Podcasts about Rhythm guitar

Episode 174 Chapter 33, Digital Synthesizers and Samplers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 33, Digital Synthesizers and Samplers from my book Electronic and Experimental music.   Playlist: DIGITAL SYNTHESIZERS AND SAMPLERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Jon Appleton, “Syntrophia”(1978) from Music For Synclavier And Other Digital Systems. Composed and performed on the Synclavier, Dartmouth Digital Synthesizer, Jon Appleton. 08:55 01:40 2.     Claude Larsen, “Nitrogen” (1980) from Synthesis. Sounds a bit like “Oxygen” by Jarre from 1976. Programmed, performed, Fairlight CMI Music, Roland System 700, Oberheim TVS-1 Four Voice, Polymoog, Roland MC 8 Micro-Composer, Syntovox vocoder, Claude Larson. 02:31 10:36 3.     Eberhard Schoener, “Fairlight 80” (1980) from Events. Featured the Fairlight CMI played by Schoener and vocals by Clare Torry. 04:20 13:04 4.     Eberhard Schoener, “Events - A La Recherche Du Temps Perdu” (1980) from Events. Mellotron, Violin, Piano, Moog, Oberheim, Fairlight CMIsynthesizers, Eberhard Schoener;  Fairlight CMI, Morris Pert; Gong, Percussion (Gede, Kempli, Rejong), Furst Agong Raka; Gong, Percussion (Gender, Lanang, Rejong), Ketut Tama; Gong, Percussion (Wadong, Rejong), Rai Raka; Percussion, Morris Pert; Fender electric piano, Roger Munnis; tenor saxophone, Olaf Kübler; Drums,  Evert Fraterman, Pete York; Electric Bass, Steve Richardson; Electric Guitar, Ian Bairnson. 11:07 17:26 5.     Klaus Schulze, “Death Of An Analogue” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 12:20 28:31 6.     Klaus Schulze, “The Looper Isn't A Hooker” (1980) from Dig It. All music played on the Crumar GDS digital synthesizer/computer. All percussion by F.S. Drum Inc. and GDS. 07:05 40:52 7.     Joel Chadabe and Jan Williams, “Song Without Words” (1981) from Rhythms For Computer And Percussion. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music.” This was an early Synclavier without a keyboard controller. Synclavier digital synthesizer, Joel Chadabe; Percussion, Vibraphone, Marimba, Slit Drum, Log, Wood Block, Temple Block, Cowbell, Singing Bowls, Jan Williams. 07:24 47:54 8.     Don Muro, “Deanna Of The Fields” (1981) from Anthology. Vocals, Piano, Electric Piano, Acoustic Guitar, Electric Guitar, Synthesizer, Korg M1 Music Workstation, Bass, Drums, Percussion, Don Muro. 02:52 55:18 9.     Nervous Germans, “Hometown” (1981) from Nervösen Deutschen. Bass, Producer, Micki Mäuser; Drums, Udo Dahmen; Guitar, Manni Holländer; Vocals, Casio VL Tone micro keyboard, Grant Stevens. 05:15 58:10 10.   Tuxedomoon, “Blind” from Time To Lose, Blind. Effects, Guitar, Peter Principle; Casio M-10, Blaine L. Reininger; Vocals, Moog, Soprano Saxophone, Steven Brown; Vocals, Winston Tong. 07:44 01:03:26 11.   Herbie Hancock, “Rough” (1983) from Future Shock. Fairlight CMI, AlphaSyntauri, Emulator, Herbie Hancock; Background Vocals, Bernard Fowler, Grandmixer D.ST., Nicky Skopelitis, Roger Trilling; Bass, Bill Laswell; Drums, Sly Dunbar; Lead Vocals, Lamar Wright; Prophet-5, Michael Beinhorn; Turntables, Voice, Grandmixer D.ST. 06:54 01:11:00 12.   