MM Discography -- Others Updated 2016
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The Recording Industry in Japan 2016 Contents
RIAJ YEARBOOK 2016 Statistics Trends The Recording Industry in Japan 2016 Contents Overview of Production of Recordings and Digital Music Sales in 2015 ........................... 1 Statistics by Format (Unit Basis — Value Basis) ........................................................................ 4 1. Total Recorded Music — Production on Unit Basis.................................................................... 4 2. Total Audio Recordings — Production on Unit Basis .................................................................. 4 3. Total CDs — Production on Unit Basis ...................................................................................... 4 4. Total Recorded Music — Production on Value Basis ................................................................. 5 5. Total Audio Recordings — Production on Value Basis ............................................................... 5 6. Total CDs — Production on Value Basis .................................................................................... 5 7. CD Singles — Production on Unit Basis .................................................................................... 6 8. 5" CD Albums — Production on Unit Basis ............................................................................... 6 9. Music Videos — Production on Unit Basis ................................................................................ 6 10. CD Singles — Production on Value Basis .................................................................................. 7 11. 5" CD -
TOSHIKO AKIYOSHI NEA Jazz Master (2007)
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. TOSHIKO AKIYOSHI NEA Jazz Master (2007) Interviewee: Toshiko Akiyoshi 穐吉敏子 (December 12, 1929 - ) Interviewer: Dr. Anthony Brown with recording engineer Ken Kimery Dates: June 29, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript 97 pp. Brown: Today is June 29th, 2008, and this is the oral history interview conducted with Toshiko Akiyoshi in her house on 38 W. 94th Street in Manhattan, New York. Good afternoon, Toshiko-san! Akiyoshi: Good afternoon! Brown: At long last, I‟m so honored to be able to conduct this oral history interview with you. It‟s been about ten years since we last saw each other—we had a chance to talk at the Monterey Jazz Festival—but this interview we want you to tell your life history, so we want to start at the very beginning, starting [with] as much information as you can tell us about your family. First, if you can give us your birth name, your complete birth name. Akiyoshi: To-shi-ko. Brown: Akiyoshi. Akiyoshi: Just the way you pronounced. Brown: Oh, okay [laughs]. So, Toshiko Akiyoshi. For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Akiyoshi: Yes. Brown: And does “Toshiko” mean anything special in Japanese? Akiyoshi: Well, I think,…all names, as you know, Japanese names depends on the kanji [Chinese ideographs]. Different kanji means different [things], pronounce it the same way. And mine is “Toshiko,” [which means] something like “sensitive,” “susceptible,” something to do with a dark sort of nature. -
Prefab Compilation Album It's a Prefab World!
Contact: PreFab International Productions email: [email protected] web: prefabgroup.com PreFab compilation album It’s a PreFab World! released May 2012 American record label PreFab International Records is pleased to announce the release of it’s first compilation album It’s a PreFab World! The label, primarily known as a home for the recording projects of musician Phil Gammage, has assembled a stellar collection that highlights some of the best songs of the past few years from it’s catalog. What sets this compilation apart from the competition though, is the wealth of rare and previously unreleased tracks that make the bulk of the content. Featured songs from previous PreFab albums include “In Love Again” from The Scarlet Dukes (used in a 2008 Walmart commercial), Claudia’s version of Lou Reed’s “I’ll Be Your Mirror” from her debut CD single, downtown legends Certain General with their classic “Maximum G” from the essential Live at the Public Theatre, and Phil’s “Nueva York” from his jazz instrumental collection Tracks of Sound The rare and previously unreleased music from these artists that appear on It’s a PreFab World! are as strong or exceed the featured songs from their other PreFab albums. Certain General scores with the moody “I’ll Behave”. Songstress Claudia showcases her talents with her unique versions of Nirvana’s “About a Girl” and label-mates Certain General’s composition “Heathcliff Skies”. Gammage stretches out on guitar in the instrumental workouts “Third Avenue Wind Tunnel” and “Stacey Says”. And Phil’s neo-lounge project Voodoo Martini re-emerges with a new lineup and their first new recordings in over a decade (!?) with “Naked in the Rain”, “I Kissed My Girl”, and others. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
How to Share Music in Many Complicated Steps
