All the musicians in the group have to be top notch, if one musician is off it throws the whole group. Also, a studio recording is not like an ordinary live performance. The sound is much clearer, and the recording will be played over and over again, so mistakes that might slide unnoticed in an ordinary live performance become much more evident. I have the good fortune to be working with some phenomenal musicians. Even the older ones have incredible stamina and in some cases I think they have even improved as musicians since their earlier recordings.
LC: What producers have influenced you the most, and how? Has this changed in the last couple of years? BDM: Well, by the time I launched fully into my own label the catastrophe had already hit so I fortunately have no good times to reminisce about. The appetite for music is greater than ever. How viable an idea do you think this is?
How would someone go about doing this? BDM: Music education is of the utmost importance — making music should not be only the realm of a few professionals, but something which ordinary people can and do take part in on a regular basis.
Finally, education and participation is essential to the survival of music. Why does America produce so many phenomenal basketball players or Brazil and Italy such high quality soccer players? Out of the thousands a few will end up as professionals and a handful as stars. In the meantime, they are raising a generation which will appreciate and support music and which will hopefully pass that on to their children as well.
LC: To what degree, if at all, do the big record labels compete with you? BDM: To some extent, I think the competition is good. Having so many players out there — big and small — helps create the economic system which makes it possible to produce music.
Where things are not so good in the music industry is the lack of openness. The internet is helping by creating a more direct channel to the public, but I expect this will remain a struggle for years to come.
LC: What artists would you most like to produce? BDM: A number of solo albums will come out of the Legends project. Comment by jeff rosenstock August 1, Reply. Pingback by Venezuela » Nomadic contours of an assimilated life: Venezuela Clarifying August 14, Reply. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account.
It has serious integrity and guts, both artists pasting their insecurities and faults, ones we can all agree with to some extent, vividly and unhurriedly in words and chord progressions throughout the record. I suggest paying attention to what is Side A and Side B. This is undoubtedly one of those vinyl-pleasure albums. Enough from me, sisters and brother. Alright this shit will blow your mind. This album is by a bunch of high school students from Houston, Texas in the 60's and 70's from Kashmere High School.
Houston used to have an incredibly strong soul and funk and country music scene back in the day. I think Ray Charles epitomized it by the statement he made while he was living here at the heights of fame "If you wanna start a good band, you move to Houston. A lot of Southern states, especially Texas and Louisiana have a history of really shitty academics, and incredibly good music programs, either to complement the football teams or just because Texas and Louisiana have always been filled to the brim with musicians.
Conrad Johnson, the band leader, attended an Otis Redding concert in and decided to change the whole sound of the band, realizing the new musical revolution occurring in the States especially in the South shouldn't leave Kashmere H. Kashmere is located in Kashmere Gardens, a historically black neighborhood in Houston, and has been the site of major musical groups from Houston, such as Archie Bell and the Drells. Enjoy this record! Labels: 70's funk , High school fucking kids playing bad ass fucking music.
Yes - Fragile. This album is one of my favorite rock and roll records. It's complex, well arranged, extremely well-produced, and extremely psychedelic, with lines like "In and around the lake, mountains come out of the sky, and they stand there. It's a classic concept album and it has that good prog-rock feel but it's a lot more down hard. Thank Roxy for suggesting this, this album is toooooooooooooo good. The first time I heard of Roscoe was through an anecdote told to me by a trembling old man in the music section of Half Priced Books in Houston.
Roscoe Holcomb, discovered by Library of Congress's Folkways Productions, picked up the banjo when the Depression came on. That's Depression with a capital "d.
Be ready for treble. Bill Monroe is one of my favorite Bluegrass musicians. I have a weird affinity for gospel music from anywhere in the world. It's interesting how many of the musical elements are extremely similar, most notably the G C D for example. Out of the plethora of folk gospel music from the United States, though, the reason why I am particularly attracted to Monroe, other than the fact that he is a sexy bastard , is probably because they just have such strong and tight vocal harmonies AND the man invented the term Bluegrass.
