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Cameo Secret Omen Mp3, Flac, Wma
Cameo Secret Omen mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Secret Omen Country: US Released: 1979 Style: Funk, Disco MP3 version RAR size: 1523 mb FLAC version RAR size: 1685 mb WMA version RAR size: 1338 mb Rating: 4.8 Votes: 967 Other Formats: WMA MIDI AC3 AIFF AU MP1 AAC Tracklist Hide Credits Energy A1 4:21 Written-By – Larry Blackmon I Just Want To Be A2 5:16 Written-By – Gregory Johnson, Larry Blackmon Find My Way A3 9:18 Written-By – John Melfi* Macho B1 5:04 Written-By – Larry Blackmon, Nathan Leftenant, Tomi Jenkins The Rock B2 3:56 Written-By – Larry Blackmon Sparkle B3 4:49 Written-By – Anthony Lockett, Larry Blackmon New York B4 4:57 Written-By – Aaron Mills, Anthony Lockett, Larry Blackmon Companies, etc. Mastered At – Sterling Sound Recorded At – H & L Sound Studio Mixed At – Bee Jay Recording Studio Phonographic Copyright (p) – Chocolate City Records, Inc. Copyright (c) – Chocolate City Records, Inc. Distributed By – Casablanca Record And Filmworks, Inc. Manufactured By – Casablanca Record And Filmworks, Inc. Published By – Better Nights Music Published By – Better Days Music Published By – Boca Music, Inc. Published By – Raton Songs, Inc. Published By – Charles K. Harris Music Co., Inc. Credits Arranged By [Horns] – The Tity Brothers Arranged By [Strings, Horns] – Sammy Lowe Arranged By [Vocals] – Cameo Art Direction, Design – Edward Beckett , Gribbitt! Bass Guitar, Percussion, Backing Vocals – Aaron Mills Congas – Angel Allende Coordinator [Album Coordination] – Jan Ruffle, Wendy -
Normanwhitfieldblog.Pdf
2 He was a brilliant composer and record producer, one of the best to come out of Motown. He was born on May12th 1940 in Harlem, New York, and passed away on September 16th 2008 in Los Angeles, at the age of 68. He founded Whitfield Records in Los Angeles after his departure from Motown Records. He was known as the father of the “Psychedelic Funk” sound. Longer songs, a heavy bass line, distorted guitars, multi-tracked drums and inventive vocal arrangements became the trademarks of Norman’s production output, mainly with The Temptations. According to Dave Laing (Journalist for the Guardian Newspaper; Thursday 18th September 2008) stated that Norman Whitfield’s first actual job at Motown Records was as a member of staff for which he got paid $15 a week to lend a critical ear to new recordings by Motown staff, a job he said "consisted of being totally honest about what records you were listening to". He graded the tracks for Gordy's monthly staff meeting, where decisions were made on which should be released. Soon dissatisfied with quality control, Whitfield fought to be allowed to create records himself. This involved competing with such established figures as Smokey Robinson, but he got his first 3 opportunities in 1964 with lesser Motown The Temptations’ songs, during the first ten groups, co-writing and producing “Needle years of the label’s operation. Such songs as in a Haystack” by the Velvelettes and “Too “Just My Imagination (Running Away with Many Fish in the Sea” by the Marvelettes. Me)”, “Ball Confusion”, “Papa Was a Rollin’ These records brought him the chance to Stone” and “I Can’t Get Next To You” all work with the Temptations, already one of achieved platinum certification in America for Motown's elite groups. -
Who's Who in A&R at Polydor
Who's Who In A&R At Polydor Interview with Rick Stevens Q-. Polydor's initial turnaround in the U.S. came with Disco and R&B cross-over success . what is the Company's overall talent direction for the future? A: A successful full-line record company must have both successful stars and developing artists in every viable music cate- gory . Rock, Disco, Jazz, R&B . the major sub-market segments. Our goal is therefore, to have hits in every category. Our initial success in this country came with Disco and R&B hits which we crossed to the Pop charts. The product mix during this quarter is much more heavily weighted towards the Rock & Roll side with Polydor currently breaking the ATLANTA RHYTHM SECTION, BRAM TCHAIKOVSKY and BLACKJACK. Q: PoJydor was relatively quiet in the U.S. market for a while and in the last year has turned around to become a major com- petitor in the U.S. market. What happened? A: It was a change of personnel at the top and a general maturity of the staff at every level. The real success of the U.S. opera- tion started when Freddy Haayen joined the company as president. Freddy is one of the great A&R minds and company leaders in the industry. In fact, we consider him like a star member of the A&R staff. As a former record producer, with considerable success, Freddy knew the reality of success. He knew the direction we had to go in terms of talent and he also knew that we needed the strongest marketing and promotion staff possible. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