HOW TO SHARE MUSIC IN MANY COMPLICATED STEPS Songwriter Gives permission to Music Publisher Gives permission to use song in film or tv use song in Accepts transferred copyright in dramatic work SYNCHRONIZATION exchange for paying royalties RIGHTS GRAND RIGHTS Contracts with: Mechanical Rights Company Performing Rights Society (ie: Harry Fox Agency) (ie: ASCAP, BMI) Control permission to make and License use of the recording for radio, distribute the recording of a song store background, ringtones, etc PERFORMANCE RIGHTS MECHANICAL RIGHTS OR the song itself to sing in public SMALL RIGHTS Recording Company (ie: Arista Records) Gives permission to Create original “professional” use recording in film recording or single or album or tv Gets permission to make album MASTER USE RIGHTS –pays royalty for album sales -makes available to performing rights society HOW TO SHARE MUSIC IN MANY COMPLICATED STEPS Definitions Synchronization Rights: The right to use the music in timed relations with other visual elements in a film, video, television show/commercial, or other audio/visual production. In other words, the right to use the music as a soundtrack with visual images. Synchronization licenses are obtained from the publisher (or composer if no publisher) or the music library. Master Use Rights: When you hear music in a film or on TV, this recording is known in the music industry as the "master recording". This is what is produced after all the musicians have played their parts and these parts have been "mixed" together for release. The recording of the master is also protected by copyright. A record label or music library owns this copyright, and can grant the right to use the recording in a compilation album, film soundtrack or other Audio/Visual medium. -
The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians. -
Jay Graydon Discography (Valid July 10, 2008)
Jay Graydon Discography (valid July 10, 2008) Jay Graydon Discography - A (After The Love Has Gone) Adeline 2008 RCI Music Pro ??? Songwriter SHE'S SINGIN' HIS SONG (I Can Wait Forever) Producer 1984 258 720 Air Supply GHOSTBUSTERS (Original Movie Soundtrack) Arista Songwriter 1990 8246 Engineer (I Can Wait Forever) Producer 2005 Collectables 8436 Air Supply GHOSTBUSTERS (Original Movie Soundtrack - Reissue) Songwriter 2006 Arista/Legacy 75985 Engineer (I Can Wait Forever) Producer Air Supply DEFINITIVE COLLECTION 1999 ARISTA 14611 Songwriter (I Can Wait Forever) Producer Air Supply ULTIMATE COLLECTION: MILLENNIUM [IMPORT] 2002 Korea? ??? Songwriter (I Can Wait Forever) BMG Entertainment 97903 Producer Air Supply FOREVER LOVE 2003 BMG Entertainment, Argentina 74321979032 Songwriter (I Can Wait Forever) FOREVER LOVE - 36 GREATEST Producer Air Supply HITS 1980 - 2001 2003 BMG Victor BVCM-37408 Import (2 CDs) Songwriter (I Can Wait Forever) Producer Air Supply PLATINUM & GOLD COLLECTION 2004 BMG Heritage 59262 Songwriter (I Can Wait Forever) Producer Air Supply LOVE SONGS 2005 Arista 66934 Songwriter (I Can Wait Forever) Producer Air Supply 2006 Sony Bmg Music, UK 82876756722 COLLECTIONS Songwriter Air Supply (I Can Wait Forever) 2006 Arista 75985 Producer GHOSTBUSTERS - (bonus track) remastered UPC: 828767598529 Songwriter (I Can Wait Forever) Producer Air Supply 2007 ??? ??? GRANDI SUCCESSI (2 CD) Songwriter (I Can Wait Forever) ULTIMATE COLLECTION Producer Air Supply 2007 Sony/Bmg Import ??? [IMPORT] [EXPLICIT LYRICS] [ENHANCED] Songwriter (I Can Wait Forever) Producer Air Supply ??? ??? ??? BELOVED Songwriter (I Can Wait Forever) Producer Air Supply CF TOP 20 VOL.3 ??? ??? ??? Songwriter (Compilation by various artists) (I Can Wait Forever) Producer Air Supply COLLECTIONS TO EVELYN VOL. -
Sampling and Remixes
DE FR EN SEARCH Sampling and Remixes The articles about arrangements in the “Good to know” series have so far focused on “conventional” arrangements of musical works. Sampling and remixes are two additional and specic forms of arrangement. What rights need to be secured when existing recordings are used to produce a new work? What agreements have to be contracted? Text by Claudia Kempf and Michael Wohlgemuth From the copyright point of view, remixes and sampling are specic forms of arrangement. (Photo: Tabea Hüberli) Sound samplings come in many dierent forms and techniques. But they all have one thing in common: they incorporate parts of a musical recording into a new work. This regularly raises the question whether such parts of works or samples are protected by copyright or – especially in the case of very short sound sequences – whether they may be used freely. In the case of a remix, an existing production is taken and re-arranged and re-mixed. This may involve taking apart a whole work and putting it together again with the addition of new elements. Theoretically, the degree of re-arrangement in a remix may range from a simple cover version to a completely new arrangement. As a rule, a remix is simply an arrangement. Remixes generally keep a work’s existing title and add a tag which refers either to the form of use (radio edit / extended club version, or similar) or the name of the remixer (generally a well-known DJ). By contrast with conventional arrangements, in addition to using an existing work to create a derived work or arrangement, samples and remixes also use an existing sound recording. -
