#harmonica amplifier

[randomitemdrop]

Item: Harmonica Amplifier; doubles the range of Bard spells played on the harmonica

[todays-just-a-daydream]

Later that week, after working on some other songs, Noel returned to his 'Champagne Supernova' guitar overdubs.

"There are two e-bows that run throughout the song, giving it a sort of violin effect, and he did all of those parts pretty quick,” says Morris. "Then he also did all of his picking parts pretty quick. This went on for about two hours. Noel would just sit in the studio next to his amps and play. He wouldn't come into the control room to listen to what he'd done until everything was finished. So his guitar overdubs were all done fairly quickly.

"After that, there was a session when Liam felt inspired to do all of the Beatle-y 'aaahs' that would go over the guitar solo, to which I also added some Beatle-y Mellotron parts. Then, during another session, he had a go at singing 'Champagne Supernova'. We did half a dozen takes, but what happened was that the high note of the song — at the end of the line 'The world's still spinning around, we don't know why' — was kind of burning his voice out. So he was getting croakier on each take, and by the time he got to the end he was sounding very Rod Stewart-y.

"I did a comp of the vocal and, bizarrely enough, Noel and Liam both liked it. But I didn't. So at the very end of the six-week session at Rockfield, when just Liam and I were in the studio, I got him to re-sing it and we did it piece by piece. We did the first verse half a dozen times and we did the ending half a dozen times. Then, once he'd completed all of the soft bits, Liam did the first chorus half a dozen times, followed by the same number of takes for the second verse and the other choruses, until he tackled the high part last.”

The only major element still missing from 'Champagne Supernova' was the lead guitar that Noel Gallagher wanted his mate Paul Weller to play. Accordingly, after Oasis appeared at the Glastonbury Festival in late-June and the mix of (What's The Story) Morning Glory? commenced on a Neve console in the mix room at South London's Orinoco Studios, Weller showed up one day with his roadie, a white Gibson SG and an old Vox AC30 amplifier.

"He didn't have any pedals with him,” Morris recalled. "He had the volume on '3'. It was a really nice Vox and a really nice SG, and so I just put a 57 on it and recorded it as was. Paul probably did four solos, and then he and Noel let me pick what I wanted. He also contributed a little whistle to 'Champagne Supernova' — a few bars after the big guitar solo finishes — and 'Ooh' backing vocals at the end, as well as some harmonica and guitar to 'The Swamp Song'. All in all, it was another very quick session. He and Noel probably turned up at three in the afternoon and left at seven that evening.”

—Owen Morris on recording Champagne Supernova in Sound On Sound (November 2012)

[bornlucki]

JAY 'THE STALKER' KANE [ Verse - Supernatural / Sinners]

— 𝐏𝐑𝐎𝐅𝐈𝐋𝐄 𝐅𝐔𝐋𝐋 𝐍𝐀𝐌𝐄 & 𝐍𝐈𝐂𝐊𝐍𝐀𝐌𝐄(𝐒): Jay Kane | The Stalker 𝐇𝐎𝐌𝐄𝐓𝐎𝐖𝐍: Montgomery, Alabama (Born into the oppressive heat of Jim Crow) 𝐒𝐎𝐂𝐈𝐀𝐋 𝐂𝐋𝐀𝐒𝐒: Former Sharecropper (Bound by blood and land), now an undead wanderer 𝐄𝐃𝐔𝐂𝐀𝐓𝐈𝐎𝐍 𝐋𝐄𝐕𝐄𝐋: Minimal formal education (Learned survival from the fields) 𝐃𝐀𝐓𝐈𝐍𝐆 𝐒𝐓𝐀𝐓𝐔𝐒: Complicated (Driven by both thirst and lingering humanity) 𝐑𝐎𝐌𝐀𝐍𝐓𝐈𝐂 & 𝐒𝐄𝐗𝐔𝐀𝐋 𝐎𝐑𝐈𝐄𝐍𝐓𝐀𝐓𝐈𝐎𝐍: Heterosexual 𝐏𝐑𝐄𝐕𝐈𝐎𝐔𝐒 𝐑𝐄𝐋𝐀𝐓𝐈𝐎𝐍𝐒𝐇𝐈𝐏𝐒: A childhood sweetheart he left behind after his transformation.

— 𝐌𝐈𝐒𝐂 𝐈𝐍𝐅𝐎𝐑𝐌𝐀𝐓𝐈𝐎𝐍… 𝐏𝐎𝐒𝐈𝐓𝐈𝐕𝐄 𝐓𝐑𝐀𝐈𝐓𝐒: Resourceful, Determined, Protector (When it suits him) 𝐍𝐄𝐆𝐀𝐓𝐈𝐕𝐄 𝐓𝐑𝐀𝐈𝐓𝐒: Brooding, Manipulative, Ruthless 𝐓𝐎𝐏 𝐏𝐑𝐈𝐎𝐑𝐈𝐓𝐈𝐄𝐒: Seeking vengeance, navigating his new immortal existence, protecting those unjustly persecuted (when it serves his purpose) 𝐇𝐎𝐁𝐁𝐈𝐄𝐒: Night rides through backroads, Listening to blues in hidden juke joints, Writing letters he never sends. 𝐒𝐎𝐔𝐑𝐂𝐄(𝐒) 𝐎𝐅 𝐈𝐍𝐂𝐎𝐌𝐄: Intimidation, Blackmail, the occasional "loan" he never repays.

