#Bass Strings Canada

[ourshadowstallerthanoursoul]

An audience with... John Paul Jones

(from Uncut, April 2010 - link)

You’re stuck on a deserted island, you have one instrument you can bring. It is: a) piano, b) bass or c) mandolin? (Gary Attersley, Ontario, Canada)

Oh… that’s horrible! I’ll probably get Hugh Manson – the guy who builds all my bass guitars – to build me some monstrous instrument that encapsulated all three! Hugh and his brother Andy Manson once actually designed me a triple-necked guitar with 12-string guitar, six-string guitar and mandolin on it! Andy also designed a triple-necked mandolin. But I guess if it really came down to it on a desert island, it would have to be the piano, because you can do so much on it. You’re a whole band. The bass is not much fun on your own.

John, it’s so good to see you so engaged with today. Any advice for old farts who can’t move on? (Andrew Loog Oldham)

Who are you calling an old fart? I dunno, Andy, you tell me! Ha ha. He’s done a good job of staying up to date. Andrew, of course, gave me the name John Paul Jones. I was John Baldwin, until Andrew saw a poster for the French film version of John Paul Jones. I thought it ’d look great in CinemaScope, as I wanted to do music for films. I imagined it saying “Music By John Paul Jones”, over the whole screen. I never realised then that he was the Horatio Nelson of America!

I know that you’ve been getting heavily into bluegrass lately – who are some of your favourite bluegrass artists of all time? (Ryan Godek, Wilmington, Delaware)

Apart from Bill Monroe, you mean? Oh, there’s loads. I’m friends with the Del McCoury band, I love that style of classic bluegrass. I love Sam Bush’s Newgrass stuff. And of course there’s Nickel Creek, Chris Feely, Mike Marshall. I love it all, really. One thing I like about bluegrass is that you don’t require amplifiers, drums and trucks. You can pull an instrument out of a box and get on with some instant music making. I carry a mandolin around wherever I go. I also like the fact bluegrass musicians play more than one instrument. There’s a tradition of them swapping instruments. In bluegrass bands I swap between double bass, fiddle and banjo.

One Butthole Surfers anecdote, please? (Dave Grohl)

Ha! I was brought in to produce the Butthole Surfers’ 1993 album, Independent Worm Saloon. I guess it was to give it a heavy rock vibe, but it didn’t work like that. They were actually incredibly hard-working in the studio, but I do recall running up a phenomenal bar-bill at the San Rafael studio. And then there was Gibby [Haynes, Butthole Surfers’ frontman] and his… eccentric studio behaviour. Gibby did one vocal take shouting into his guitar. He held it out in front of his face and screamed at it. Ha! He was trying to find out if it picked up through the pick-ups, which it kind of did. And that was pretty good.

How’s the violin coming along? (Sean, Berkshire)

I started about three years ago. With the guitar, or the piano, you can sound OK quite quickly. With the violin, it takes much longer. Once you get past the first six months of scraping, of muttering to yourself, “What is this fucking horrible noise on my shoulder?” you get the odd musical bit, and you think, ‘Oh, this is starting to get good.’ And you continue with it for a while. I’m getting into country fiddle playing, Celtic folk songs, a bit of swing. Basic stuff, but very satisfying.

Why not record a second ‘Automatic For The People’ with REM? (Franz Greul, Austria)

They haven’t asked me! But doing the string arrangements for that album was a great experience, actually. They sent me the demos of their songs, and we went into a studio in Atlanta, with members of the Atlanta Symphony Orchestra. They were great songs, something you can really get your teeth into as an arranger. And I’ve been good friends with them ever since.

How did you first meet Josh Homme? And is he still a notorious party monster? (Rob Hirst, Kippax, Leeds)

Well, I think we’ve all calmed down rather a lot. Dave introduced me to Josh at his 40th birthday party. It was a ridiculous themed place where they have jousting with knights. As Dave said, it was like somewhere you’d have your 14th birthday party. Or maybe even your 4th. Anyway, Dave sat Josh and I together for a blind date. Which was reasonably embarrassing for both of us, surrounded by people going “prithee this” and challenging each other to duels. But we survived the trauma and went into the studio the next day, and just started jamming. And I knew immediately it was going to be something special.

If Them Crooked Vultures had Spice Girls-like nicknames what would they be? (Paul Jones, Liverpool)

Dave would be Smiley Vulture. He can’t stop grinning. Josh would be Slinky Vulture. He’s a slinky kinda guy. And I’d be Speedy, I guess. Or Jumpy. So there you go. Smiley, Slinky and Speedy. Or does that sound more like the dwarfs?

I remember you being a pretty funky bass genius back in the day! What memories do you have of those sessions? (Donovan)

The sessions with Don and Mickie Most were great, because we were given a free hand. I usually got leeway, because I was the sort of Motown/Stax specialist, so producers in the mid ’60s would get me in for cover versions of American records, and none of them could write bass parts convincingly enough, so I was London’s answer to James Jamerson, I guess! And I was certainly encouraged to get kinda… funky when I worked with Donovan.

How did it feel to see Jimmy Page and Robert Plant venture off in their own project in the ‘90s without mentioning a word of it to you? (Danny Luscombe, Hull)

Oh yeah, I was pissed off about it. The surprise was in not being told. It’s ancient history now, but it was a bit annoying to find out about it while reading the papers. It came just after Robert and I had been discussing the idea of doing an Unplugged project. Then I’m on tour in Germany with Diamanda Galás, I turn on the TV and see Robert and Jimmy doing it, with someone else playing all my parts! I was pissed off at the time. You would be, woudn’t you? But… it’s all in the past, isn’t it?

Did you listen to much work by Josh Homme or Dave Grohl before you were contacted in relation to joining Them Crooked Vultures, and if so, how did you honestly rate it? (Ralph Ryan, Lisronagh, County Tipperary)

I did like the Foo Fighters and Queens Of The Stone Age, before I’d met either of them. There’s a tendency for people – especially musicians from my generation – to say that there has been this terrible decline in musicianship, that today’s bands haven’t got the chops, blah blah blah. But that’s not true at all. There’s always some people for whom technique on an instrument isn’t necessary. They can get their ideas across without being able to have the chops. But Josh really does have the chops, he just doesn’t feel the need to flash them about all the time. In fact, there were a few riffs he gave me that I had to simplify, because they were bloody difficult to play. I really had to work at it, where he could just flick it off. He is an astonishing musician.

Were you serious when you told Peter Grant that you wanted to jack it in to become choirmaster at Winchester Cathedral? (Brian Fisher, Manchester)

Ha! That was a tongue-in-cheek joke, although I was serious about leaving Led Zeppelin in 1973 unless things changed. But Peter did sort things out pretty quickly. What kind of choirmaster would I have made? A bloody good one! Listen, any way that they’ll pay you for making music is just the best situation in the world. I’d do it for nothing. I don’t care what music it is. I just love it all. The rubbing of notes together. I love it all. I would be very passionate about whatever I decided to do.

