NICKO Avant-garde drummers Ed Blackwell, Rashied Ali, Andrew JEFF PORCARO: McBRAIN Cyrille, and Milford Graves have secured a place in music history A SPECIAL TRIBUTE Iron Maiden's Nicko McBrain may by stretching the accepted role of When so respected and admired be cited as an early influence by drums and rhythm. Yet amongst a player as Jeff Porcaro passes metal drummers all over, but that the chaos, there's always been away prematurely, the doesn't mean he isn't as vital a play- great discipline and thought. music—and our lives—are never er as ever. In this exclusive interview, Learn how these free the same. In this tribute, friends find out how Nicko's drumming masters and admirers share their fond gears move, and what's tore down the walls. memories of Jeff, and up with Maiden's power- • by Bill Milkowski 32 remind us of his deep ful new album and tour. 28 contributions to our • by Teri Saccone art. 22 • by Robyn Flans THE PERCUSSIVE ARTS SOCIETY For thirty years the Percussive Arts Society has fostered credibility, exposure, and the exchange of ideas for percus- sionists of every stripe. In this special report, learn where the PAS has been, where it is, and where it's going. • by Rick Mattingly 36 MD TRIVIA CONTEST Win a Sonor Force 1000 drumkit—plus other great Sonor prizes! 68 COVER PHOTO BY MICHAEL BLOOM Education 58 ROCK 'N' JAZZ CLINIC Back To The Dregs BY ROD MORGENSTEIN Equipment Departments 66 BASICS 42 PRODUCT The Teacher Fallacy News BY FRANK MAY CLOSE-UP 4 EDITOR'S New Sabian Products OVERVIEW BY RICK VAN HORN, 8 UPDATE 68 CONCEPTS ADAM BUDOFSKY, AND RICK MATTINGLY Tommy Campbell, Footwork: 6 READERS' Joel Maitoza of 24-7 Spyz, A Balancing Act 45 Yamaha Snare Drums Gary Husband, and the BY ANDREW BY RICK MATTINGLY PLATFORM Moody Blues' Gordon KOLLMORGEN Marshall, plus News 47 Cappella 12 ASK A PRO 90 TEACHERS' Celebrity Sticks BY ADAM BUDOFSKY 146 INDUSTRY FORUM AND WILLIAM F. -
Smash Hits Volume 21
September 2P-October 3 1979 25p SECRET AFFAIR Cruel To Be Kind Police On A&M Love's Gotta Hold On Me Mil the words inside) CRUELTOBEKIND NICK LOWE ON RADAR RECORDS Oh I can't take another heartache Well I do my best to understand dear Though you say you're my friend But you still mystify I'm at my wits' end And I wanna know why You say your love is bona fide I pick myself up off the ground But that don't coincide And have you knock me back down With the things that you do Again and again And when I asic you to be nice And when I ask you to explain You say you gotta be You say you gotta be Repeat chorus Chorus Cruet to be kind Repeat verse 2 In the right measure Cruel to be kind Repeat chorus to fade It's a very good sign Cruel to be kind Words and music by Nick Lowe/Ian Means that I love you, baby Gomm. You gotta be cruel Reproduced by permissior) Rock You gotta be cruel to be kind Music/Albion Music. '^iAMmf/^'i^ ^'~ #^ *W% <W| BACK OF MY HAND THE JAGS ON ISLAND RECORDS You only call me if you're feeling blue I got your number written on the You tell me I don't pay attention to you back of my hand But if you only knew I got your number written on the Just what I'm going through back of my hand You wouldn't phone those guys I got your number g . -
David Bendeth Feel the Real Mp3, Flac, Wma
David Bendeth Feel The Real mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Feel The Real Country: UK Released: 1979 Style: Disco MP3 version RAR size: 1331 mb FLAC version RAR size: 1931 mb WMA version RAR size: 1820 mb Rating: 4.1 Votes: 100 Other Formats: MP2 APE AC3 AA MIDI FLAC DTS Tracklist Hide Credits Feel The Real A Remix – Alan Caddy, David Bendeth, Dominique Zgarka, Kirk HawkesWritten-By – B. 6:49 Boyer*, D. Bendeth* Breakdown B1 3:54 Written-By – D. Bendeth* Feel The Real B2 3:46 Written-By – B. Boyer*, D. Bendeth* Companies, etc. Manufactured By – CBS Records Canada Ltd. Distributed By – CBS Records Canada Ltd. Copyright (c) – Black And White Music (Canada) Ltd. Phonographic Copyright (p) – Inter Global Music Copyright (c) – Inter Global Music Credits Arranged By – David Bendeth, John Cleveland Hughes Art Direction – M. W. Herzog Design – Dean Motter Photography By [Back] – David Gahr Photography By [Front] – André Duval Producer – Alan Caddy Vocals – The Boyer Brothers Notes Pic sleeve incorrectly states track A is 6.09, label time of 6.49 is correct. Other versions Category Artist Title (Format) Label Category Country Year 12SID 113 David Bendeth Feel The Real (12") Sidewalk 12SID 113 UK 1979 SID 113 David Bendeth Feel The Real (7") Sidewalk SID 113 UK 1979 delr 005 David Bendeth Feel The Real (12") Audio Deluxe delr 005 UK 2000 Feel The Real (7", 1A 006-63207 David Bendeth Sidewalk 1A 006-63207 Netherlands 1979 Single) delx 005 David Bendeth Feel The Real (12") Audio Deluxe delx 005 UK 2000 Comments about Feel The Real - David Bendeth Road.to sliver Jamiroquai owe this guy a drink. -