— 𝑪𝑯𝑨𝑅𝑨𝑪𝑇𝐄𝐑 𝑩𝑳𝑈𝑹𝑩 Jay Kane was a man who knew the taste of blood long before he became a vampire. Born into the harsh, backbreaking world of sharecropping in the Jim Crow South, he toiled from dawn to dusk, bound to a system designed to keep him and his family impoverished. When landowners took what little his family earned and white mobs terrorized his community, Jay learned that survival often required more than sheer will—it demanded a willingness to fight back. One sweltering summer night, that fight came to a head when a lynch mob came for him over a perceived slight. Beaten, dragged, and left for dead, Jay was found by an enigmatic figure who offered him a choice: die as a man or live as something more. Fueled by vengeance and desperation, Jay chose life—or what remained of it. Transformed into a vampire, Jay was no longer tethered to the laws of man, but he was forever shackled by the thirst for blood and the curse of immortality. His new existence amplified the anger that had always simmered beneath the surface. With strength that could topple any oppressor and a shadowy presence that struck fear into even the most hardened men, Jay became an urban legend whispered in fear. Known as "The Stalker," Jay prowls the night, exacting justice on those who exploit and oppress, though his sense of morality grows more twisted with each passing decade. He walks a fine line between hero and monster, haunted by the remnants of his humanity yet reveling in the power his transformation has given him. Jay's brooding nature hides a sharp mind and an intense loyalty to those he deems worthy. Despite his immortality, he clings to fragments of his past—a weathered harmonica, a tattered photograph, and memories of his first love that linger like a fading melody. The Jim Crow South is his hunting ground, where moonlit cotton fields, crumbling plantations, and smoky juke joints provide both sanctuary and battlefield. In a world where the living and the undead coexist in uneasy silence, Jay Kane is both predator and protector, a force of nature that neither time nor terror can tame.

[grimfutureau]

any of Amelia and/or Maia hc!! i would love to hear some :3

OF COURSE. Putting a break thing here bc there’s a lot lmao

Amelia:

- joins a band called Euthanasia, she plays the drums

- ⁠has a snake familiar named Calypso

- ⁠tattoos come to life similar to medusa’s

- ⁠in addition to healing magic, she also has deterioration magic

- ⁠can control Maia’s madness wavelength, which means she can amplify or suppress it

- ⁠has a madness resistance wavelength, which means she’s non-susceptible to madness

- ⁠in addition to the drums, she can also play the cello

- ⁠GENDERFLUID BABY

- ⁠a gothic, more chilled-out version of Liz

- ⁠does not believe in ghosts

- ⁠cannot cook to save her life

- Avril Lavigne is her celebrity crush and she mainly crushes on older women because they’re Unattainable. If she crushes on someone her age, she panics

- ⁠only one in the fam with a decent moral compass

- ⁠does not get along with Black Star

- ⁠was a fairly sheltered kid, pretty shy

- middle name is Elizabeth

- voice claim: AJ Michalka (Catra)

Maia:

- Voice claim(s): Michaela Jill Murphy (Toph) and/or Kimiko Glenn (Lena)

- Probably adhd

- Ambidextrous. Partly bc she can and partly bc kid insisted it would be useful for fighting

- Middle name is Alexandra and she hates it

- Birthday is march 25th :)

- Has a major “no one understands me” emo phase that starts around age 13 (in all seriousness, the trauma from the terrible things era catches up to her and she has a massive breakdown about it once she finally process it all)

- Struggles with depression as a teenager, and eventually her parental figures get her to go to therapy/counseling

- May or may not be obvious in the fic but she has VERY high pain tolerance

- Picked up a lot of big fancy words from being around Kid so much, so she can deliver very eloquent insults

- Transformed into a scythe for the first time at age 6 and accidentally cut herself on the cheek. She has a small scar there to this day

- Trained by Crona to master her black blood

- Soul taught her the piano but she also plays a mean harmonica

- she grew up watching Soul play the piano but struggles to improvise melodies like he can, since she has a hard time understanding her emotions. She tries though, but mostly only when she’s alone because she feels self-conscious and weird about it

- Only remembers the feeling of Maka’s soul

- Homeschooled until the beginning of Terrible Things

- spent most of her childhood in the death room or at home so funny enough she grew up very similar to kid

- 0 social skills, max extroversion, -3 charm

- Smacks everyone in an attempt to carry on the maka chop

- Soul teaches Maia how to dance

- Kid (tries) to do her hair and sometimes succeeds but most of the time gives up and Soul has to take over. Tsubaki probably helps out later, but black star cannot be trusted with it