What was the worst session you ever did as a jobbing session player? (Adam Burns, Castleford, West Yorkshire)

I generally have fun memories of that time. I’d criss-cross London playing two or three sessions a day, going between Trident and Olympic and Abbey Road and Philips in Marble Arch, you know. You’d be backing Shirley Bassey, Cat Stevens, Lulu, whoever was paying you. The worst experience was a Muzak session. With Muzak sessions, the music was deliberately boring. I distinctly remember one session where I embellished the bass part a little bit, just so that it wasn’t so boring for me to play. They said, “No, you can’t do that. Any interest in the music will distract people’s attention from when they’re meant to be eating.” Or standing in a fucking lift. For fuck’s sake! So I was like, “OK, thanks, bye!”

[randomvarious]

1990s Trip Hop Playlist

Been six months since I added anything to this fly-as-fuck playlist, and this week I've got a bunch of heady, spaced-out, and super stoned treats for you all. For this update, I ended up drawing from three separate releases: Ninja Cuts: Flexistentialism, a terrific comp from 1996 that was put out by premier UK trip hop, hip hop, downtempo, and future jazz label Ninja Tune; French native Kid Loco's brilliant DJ-Kicks mix from 1999 that was put out by Germany's !K7 label; and a varied South African comp that was put out by national indie label Fresh Records in 1998 called ReRooted: Beatz From da Ground Up.

So let's highlight some sweet goodies from all of these then. First up, "Junkies Bad Trip" by London Funk Allstars, a quintessential piece of head-nodding mid-90s boom bap dope that sounds like it's waiting for your favorite New York rapper's favorite New York rapper to spit some crazy fire over it. When it comes to instrumental trip hop and hip hop-type shit, there's really nothing in my mind that tops something like this tune right here; a big sonic bluntski with two pretty iconic samples in it: one from Baby Huey's "Hard Times," which gives the song its frenzied, metallic, whistling stabs, and has been used in a whole bunch of other rap tunes too; and a funky guitar riff from James Brown's "Blind Men Can See It," which was also famously used in Das EFX's 1992 classic, "They Want EFX" as well. Currently at around 252K plays on Spotify.

Next, something really cool from that ReRooted comp by a band from Cape Town called Naked, who only ever put out one album, 1998's Bone Needs Flesh. Here they offer up a tune called "Wash Your Hands (Stone Cold remix)," which employs this really unique blend of chopped-up vocals, heavy breathing, and sharp, acidic bass stabs, as a couple different effects are applied to frontwoman Kaolin Thompson's voice. This one seems pretty damn obscure, as it's currently sitting at under 1,000 plays on Spotify. It's terrific, though.

And for some pure fuckin' THC-induced nuttery, there's "Attitude Adjuster" by Essex, England's own Tom Tyler. Appearing on Kid Loco's DJ-Kicks mix, this 1999 leftfield stunner's marked by a very imposing, dissonantly wobbly, and bleating horn sound, with a dubbed-out drumbeat beneath it, and all of it anchored by a super chill and steady synth pad to mellow and balance the whole thing out. A simply bananas piece of music that was made to satiate your crusty-eyed inner insomniac at 3:46 in the morning. Currently at a little over 4,000 Spotify plays.

9 Lazy 9 - "Turn Me Loose" Jazz Con Bazz - "Wayz of Life" Luke Vibert - "Get Your Head Down" Up, Bustle & Out - "Ninja's Principality" London Funk Allstars - "Junkies Bad Trip" DJ Vadim - "Theme From Conquest of the Irrational (Remix by The Prunes)" Pelding - "One" Naked - "Wash Your Hands (Stone Cold remix)" Boards of Canada - "Happy Cycling" Tom Tyler - "Attitude Adjuster" Kid Loco - "Flyin' on 747"

Now, something else I should mention is that the YouTube version of this playlist includes all of these songs too, but a bunch of the versions that are specifically from Kid Loco's DJ-KIcks mix are as they appear on the mix itself, which is a little different from how they sound unmixed on Spotify, except for the set's sweet and serene closer, "Flyin' on 747."

But in addition to that, this YouTube update also comes with some songs from that DJ-Kicks mix that aren't on Spotify at all too, like something from a London collective called Common Ground, whose 1998 song, "Dark Soul," has some piano-and-string bits that might remind you a little of something like the theme song from Succession—a show that came 20 years after this very song dropped—but this tune, like so many others in this update, is also very fucking stoned; it has this Mike Oldfield Tubular Bells-like opening, some plonking xylo, and some slow and incremental, scale-climbing vocals to mark its 'chorus' too. An absolute, unheralded banger as far as I'm concerned, and currently only nearing 1,900 plays on YouTube across a couple different uploads.

Emperors New Clothes - "Dark Light (Underdog Mix)" Grantby - "Grimble" Tongue - "Culture Consumers" Common Ground - "Dark Soul" Stereotyp - "Slo Jo"

And this playlist is also on YouTube Music.

So with this update we're now at 46 songs that clock in at 4 hours and 5 minutes on Spotify, but over on YouTube, we've got 76 songs that clock in at 7 hours and 2 minutes! So if you want more dank 90s trip hop than you know what to do with, then do yourself a favor and pick the YouTube one.

And if 7 hours and change or 4 hours and change sounds like way too overwhelming of an amount of trip hop for you to handle, I've got a bunch of this broken down by year too:

1994 Trip Hop: YouTube / YouTube Music 1996 Trip Hop: Spotify / YouTube / YouTube Music 1997 Trip Hop: YouTube / YouTube Music 1998 Trip Hop: YouTube / YouTube Music 1999 Trip Hop: YouTube / YouTube Music

More trip hop next week, but from a certain locality 😎.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[rjwhite]

That's the Day I Throw my Drugs Away

The Morphine album Cure for Pain came out 30 years ago, on September 14, 1993. A few years back, I was on this music review mailing list, where each member had to take a turn writing about an album of great importance to them. This was mine.

Ever since I was a kid, cities always held a fascination for me. I was not well-traveled, growing up in the middle of Michigan. The idea of being in some cosmopolitan, dense, East Coast metropolis was amazing to me, yet it took until well into college to even head out there, for a college television conference in Providence in 1996. We made the drive from Michigan State University, cut across Canada in the dead of night to spend a day in Boston, then head down to Providence in rush hour traffic. Checked into the hotel and one of the people in our group asked who was playing in town. Morphine at Lupo’s Heartbreak Hotel. A friend said we absolutely had to go, as the band was amazing. I’d never heard of them, but went along because, hey, a concert in an actual, real city and everything, you know?

A loud club with cheap beer. Lots of people crowded in. The band came on. It was one of those weird things you always remember. These guys were on stage- not young, one of them playing a bass with only two strings? The one guy playing two saxes at once? The lead singer going into some beat poetry? What was this? I’d never seen or heard anything like it. My mind exploded. The band, the crowd, everything was in sync. Leaving the club, being downtown in an old, established city- the whole weekend of experiencing something I’d built up for so long … it just cemented that I needed to be in a place like that. I needed to live somewhere with history, vitality.

We got back to East Lansing and one of the first things I did that week was go to Flat, Black and Circular (still one of the best record shops I’ve ever been lucky enough to shop) and pick up Cure for Pain. It wasn’t even the album they were touring for (Like Swimming). I think Cure for Pain was the first one I saw in the rack? But it grabbed me and entranced me and hooked me for life. I listened and listened and listened. This incredible, smooth, wonderful mix of I don’t know what- jazz? Rock? Stories of cheating and sleaziness and sadness and loss and regret?