Wendy Carlos, “Genesis,” “Eden,” and “I.C. (Intergalactic Communications)” (1984) from Wendy Carlos' Digital Moonscapes. Programmed All Sounds programmed and performed on the Crumar GDS/Synergy digital synthesizer, Wendy Carlos. 15:20 01:17:50 13.   Ron Kuivila, “Household Object” (1984) from Fidelity. Casio VL toneand homemade electronics, Ron Kuivila. 09:34 01:33:20 14.   Lejaren Hiller, “Expo '85” (1985) from Computer Music Retrospective. Four short pieces highlight the versatility of the Kurzweil K250: “Circus Piece - A Cadential Process” (4:04), “Transitions - A Hierarchical Process” (2:12), “Toy Harmonium - A Statistical Process” (1:41), “Mix Or Match - A Tune Generating Process (5 Examples)” (3:44). 11:55 01:42:52 15.   Third World, “Can't Get You (Out Of My Mind)” (1985) from Sense Of Purpose. Yamaha DX7, Prophet 5, PFR Yamaha, Grand Piano Yamaha Acoustic, Organ Hammond B3, Clavinet Mohner D6, Percussion, Vocals, Michael "Ibo" Cooper; Backing Vocals, Glenn Ricks, Meekaaeel; Bass, Rhythm Guitar, Backing Vocals, Percussion, Richie "Bassie" Daley; Drums Yamaha Acoustic Drums, Electronic Drums Simmons, Drum Machine D.M.X., Drum Machine Linn Drum Machine, Percussion, Backing Vocals, Willie Stewart; Keyboards, Lead Guitar, Rhythm Guitar, Harmonica, Acoustic Guitar The Washburn Electro Acoustic, Vocals, Percussion, Stephen "Cat" Coore; Lead Vocals, Backing Vocals, Bill "Bunny Rugs" Clarke; Percussion, Neil Clarke; Percussion, Binghi Drums, Junior Wedderburn, Tschaka Tonge. 03:37 01:54:46 16.   George Todd, “Sound Sculptures” (1985) from Music For Kurzweil And Synclavier. Synclavier Digital Music System, George Todd. 09:02 01:58:22 17.   Russ Freeman, “Easter Island” (1986) from Nocturnal Playground. Electric Guitar, Acoustic Guitar, Guitar Synthesizer, Keyboard Bass, Emulator II, Linn 9000 Drum programming, Russ Freeman; Drums, Percussion, David Renick; Percussion, Emulator II programming, Steve Reid; Alto Saxophone, Brandon Fields. 05:30 02:07:22 18.   Donald Steven of G.E.M.S., “Images - Refractions Of Time And Space (1986)” from Group Of The Electronic Music Studio - McGill University. Yamaha DX7, Laurie Radford; Bass, John Oliver; Electric Flute, Jill Rothberg; Percussion, Elliot Polsky, François Gauthier. 11:42 02:12:52 19.   Jane Brockman, “Kurzweil Etudes” (1-3) (1986) from Music For Kurzweil And Synclavier. Kurzweil K250, Jane Brockman. 10:19 02:24:32 20.   Richard Burmer, “Across The View” (1987) from Western Spaces. Emulator II plus an analog synth, Richard Burmer. 04:38 02:34:48 21.   Sonny Sharrock Band, “Kate (Variations On A Theme By Kate Bush)” (1990) from Highlife.  Electronics, Korg M1, Korg Wave Station, Dave Snider; Bass, Charles Baldwin; Drums, Abe Speller, Lance Carter; Guitar, Sonny Sharrock. 05:52 02:39:32 22.   Second Decay, “Taste” (1994) from Taste. Produced with the Roland Compu Music CMU-800R workstation and without MIDI; Simmons Electronic Drums,Thomas V.. Other synths used: ARP Odyssey, ARP 2600, PPG Wave 2.0, Emulator I and II, Roland SH-101, SH-7, CR-78, TR-808, MC-4, TR-606, EMS Synthi A, Solina String, Mellotron, Crumar Performer, Teisco 110F, Wasp, Linn LM-1, SCI Pro-One, Minimoog, Korg Mono-Poly, SQ-10, Elektro Harmonix Minisynth, Vocoder and effect devices, Compact Phasing A, Roland Echos RE 201, SRE 555.  04:20 02:45:18   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