Bill Monroe himself came from a Baptist family and was the youngest child in a family full of musicians. His older brothers played the guitar and fiddle respectively, so Bill was resigned to the mandolin. They formed groups in Indiana where they were workers in oil fields and formed many groups, most notably the Monroe Boys while they were there. Man, there is a lot of King Tubby, and even though it's ALL good it's not the easiest thing to just sit down and throw on fifteen of his records and just listen straight through.
Well I have some good news, I have done just that too many times, and in general I've just been listening to his shit for so long that I have mad love for the man and his genius and craft. This record is definitely one of his best, working with guys from the famous Aggrovators to Tommy McCook.
Also it's definitely one of his more dance based and trippy records. First off, the man invented dub. He not only invented dub, he took his skills and know-how of electronics he picked up from his profession as a poor television and radio repairman to fabricate his own musical effects boxes to create the music he did. So here's the skinny. The man worked with bands to record tracks and he would go back over the master tracks and loop certain parts, mix certain parts up and and out and back together, turn up the bass and drop the treble completely here, etc.
But mostly he would UP the bass and UP the highs and completely drop the mids, add a liberal portion of reverb and some healthy flanger and you have a big room sound that's simultaneously gut rumbling and crisp and clean. Frederic Chopin was a great master composer and pianist born in Poland in and was undeniably a stalwart of the Romantic Period. These are his famous 21 Nocturnes, a beautiful collection of sometimes twinkling, sometimes barraging piano music played and interpreted by Tamas Vasary, a great Hungarian concert pianist.
Chopin's father was an extremely talented flautist and violinist while his mother taught piano to the children of the wealthy residents of the boarding house they managed. His family was by no means wealthy but they were exposed to the life of the elite and even royalty through his parents' minor musical celebrity, which was soon trumped by that of young Frederic who by the age of seven was already performing publicly.
It was because of this that young Frederic was recruited to assume the role of playmate and musical teacher to the Grand Duke Constatine's son. During his time, Chopin's nocturnes received a snowstorm of criticism.
While many saw this as the new burgeoning movement in classical music, others saw it as a irreverent departure from tradition. Even his style of Nocturne, which he adapted from his colleague, the Irish composer John Field, was inconsistent with the new phenomenon of the Nocturne. It has proven, however, to be a strong step forward, and otherwise is just a fine specimen of music. For track listing and sheet notation, reference here! In other words, New York was the pivotal sphere of Salsa music for many years in its combination of cultures.
So Africando, formed in , is right up that thread. Salsa has been a popular musical form in Central and Western Africa for decades, and the Senegalese style is notable for the beautiful traditional vocal harmonies that are incorporated in.
Dancing or moving to this group is irresistible and really why the fuck would you want to resist it anyway? Flaco Jimenez - Arriba el Norte! Flaco Jimenez is a true Texas legend and favorite, and his celebrity is a little understated. His sweeping diatonic button accordion lines and deep bellied vocal vibrato meld together in beautiful harmony as he sings his corridos and canciones.
You can probably also recognize him from the mural right next to the Continental Club in Houston, Texas. People say the Texas music scene doesn't exist but they are talking about such a narrow scope of music. What can I say about DJ Screw that already hasn't been said, other than the fact he's from my hometown.
All you Houstonians know what he did to our city, but the rest of you might not. In the 90's, especially later on in the decade when his work was gaining in popularity all over Screwston, you couldn't walk a block down the street without hearing the rumbling sound of Screw coming your way down the street.
He changed the whole sound of hip hop without ever signing on to major label, while also denying offers from labels all over the country. He was independently producing these DJ mixtapes from his house in Sunny Side, overworking himself to the point of being an agoraphobic codeine addict, and sadly the combination of these two things were most likely what killed him. I mean his discography is fucking tapes, front and back. Go to My Music to start listening.
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