It’s just a wonderful thing to just discover a band you had no idea existed and instantly be taken with them. To feel that connection you never knew was there and somehow know you’ll be listening to them for a good, long while. It’s almost like falling in love with someone, you know?

I just always associate the album with that time and it’s all smashed together in my head, making that absolutely certain decision that, someway, somehow, I was going to live on the East Coast, in an honest-to-god city where I could go to places like Lupo’s and see bands like Morphine for the first time.

Now, I live in Philadelphia and never go to shows!

Though the odd, strange miracle of the internet, I’m able to hear a bootleg of that very night, knowing that 21-year-old RJ is in that crowd somewhere, just happy and dumbfounded by what he is hearing and utterly enjoying being in that moment.

I don’t know if I can hear myself in there, though. That might be too strange, like thinking of the dead people in the repeated laugh tracks of old sitcoms.

But, the record! Just a pleasure to listen to, front to back.

“Dawna” and “Buena” kicking it off… “I’m Free Now” as a sad, incredible post-breakup song where you feel like that terrible jerk who’s made a bad mistake (I'm free now to direct a movie/Sing a song or write a book about yours truly/How I'm so interesting I'm so great I'm really just a fuck-up/And It's such a waste to burn down these walls around me)... That delicate mandolin of “In Spite of Me”... The barrelling train of “Mary Won’t You Call My Name”... That jazzy, smoky rambling of “Let’s Take a Trip Together”... “Thursday” is almost a short film, with the wenching title track slamming you right after… all of it...

July 3 will mark the anniversary of Morphine frontman Mark Sandman’s death from a heart attack in the midst of a 1999 concert in Europe. If you could throw this (or anything from their wonderful catalog, really) on, I think that would be nice.

Anyway, that's why I love this 30-year-old record and this band. Listen to it wherever you can, it's a hell of a beautiful thing.

[just-your-average-tangerine]

Song of the day: June 24 2024

Killer Queen by Queen

About Queen:

Queen are a British rock band formed in London in 1970 by Freddie Mercury (lead vocals, piano), Brian May (guitar, vocals), and Roger Taylor (drums, vocals), later joined by John Deacon (bass). Their earliest works were influenced by progressive rock, hard rock, and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock.

About Killer Queen:

“Killer Queen” was the breakthrough song that turned Queen into worldwide rock stars. Peaking at #2 in the UK, the song became a hit in seven other European countries as well. “Killer Queen” was the first Queen single to successfully ‘cross the pond’, becoming a top 20 hit in the U.S. and Canada, as well as a top 30 hit in Australia.

In the New Musical Express of November 2, 1974, the song’s writer and Queen’s frontman Freddie Mercury elucidates on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

While it may seem like a typical popular song, the structure utilised in the song is quite unusual. There are 4 bar phrases immediately followed by 5 bar phrases and then 2 bar phrases, with tempo changing from 12/8 to 6/8 and vice versa.

The main key being Eb major is very unorthodox for Rock music, as guitars don’t usually play flats. Brian May, who pioneered a heavier hard rock sound, had been struck with hepatitis during the majority of the recording. Upon initially hearing the song, Brian was shocked over the more progressive, lighter sound. Nevertheless, the rest of the band left space for Brian to record his own iconic guitar melodies.

The song includes prominent uses of multi-tracking, not just on the vocals, but also in the guitar solo. Other effects used include the flanger (pitch bends), panning (sound moving from the left ear to the right), portamento/glissando (sliding from one note to another), distortion (giving a creamy feel), wah-wah on the guitar, string bending and sliding.

The band had decided not to use the ubiquitous synthesiser, as they thought it was superfluous. Instead, instrumentation utilised includes a jangle piano (detuned), drum kit, bass guitar, electric guitar and vocals.

[xdominiklivakovicx]

Got tagged by @crimsonicarus tysm for tagging me :]

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Name:

Ashley. You can call me that, but you can also call me Ash, Ashie or Trashley; I got this one from my friends from my former school, but you can also call me that. They thought it's funny so did I hehe.

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Sign:

Cancer ☀| Capricorn 🌙| Libra 🌅

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Time:

A bit later than 15:30 in my timezone

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Favorite Band / Artist:

Nirvana, Sex Pistols, The Ramones, The Scorpions, Black Sabbath, Weezer, Rammstein, Guns n' Roses, Green Day, Prljavo Kazaliste, Let 3, Termiti, Brkovi, The Kinks, The Beatles

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Last Movie:

The last movie I watched is Paddington. Okay I really love this movie and it's characters and I could literally relate to that little bear. When I was new in school I thought I was a complete stranger for some reason, and I still try to fit in just like he tried to fit in London, but we both did try and it was worth it

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Last show:

I have no idea which is the last show I watched, but it might be the Cuphead Show from Netflix which I watched few months ago? I really enjoyed that show because I am a big fan of 1930's cartoons, but this one was made in modern times, but it is still kinda accurate. I don't watch series that much tho-

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When did I create this blog:

Oof...I have no idea- at first it was my primarly art acc, but then during the World Cup I decided to be a Livi fanpage because I was kinda not sure if I really want to share anything about football, but I did it anyway and I am very proud hehehe

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Other blogs:

@nikitatheweasel2 my art acc!

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Do I get asks?

Of course! Sometimes art requests about 100 faces of Croatia NT, few asks, mostly appreciations from mutals and friends which I am very VERY grateful! Ily guys sm! <3

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Followers:

Lovely people that I very much appreciate! Every single one of you equally :>

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Average hours of sleep:

As an insomniac person I get 0 hours of sleep, but I do have to take sleeping pills so yeah my average hours might roll from 6 to 8. It depends if my dog manages to wake me up early in the morning, so yeah

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Instruments:

I'm currently playing bass guitar and I am actually doing pretty well. I am a self taught guitarist, so it is already easier for me to play it, buuuut for my fingers...oh well...they do become blue when I stop playing because of the strings

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What am I currently wearing:

I am still wearing my Livi T-shirt that I bought from Dinamo fanshop when I was in Zagreb (it's my new favorite shirt) and some black short leggins because it's HOT outside

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Dream Job:

Omg. Wildlife Rehabilitator. I love animals so much and I always wanted to help some poor creature that needs it. They sure will have to spend some time in captivity, but my favorite part will be releasing them to their wild lives once they get better. I can also take care of sick and orphaned animals, but I do have to be careful to not get infected with illness or if I have to take care of predatory birds, I have to make sure they don't hurt me

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Dream Trip:

You ask a person who has a lot of dream destinations, but okay I'll tell you some of my dream trips:

Perth - Australia

St Peteryburg - Russia

Dubai - UAE

Detroit, Michigan - USA

Vancouver - Canada

Zagreb - Croatia (Yes I want to visit this wonderful city again sometime)

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Andddd that's it! I'm tagging

@mcity-xe @calm-smol @ivapiva @crocvnts @steadydinosaurcherryblossom

[ino3zi]

You may know singer and dancer #NOÉ but today you will get to know him on a whole new level as he sits down in #Seventeen’s hot seat to answer #17Questions. Learn what makes Noe tick, his talents, hobbies and more in his interview with #Seventeen.