In this episode of MVP, we sit down with Jeff Yeckle from the powerhouse southern rock band Six Gun Sally! Known for their high-energy performances and killer musicianship, Six Gun Sally brings the best of 70s southern and classic rock to the stage, covering legendary bands like Lynyrd Skynyrd, The Allman Brothers, and Fleetwood Mac, along with their own smokin' hot originals.Jeff shares insights into the band's journey, life on the road, and what it takes to keep the spirit of real rock ‘n' roll alive while playing nearly 65 shows a year. Whether you're a longtime fan of southern rock or just discovering the band, this is an episode you don't want to miss!

Welcome to the new Lou Volpe jazz Cast where we are featuring the different rhythm sounds of the harmony guitar track this week.  We also put the spotlight on the lead guitar following the rhythm track for some pieces. Be sure to check out our feature Song of the week, "IT'S IN THE AIR". We think you'll like it! The songs: "SPEAKING OF LAST NGHT". "PRINCEY BLUES", our feature song, "IT'S IN THE AIR" and "UP AND AWAY". (compliments of cosmic consciousness music © 2024 BMI) Enjoy!

UK five-piece hard rockers, The Rattlebacks' debut album, ‘Sidewinder', was released on November 15th, 2024. An album that we loved and described as: Deeply authentic and deeply relatable, The Rattlebacks have made sure this album is super-accessible, without compromising their powerful hard rock sound. Read our the full album review here: https://www.gbhbl.com/album-review-the-rattlebacks-sidewinder-self-released/ We spoke to guitarists Jack “Coxy” Cox and Max Horn about the new album and all the work that has gone into making it a reality. We delve into the journey to this point, what it means to them to release it, and indulge in some randomised questions about drinking, who defines the term ‘rockstar', nicknames, parties, and more! Find out more here: https://linktr.ee/TheRattlebacks Website: https://gbhbl.com/ LinkTree: https://linktr.ee/gbhbl Ko-Fi (Buy us a coffee): https://ko-fi.com/gbhbl Facebook: https://www.facebook.com/GBHBL Instagram: https://www.instagram.com/gbhbl/ Bluesky: https://bsky.app/profile/gbhbl.bsky.social Threads: https://www.threads.net/@gbhbl Twitter: https://twitter.com/GBHBL_Official TikTok: https://www.tiktok.com/@gbhbl Contact: gbhblofficial@gmail.com Soundcloud: https://soundcloud.com/gbhbl Spotify: https://open.spotify.com/show/5A4toGR0qap5zfoR4cIIBo Apple Podcasts: https://podcasts.apple.com/hr/podcast/the-gbhbl-podcasts/id1350465865 Intro/Outro music created by HexedRiffsStudios YouTube: https://www.youtube.com/channel/UCKSpZ6roX36WaFWwQ73Cbbg Instagram: https://www.instagram.com/hexedriffsstudio

Welcome to our latest Jazz Cast! We call it "Jazz Guitar Conversations" referring to the interaction between the Lead and Rhythm Guitar parts. Be sure to check out the question and answer on "JUST A RIDE THROUGH THE CANYON". We think you'll like it! The titles: "THAT'S SOME FANCY SHOES", "MATTHEW'S STORY", our feature song, "JUST A RIDE THROUGH THE CANYON", "YOU'RE IN THE RIGHT PLACE" and "BRILLIANT SKY' (THE FANTASY VERSION)". (compliments of © cosmic consciousness music 2024. Enjoy!

The Seven Seas is the latest song release from The Olive Army. The Seven Seas is a dark and moody song of a lonesome adventure on a sea of high but slow moving waves. I wish you were here.  The Seven Seas Dave Price. Lyrics,Vocals, Rhythm Guitar, Drums, Keys.Twan Huybers. Vocal Harmonies, Bass, Rhythm Guitar, Mandolin.Anthony Price. Lead Guitar Solo. 

On Saturday, July 27th, 2024, at 5:30 in the afternoon, Kurt climbed into my car and drove from Garden Grove, California, to the city of Corona, a distance of about 30 miles to a small bar called Rockefellas in the Temescal Valley. Leo was in town and performing with his band, Castle Pines. Castle Pines was an indie rock band from the Corona area and Inland Empire whose formation began in the early 2010s. The band consisted of Leandro Barrientos on Vocals and Rhythm Guitar, Niki Barrientos on Lead Guitar, Jesse Briseno on Bass, and Sterling Fairfield on Drums. The band gained local traction and built a community, releasing a collection of live recordings from shows at The Wire. They released their first album, Bless This House, in 2010 on SoundCloud. In 2014, they released an album called Summer Blood.This episode is about Kurt's experience at that concert, and the profound effect that Castle Pines had on a tight community and its music scene in Southern California.Thank you to Ricky Garvey for his expertise and hard work on mixing this episode. Live shows are difficult to get usable tracks for, but he exceeded our expectations. Thank you to Leandro, Niki, Jesse, Sterling, and Ricky for putting on an incredible show and providing us all with incredible music.Credit to Victor Duran Photography for his excellent photos of the performance.Songs used (all by Castle Pines):"Derailed""Sumer Blood""Black Star Canyon""Palm Springs" (Rockefellas, 2024)"Wretched Life" (Rockefellas, 2024)"I Saw You On The Radio" (Rockefellas, 2024)"I'm A Volcano" (Rockefellas, 2024)"Castle Pines"Links:Just One Song HomepageCastle Pines InstagramCastle Pines MusicRicky Garvey: Recoverer MusicVictor Duran Photography