Artists and Yamaha
Artists and Yamaha CONTENTS Turning The Artist’s Imagination INTRO CONTENTS 1 ELECTRIC BASSES OTHERS YAMAHA GUITAR DEVELOPMENT 3 RBX4A2/4A2M/5A2 22 GIGMAKER 39 YASH (YAMAHA ARTIST SERVICES HOLLYWOOD) 3 BB INTRO 23 ACCESSORIES/AMP 40 YMC (YAMAHA MUSIC CRAFT) 4 Into Tomorrow’s Music. BB2024/2024X/2025/2025X 25 YAMAHA ARTISTS 41 ELECTRIC GUITARS BB1024/1024X/1025/1025X 27 For over 60 years, we’ve been committed to improving the quality, sound, playability, durability, and design of our instruments. Feedback SG INTRO 5 BB424/424X/425/425X 29 from our valued customers and the professional musicians that use our instruments has always played an instrumental role in our passion SG FEATURES 7 ATTITUDE LTD3 31 for constant improvement. Because we believe that instruments are the tools musicians use to create music, our strive to create the ideal SG1820 9 BB714BS 32 instrument for the player is never ending. SG1820A/1802 11 BBNE2 33 Professional musicians are the most critical when it comes to requests and requirements, and we focus a great deal of time and effort bringing CV820WB 13 TRBJPII 34 their ideas to life. Our purpose is to turn what exists only in their imagination, into something they can hold and use in their hands—fi nding PAC1511MS 14 TRB1006J/1005L/1004J 35 the right type of tone, the perfect attack, or a neck that fi ts better in the hand. PAC212VFM/VQM/112V 15 RBX374/375/270J/170 37 The evolution of Yamaha guitars has always been closely related to our long-standing relationships with the musicians that use them. -
The Ethereal Genius of Craig Taborn - the New York Times
12/20/2019 The Ethereal Genius of Craig Taborn - The New York Times FEATURE The Ethereal Genius of Craig Taborn He has become one of the best jazz pianists alive — by disappearing almost completely into his music. By Adam Shatz June 22, 2017 he jazz pianist Craig Taborn often goes to museums for inspiration, carrying a notebook to record ideas for compositions and song titles. He also sometimes T performs at museums, becoming a sort of art object himself. This is a complicated situation for Taborn, who is very private. His mother, Marjorie Taborn, remembers seeing him at the Rubin Museum of Art in New York, where he played a recital to a full house at the debut of his solo album “Avenging Angel.” After the show, she was chatting with his friend Tim Berne, a saxophonist, while her son signed copies of his album, smiling graciously and patiently fielding questions. She and Berne looked at each other, because they each knew how much effort this required from Taborn. “Look at Craig,” Taborn’s mother recalls telling Berne, “he’s getting everything he never wanted, all the attention he’d never seek.” Taborn, who is 47, is used to attracting attention he’d prefer to avoid, and not just because of his extraordinary musicianship. He is an African-American man from Minnesota with features that often draw curious looks: a very pale complexion, reddish-blond curls and hazel eyes. “I have never had a day when someone does not look at me with an openly questioning gaze, sometimes remote and furtive, sometimes polite, sometimes in admiration or awe and sometimes with disgust,” he told me. -
First Steps with the Drum Set a Play Along Approach to Learning the Drums