- Black Star teaches Maia Spanish (especially curse words so she can get away with it without soul knowing) (Kid understands everything but doesnt snitch)

- Picked up curses from Kid cause he has no filter no matter how much soul tells him off for it

- Got really attached to kid around 5 or 6 years old, which made him avoid her, which made her sad, but he got over it and they got really close

- Was a very grabby baby

- Very Judgmental and Very Expressive so its easy to tell what she’s thinking

- a frequent guest in the death room since birth cause soul and maka didnt want her to be one of Those kids who cried at the sight of the Grim Reaper. also to distract kid from his work. Forced babysitter fr

- Kid gifted her Beelzebub so shes a Skatergirl

- Gets very jealous (insecure) when Amelia actually starts making friends her age, and becomes scared Amelia will abandon her

- Tries her best to be a good example for azrael but she’s still a chaotic clumsy mess /aff

- Maia gets really close to making herself a death scythe but she gets extremely burnt out around 15 and I think she makes a big mistake that forces her to start completely over. She has a really hard time after that and doesnt become a death scythe until she’s 20, which is about 5-7 years after she makes Amelia a death scythe

- Black star’s favorite out of maia and Amelia, although hes pretty hard on her

MAIA & AMELIA:

- Wes brought Amelia to soul partly because he heard maia was pretty good in school and thought she could help her out. (He did not care she was 11 years old)

- there have been a couple of times where Amelia has had to wield Maia, and every time Maia struggles because she’s really stubborn about being the meister. It works though lol

- Maia thinks Amelia is super cool. She looks up to her a lot but they also argue a lot

- Maia calls Amelia Blondie

- After meeting Maia Amelia quickly learns a lot about being Responsible lol

- They both grow up to become death scythes :)

- Give off sibling energy so people are a bit surprised when they say they’re cousins

- Maia curses worse than Amelia does

- maia hates all Amelia’s girlfriends on principle and thinks all her romantic interests are ��GROOOOSSSSS”

- amelia makes fun of Maia’s height and Maia makes fun of Amelia’s hair

- amelia remembers more about Maka than maia does

- Amelia takes better care of Maia’s health than her own. She makes sure she takes care of herself but is super hypocritical about it lol

[theeverlastingshade]

Home Is Where recently returned with a new single called "migration patterns", and it's the first offering from their highly anticipated 3rd LP, Hunting Season. Everything that's made HIW such a distinctive 5th wave emo touchstone throughout their brief, but beloved discography (disarmingly melodic harmonica and singing saw passages, anarchist ideas cloaked in surrealist imagery, urgency and ambition that never come at the expense of honest expression, etc) is in amply supply here, but the music never begins to sound like a retread so much as a potent refinement of their strengths.

On "migration patterns" it's the distinctive flourishes, like the way the first few beats of the kick/snare rhythm ignite the first riff, which then ignites the harmonica, which then ends up taking the lead role, the giddy "Wooooo" that frontwoman Bea MacDonald yelps right before kicking off the 2nd verse, and the harmonica solo that fucking rips, that all elevate "migration patterns" beyond what might otherwise simply be yet another great HIW song. And in true HIW fashion, they cap off what would otherwise be a straightforward, sincere song grappling with mortality with lines that unfold with a smirk "I'd never want/To live forever/I'd still have/To go to work". In other words, the singular charms of HIW have only continued to amplify.

[lboogie1906]

Marion Walter Jacobs (May 1, 1930 – February 15, 1968), known as Little Walter, was a blues musician, singer, and songwriter, whose revolutionary approach to the harmonica and impact on succeeding generations has earned him comparisons to such seminal artists as Django Reinhardt, Charlie Parker, and Jimi Hendrix. His virtuosity and musical innovations fundamentally altered many listeners’ expectations of what was possible on blues harmonica. He was inducted into The Rock and Roll Hall of Fame, the first artist and to date, the only one to be inducted specifically as a harmonica player.

He found work as a guitarist but garnered more attention for his already highly developed harmonica playing. According to Chicago bluesman Floyd Jones, his first recording was an unreleased demo recorded soon after he arrived in Chicago, on which he played guitar backing Jones. He, reportedly frustrated with having his harmonica drowned out by electric guitars, adopted a simple but previously little-used method: He cupped a small microphone in his hands along with his harmonica and plugged the microphone into a public address system or guitar amplifier. He could compete with any guitarist’s volume. Unlike other contemporary blues harp players, such as Sonny Boy Williamson I and Snooky Pryor, who like many other harmonica players had also begun using the newly available amplifier technology around the same time solely for added volume, he purposely pushed his amplifiers beyond their intended technical limitations, using the amplification to explore and develop radical new timbres and sonic effects previously unheard from a harmonica or any other instrument. #africanhistory365 #africanexcellence

[vinylspinning]

Motörhead: Inferno (2004)

I plan on covering no less than three Motörhead releases in 2024, so even though Inferno's 20th anniversary won't come due until June, I'm gonna get this party started early with what many consider a rebound record for Lemmy and his merry men.