‘Hello, this is Noe and I’m here today with Seventeen to answer 17 questions. If you guys didn’t know already my newest mini album Broadcast Symphony is out and if you haven’t already, go check it out.’

What is one thing people will be surprised to learn about you?

‘I think it would have to be that I'm a nice person because I do get a lot of comments about how I never smile or always have my resting face on. I don't mean to look grumpy or upset it's just the way my face is when I don't show emotion.’

What is something you'll never regret?

‘I'll never regret becoming a singer. Because I'm making music for people to enjoy. Though there are hard times when I feel like giving up I remember that I have people who like my music and listen to it. It makes me happy every day to know that.

What was your favorite place to visit so far?

‘I haven’t been everywhere quite yet but I think my favorite place so far has to be Las Vegas. Because of how bright and beautiful it is at night. It’s not something I can see quite often especially since I live mostly in South Korea and when I do visit, America it's to go back to Canada to visit my family. So yeah Las Vegas is where it's at.’

I Never_____

‘Can not play my guitar. I can play both acoustic and bass guitar fluently. When I have nothing to do, I just play or just pluck strings. It doesn’t matter what time of night it could be. I’ll still play my guitar. It really inspires me to create something new like new music or just a new melody. It’s what keeps me going when I’m bored.’

As far as music goes, who would be your dream collab?

‘If I could collaborate with anybody, I think it would be Paak Anderson. For the past few months or so I have been listening to his music because it’s good. His music is something I have found myself listening to for the past few months. Listening to when I’m doing something like cooking, cleaning, or even walking my dog. It’s music that keeps me calm and relaxed. So I wouldn’t mind collaborating with him because he makes good music and music you can vibe to. 

What advice do you have for 17-year-old Beckett?

‘Beckett don't give up. I know life may seem hard now, but I promise it’s all worth it in the end. You’ll do big things and go many places in life that you want to go. But for now, keep up the good work and don’t let anyone get you down because you are you and you do what’s right for you not what others want of you. fighting’ 

What is your favorite fragrance note?

‘I know I may sound basic because of this but it has to be vanilla. Which is kind of weird since my mom while me and sister grew up always had the house smelling like lavender most of the time but I find comfort in the scent of vanilla rather than lavender, but on occasion, I will do a lavender fragrance if I have to. ‘ 

What is your favorite thing about performing?

‘I never could give a reason why but it would have to be the thrill of it. I have been doing this since I was 16 years old, but it never gets old. Being on a stage and seeing the faces of the people who enjoy your music is something that fills my heart with love and joy. It also gives me an adrenaline rush, just being on the stage itself because I get to dance, sing and just be me on that stage.’

What would be the turning point of your career?

‘Hands-down it would have to be that I got to redebut as a soloist. I spent three years being in a K-pop group with my members only for us to disband and for me to become a soloist. It’s insane really. I never thought I would get a chance to make my music and perform on the stage by myself, which at first was uncomfortable because I was so used to performing along with my group members. But it fills my heart to know that, I get to continue making music. 

What’s the best thing your parents have taught you?

‘I think it has to be to be the best person and do what you love. Doing what I love wouldn’t have got me to where I am today. Because I am doing what I love and have been doing what I love for almost 6 years now. And being the best person I can be without anyone looking because not everything you do is going to be seen by everyone so you just have to do it even if no one is watching. 

What’s your most used app?

‘My most used app would have to be Instagram because of the fact I like to post photos on there. But if you go to my Instagram account there isn't a lot of posts on there because I only started getting into posting a lot of photos. I only use the app to post photos of my travels and pictures of my dog bean so yeah. If I had to choose another app though, it would have to be Vlive because I do like to go live and talk to my fans who if you don’t know already is very goofy. 

I Always______

‘Tend to forget things quite easily. That’s why it’s nice to have a manager because he always reminds me when I have a schedule or a meeting coming up because I cannot remember anything for the life of me. That’s why my friends and family can never seem to trust me with remembering things. And I’m sorry because of that.’

Describe yourself in 3 words

‘Hardheaded. Because a lot of times I don’t tend to follow directions really well and so I’ve been told this more times than I can count. Quiet because of the fact that I don’t talk unless I feel like talking which is not a lot because I like the awkward tension. And last but not least would have to be charming mainly because people say I’m charismatic which I don’t really see most of the time. So yeah.

What music do you have repeat right now?

‘Slow Dancing In The Dark by Joji. I was introduced to the song by my sister, who is an avid listener of his songs. Overall, the song has been stuck in my head because it’s really good. It’s a song I never have any trouble listening to or just doing my hobbies too.

I Want______

‘I want to eat. I am quite hungry. I only had a doughnut this morning so what I want to do right now is to eat. Perhaps a burger or pizza. I don’t really know what I’m in the mood for because all I know is that I’m hungry. 

What was your most memorable onstage performance?

‘My most memorable onstage performance would have to be when I debuted with Luvaphobic and people were cheering us on from the crowd. That was the moment I knew I wanted to do this, and be someone who people could listen to for comfort or relaxation.

If you weren't a musician, what would you be doing?

‘If I weren’t a musician, I would be either playing sports in college or be working at my mom’s bakery because I do like to make sweets and things like that. But I am in college now trying to get a degree in music and let me just tell you it is quite hard but I’m doing it to make my parents proud.’

‘Thank you so much for coming along with me for this interview and seeing me answer these questions. And thank you Seventeen for inviting me. My new album Broadcast Symphony is out, if you haven’t already go, show it love it will be greatly appreciated. And don’t forget to like and subscribe to Seventeen for more like this video. That’s it, bye.’

[mirandamckenni1]

dodie: Tiny Desk Concert Robin Hilton | January 10, 2023 On many levels, this breathtaking Tiny Desk from dodie felt like the ultimate cathartic release. The English singer and her band arrived after more than a year and a half of planning and COVID-related delays; and, this was the final performance we had behind the desk in 2022, capping our long-awaited return to the building after more than two years of pandemic disruption. A lot of us who were lucky enough to see it in person were pretty teary-eyed by the end. But it was also a release because the music and the way dodie and her band pulled it off were both so magical. Bassist Jillian McKenna is a dodie fan from Canada who joined the band just for this performance after answering a callout on Instagram. The three backup singers are friends who flew in from Los Angeles; the string section was a mix of dodie’s touring band and DC-based artists and fans of Orla Gartland can see her move from piano to guitar and floor tom during the set. dodie herself, who played everything from piano and clarinet to ukulele, and the rest of the band flew in from England solely for the Tiny Desk, arriving on Saturday and flying back Monday not long after playing. Together, they filled the NPR Music office with songs that radiated with love and life, perfectly recreating the playful, kaleidoscopic spirit of dodie’s 2021 debut album Build a Problem and last year’s Hot Mess EP. Strikingly melodic, whimsical and wistful, dodie’s deep reflections on trauma, letting go and moving on were the perfect close to a year when it felt like we could finally exhale and come together again in song. SET LIST “Hot Mess” “Special Girl” “When” “Lonely Bones” MUSICIANS dodie: vocals, piano, clarinet, ukulele, guitar Orla Gartland: piano, guitar, floor tom, vocals Ross Craib: drums Jillian McKenna: bass, vocals Nick Monopoli: viola Katt Newlon: cello Elena Abad: violin Nataly Merezhuk: second violin Jules Brave: backing vocals Gaba: backing vocals Anthony Gargiula: backing vocals TINY DESK TEAM Producers: Robin Hilton, Bob Boilen Director: Maia Stern Audio Engineer: Josh Rogosin Series Producer: Bobby Carter Videographers: Maia Stern, Kara Frame, Pierre Kattar, Sofia Seidel Audio Assistant: Hannah Copeland Production Assistant: Jill Britton Tiny Desk Team: Suraya Mohamed, Marissa Lorusso, Hazel Cills, Ashley Pointer, Teresa Xie, Joshua Bryant VP, Visuals and Music: Keith Jenkins Senior VP, Programming: Anya Grundmann #dodie #tinydesk #nprmusic 0:00 Hot Mess 3:12 Special Girl 6:52 When 12:00 Lonely Bones via YouTube https://www.youtube.com/watch?v=CG3XDu8aAf8