First Steps With The Drum Set a play along approach to learning the drums JOHN SAYRE www.JohnSayreMusic.com 1 CONTENTS Page 5: Part 1, FIRST STEPS Money Beat, Four on the Floor, Four Rudiments Page 13: Part 2, 8th NOTES WITH ACCENTS Page 18: Part 3, ROCK GROOVES 8th notes, Queen, R.E.M., Stevie Wonder, Nirvana, etc. Page 22: Part 4, 16th NOTES WITH ACCENTS Page 27: Part 5, 16th NOTES ON DRUM SET Page 34: Part 6, PLAYING IN BETWEEN THE HI-HAT David Bowie, Bob Marley, James Brown, Led Zeppelin etc. Page 40: Part 7, RUDIMENTS ON THE DRUM SET Page 46: Part 8, 16th NOTE GROOVES Michael Jackson, Erykah Badu, Imagine Dragons etc. Page 57: Part 9, TRIPLETS Rudiments, Accents Page 66: Part 10, TRIPLET-BASED GROOVES Journey, Taj Mahal, Toto etc. Page 72: Part 11, UNIQUE GROOVES Grateful Dead, Phish, The Beatles etc. Page 76: Part 12, DRUMMERS TO KNOW 2 INTRODUCTION This book focuses on helping you get started playing music that has a backbeat; rock, pop, country, soul, funk, etc. If you are new to the drums I recommend working with a teacher who has a healthy amount of real world professional experience. To get the most out of this book you will need: -Drumsticks -Access to the internet -Device to play music -Good set of headphones—I like the isolation headphones made by Vic Firth -Metronome you can plug headphones into -Music stand -Basic understanding of reading rhythms—quarter, eighth, triplets, and sixteenth notes -Drum set: bass drum, snare drum, hi-hat is a great start -Other musicians to play with Look up any names, bands, and words you do not know. -
Rosi Hertlein [email protected] Violin Voice Composition
Rosi Hertlein [email protected] Violin Voice Composition Professional Experience 2003-2010 Teaching Artist (educator and performer) for “Music Outreach” in New York City’s Public Schools 1999-2010 Teacher for violin and vocals at Dorothy Delson Kuhn Music Institute, Staten Island, NY 2001-2008 Production Assistant to composer Baikida Carroll for several theater productions including The Oedipus Plays, Uncle Vanya and the 2008 A Seagull in the Hamptons by Emily Mann 2000-2008 Teacher for violin at Turtle Bay Music School, New York, NY 2008 Teaching Artist (choral instructions) at PS. 21 Staten Island, for Sundog Theatre NY; Teaching Artist for sculpture, drawing and collage at Trinity Lutheran School, Staten Island, NY 2003 Teacher for violin at Public School 248, District 30 in Elmhurst, Queens and at Community School 234, District 12 in Tremont, Bronx 2003 Teacher for violin at Public School 248, District 30 in Elmhurst, Queens and at Community School 234, District 12 in Tremont, Bronx 1999-2002 Data Processor for the German academic Exchange Service DAAD, NY 1999-2001 Clerical assistant for Bette Midler’s New York Restoration Project 1997-1999 Actress Judith Malina's Personal assistant, archivist and coordinator of USA and European events 1995-1997 Teacher for vocals, choir and music theory at “Vocaline -the School for Popular Music”, Hamburg, Germany 1993-1995 Recording Producer the for the Jazz Big Band of radio NDR, Hamburg, Germany 1989-1992 Technical assistance for the nationwide news magazine “Tagesschau” at TV station NDR, -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Downbeat.Com December 2014 U.K. £3.50
£3.50 £3.50 . U.K DECEMBER 2014 DOWNBEAT.COM D O W N B E AT 79TH ANNUAL READERS POLL WINNERS | MIGUEL ZENÓN | CHICK COREA | PAT METHENY | DIANA KRALL DECEMBER 2014 DECEMBER 2014 VOLUME 81 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer Žaneta Čuntová Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Kevin R. Maher Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, -
Pixies Präsentieren Weiteren Song
Erstes wirklich neues Album nach Reunion Pixies präsentieren weiteren Song 19. August 2016, Von: Redaktion Die Bostoner Independent Band Pixies hat für den 30. September ihr erstes neues Studioalbum seit der Reunion 2004 angekündigt. Einen ersten Vorboten namens „Um Chagga Lagga“ hat die Band bereits ins Rennen geschickt, nun folgt mit „Talent“ ein weiterer Song vom neuen Werk. Der neue Song „Talent“ ist eine Hommage an den ukrainischen Schauspieler Jack Palance, der aus Filmen wie „Batman“ bekannt ist und 2006 verstarb. Die Facebook Fans der Pixies zeigen sich gespalten, viele fanden diesen oder den ersten Vorabsong besser, zeigen sich wenig euphorisch, wohingegen andere Fans bereits ihre Liebe zum Song bekunden. Bereits 1986 gründeten sich die Pixies in Boston. Sänger Black Francis und Gitarrist Joey Santiago starteten die Band und bald stießen Bassistin Kim Deal und Schalgzeuger David Lovering dazu. Die erste EP „Come On Pilgrim“ wurde ein Jahr später veröffentlicht. Mit ihren Alben konnten sich die Pixies regelmäßig in den Charts platzieren, einer ihrer größten Hits ist der Song „Where Is My Mind?