Will Sanders Will is a  Navy Veteran and One Half of the Sanders & King Team. Will has been playing Guitar and Pickin Country / Bluegrass / Christian Music for more that 53 Years. Born in Shelbyville Indiana in 1959 Sanders grew up on a steady diet of Country / Christian / and Bluegrass Music. Sanders entered his first talent contest in 1973 at his High School in Hunterdon County NJ. Taking 3rd place Sanders was destined to make Music and Entertain. Sanders started doing “Elvis” Gigs when David Martin (of Dave Martin and The Southern Comforts) would let him perform with his band on stage. Once Sanders hooked up with his boyhood friend from school, Paul King the rest has became history. Will's first big hit “Angel Wife (Aimée's Song)” was streamed over Three Million Time on all of the Major Streaming Platform. ============================================================================ Jim Mahoney Jim is a Navy Veteran who has been playing guitar for 50 years. Jim is an ensemble member of Sanders & King's We '73 Band. Jim plays Rhythm Guitar and does double duty as both a lead and back up singer. Jim has 2 singles out “Give Me a Reason” and “Another Better US” Jim's songs have well over a quarter million plays on all of the Major Music Platforms. ====================================================================== Frank Bellucci While in Austin, Texas, Frank Bellucci created his heartfelt music style that blends adult contemporary, singer-songwriter, and retro country music. The many-year effort eventually led to his first commercial album, “Life in the County”, released in early 2022 … and then “The Old Days later” in the same year.    

Robs Funk and Junk episode 33 In this episode Rob talks about Rhythm Guitar. How important it is and sometimes how overlooked it is.  

Welcome to the Nothing Shocking Podcast 2.0 episode 228 with our guest Bryan Scott of the Union Underground (Cult to Follow and Into the Fire). In this episode we discuss the band's upcoming “Back to the 2000's Tour” featuring the Union Underground, Soil, Ra, and Flaw.  We also discuss the new album the band is working on, as well as, learn about his side projects Cult to Follow and Into the Fire, and More!      For  more information visit: https://theunionunderground.com/ https://www.facebook.com/culttofollowofficial/ https://www.facebook.com/intothefiremusic/   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org 

▶▶ FREE Guitar Skill Score Card: https://www.playguitaracademy.com/high-performance-guitarist-scorecard If you've never made it past the beginner stage and it's been a long time since you've seen any progress on rhythm guitar, this one is for you! SHOW NOTES FOR THIS EPISODE- https://www.playguitaracademy.com/blog/career-beginners-and-rhythm-guitar-349 PLAY GUITAR ACADEMY - Instant access to all of Lee's premium courses, Group classes, and "Part 2" videos - https://www.playguitaracademy.com 1-on-1 Guitar Lessons - https://www.playguitaracademy.com/play-guitar-coaching PLAY GUITAR PODCAST - https://podcasts.apple.com/us/podcast/play-guitar-podcast/id1341900209 https://open.spotify.com/show/0MxjU2Y0L8PoYiTKmCtvpt PlayGuitarTV  (SUBSCRIBE)- https://www.youtube.com/playguitaracademy FACEBOOK - https://www.facebook.com/PlayGuitarAcademy/ https://www.facebook.com/groups/playguitargroup/ INSTAGRAM - https://www.instagram.com/playguitaracademy PODCAST PLAYLIST - https://www.youtube.com/playlist?list=PL3WNVOl-akd36v5CUQjDba9dh6VD7HWo Copyright ©2023 Play Guitar Academy

Welcome to our latest Jazz Cast set where the rhythm guitar gets some feature pieces along with a solo or two. Four new compositions including our "feature song", "WE CAN HEAR IT!" make up our set list for this week. We do hope you like it! The songs: "TRUE WORLD VERSION: STORY TELLER", "WEST TO EAST SIDE", "OUT LOUD THOUGHTS" and our feature song, "WE CAN HEAR IT!" (compliments of cosmic consciousness music) Enjoy!