[thisworldisablackhole]

Underneath From the Gut of Gaia

FFO: DEATH METAL, HARDCORE, BLACKENED GRIND / LISTEN

Underneath are a perplexing band. Starting out as a bedroom deathcore project with multi-instrumentalist and kid genius Joey Philips at the helm, they released a debut EP that could have easily fooled me into thinking they have been around the block for decades. Somehow, despite being super hyped on their EP and subsequent singles, their debut LP From the Gut of Gaia slid completely under my radar for almost three months. I wouldn't usually blame a band for my inability to be hip and in-the-know, but Underneath didn't exactly do themselves any publicity favours with this album either. It was released through an obscure independent tape label based in Canada, and then the band completely wiped their Instagram account only to come back about a month later with a post claiming that the band has undergone some changes, all prior music is "dead in the water" and to be regarded as demos, and that their first official release is yet to come. Strange, but okay.

If From the Gut of Gaia is a demo, then everybody else needs to step up their fucking game immediately. Not only does this album feature some masterful punchy songwriting and a thoughtful, engaging track flow, but it has some seriously pro sounding production to back it all up. Guitars and bass are loud and coated in a layer of filth, while the drums are nice and crisp to offer a sense of precision and clarity to the rhythm section that keeps the dirt from bleeding over the edge of the chalice. Joey's vocals sound straight up demented in their anger, and I really appreciate the tasteful variations in range and delivery on display here. Joey treats us to everything from low, to lower, to even lower, some highs for balance, and then those hilariously disgusting slam gutturals on the aptly titled "Disguster" are just icing on the cake. There are also these quick little back and forth pick scrapes all over this album that sound like the crack of a metallic whip (or a burst fire from a laser gun?) and I absolutely love them, even if they are abused in certain songs. There is a laborious attention to detail here that is honestly impressive for such a young band. They have implemented an easter egg hunt of ear candy so that you always hear something new when you smash the replay button.

Catchy isn't usually the first word that comes to mind when I think of blistering deathcore bands, but the way Underneath jumps from these grinding double kick tremolo assaults into insanely groovy mid tempo death metal riffage just activates the neurons in my dopamine deficient brain in a way that keeps me coming back over and over again to engage in the spiraling pursuit of madness. Nasty riffs and quick left hook transitions are a recipe for instantly memorable and addictive moments. The length of these tracks definitely lend themselves to the replay value of this album as well, with an average length of one to three minutes long. There is no fat on these tracks. They are concise, and nothing gets lost in excess, but that doesn't mean the band doesn't indulge in a little ambiance as a treat when they want to. Mid album interlude "-epoch-", for instance, features some somber reverberated plucking and distorted voice samples that transition nicely into the atmospheric black metal intro of "The Second Great Dying", but it doesn't last long before Underneath comes back to remind you that they are here to beat ass first and foremost.

The mammoth fifteen minute title track closer is the only song where the band fully gives in to the experimental blackened death fantasy and strings the listener along with a series of blast beats and slow atmospheric doom passages. The track is technically only 10 minutes long if you discount the spooky 5 minutes of tape decay and an acapella performance of the Christian hymn "Amazing Grace" that sounds like it was damaged by nuclear waste. This part of the track honestly gives me Fallout Radio vibes and I never feel like skipping it. It's quite a fitting way to go out, as a lot of the lyrics on this album center around the theme of religion and the man made destruction of earth.

Again, if this was just a demo, then this band has a very bright future ahead of them. I have absolutely no doubt that they will continue to top themselves as they evolve and grow into their newly fleshed out lineup. I just hope that future Underneath fans will give From the Gut of Gaia the credit it deserves, as I am inclined to believe this album is more than just a shot in the dark, nor is it dead in the water.

[thatbatman]

•𝐈𝐧𝐭𝐫𝐨•

A/n I thought it would be a good idea to introduce my self before I start writing

★About Me★

Hi I’m Kai(not my real name) I’m Sri Lankan American and I live in Canada

Fav things

Artist-Melanie Martinez,alt!,Marina and the diamonds,liana Flores, good kid,lil darkie

Songs-highschool sweethearts, genocide,mother tongue,we all fall,bloodline

Food-ramen ,noodles ,rice , red-bull ,gum,cherries

Clolors-sage green,pastel purple,burgundy red

Characters-choso(jjk),hobie brown,moxxie (helluva boss),

My hero’s-Motaz,besain,palistinia,and all of the amazing people in palistine

Hobbies-making clothes/cosplays,reading,music(I play the string bass and I’m learning the electronic bass soon),history, writing,poetry

Btw im a libra,bi,a minor,an ENTP,and i struggles with insomnia,bulimia,depression,anxiety,ADHD,dyslexia,and igsn (I’m gonna strangle nyetenyaHoe)

DNI if you are :homophobic ,Islamophobic,anti semetic,zionest🤮,raistis,

Fandoms i will do

ATSV

JJK

BSD

Helluva boss

Marvel

DC

Percy Jackson

(These are just some fell free to request anything and I’ll see if I can)

𝐓𝐡𝐢𝐧𝐠𝐬 𝐢 𝐰𝐢𝐥𝐥 𝐝𝐨

Fluff

Eds(not promoting only recovery)

Sh(agian not promoting only comfort and recovery)

Mental health issues/Neurodivergent reader

Platonic friendships

Romantic relationships (to a certain level )

Lgbt

Yander

Ect like I said ask me and I’ll see if I can

𝐒𝐭𝐮𝐟𝐟 𝐰𝐨𝐧𝐭 𝐝𝐨

Smut(I’m still to young)

[1solone]

On this date in 1974, THE JOKER by THE STEVE MILLER BAND hit No. 1 on the US Billboard Chart (Jan 12, 1974)

The song topped the US Billboard Hot 100 in early 1974 and reached the top 20 in Australia, Canada, and the Netherlands.

More than 16 years later, in September 1990, "The Joker" reached number one on the UK Singles Chart for two weeks after being used in "Great Deal", a Hugh Johnson-directed television advertisement for Levi's, thus holding the record for the longest gap between transatlantic chart-toppers.