Remember, in the near-decade leading up to this, the hallowed group's 17th studio LP, Motörhead had sometimes phoned it in on rushed, inconsistent, workmanlike efforts like Snake Bite Love (1998), We are Motörhead (2000), and Hammered (2002).

So, while Inferno would never be mistaken for an Overkill, Ace of Spades, or even Orgasmatron, more effort and care were clearly put into its preparation, making this the first Motörhead album that really got my blood pumping since '96's Overnight Sensation.

To wit, check out my Ultimate Classic Rock ranking of their discography and you'll find Inferno sitting at an initially unimpressive 15th out of 22 slots, but note it's third highest amongst new Millennium releases.

And you have to give some of the credit to first time producer Cameron Webb, who navigated a sometimes tense, longer-than-usual recording process, but duly squeezed stronger performances from Lemmy, Phil Campbell, and Mikkey Dee.

By his own admission, Webb (whose resume up to that point included engineering gigs for bands like 311, Lit, and Limp Bizkit) set out to present Motörhead at their heaviest via devastating onslaughts like "Terminal Show," "In the Name of Tragedy," and "Fight."

But Webb also abided by Lemmy's "we're a rock band, not metal" mandate on structurally classic juggernauts (you know, Chuck Berry on amphetamines) such as "Killers, "Life's a Bitch," and, best of the whole bunch, "Smiling Like a Killer."

Finally, the band and their producer even explored some fresh ideas, for example Campbell's harmonious, anthemic solo break on "Keys to the Kingdom," and a genuine acoustic blues number, "Whorehouse Blues," complete with Lemmy on harmonica!

Will wonders never cease?

And Webb even came up with a clever workaround for Lemmy's legendary dislike of low-end in his bass tone, by surreptitiously recording a muted "safety" track that he could selectively, discreetly amplify during mixing without upsetting the big man.

In conclusion, all of these factors paid off and no doubt contributed to Inferno's enthusiastic acceptance from fans AND critics, for a change; why, even Rolling Stone liked it, and they don't like anything, or nothing good, anyway!

And Motörhead, of course, are very good!

More Motörhead: Motörhead, Overkill, Bomber, "Bomber," Ace of Spades, St. Valentine’s Day Massacre EP, No Sleep ‘til Hammersmith, Iron Fist, Another Perfect Day, Killed by Death EP, No Remorse, Orgasmatron, Rock ‘n’ Roll, 1916, Bastards, Sacrifice, Snake Bite Love, We Are Motörhead, Hammered, Motörizer, Aftershock, Bad Magic.

[sciencestyled]

When Physics and Music Hook Up: The Wild World of Harmonics and Resonance

Ladies and gentlemen, brace yourselves for the ultimate collision of nerd-dom and rock stardom! Grab your earbuds and lab goggles because we’re diving into the steamy love affair between physics and music. Buckle up, because this is going to be wilder than a cat meme marathon and juicier than the latest Kardashian drama.

Imagine this: You’re chilling at a concert, the bass drops, and suddenly the entire crowd is vibing harder than TikTokers to a trending dance challenge. That, my dear Watson, is physics doing the cha-cha with music, and we’re here to spill the tea on harmonics and resonance.

First, let's talk about harmonics. Not to be confused with harmonicas (because let’s be real, who even uses those anymore?), harmonics are the secret sauce that gives music its rich, layered sound. Picture a harmonic series as a musical family reunion. You’ve got the fundamental frequency—the cool cousin everyone loves—and then you have the overtones, those weird uncles and aunts that add flavor to the mix. They’re like the secret ingredients in your grandma’s cookies, making each note sound more complex and delicious.

Now, if you've ever plucked a guitar string or seen a violinist go wild, you’ve witnessed harmonics in action. Those strings vibrate in patterns that create multiple frequencies at once. It’s like if Ariana Grande could sing every note of her range at the same time—pure magic. In physics terms, this means the string is wiggling at various parts, creating nodes and antinodes. Antinodes, by the way, are not the villain in a sci-fi flick but the points where the vibration is most intense.

Speaking of vibrations, let’s sashay over to resonance. Resonance is like that one friend who always knows how to make a party lit. When an object (say, a guitar string) vibrates at just the right frequency, it makes everything around it start to groove along. Remember the iconic scene in “Jurassic Park” where the water glass shakes before the T-Rex shows up? That’s resonance making a dramatic entrance.

In the world of music, resonance can make or break an instrument’s sound. Take a look at a piano. When you strike a key, the strings inside resonate at their natural frequencies, amplifying the sound. It’s like when your voice echoes in a bathroom, only less awkward and more melodious. Wind instruments, like trumpets and flutes, work on the same principle. Blow into them, and the air column inside starts vibing like a Snapchat streak on fire.