Episode 52 - In this episode we welcome Special Guest Wes Jone Vocals and Rhythm Guitar. And he has some great music but it has a message though his music raising awareness with mental health and lot of his music we can relate with anxiety and other things too. He was truly awesome and great person. And Also thank you to Tag Productions too !! IG- @pharmacose_Band Website - https://pharmacose.com/ IG - @tagprteam.

Our latest Jazz Cast features a strong rhythm focused backdrop throughout with some long lead lines up front in the mix. Be sure to check out the interplay between the guitars on our feature tune, "BLUES CORRIDOR SEVEN". We hope you like it! The tunes: "IN MOTION PART II", "THE DOUBLE TAKE", "OUR RIVERSIDE GROOVE" and "BLUES CORRIDOR SEVEN".(C COSMIC CONSCIOUSNESS MUSIC) Enjoy!

John McLaughlin Guitar Style. How to play uncommon time signatures on the guitar with the E Pedal as a rhythmic base. MY WEBSITE: https://jazzimproviser.com My Youtube https://youtube.com/c/AlternatePickingGuitar 

Another big fat bonus ringtone for you guys Free Ringtone

In today's episode we read the chapter 20 – The Music Box – in which a day of celebration turns rather dark, rather quickly.This week's podcast partner is Bluestep Audio:INSTRAGRAM: https://www.instagram.com/bluestepaudio/EMAIL: bluestepaudio@hotmail.comOutro Music: Elliot Under Glass (instrumental) - Composed and recorded by Cannelle, Mixed and Mastered by Bluestep Audio, featuring special guests Steven Holloway on Rhythm Guitar, Drums, and Triangle, and Anthony Freeman on Lead Guitar and Bass.The Skylark Bell official website - http://www.theskylarkbell.comThe Skylark Bell on Instagram: @theskylarkbellAuthor/Producer: Melissa Oliveri - http://www.melissaoliveri.comJoin Melissa's Patreon for early access to podcast episodes, music downloads, and more: http://www.patreon.com/melissaoliveriThe Skylark Bell on Ko-Fi: https://ko-fi.com/theskylarkbellAll music by Cannelle: http://www.cannellemusic.comCannelle on Instagram: @cannelle.musicOfficial Merch Shops: http://www.melissaoliveri.com/storeThe Skylark Bell is brought to you by: Phaeton Starling Publishing and Things with Wings Productions.FULL TRANSCRIPT:Things with Wings Productions presents: Chapter 20 of The Skylark Bell, Skyedive. I am your host, Melissa Oliveri.  In last week's episode Farfalla had a strange encounter with a boy on the beach while out with Frannie and Felix.In today's episode we read the chapter 20 – The Music Box – in which a day of celebration turns rather dark, rather quickly.Today's podcast partner is Bluestep Audio located in Halesowen UK. Bluestep Audio has mixed and mastered several songs for The Skylark Bell composed by myself under my stage name Cannelle. Theyu provide professional services with great attention to detail and impeccable results. If you're looking for the highest quality audio for your podcast or music, be sure to reach out to them. Contact links are in the shownotes.I would also like to acknowledge La Fete de la St Jean Baptiste, which takes place on June 24th and has been embraced as a holiday strong in cultural identity in my native Quebec, Canada, which has inspired many of the scenes throughout The Skylark Trilogy. Now, it's time to settle in… grab a blanket, and a warm drink… and let's get started.October 16th, 1799The people of Pòcaid have kept me busy with “performances” of late, calling me in for people who, I have no doubt, are simply suffering from a common cold. But I do my duty, plop that ridiculous crown on my head, and sing them the French lullaby Audrey Tourtereaux taught me all those years ago.I have discovered something, however. Something of great value. There are times when singing the same song grows tiresome, so I instead sing the song of the Oak Tree, and those times I've noticed the song seems to have an effect on the people in the room. When I finish, they are all staring at me with unseeing eyes. One time I told one of the little boys in the room to spin around, and he did so, as if in a daze, almost like he was sleepwalking. It was quite curious, but I presumed he was simply a very obedient child. I was intrigued enough, however, to try it again. So, the next time I was called in for a performance, I sang the song of the Oak Tree, and this time when it ended I asked the maid to take a drinking glass from the tray on the bed and smash it to the floor. To my amazement, she followed my request without hesitation. When the lady of the house came bursting in asking what was going on, the maid blinked and looked at the shattered glass on the floor, hopelessly confused. She had no recollection of any of the events leading up to that point. I took the blame for the glass, and of course all was forgiven. The villagers love me, I can do no wrong.