2020'S BEST MUSIC MARKETING CAMPAIGNS
BROUGHT TO YOU COURTESY OF ™ AMP IN ASSOCIATION WITH sandbox DECEMBER 09 2020 | Music marketing for the digital era ISSUE 266 2020’s BEST MUSIC MARKETING CAMPAIGNS Songtrust has the world's largest and most accessible network of direct global publishing relationships. Our easy to use platform enables you, and our 300,000+ clients, to register and collect performance and mechanical royalties directly around the world, without giving up any rights or any other revenues. ACCESS WHAT YOU'RE DUE SPONSOR PAGE PANDORA STORIES With Pandora Stories, artists and creators can add their voices to playlists and mixtapes. It’s the newest addition to AMP, Pandora’s suite of free and powerful tools for creators. The ability to combine music and storytelling allows artists to give their music more context while forging an even deeper connection with their fans, new and old. Artists can: • Share the stories behind the making of their music – influences, recording process, etc. • Supplement a podcast with a companion playlist using their own voice tracks. • Create a virtual setlist, complete with between song banter. • Program and promote career retrospectives, or deep dives into single albums. • Share their current favorite music with their fans. • Offer custom exclusive Stories as a premium or special offering for supporters on crowdfunding platforms. SANDBOX CAMPAIGNS OF THE YEAR 2020 2020’s BEST MUSIC MARKETING CAMPAIGNS elcome to Sandbox’s shortlist we had a record number of entries, from labels of the best, most original, and of all sizes from around the world. W most impactful music marketing campaigns of 2020. It’s a celebration of We’re very grateful for everyone who submitted remarkably innovative and creative work across campaigns for consideration – and we hope that a vast array of genres, with many notable in these campaigns you find a wealth of brilliant achievements notched up along the way. -
Louis Johnson by E.E
Thumbs Of Lion EL DEC o Thunder SA BY CC STER The Hard-Hitting Legacy Of Louis Johnson By E.E. Bradman 22 bassplayer.com / september2015 Johnson with Leo Fender The Ernie Ball Music Man In an era saturated wIth StingRay: monstrously influential players, Louis Early Days Johnson streaked across the sky as few others did. With a wide array of techniques at his By JOnaTHan Herrera command, a signature tone, and unmatched intensity, Johnson managed to balance ridic- Few players are more ulously successful, concurrent careers as a associated with a bass than Louis Johnson and his Music Man StingRay. The kinship went beyond versatile studio musician at the top of his a visual aesthetic—the StingRay’s uniquely bright, slightly scooped tone was a driving force behind game and an in-your-face bass superstar. Johnson’s kinetic and pioneering slap style. We asked a handful of experts about the development of As a session wiz, Louis contributed classic the StingRay and Johnson’s involvement: Sterling Ball (CEO of Ernie Ball Music Man), Dudley Gimpel bass parts to albums by a long list of jazz, funk, (head of Ernie Ball Music Man R&D), and Music Man collector Dave Jeffrey. R&B, fusion, pop, and rock luminaries. As a certified bass hero, Louis—known around the What were Leo Fender’s and Tom White’s goals with the StingRay bass? world as “Thunder Thumbs”—was the catalyst Sterling Ball Leo was hard of hearing, so he liked a bright sound. Bright sounded normal to him. that inspired a million thumpers: Even in the Leo was happiest with the design of the pickup and bridge. -
February 1983
VOL. 7 NO. 2 Cover Photo by Rick Malkin FEATURES JEFF PORCARO After having been an in-demand studio drummer for sev- eral years, Jeff Porcaro recently cut back on his studio activities in order to devote more energy to his own band, Toto. Here, Jeff describes the realities of the studio scene and the motivation that led to Toto. by Robyn Flans 8 CLEM BURKE If a group is going to continue past the first couple of albums, it is imperative that each member grow and de- velop. In the case of Blondie, Clem Burke has lived up to the responsibility by exploring his music from a variety of directions, which he discusses in this recent conversation with MD. by Rick Mattingly 12 DRUMS AND EDUCATION Jazz Educators' Roundtable / Choosing a School — And Getting ln / Thoughts On College Auditions by Rick Mattingly and Donald Knaack 16 BILLY HIGGINS The Encyclopedia of Jazz calls Billy Higgins: "A subtle drummer of unflagging swing, as at home with [Ornette] Coleman as with Dexter Gordon." In this MD exclusive, Billy talks about his background, influences and philoso- phies. by Charles M. Bernstein 20 LARRY BLACKMON Soul Inspiration by Scott Fish 24 Photo by Gary Evans Leyton COLUMNS STRICTLY TECHNIQUE EDUCATION Open Roll Exercises PROFILES by Dr. Mike Stephens 76 UNDERSTANDING RHYTHM SHOP TALK Half-Note Triplets Paul Jamieson by Nick Forte 28 RUDIMENTAL SYMPOSIUM by Scott Fish . 