The line in this song, "I speak of the pompatus of love," has baffled listeners for some time.

The word "Pompatus" does exist in the Oxford English Dictionary, and it means "to act with pomp and splendor."

Miller most likely heard the word on a song called "The Letter," which was recorded by the Los Angeles doo-wop group The Medallions in 1954.

It was written by their lead singer Vernon Green, who was 16 at the time and crippled with polio. The song contains these lyrics:

Let me whisper sweet words of dismortality

and discuss the pompatus of love

Put it together and what do you have?

Matrimony

Miller drew associations to some of his other songs in the lyrics to this one. The line, "Some people call me The Space Cowboy" is a reference to Miller's 1969 song "Space Cowboy." The line, "Some call me a gangster of love" is a reference to his song "Gangster of Love."

The line, "Some people call me Maurice" is a reference to Miller's 1972 song "Enter Maurice." In that song Miller also sings about "The pompatus of love."

Miller got the line at the end, "I really love your peaches want to shake your tree, lovey dovey, lovey dovey..." from "Lovey Dovey," a 1953 song by the R&B group The Clovers. That song's co-writer was Ahmet Ertegun, who later became head of Atlantic Records. Ertegun sued Miller for plagiarism. Miller recalled to Mojo magazine in 2012: "To me, it was an old blues double entendre, but I had to give him credit. I don't mind having Ahmet's name beside mine though."

Miller won a lawsuit against rap group The Geto Boys when they used this without his permission in 1990. In 2000, he let Shaggy use the bass line from this on his hit, "Angel." A year later, Miller let Run-D.M.C. sample "Take The Money And Run."

Steve Miller told the story of the song in an interview with Mojo November 2012: "I got this funny, lazy, sexy little tune," he recalled, "but it didn't come together until a party in Novato, north of San Francisco. I sat on the hood of a car under the stars with an acoustic guitar making up lyrics and 'I'm a joker, I'm a smoker, 'I'm a midnight toker' came out. My chorus! The 'some people call me the space cowboy' and 'the gangster of love' referred to earlier songs of mine and so did 'Maurice' and 'the propitious of love.' You don't have to use words. It was just a goof.

I produced myself. Nobody pushing us around. That 12-string acoustic I played, it was made by Epiphone's last master guitar-maker. I forget his name, sorry.

The basic rhythm track, when we cut it I was very precise with the bassist, Gerald Johnson about the line he should play. Then there's the slide guitar sound, which I put through a Leslie speaker and a wah-wah pedal, among other things."

Miller's subtle approach to the wah-wah pedal earned him the #16 spot on Guitar World's 2015 list of greatest wah solos of all time.

[existentialmagazine]

Review: Charles Edward debuts with his first acoustically wrapped single ‘SOLO’, capturing heartbreak and wanderlust in hazy tones

Making his mark on the music scene with his debut release ‘SOLO’, Charles Edward looks to explore a humble exploration of love, the allure of wanderlust, and the pursuit of personal purpose all in one. Hailing out of Montreal, Canada, this twenty year old musician may still be new to the music world, but his astonishing first release would have you believing otherwise.

Gently fading into your eardrums, ‘SOLO’ right away seeks to ground you in a reality that’s often overwhelming, embracing you within a short burst of chirping birds for an immediate sense of tranquility that nature so effortlessly beholds. Accompanied only by the most tender acoustic guitar strums amidst the raw squeaks from shifting between chords, ‘SOLO’ immediately knows the power that can be wielded in intimacy, creating an auditory experience that’s both aching and comfortingly warm all at once. Interlacing the most haunting of backing vocal ‘ooh’s between Charle’s soft, floating vocal lines, the journey of ebbing and flowing sound is one that unwinds with such careful consideration, as though ‘SOLO’ is leading you down a garden path between the blooming flowers, running stream and wild creatures that have made themselves at home behind the foliage. Progressing with subdued bass twangs that add a layer of melancholic depth to the sound, ‘SOLO’ is a slow burner in the best of ways, captivating you in every minuscule shift in sound. Pushing forward with harmonised chorus vocals before simmering out into an easy-going beat that leads into the second verse, ‘SOLO’ continues to not try too hard to keep your attention, instead keeping it effortlessly within its sound that whirs with such a profound depth. Intermittent electric guitar strings ring out into the open soundscape later in the track, a dreamy addition to the haze of sound and mind that ‘SOLO’ portrays. Every second of this incredibly personal and resonant scene is one you’ll carry with you for life, bearing four minutes of serenity and thought-provoking ambience all in one.

Entwined within its glowing layers of sound is a narrative carrying just as much emotion, delving deep into the complexities of love and self-discovery in a way that brings you back down to the core of human vulnerability. Opening with the line ‘She’s a solo traveller, flying across the globe. Lives out of a backpack that holds everything she owns’ , Charles sets the tone of narrative to be that of an outsider looking in on the life of someone that perhaps once was more than a distant stranger. Keeping the rawness of her character clear, lyrics like ‘a set of necklaces she’d never throw away’ embody the sense of attachment and sentimentality she carries regardless of how little possessions she owns, always keeping with her what matters most. Yet despite these clear indicators of her character, other painfully sung lines like ‘there’s no attachments on the run, and strength don’t exist if it’s only having fun’ almost seem to conflict, as though her identity has become as fluid as her ongoing journeys. Establishing his own heartbreak, Charles adds ‘a different heartbreak with a brand new face, we’re all just pit stops that happen along the way’ , a nod towards the impression she left upon him in a fleeting period of time, in a sense perhaps feeling a little used. It’s almost as though ‘SOLO’ captures the true complexities of being human, attempting to find yourself in solitude while leaping between strangers for a sense of comfort while the familiarities of home are lacking. There’s always two-sides to everything, and Charles so stirringly captures his own breaking heart while still appreciating the evident struggles he’s watching this ex lover go through from afar.

Check out ‘SOLO’ here to to truly appreciate the power of Charles' soft sound and soulful narrative.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

[merriammusicinc]

Casio SA-76 | Mini Keyboard Review & Demo | 44-Keys 100 Sounds 10 Integrated Songs

There's no question that Amazon happens to be the primary place many people shop for goods, and that now includes keyboards. Huge amounts of keyboards are sold through Amazon every year.

We decided to go onto Amazon ourselves to see which digital pianos happen to be most popular and determine whether they're actually good buys, and whether or not they're worth all of the 5-Star reviews.

In today's article, we're going to look at one of Amazon's best sellers with the Casio SA-76 44-key portable keyboard.

Let's start with some background.

Casio SA-76 | General Background Battery Powered Option

The first thing that you should know is that this instrument does not come with a power adapter. It supports a power adaptor, but that's an optional extra that you'll have to add on if you want one. As long as you've got the right pin polarity and the right adapter size, pretty much any universal AC adapter will do the trick, so you don't necessarily need to add the Casio branded one.

You can also operate the Casio SA-76 with 6 AA batteries as the power supply, and that's probably the way most family's buying this for young kids will use it.