~~~~~~“Frannie, it's your turn,” says Donald Carnifex, handing his daughter an object wrapped in layers cloth. Frannie's face lights up, she just watched Felix unveil his gift from their father, a collection of horses and soldiers carved out of wood, each painted in bright colours. She carefully pulls the cloth off the object, and holds it up at eye level, unsure what to do next. “It's a music box,” says Mr. Carnifex. “Here, let me show you how it works.” He places a small metal key in the back of the box and turns it. A playful tune emanates from the box, to everyone's delight, especially Frannie's. “Oh Papa, it's magic!” she breathes, “May I try?”“Of course! I'm glad you like it,” he says, handing her the key. Frannie places it in the hole and cranks it a few times. The music begins to play over the soft whirring of the small motor inside the box. Frannie cranks it two more times before jumping in her father's arms. “Oh Papa, I've missed you so!” she says.“Me too!” shouts Felix, both of them running to their father and throwing their arms around his neck.Donald has been away on business for weeks. He travelled to the mainland, and eventually on to other parts of Europe, collecting gifts for the children along the way. “I've missed you too,” he says, giving them each a pat on the head. “Now Frannie, that music box is very rare and very special, promise you'll be careful with it,” he says.“I promise Papa,” she replies, cradling the box in her hands like a baby bird. She runs her fingers over the carved wood, feeling the flowers engraved around the edges of the top. “Nurse Betsey, why don't you head upstairs to help the children wash up for dinner,” says Isabella. “May we bring our gifts upstairs with us?” asks Felix, not quite ready to put down his toy soldiers.“You can bring them up to put them away. It's no longer time to play,” says Nurse Betsey in her dry, cracking voice as she lifts herself out of her chair.“Perhaps you'd like to enjoy dinner as a family, now that Mr. Carnifex has returned,” says Farfalla.“Nonsense, you're family now too,” replies Isabella with a wave of her hand.Farfalla can feel Nurse Betsey bristle at Isabella's words. She plods up the stairs behind the children, her body stiff as a board. Farfalla glares at her back until she disappears on the landing. She's found Frannie in tears on more than one occasion and found Felix by the beach throwing large rocks furiously into the water just last week. Neither one of them wanted to talk about what happened, but Farfalla could tell Nurse Betsey was involved.“Isabella told me how you have helped with the children in my absence. We are both very grateful,” says Donald.“They are both an absolute joy, I truly love spending time with them,” replies Farfalla, turning her gaze away from the stairway and back to Donald and Isabella.“They enjoy spending time with you as well. Felix still talks about your picnic at the beach, and Frannie has spent weeks painting the seashells she collected. She displays them on the windowsill in her bedroom,” smiles Isabella.“We are very fortunate to have you here,” adds Donald, wrapping his arm around his wife's shoulders. She turns her face toward him and they look at one another lovingly. Farfalla remembers she and Marius looking at one another that way, and feels a sinking feeling in her heart. Suddenly, a loud crash on the ceiling above their heads followed by a piercing scream shakes her out of her memories. Farfalla, Isabella and Donald rush up the stairs in unison. Isabella reaches the doorway to the children's room first. “What in the world?!” she exclaims.“Oh Frannie, your music box!” says Donald.Farfalla creeps up behind them and looks over their shoulders. Frannie is crumpled on the floor, weeping. In front of her, pieces of the music box are strewn about the floor. Felix is cowering in the corner, a terrified look in his eyes.“What happened here?!” demands Isabella.“Well, it would appear Felix here was jealous of his sister's very rare and special gift,” begins Nurse Betsey with a sneer, “so he held it up over his head and smashed it to the ground!”Farfalla watches as Felix's eyes grow wide with shock. Isabella lets out a gasp, “Felix, how could you?!” she shouts. “Nurse Betsey, please take Felix into the next room and administer a suitable consequence for his actions,” she says sternly, her eyes cold as ice.