36 A Prescription For Accentitus UP AND COMING CONCEPTS by Nancy Clayton 78 Anton Fig Visualizing For Successful Performance by Wayne McLeod 64 by Roy Burns 34 TEACHER'S FORUM Introducing The Drum Solo NEWS ROCK PERSPECTIVES by Harry Marvin 86 Same Old 16ths? UPDATE by John Xepoleas 48 by Robyn Flans 94 INDUSTRY 96 ROCK 'N' JAZZ CLINIC EQUIPMENT Developing Your Own Style by Mark Van Dyck 50 PRODUCT CLOSE-UP DEPARTMENTS Pearl Export 052-Pro Drumkit EDITOR'S OVERVIEW 2 ROCK CHARTS by Bob Saydlowski, Jr. -
Love and Other Catastrophes Music Credits
Original Music Oleh Witer Original Music mixed at Allan Eaton's - Robyn Grey Opening Title Music Composed and Conducted by Daryl McKenzie Additional Music The Bonners - Martin, Larry, Stefan, Anthony and David We would like to thank the following organisations for their support Music and Effects (Doron Kipen) "ANGEL" Performed by Albare Composed by Dadon and Norris Published by PolyGram Music Publishing Courtesy of Bare Productions/Festival Records "FEED THE RIVER" Performed by Tumbleweed Composed by Curley, Curley, Lewis, Hausmeister and O'Brien Published by PolyGram Music Publishing Courtesy of Polydor Records Australia Under licence from PolyGram Pty Limited "TV GENOCIDE" Performed by Tumbleweed Composed by Curley, Curley, Lewis, Hausmeister and O'Brien Published by PolyGram Music Publishing Courtesy of Polydor Records Australia Under licence from PolyGram Pty Limited "AIN'T NO USE" Performed by Bellydance Composed by Hughes, Ward, Janssen, Maclean, Page, Bell, Guiney and Silvera Published by PolyGram Music Publishing Courtesy of Bellydance/Roadshow "DEAR VALUED CUSTOMER" Performed by Snog Composed by Thrussell and Bourke Published by PolyGram Music Publishing Courtesy of The International Mind Control Corporation "BUBBLES (PIGS WILL FLY)" Performed by Bellydance Composed by Hughes Published by PolyGram Music Publishing Courtesy of Bellydance/Festival Records "RAINY DAZE" Performed by Jazzbrat Composed by Michiru and Brown Published by PolyGram Music Japan Inc Courtesy of Kitty Enterprises Inc "PUSHPIN" Performed by Godstar Composed -
“We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise
Critical Studies in Improvisation / Études critiques en improvisation, Vol 10, No 1 (2014) “We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise Niel Scobie Introduction Outside of academic circles, “noise” often has pejorative connotations in the context of music, but what if it was a preferred aesthetic with respect to music making? In addition, what if the preferred noise aesthetic was a direct result of group improvisation? Caleb Kelly claims that “Subjective noise is the most common understanding of what noise is. Put simply, it is the sound of the complaint from a stereotypical mother screaming to her teenage son to ‘turn that noise off. To the parent, the aggravating noise is the sound of the music, while it is his mother’s’ voice that is noise to the teenager enjoying his music” (72-73). In Music and Discourse, Jean-Jacques Nattiez goes further to state that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Nattiez quotes from René Chocholle’s Le Bruit to define “noise” as “any sound that we consider as having a disagreeable affective character”—making “the notion of noise [. .] first and foremost a subjective notion” (45). Noise in this context is, therefore, most often positioned as the result of instrumental or lyrical/vocal sounds that run contrary to an established set of musical -
Olivier Nusse Appointed Ceo of Universal Music France