Now, let’s talk math. But don’t worry, we’re not diving into calculus here. Think of sound waves like waves at a beach party. Each wave has its own wavelength and frequency, kind of like how each party guest has their own dance moves. When waves interfere, they can either amplify each other (constructive interference) or cancel each other out (destructive interference). It’s the difference between a killer dance-off and two people awkwardly bumping into each other.

Enter Fourier analysis, the Beyoncé of mathematical tools in music and physics. Fourier takes complex sound waves and breaks them down into their constituent sine waves. Imagine Fourier as a DJ, remixing a track into its basic beats and melodies. This is crucial for everything from tuning musical instruments to creating those earworm pop hits that get stuck in your head.

Fast forward to today’s music production. Physics isn’t just hanging out in the background; it’s right there in the spotlight. Modern synthesizers and digital audio workstations use principles of physics to create and manipulate sounds. Ever wondered how your favorite EDM drop sounds so electrifying? Thank the physics behind sound wave manipulation and synthesis.

But it’s not all about making sick beats. Artists have taken the fusion of music and physics to a whole new level. Think of installations where sound waves are visualized through sand patterns or water vibrations. It’s like when your high school science project meets an art exhibit, and suddenly everyone’s minds are blown.

So, why should we care about this unholy alliance of physics and music? Because, my dear readers, it’s the key to unlocking a new dimension of creativity in education. Imagine a classroom where physics isn’t just about dry equations, but about understanding the rhythms of the universe through music. It’s like School of Rock, but with more brain cells involved.

In conclusion, the next time you’re headbanging at a concert or just tapping your foot to a catchy beat, remember you’re witnessing the beautiful dance (oops, banned word alert) of physics and music. This fusion isn’t just about sound waves and equations; it’s a reminder that art and science are not rivals but partners in crime, making the world a more fascinating place. Physics education with art isn’t just a buzzword; it’s the future of learning, where every student gets to rock out while unlocking the secrets of the universe.

And that, my friends, is how you turn harmonics and resonance from textbook snooze-fests into the ultimate rockstars of physics. Now, go forth and spread the word: science can be as lit as your favorite playlist. Keep it real, stay curious, and never stop jamming!

[essential-music]

In the vibrant landscape of 1980s rock-pop, Julian Lennon's "Too Late for Goodbyes" emerges as a gem, a song that weaves technical brilliance with raw emotional power.

From the first note, it commands attention with a melody that dances between wistful verses and an anthemic chorus, its hook—"It’s much too late for goodbyes"—lodging itself in the listener’s heart. The song’s composition is a masterclass in balance, blending accessible pop sensibilities with a harmonic depth that nods to classic rock’s golden era. Its chord progressions, tinged with a bittersweet edge, carry the weight of regret and longing, perfectly mirroring lyrics that speak of irreparable loss with disarming simplicity. Lines like "Ever since you’ve been leaving me, I’ve been wanting to cry" cut deep, their directness amplifying their universal resonance.

The production elevates this emotional core to soaring heights. Polished yet warm, the track boasts a crystalline mix where every element shines. A standout bassline, weaving melodic runs with rhythmic precision, injects a layer of sophistication, while the harmonica’s soulful wail adds a distinctive texture, evoking both melancholy and hope. The drums drive the song forward with crisp, understated grooves, and subtle vocal harmonies in the chorus create a lush, enveloping sound. This is studio craftsmanship at its finest—clean, dynamic, and timeless, avoiding the era’s tendency toward synth-heavy excess. Each instrument is meticulously placed, ensuring the vocals remain the focal point without drowning in the arrangement’s richness.

At the heart of the song is Julian Lennon’s vocal performance, a tour de force of clarity and emotion. His voice, expressive and nuanced, navigates the verses with a tender vulnerability, then rises with conviction in the chorus’s higher notes. The authenticity in his delivery—every inflection imbued with the ache of the lyrics—draws listeners into the song’s narrative of loss. Harmonies, layered with precision, amplify the chorus’s anthemic quality, creating moments that feel both intimate and expansive. It’s a performance that commands the song’s emotional landscape, turning personal pain into a universal anthem.

Stylistically, "Too Late for Goodbyes" is a vibrant fusion of power pop and classic rock, its upbeat tempo and melodic hooks tailor-made for radio yet deepened by sophisticated arrangement choices. While echoes of its influences are unmistakable, the song carves its own path through unique elements like the harmonica and bassline, ensuring it stands apart from its contemporaries. Its versatility—equally suited for a quiet headphone listen or a cinematic soundtrack—speaks to its broad appeal and enduring quality.

Ultimately, "Too Late for Goodbyes" is a triumph of emotional storytelling and musical craft. It captures the ache of closure with a sincerity that resonates across generations, its polished execution ensuring every note lands with impact. This is not merely a song but a journey—one that invites listeners to feel, reflect, and lose themselves in its timeless beauty. In its delicate balance of accessibility and artistry, it stands as a testament to the power of music to transcend its moment and speak to the human soul.