Super Affordable

The next thing worth noting about the Casio SA76 keyboard is how inexpensive it is. To be able to get something with any kind of piano function for under $100 is a big deal, and up here in Canada, it runs for around $70 CAD and $60 USD in the United States.

Accurate Tuning

It's easy to take for granted when you're playing on a $200, $300, or $400 musical electronic instrument that it happens to be in tune, but so many baby and toddler musical toys aren't even close to being in tune.

Some people might ask if that even matters, but if you're trying to give a young child a musical toy to start laying some musical foundation, it should absolutely play in tune.

Casio SA-76 - Key Specs Casio SA-76 - Key Specs 44 Note Keyboard with Mini Keys

The keyboard has 44 total notes, meaning it's half the number of keys you'd find on a normal piano or keyboard. The keys are also thinner and shorter, hence the name mini keys, as smaller size keys make it easier for small fingers to play. The keys are not touch-sensitive, but that's not going to matter for a young child beginner.

LCD Display

There's a helpful LCD display screen for navigating the different music options, and the interface, in general, is going to be very easy even for a young kid to use.

100 Sounds + 8 Note Polyphony

You have the option of 100 different tones to choose from, with 8 notes of polyphony. 8-note polyphony is not much but fine for the intended use of this beginner keyboard.

Built-In Songs & Rhythms

There are 10 built-in songs and 50 drum patterns, as well as a couple of different playing modes, and even a metronome.

Speakers

There are 2 small speakers and amps on each side, with a total of 2.4 watts of amplifier power.

Casio SA-76 - 3 Piano Modes Casio SA-76 - 3 Piano Modes Tone Mode

As mentioned, there are 100 sounds to choose from on this keyboard. Some of the sounds are quite convincing, while others definitely are not, but it's expected that an instrument this inexpensive would not have the most consistent sound quality.

Out of the 100 sounds, there's a mix of pianos, electric pianos, organ sounds, synthesizers, reeds, harmonica, brass, strings, guitar, bass, mallet instruments, and various others. All of this is available to you in Tone Mode.

Pattern Mode

The second mode on the keyboard is called Pattern Mode. Which is where you start getting into the rhythms. There are 50 drum patterns to choose from and have fun with and 5 drum pads.

Song Bank Mode

Then, there's a third mode called Song Bank Mode. There are 10 built-in songs that you can play back, and this is what is going to get toddlers up and dancing around the house. The songs are fun, high-energy, and perfect for getting a little one excited about music.

Who Is This Instrument For? Casio SA-76 - Young Beginners Best to Avoid If...

Who is this instrument for? Well, we can start by saying who it's not for. The Casio SA76 doesn't have any MIDI connectivity so anyone looking for a super inexpensive and compact MIDI controller or portable & arranger keyboard for production, this won't cut it.

While it is made for toddlers, it's also not the most durable, so the average 18-month-old wouldn't have a problem quickly breaking the keys, and that unfortunately won't be covered under warranty. You'll want to make sure your child is at an age where there a little more gentle with toys.

Young Beginners

So, we're left at this being aimed at young learners to see if there's some musical interest there, at the most basic of levels. This would be a really great gift for a young child, instead of a bit of a cop-out of a gift card, and having them interact with it even for a few minutes a day would probably be a good gauge of whether or not there's some early musical interest.

It's hard to pinpoint an exact appropriate age, but we'd probably it's going to be great for kids around 2 and a half years of age, up to about the age of 7. It's not quite technical enough to keep an older child interested since there's no Bluetooth or other connectors to get it working with a phone.

Perfect Musical Exposure Toy

For the price, this is a really good way to expose a child to some basic musical ideas that can serve as a great building block for furthering musical education.

The biggest downside is that there's no MIDI output which would have actually opened this up to a lot more power. There's no sustain pedal, but this isn't a big deal given the fact that the action isn't touch-sensitive.

Other than that, for what you're getting for the money, this is probably one of the best musical exposure toys on the market. And sure, you could jump for one of the Casiotone 61-key portable keyboard workstations or something from Yamaha that's a bit more substantial, but that's not really necessary.

Closing Remarks

Thanks for reading! We hope you've enjoyed this look at a popular seller on Amazon the Casio SA-76 Mini Keyboard. If you're a parent out there and you are looking for exactly what we're just described, hopefully, you found this helpful.

We'd recommend checking out the accompanying video for a more in-depth review and checking out the rest of our YouTube channel for more musical instrument reviews. Don't forget to visit our website for more article reviews.

The post Casio SA-76 | Mini Keyboard Review & Demo | 44-Keys 100 Sounds 10 Integrated Songs first appeared on Merriam Pianos

2359 Bristol Cir #200, Oakville, ON L6H 6P8

merriammusic.com

(905) 829–2020

[princetontv]

Cafe Improv - January 2023 Pt. 2 from CNJN on Vimeo.

Performances by The Sunken City, Sean Seymour and Sawmill Run Old Time String Band   The Sunken City - Indie Pop - Indie Folk-ish The Sunken City is an indie pop folk-tinged trio based out of Red Bank, NJ. Their difficult to define sound incorporates an interplay of lush acoustic guitar layered with dreamy, melodic electric guitar leads, and candid, ethereal female vocals. The Sunken City released their self-titled debut EP in 2022, and have been featured on Jeff Raspe's "Fresh Tracks" on Brookdale Public Radio 90.5 The Night. Here/see more at: instagram.com/thesunkencitymusic facebook.com/thesunkencitymusic youtube.com/channel/UCVi_ZrVjNTUOL03CpxXko8w/featured

Sean Seymour - Singer - Songwriter - Musician Sean Seymour has toured the U.S., Canada, and the U.K. as a bassist, guitarist, and backup singer. He records and performs with musicians from The Patti Smith Group, Cyndi Lauper, Ian Hunter, Bruce Springsteen, and Paul McCartney and Wings. Now performing his original songs, you can find him online: seanseymourmusic.com. Joining him this evening is longtime musical collaborator John McGovern, singer and guitarist with The Crash Combo.

Sawmill Run Old Time String Band - Old Time Music For generations, folks in the mountains have played Old Time music. Handed down from player to player, this is America's original folk music. It acknowledges the hard times, celebrates the good ones, and sets people dancing and toes tapping through the day. Banjo, fiddle, upright bass, dulcimer, guitar, mandolin and vocals - this is America's living tradition of acoustic string band music. Dance tunes, ballads, reels - we dare you to keep your feet still!

[joomma]

Dog Face Christmas Awesome All Over Print Ugly Christmas Sweater

Dog Face Christmas Awesome All Over Print Ugly Christmas Sweater

Setting up the tree, it always fell over once or twice. Taking the decorations out of the Dog Face Christmas Awesome All Over Print Ugly Christmas Sweater to trim the tree was always fun and Tracy would always be lifted up to put the star or Angel at the top of the tree. Dad would pretend she was flying up like an Angel as he lifted her. When we were decorating the tree in our teens, Tracy would tease dad and say, “Ok dad, lift me up.” Mom always liked it when we would hang the decorations we made in school. One of us kids were always a designated Santa who would hand the gifts out to the others just like on the show. Thank God we had no Aunt Clara to give us bunny suits to wear. We had no uncles or aunts at all. Mom and dad were only children. A Christmas Story has been a staple movie for my family to watch every year. It’s warm and homey and just like the Christmases we had. I even wanted a Red Ryder rifle when I was nine.