OLIVIER NUSSE APPOINTED CEO OF UNIVERSAL MUSIC FRANCE SANTA MONICA, FEBRUARY 18, 2016 – Universal Music Group (UMG), the world’s leading music company, today announced that Olivier Nusse, Managing Director of Mercury Music Group and Universal Classic & Jazz France, has been appointed CEO of Universal Music France. He succeeds Pascal Nègre, who has led Universal Music France since 1998. Mr. Nusse, who has worked at Universal Music France for more than 20 years, has led the iconic Mercury brand in France, where it holds a leading position. Lucian Grainge, Chairman and Chief Executive Officer of Universal Music Group, said: “On behalf of everyone at UMG, I would like to thank Pascal for his many significant achievements and commitment to our company over many years of profound transformation in the music industry. We wish him the very best for the future.” “We are very pleased to have an executive of Mr. Nusse’s talents and stature take the lead for Universal Music France. Having worked with Olivier over many years, I am impressed by his capabilities and track record. He has demonstrated strong team leadership and an ability to drive results.” Universal Music France is a wholly-owned subsidiary of Universal Music Group. About Universal Music Group Universal Music Group is the global music leader, with wholly owned operations in 60 territories. Its businesses also include Universal Music Publishing Group, one of the industry’s premier music publishing operations worldwide. Universal Music Group’s labels include A&M Records, Angel, Astralwerks, -
The Omen Ost Rar
The omen ost rar click here to download The Omen Soundtrack (Deluxe Edition by Jerry Goldsmith, Lionel Newman). Saturday, July 23, 4 Comments. The Omen Soundtrack. Genre: Score. The Omen Soundtrack (40th Anniversary Edition by Jerry Goldsmith). Saturday, November 12, 8 Comments. The Omen Soundtrack. Genre: Score. The Omen. Descargar GRATIS. El disco The Omen fue subido el 28/09/ Puedes encontrar más información de la OST de The Omen en Google. Puedes . Find album reviews, stream songs, credits and award information for The Omen [ ] [Original Motion Picture Soundtrack] - Jerry Goldsmith on AllMusic - Jun 20, Damien Omen ll . [2] Soundtrack Collector www.doorway.ru /www.doorway.ru Black Hawk Down. Jun 6, The Omen soundtrack from , composed by Marco Beltrami. Released by Varese Sarabande in ( 2) containing music. The Omen soundtrack from , composed by Jerry Goldsmith. Released by Varese Sarabande in (VSD ) containing music from The Omen (). Jun, Varèse Sarabande Records to release a demonic white vinyl version of The Omen. Jun, Pascal Gaigne's 60th birthday celebration. Damien: Omen II (The Deluxe Edition) [Original Motion Picture Soundtrack] Jerry . a dozen Academy Awards, Goldsmith won only one, for 's The Omen. The Happy Ending (Original Motion Picture Score) (Soundtrack / Michel Legrand) , United Artists The Omen (Soundtrack / Jerry Goldsmith), Tattoo, Apr 21, 01, Omen. 02, The Night Unfurls. 03, Hunter's Dream. 04, The Hunter. 05, Cleric Beast. 06, Blood-Starved Beast. 07, Watchers. 08, Hail the. Apr 25, Main Theme Opening The Towers Rise The Beast Shiekah Tower The Old Man Appears Shrine Trial Start Shrine Feb 24, Wendy Carlos-A CLOCKWORK ORANGE OST () www.doorway.ru? tzeyjhkdhim. -
OBJ (Application/Pdf)
S.G.A. Election ...Vote Today Voi. 82 No. 6 Morehouse College Atlanta, Ga. •_________ April 1, 1981 entered Mr. Phillips’ room requesting that he be allowed to “Is Morehouse Security Adequate?” “roll his stash”. Before it was over, the man stole what By Wayne Cummings Special News Analysis amounted to approximately $350.00 worth ofmaterials from On Dec. 11, 1980 at ap Having received a second Mr. Phillips’ room. proximately 2:00 a.m. a man call, the Atl. Univ. Sec. officials Once the man left, Mr. was discovered sleeping in the on duty opted to respond to the Phillips placed a call to restroom on the second floor of situation out of a concern that Morehouse Security, which, he Hubert Hall. The man in the man in question might says, responded immediately. question was found by Eric prove dangerous. In conjunction Security was, however, unable Wagner, a second floor with the Atlanta Police Dept., to apprehend the criminal. resident. Feeling that this was a an arrest for trespassing was The following week, situation which warrented the later made and the man was another robbery took place on assistance of security, a call for escorted to jail. Morehouse the first floor of Mays Hall aid was placed. After an un Security arrived approximately According to Richard (Rick) successful attempt to make two hours and thirty minutes Foster, first floor R.A, the contact with someone from the after the initial call for aid had incident involved three Morehouse Security Force, a been made. The responding Morehouse students, one of call was then made to the officer informed those who were whom, Oniel Swanson, received Atlanta University Security involved that there was a a blow to the head during the Force.