RIAJ Yearbook 2018 1 Overview of Production of Recordings and Digital Music Sales in 2017
Statistics RIAJ YEARBOOK Trends 2018 The Recording Industry in Japan 2018 Contents Overview of Production of Recordings and Digital Music Sales in 2017 .................. 1 Statistics by Format (Unit Basis — Value Basis) .............................................................. 4 1. Total Recorded Music — Production on Unit Basis ............................................... 4 2. Total Audio Recordings — Production on Unit Basis ............................................ 4 3. Total CDs — Production on Unit Basis .................................................................... 4 4. Total Recorded Music — Production on Value Basis ............................................. 5 5. Total Audio Recordings — Production on Value Basis .......................................... 5 6. Total CDs — Production on Value Basis ................................................................. 5 7. CD Singles — Production on Unit Basis .................................................................. 6 8. 5" CD Albums — Production on Unit Basis ............................................................ 6 9. Music Videos — Production on Unit Basis ............................................................. 6 10. CD Singles — Production on Value Basis................................................................ 7 11. 5" CD Albums — Production on Value Basis.......................................................... 7 12. Music Videos — Production on Value Basis ........................................................... 7 13. Digital -
2013 Brian Lynch Full Press Kit(Bio-Discog
GRAMMY© AWARD WINNING TRUMPETER Brian Lynch “You can lose yourself in the pure energy of his playing, but at any moment you can switch your attention to the logic and craftsmanship of his music and find multiple rewards.” NEIL TESSER, Jazziz “Lynch demonstrates that a dedicated, knowledgeable jazzman can play a diversity of styles with telling authenticity, and make the renditions extremely appealing to both musician and neophyte...Lynch is simply first- rate.” ZAN STEWART, Downbeat “When you’re as dynamic and flexible a trumpeter as Lynch, everyone wants you.” THE NEW YORKER “ … a knife-blade articulation on his horn… his command of rhythm, sharpened by a long apprenticeship with Mr. Palmieri, lent impressive authority to his playing…” NATE CHINEN, The New York Times “Ranks in the top ten of current trumpeters.” SCOTT YANOW, Cadence Magazine “Brilliant… two steps ahead of the ordinary ear.” REUTERS NEWS TRUMPETER COMPOSER ARRANGER EDUCATOR BANDLEADER: Spheres Of Influence Unsung Heroes Project The Brian Lynch Quartet Brian Lynch "This is a new millennium, and a lot of music has gone down," Brian Lynch said several years ago. "I think that to be a jazz musician now means drawing on a wider variety of things than 30 or 40 years ago. Not to play a little bit of this or a little bit of that, but to blend everything together into something that has integrity and sounds good. Not to sound like a pastiche or shifting styles; but like someone with a lot of range and understanding." Trumpeter and Grammy© Award Winner Brian Lynch brings to his music an unparalleled depth and breadth of experience. -
Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set). -
Take Me Back to Your House
TAKE ME BACK TO YOUR HOUSE MUSIC: Basement Jaxx Album: Crazy Itch Radio CHOREO: David McGrath NSW Australia LEVEL: Intermediate Plus SEQUENCE: A B C D A* B C E D F G D H END INTRO: Wait 2 counts after slow intro Left foot lead COUNTS CUE COUNTS CUE PART A PART C 2 Double Switch Up 8 Samantha Extra Turkey 4 Cross Tap Split 8 Bend Over Cole 4 Stomp Double 8 Burtons Turn Around full R 4 Hop Vine Double R 8 Half Cindy 4 Black Mountain 4 Fancy Flanges PART E 4 Flea Flicker Scoot 16 4 Knee Snaps 1/4 L ea 4 2 Switch the Tracks PART D PART B 8 Bounce Split Stamp 8 Creeper Kick 8 Slow Mo Catawba 8 Snaps & Slide 4 Joey 4 Hillbilly 4 Pivot & Kick full R 8 Swayback 4 2 Slapbacks 4 Donkey 4 4 Stomps 1½ L 32 Repeat to front PART C 8 Samantha Extra Turkey PART F 8 Bend Over Cole 4 Mountain Goat 1/2 L 8 Burtons Turn Around full R 4 Clap It 8 Half Cindy 8 Repeat to front PART D PART G 8 Bounce Split Stamp 32 4 Lonely So Lonely 1/4 L ea 8 Slow Mo Catawba 12 3 Bobby X 1/4 L each 4 Joey 4 Hop Cross Pivot Clap 3/4 R 4 Pivot & Kick full R 4 2 Slapbacks PART D 4 4 Stomps 1½ L 8 Bounce Split Stamp 32 Repeat to front 8 Slow Mo Catawba 4 Joey PART A* 4 Pivot & Kick full R 4 Basic Switch Up 4 2 Slapbacks 4 Cross Tap Split 4 4 Stomps 1½ L 4 Stomp Double 32 Repeat to front 4 Hop Vine Double R 4 Black Mountain PART H 4 Fancy Flanges 8 Rock Slur 4 Flea Flicker Scoot 4 Walk It Over 4 2 Switch The Tracks 8 High Horse 1/2 L 4 Charleston Kick PART B 4 2 Lori Step 8 Creeper Kick 4 Stomp Basic Kick 8 Snaps & Slide 32 Repeat to front 4 Hillbilly 8 Swayback END 4 Donkey 32