“No, Mama, please! It wasn't-“ he begins, desperation in his little voice.“Come now, I think we've heard enough from you!” says Betsey, grabbing him roughly by the arm and dragging him out of the room before he can say anything else.Farfalla watches Frannie intently, she is crying so hard she can't speak. Farfalla pushes past Mr. and Mrs. Carnifex and sits on the floor next to her. She slowly begins picking up the pieces of the music box and collecting them in the skirt of her dress. “You know,” she says in the most calming tone she can muster, “Mr. Crake down in the village is quite handy, he has that shop, Crake's Clocks. I bet he would be willing to try and fix this for you.” Frannie looks up at her with teary eyes, and Farfalla is shocked to realize Frannie isn't crying over the music box. It isn't sadness on her face, it's fear. Farfalla leans in closely and whispers in her ear, “Did Nurse Betsey smash your music box?” she asks. Frannie gives her a very faint nod. Farfalla can feel the rage boiling inside her. She bites her lip and inhales deeply to regain her self-control. “I apologize, Miss Skye, perhaps it would be best if we sent some dinner home with you and gathered together to celebrate Donald's return tomorrow night,” says Isabella, a hint of embarrassment in her voice.Farfalla nods and stands up. She steps into the hallway and is about to go downstairs when she hears a cry from down the hall. She hears a loud smacking noise and another cry. Felix! Nurse Betsey must be exercising some kind of punishment for breaking the music box, even though he did nothing of the sort. Farfalla's fists clench as she walks down the stairs, Felix's cries of pain echoing behind her. This is the last time Nurse Betsey hurts these children, she thinks to herself.Thank you so much for listening.  Join me next week for Chapter 21 – Sea Bird – in which Farfalla uses newfound skills to avenge the Carnifex children.The Skylark Bell is brought to you by Phaeton Starling Publishing and features original music by Cannelle. If you are enjoying this story, please consider leaving a rating or a review, they are both greatly appreciated. You can also support my work by subscribing to Patreon or Ko-Fi, where you get early access to episodes as well as MP3 downloads of the music, artwork, behind the scenes videos and more! You can also find The Skylark Bell exclusive merch on my website, www.theskylarkbell.com. Just check the show notes for all necessary links.Please keep listening for an instrumental version of my song Elliot Under Glass, which was mixed and mastered by Bluestep Audio and features additional instrumentation by Steven Holloway and Anthony Freeman.Once again, thank you for listening – I'm Melissa Oliveri, writer, host and producer of The Skylark Bell Podcast.  Support this podcast at — https://redcircle.com/theskylarkbell/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this episode Brian is joined by Liaan and Armando from The Color Blew.Together since 2014, The Color Blew has 65 years of combined experience. They are a four piece outfit consisting of Liaan Horton (Vocals & Rhythm Guitar) Marius Cronje (Bass Guitar) Timothy James Lotter (Lead Guitar) Armando Santos (Drums), based in the East Rand of Gauteng, South Africa, where they rehearse, create, record and produce their music in their own studio located in Springs.Their sound can be categorized as alternative rock grunge and punk influences. Their newer music brings in the bright hues of Jazz and African beats, blended with meaningful lyrics.Find The Color Blew here:https://www.facebook.com/thecolorblewhttps://www.instagram.com/thecolorblew/https://www.youtube.com/TheColorBlewMusichttps://thecolorblew.bandcamp.com/musicFind CTMU here:https://linktr.ee/ConcertsthatmadeusNewsletter: https://concertsthatmadeus.aweb.page/p/f065707b-2e34-4268-8e73-94f12bd2e938If you would like to support the show you can do so by rating/reviewing us on Itunes and Spotify or by signing up at https://www.patreon.com/ConcertsthatmadeusSave 10% on Band Builder Academy membership by following this link https://bandbuilderacademy.com/Brian_Concerts/join and using promo code "concerts" at signup. Become a member at https://plus.acast.com/s/concerts-that-made-us. Hosted on Acast. See acast.com/privacy for more information.