Year: 1984

Composer/Lyricist: Julian Lennon

Producer: Phil Ramone

[musicarenagh]

FREE/MAN’s ‘Watchtower’: An Acoustic Anthem of Healing and Hope" London-based singer-songwriter Charlie Freeman, known artistically as FREE/MAN, invites listeners into a reflective and deeply personal experience with his latest release, “Watchtower.” A highlight from his debut album Truth—soon to be reissued—this track bridges the artist’s past and future as he prepares for his upcoming 2025 album, Gift in the Shadows. At its heart, “Watchtower” is a meditation on self-awareness, spirituality, and resilience. Freeman’s soulful voice serves as the emotional anchor, carrying a quiet intensity that draws the listener in. There’s a raw honesty in his delivery, as he navigates themes of truth, connection, and overcoming adversity. The instrumentation perfectly complements Freeman’s emotive vocals. Stripped-back acoustic guitars provide a timeless foundation, while the poignant harmonica lines add an aching beauty to the arrangement. Together, these elements create a soundscape that feels intimate yet expansive, accessible yet profound. Lyrically, Freeman delves deep into universal struggles, transforming pain into strength. His words resonate with an authenticity born of lived experience, particularly his journey of using music as a means of coping during his father’s illness. This sense of catharsis is palpable throughout “Watchtower,” making it not just a song, but a shared emotional journey. [caption id="attachment_58347" align="alignnone" width="2000"] His words resonate with an authenticity born of lived experience, particularly his journey of using music as a means of coping during his father’s illness.[/caption] The production maintains a delicate balance between clarity and texture. The track avoids over-engineering, instead embracing a warm, organic quality that echoes the roots of Americana and folk rock. The harmonies, acoustic guitar solo, and subtle percussion interweave seamlessly, creating a dynamic yet cohesive sound. “Watchtower” also teases Freeman’s broader vision as an artist. His dual approach—melding meditative introspection with anthemic energy—is on full display, offering a glimpse into the connective and transformative experiences he aims to cultivate in his live performances. Beyond the music, Freeman’s influence extends into his work as a community leader and studio owner, where he fosters new talent through initiatives like the Freedom Music Prize. This dedication to nurturing others is woven into the DNA of his music, amplifying its impact and reach. In “Watchtower,” FREE/MAN captures the profound dualities of life: suffering and solace, vulnerability and strength, introspection and connection. It’s a track that transcends genres, speaking to the human experience with a depth and sincerity that lingers long after the music fades. As Freeman gears up for his global tour and the release of Gift in the Shadows, “Watchtower” stands as a powerful testament to his artistry—a must-listen for anyone seeking music that speaks to the soul. Listen to Watchtower below https://open.spotify.com/track/724eZXkeVBMNunAEF4BPZG?si=NVDsNjK0SWeYAI2kLrIzzQ Follow Free / man on Instagram Spotify

[kalyanimusicals]

Buy Musical Instruments and Accessories Online – Kalyani Musical Centre

Are you passionate about music and searching for the perfect place to shop for all your musical needs? Look no further! Kalyani Musical Centre, a trusted and well-known name in Tamil Nadu, offers a comprehensive collection of musical instruments and musical accessories online.

Why Choose Kalyani Musical Centre?

For years, Kalyani Musical Centre has been the go-to destination for both budding musicians and professionals. Here's why:

Extensive Range: From traditional Indian instruments like the veena and tabla to modern guitars, keyboards, and drums, we have it all.

Premium Quality: Our products are sourced from renowned brands, ensuring durability and top-notch performance.

Exclusive Discounts: Shop musical accessories online and enjoy exciting offers on a variety of items.

Hassle-Free Online Shopping

With Kalyani Musical Centre, you can shop for your favorite musical instruments online from the comfort of your home. Browse our user-friendly platform, select your items, and get them delivered to your doorstep without any hassle.

Instruments for Everyone

Whether you're a student, a hobbyist, or a seasoned performer, we have something for everyone. Our selection includes:

String instruments like guitars, violins, and sitars

Percussion instruments such as drums, mridangams, and tambourines

Wind instruments like flutes and harmonicas

Electronic gear, including amplifiers and mixers

Join the Musical Journey

At Kalyani Musical Centre, we believe that music is a universal language that connects us all. By offering an extensive range of musical instruments and accessories online, we aim to inspire musicians of all levels to create and express themselves freely.

Don’t wait! Explore our collection today and find the perfect instrument to bring your musical dreams to life.

[audio-luddite]

Unscheduled swap.

The Harman Kardon is in the rack. The ARC is on the floor upside down with its bottom cover off.

We were just grooving to some 1970s music when it went quiet. Lights on the front of the big amp went dark. The line fuse failed? Huh???

No weirder than that. The fuse holder gave out. It may have been fiddled with before as there was solder inside where none should be. So I got the old HK Citation 12 from its place of rest. I wrestled out the ARC. Fk it is heavy, and put the tiny HK in its place.