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5 They should know how to play at least one musical instrument and try to relate well with how musicians in all the basic music groups of Spider Man Iron Man For Beer Hawaii Shirt bands work through their material, so they work well with musicians and can easily “talk shop”, of discuss what they’re doing easily, in all the details. Include: drums/percussion, bass, lead guitar, rhythm guitar, standard keyboards, strings or electric keyboard accompaniment/fill sound options. It doesn’t require mastering an instrument, but being able to talk about the keys used, count bars well, time signatures involved, and often talk about when instruments “come in” or blend or how to adjust how things could be tried out.

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[nwdsc]

(▶︎ Imposter Syndrome | Barbra Licaから)

Imposter Syndrome by Barbra Lica

n a world where almost everyone appears to have their public image and hashtags in order, “Imposter Syndrome” explores instead an identity still in flux. Equal parts playful and sombre, these songs flip unapologetically between genres, tempos, and production styles in search of what it means to be a flawed human with big dreams, bigger feelings, and a verifiably awkward social presence… With this newest EP, JUNO-nominated singer-songwriter-producer Barbra Lica presents her most brutally honest music to date, combining elements of Folk, RnB, Indie Pop, Jazz, and Existential Synth (not a real genre). Recorded almost entirely in home studios and cobbled together instrument by instrument, “Imposter Syndrome” represents a two-year production collaboration with some of Toronto’s most accomplished artists including James Bryan (Prozzäk, Philosopher Kings), Nicolas Tateishi (Sam Drysdale, Joanna Majoko), Christine Bougie (Bahamas, Lydia Persaud), Drew Jurecka (Dua Lipa, Jully Black), and Joel Visentin ("This American Life"). With her light-hearted dance number dedicated to girl nerdom (“Girls Like Me”), her reverie to utter defeat ("The Ghost of Me"), her gentle musings on empathy (“Take Care of You”), and her Randy Newman-esque ode to aging women (“Sour Women”), Barbra takes listeners on a rollercoaster ride of emotions and soundscapes.クレジット2022年10月7日リリース Written by: Track 1: Barbra Lica Track 2: Barbra Lica & Danielle Knibbe Track 3: Barbra Lica & James Bryan Track 4: Barbra Lica, Danielle Knibbe & Alexandra May Track 5: Barbra Lica & Tom Fleming Track 6: Barbra Lica & James Bryan Track 7: Barbra Lica Produced by: Track 1 & 4: Barbra Lica & Joel Visentin Track 2: Barbra Lica & Nicolas Tateishi Track 3 & 6: Barbra Lica & James Bryan Track 5: Barbra Lica & Christine Bougie Track 7: Barbra Lica & Drew Jurecka Strings Arranging: Track 7: Drew Jurecka Editing: Tracks 1 & 4: Joel Visentin Track 2: Nicolas Tateishi Tracks 3 & 6: James Bryan Track 5: Christine Bougie Track 7:Drew Jurecka Vocals: Barbra Lica Support Vocals for Track 1: Contributed by: Genevieve Marentette, Sammy Jackson, Lori Cullen, Andrea Ramolo, Whitney Ross-Barris, Carole Binsky, Faith Amour, Laurent Bourque, Avery Raquel, Denielle Bassels, Chynna Lewis, Joanna Majoko, Stacey MacIntyre, Gina Pennesi, Leah Canali, Julie Mahendran, Sara Lynn Swaigen, Julia Swaigen, Grace Hightower, Evie Hightower Synth Programming: Tracks 1 & 4: Joel Visentin Track 2: Nicolas Tateishi Tracks 3 & 6: James Bryan Track 7: Drew Jurecka Keyboards: Track 1 & 4: Joel Visentin Piano: Track 5: Joel Visentin Track 7: Barbra Lica Organ: Track 3: Joel Visentin Guitars: Tracks 1 & 5: Christine Bougie Track 2: Nicolas Tateishi Tracks 3 & 6: James Bryan Track 4: Rich Grossman Electric Bass: Track 4: Alex St.Kitts Track 5: Mark Godfrey Track 6: James Bryan Acoustic Bass: Track 7: Justin Gray Drums: Track 1: Sarah Thawer Track 5: Joshua VanTassel Track 6: Marito Marques Trumpet: Track 4: Tom Moffett Violins,Violas: Track 7: Drew Jurecka Mixed by: Justin Gray @ Synthesis Sound Productions Mastered by: Justin Gray @ Immersive Mastering Photography by: Jen Squires Makeup and Hair by: Sydney Desnoyers Haircut and colour by: Jamie Potts CD Graphics and Design by: Matilda Armstrong 8-Bit Disc Art by: Matthew Barnett This project is funded in part by FACTOR, the Government of Canada and Canada’s private radio broadcasters. Ce projet est financé en partie par FACTOR, le gouvernement du Canada et les radiodiffuseurs privés du Canada.

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Songsheet generator ukulele

#SONGSHEET GENERATOR UKULELE FULL#

Even though the guitar and the uke are related it’s a very different thing to have those two other strings and all the bass available. Not sure if I got there but I think I did alright.ĭo you approach playing blues ukulele differently to playing blues guitar? I wanted to show that with nothing more than a ukulele, my voice and a foot to stomp that I could deliver a solid honest blues performance such as one would expect from a slide delta blues player. I think there is a great deal of popular ukulele that is just strumming and even many “blues” players that simply play the basic chords with the occasional riff thrown in for good measure. I wanted to show the uke off as a qualified blues instrument. You went with a very stripped down sound for Huckster. People seemed compelled to communicate about their life when the uke is played. There is hardly a show where I play the uke where I don’t hear about the first time people heard a uke or how their uncle Alex used to play.

#SONGSHEET GENERATOR UKULELE FULL#

The last thing that clinched my decision to switch to uke full time was that for all the years and concerts I’ve given as a guitarist, people usually didn’t tell me stories of their life when I played guitar. This gave my vocals a lot more room in the song without colliding with the notes of the accompaniment as they did when I played guitar also I noticed that people seemed amazed at the sounds I was producing with the ukulele. Right away I noticed that sonically it occupied this space that was in pitch above my voice. I literally had to buy old sheet music and learn to read music to hear the way this instrument should sound. The were no radio stations playing ukulele music (there still aren’t here in Canada). There wasn’t any YouTube or online lesson sites. When I started to learn there were no resources anywhere nearby to use. I loved my grandfather very much and I would do anything for him. He gave it to me on the sole condition that I learn to play it. I asked him about it when we were moving him from his house into a seniors care home. He was a piano player and I’d never seen him play the uke. My grandfather had a 1955 Martin Soprano Ukulele in his house. How did you first get into playing the uke? And why did it become your main instrument? (And before you ask, yes, I will be putting up tab). Rather than a huge gong and a substantial cash prize, this award only carries with it the chance to be pestered with some of my question. It was a close run contest, but in the end Manitoba Hal won Ukulele Video of the Year 2010 with his funky blues of Poulet Shack from his latest album Huckster ( you can buy it on BandCamp, you can also get a ukulele songbook for it on his website).