“ vom 1988er Debütalbum „Surfer Rosa“, der als Soundtrack des Kultfilms „Fight Club“ diente. Obwohl „Where Is My Mind?“ nie als Single veröffentlicht wurde, ist er der bekannteste Track der Band. Das neue Album „Head Carrier“ erscheint am 30. September über das bandeigene Label Pixiesmusic. Vor zwei Jahren veröffentlichten die Pixies bereits „Indie Cindy“, allerdings war auf diesem Album kein wirklich neues Material zu finden, sondern lediglich drei EPs, die im Vorfeld separat veröffentlicht wurden. Links: www.pixies.pmstores.co www.youtube.com/watch?v=-BREFFQi8U0 Ähnliche Artikel auf Rockszene.de: „Den Raum lesen und die richtige Wahl treffen“(04.04.2019) Reunions, alte Hasen und Neulinge(30.09.2016) Wieder Interesse an der Band andthewinneris(20.01.2015) © Copyright: Die Texte und die Fotos in diesem Artikel sind urheberrechtlich geschützt. -
HPC Studies Alternative Offer to Police Student Punishments Native
--------------------- --- - - -~-- ------------- On The Inside Cease-fire violated .•. page 3 Physicist on UFO's ... page 9 Vol. VIII, No. 33 serving the notre dame -st. mary's community Thursday, October 25, 1973 U.S. rejects HPC studies alternative offer to police student punishments native. forms of discipline. He said he by Claude Devaney respected Macheca and his intentions but Staff Reporter felt there was a better way. ' cease-fire Cari believes that, "If you want a guy to Members of the Hall Presidents Council learn, you have to make him put out and favor better alternatives for student g~ve." If a student was made to give of discipline than those offered by Dean of htmself to others, he would sit back and United Nations (UPI>--The United States Wednesday think about his actions. night rejected Egypt's request that U.S. and Soviet Students John Macheca. Many hall presidents feel that violators of Steve Decoursey, President of troops be sent to police the shaky cease-fire in the Cavanaugh, agrees with the principle of the Middle East. The Soviets demanded that the United University regulations should be disciplined by being make to work at Logan Center or alternatives. He thought it would be very States curb Israel and that the U.N. invoke sanctions appropriate in some ways, but that it would against Israel. tutoring children in South Bend. Macheca believes a violator should have not always be necessary for this kind of punishment. It would depend on the "In the view of the United States," U.S. Ambassador certain privileges such as attending athletic events removed. -
American Foreign Policy, the Recording Industry, and Punk Rock in the Cold War
Georgia State University ScholarWorks @ Georgia State University History Dissertations Department of History Spring 5-10-2017 Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War Mindy Clegg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/history_diss Recommended Citation Clegg, Mindy, "Music for the International Masses: American Foreign Policy, The Recording Industry, and Punk Rock in the Cold War." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/history_diss/58 This Dissertation is brought to you for free and open access by the Department of History at ScholarWorks @ Georgia State University. It has been accepted for inclusion in History Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MUSIC FOR THE INTERNATIONAL MASSES: AMERICAN FOREIGN POLICY, THE RECORDING INDUSTRY, AND PUNK ROCK IN THE COLD WAR by MINDY CLEGG Under the Direction of ALEX SAYF CUMMINGS, PhD ABSTRACT This dissertation explores the connections between US foreign policy initiatives, the global expansion of the American recording industry, and the rise of punk in the 1970s and 1980s. The material support of the US government contributed to the globalization of the recording industry and functioned as a facet American-style consumerism. As American culture spread, so did questions about the Cold War and consumerism. As young people began to question the Cold War order they still consumed American mass culture as a way of rebelling against the establishment. But corporations complicit in the Cold War produced this mass culture. Punks embraced cultural rebellion like hippies.