They are both rated at 60 Watts per side. 1960s versus 1990s.

At first oh shit what is that sound? Harsh, tinny. Cold transistors? By the time I got my soldering gun (yes gun, tiny irons are for girls) and pulled the old bakelite (??) fuse thing out the HK had got WAY better.

The upturned tuber looks like a monster spilled its guts. Gobs of wires and fancy yellow capacitors. Poor thing. Of course I will find a new panel mount fuse holder. Hey two the other one is old too. The wires in there are tight bundles. I should have her back together tomorrow. There is an AUTOPARTS store that has the part nearby.

So the HK is settling down. Just finished side 2 of pawnshop. The big difference is the lovely golden textures have been replaced by white light. Not harsh, just not as pretty. Right now I am playing Herb Alpert's Rise as I played it last night. Same thing.

Also the Bass is how transistors are supposed to work. More solid and all that. Strangely not as deep?? The speakers may like the tuber. The funky textures are missed. Oh and some details are back. In pawnshop the crowd was more distinct and yes ice in the glasses.

The HK is not as good as the Franken amp I think. I may have to play Cowboy Junkies. Tiny details have not revealed themselves yet.

But you know the little beast was designed in 1960 something. It is dual mono. One power cord, but inside there are two completely separate amplifiers. They were reaching even back then. Okay Mr Alpert is playing a flugelhorn now. I dint notice that before.

Hey 1960s were not that bad. This is a fair fight.

Junkies. Track one. The stupid noise is there. Track two the Bass is more recessed. The vocal is clear. Oh very clear. Margo does not sound so lispy. Mr Harman has nothing to apologize for.

Yes it is different. I can see exactly why people yearn for the golden sound of the tubes. It aint right or better, just prettier. Photographers like to shoot in the golden hours. Just after sunrise, and just before sunset. The light has less blue and makes skin look richer. All those swimsuit shoots do that. It aint as honest as midday light.

OK Acid Test. Side 4 Cowboy Junkies LP. Sweet Jane. Bass bang on. I think my brain is adjusting to the sound a bit. Clean clear. The guitar is far left clear, clean. Shit the high hats dead centre perfect metallic.

Postcard blues. DEEP bass from the foot tap. Not as organic as the ARC. Margo is right there! I can hear her lips part. Oh yes the harmonica, damn. This is an amazing album. GET IT Droogs! Margo just took a breath like a real human. This is good.

I will put the ARC back in for a couple days once I fix it. Then the Franken-Amp gets his turn.

[todays-just-a-daydream]

Later that week, after working on some other songs, Noel returned to his 'Champagne Supernova' guitar overdubs.

"There are two e-bows that run throughout the song, giving it a sort of violin effect, and he did all of those parts pretty quick,” says Morris. "Then he also did all of his picking parts pretty quick. This went on for about two hours. Noel would just sit in the studio next to his amps and play. He wouldn't come into the control room to listen to what he'd done until everything was finished. So his guitar overdubs were all done fairly quickly.

"After that, there was a session when Liam felt inspired to do all of the Beatle-y 'aaahs' that would go over the guitar solo, to which I also added some Beatle-y Mellotron parts. Then, during another session, he had a go at singing 'Champagne Supernova'. We did half a dozen takes, but what happened was that the high note of the song — at the end of the line 'The world's still spinning around, we don't know why' — was kind of burning his voice out. So he was getting croakier on each take, and by the time he got to the end he was sounding very Rod Stewart-y.

"I did a comp of the vocal and, bizarrely enough, Noel and Liam both liked it. But I didn't. So at the very end of the six-week session at Rockfield, when just Liam and I were in the studio, I got him to re-sing it and we did it piece by piece. We did the first verse half a dozen times and we did the ending half a dozen times. Then, once he'd completed all of the soft bits, Liam did the first chorus half a dozen times, followed by the same number of takes for the second verse and the other choruses, until he tackled the high part last.”

The only major element still missing from 'Champagne Supernova' was the lead guitar that Noel Gallagher wanted his mate Paul Weller to play. Accordingly, after Oasis appeared at the Glastonbury Festival in late-June and the mix of (What's The Story) Morning Glory? commenced on a Neve console in the mix room at South London's Orinoco Studios, Weller showed up one day with his roadie, a white Gibson SG and an old Vox AC30 amplifier.

"He didn't have any pedals with him,” Morris recalled. "He had the volume on '3'. It was a really nice Vox and a really nice SG, and so I just put a 57 on it and recorded it as was. Paul probably did four solos, and then he and Noel let me pick what I wanted. He also contributed a little whistle to 'Champagne Supernova' — a few bars after the big guitar solo finishes — and 'Ooh' backing vocals at the end, as well as some harmonica and guitar to 'The Swamp Song'. All in all, it was another very quick session. He and Noel probably turned up at three in the afternoon and left at seven that evening.”

Owen Morris on recording Champagne Supernova at Rockfield (Sound on Sound 2012)

[kley-blog]

Thursday morning . . .

Not a cloud in the sky . . .

So, this is no cry for help.

Just a kind of special song . . .

And as in the great rock 'n roll tradition . . .

Who the fork is playing the harmonica . . . ??!!

And the amplifiers are way in the background in that dusty garage in Malibu . . .??

And the guitar leads . . . ??

Why, they're hot wired into the universe don't 'cha know . . .

Forgeddaboutit . . . !!

Nevertheless . . .

Enjoy . . . !!

[hannahsheppardsblog]

Defining the 4 genres of blues music

urban blues

urban blues will have been performed in cities with significant african american populations, like memphis, detroit, chicago from the 1930s

more codified and elaborate as the performer had to adapt to a broader audience aesthetic

vaudeville blues singers were popular in the 1920s

unusual keys would be used to reach people at the back of a room, and create surprise

common themes: migration/dailylife/ social consciousness/ travel/ war/ segregation/ relationships/ activism and politics

3 major urban blues categories: sophisticated version of country blues / amplified country/ amplified jazz-inflected blues

1930s sophisticated country blues

many jazz-inflected bands toured and performed in clubs and concert venues throughout California south and south-west

1950s and 60s, urban blues would tour europe and uk, which influenced formation of blues rock groups like led zeppelin and eric clapton and the paul butterfield blues band and dire straits

almost all urban blues songs were vocals with instrumentals accompniment

followed a 3-line verse form, where the first line was repeated in the second then the thought was repeated in the rhyming third line

most verses began with a quatrain taking up the same amount of time as the first line of the standard 3line verse

the sophistiocated country blues would be backed by a guitar or piano

denser yexture and rural blues due to a complex harmony and the vocals would be ligher instead of raspy

amplified post war2 blues would see singers taking more liberties with cries, moans, hollers and melodic elaborations than chicago singers

one guitar would emphasise the rhythm, another would play melodic riffs and figures and included a harmonica too

jazz-inflected blues would have a singer, guitarist with a small jazz band (piano, bass, drums and horns), the vocals would be shouters

urban blues commented on the ups and downs of daily life, protesting mistreatment by lovers and discrimination and economic hardship

country blues

relies on the expressive power of the voice with sparse instrumental accompaniment (guitar or harmonica) which is more improvisatory and freedom than urban blues

the music of day to day life

delta blues

also known as mississippi blues

solo performances accompanied by guitar and relied on techniques like sliding of a bottle neck to blend the notes

melodic phrases on the guitar to respond to the voice in an improvised call and response pattern

song topics: failed romance, sexual escapades and tales of life on the road

high contrast to the classic blues, because this tended to be males singer- guitarists

recording of blues music was curtailed during the great depression

during ww2 traditional blues fell out of popularity

rhythm and blues (rnb)

post war african-american music

leads to white rock music which has been derived from it

a development of the sopisticated urban music which had been developing from the 1930s

large group and small group rhythm and blues

small groups would consist of 5-7 pieces and each would take their turn in the limelight

this influenced the development of rock and roll and there are no hard rules defining them from eachother so much of the music could fit both categories

by the mid 50s, much of the guitar-led electric blues music from chicago and mamphis was rhythm and blues as it appealed to older buyers

by 1960s rhythm and blues had aged with its audience

rhythm and blues has attained a new meaning due to british bands which followed, like the 'beatles' and 'rolling stones' which tended to be mod rock bands calling their work r&b to attract an audience

thoughts:

I now have a better understanding of the categories of blues music and i intend to now research different Belgian beers and beer favours so that i can find a flavour pairing for one of the each genres of beer to be based off of. i hope it will also help with the design of the packaging, looking at which are more sophisticated, what each category sings about in themes and how the music in the background might sound. this will allow me to create a visual correlation with the sound of the music for a unique take on beer packaging and to represent Blegium&Blues bar well.

carnegie hall. “History of Urban Blues.” Timeline of African American Music, timeline.carnegiehall.org/genres/urban-blues. [Accessed 16 Apr. 2024.]

“The Country Blues: Rural Soul Music of the Southern USA.” Smithsonian Folkways Recordings, folkways.si.edu/country-blues-rural-soul-southern-usa/music/article/smithsonian#:~:text=The%20country%20blues%20is%20music. [Accessed 16 Apr. 2024.]

Hope, Annika. “What Is Country Blues?” Music Gateway, 22 Aug. 2019, www.musicgateway.com/blog/music-industry/what-is-country-blues. [Accessed 16 Apr. 2024.]

Gioia, Ted. “Mississippi Delta Blues | Artists, Music, & Facts.” Encyclopædia Britannica, 2019, www.britannica.com/art/Mississippi-Delta-blues. [Accessed 16 Apr. 2024.]

Ward, Ed. “Rhythm and Blues | Music.” Encyclopædia Britannica, 13 Jan. 2017, www.britannica.com/art/rhythm-and-blues. [Accessed 16 Apr. 2024.]