To Support the Channel:Tip jar:  https://paypal.me/AskZacOr check out my store at  - www.askzac.comRhythm guitar techniques in the styles of Ry Cooder, Keith Richards, Jimmie Vaughan, and Jesse Ed Davis. I had so many comments on how players had both enjoyed and incorporated concepts from my "Country Electric Rhythm Guitar," that I decided to do a companion piece covering more roots/rock styles.Gear for this video1957 Fender Esquire with added Ron Ellis "New Tall" neck pickup. Restoration and aging on the body by Dan "Danocaster" Strain.Strings: D'Addario NYXL 10-46Pick:Danocaster MediumAmp:1965 Deluxe Reverb with Celestion Vintage 30 speaker, and bright cap clipped on the vibrato channel.Effects used:Amp Reverb and tremolo #askzac #guitartech #telecasterSupport the show

In this mix, I give my respectful nod to Stomu Yamashta and my tribute to the wonderful voice we have lost, Linda Lewis from the last of the Go Sessions, In the last album of the trilogy, a stroke of genius was made by Stomu Yamashta, the decision to bring in Linda Lewis for the lead female voice. Later this year I will produce another mix where I will dig deeper into the Go series of albums. RIP Linda Lewis Stomu Yamashta's Go – The Complete Go Sessions 3 albums ·       Studio Album 'Go'. ·       Live Album ‘Live From Paris'. ·       Studio Album 'Go Too'. Arranged By Paul Buckmaster Backing Vocals – Doreen Chanter, Liza Strik), Rub), Thunderthighs' Bass – Jerome Rimson, Paul Jackson , Rosko Gee. Compiled By, Supervised By Glenn A. Baker Compiled By, Supervised By Ian McFarlane, Peter Shillito Composed By, Arranged By Klaus Schulze, Stomu Yamashta. Congas – Brother James, Lennox Langton. Drums - Michael Shrieve Guitar – Bernie Holland, Pat Thrall. Guitar, Soloist – Al DiMeola Guitar, Vocals – Doni Harvey. Keyboards, Synthesizer – Peter Robinson. Layout, Design – Black Widow Graphic Design Lead Vocals – Jess Roden, Lead Vocals - Linda Lewis, Lyrics By – Michael Quartermain. Mastered By – Warren Barnett. Orchestra – The Martin Ford Orchestra. Percussion [Latin] – Brother James. Percussion, Synthesizer (Korg), Piano, Percussion, Synthesizer – Stomu Yamashta Piano, Vocals, Organ, Guitar, Synthesizer - Steve Winwood. Producer – Dennis McKay, Paul Buckmaster, Stomu Yamashta Rhythm Guitar – Chris West, Julian Marvin. Rhythm Guitar, Guitar, Soloist – Pat Thrall. Synthesizer – Klaus Schulze. Synthesizer – Klaus Schulze. Synthesizer [Moog] – Klaus Schulze (tracks: 2-3 to 2-10) Violin, Voice – Hisako Yamashta. Vocals – Karen Friedman. Also in this mix, a new name for me is Vuma Levin, In my opinion, he is destined to be one of South African Jazz's greatest musicians. an eclectically cutting-edge, refreshing new addition to the contemporary African jazz scene. Watch out, Vuma Levin's in the building. Info NDFM Website - info – pics – Content - Music Videos – NDFM's Music Player Please go to - https://linktr.ee/NDFM Please enjoy the music I love Playlist DoomCannon – Amalgamation Alfa Mist Kaya Thomas-Dyke – Aged Eyes Stomu Yamash'ta – 4 tracks from Go Too T2 - Seen you Before T3 - Madness T4 - Mysteries of Love T5 - Wheels of Fortune Vuma Levin – Yaka Yaka GoGo Penguin – Parasite Amadou & Mariam – Magossa Skalpel – Long Distance Call Paul Randolph – Fall Away Bokani Dyer – Tiya Mowa GoGo Penguin -Saturine Lakecia Benjamin - New Mornings

Episode 95 Early Intersections of Rock and Electronic Music   Playlist Frank Zappa, The Mothers of Invention, “The Return of the Son Of Monster Magnet (Unfinished Ballet In Two Tableaus)” from Freak Out! (1966 Verve). Bass, Guitarrón, Soprano Vocals, Roy Estrada; Drums, Jimmy Carl Black; Guitar, Vocals, Arranged By, Written-By, Leader, Musical Director, Frank Zappa; Lead Guitar, Rhythm Guitar, Elliot Ingber; Vocals, Harmonica, Tambourine, Finger Cymbals, Ray Collins. Having been gifted a copy of the Mother's album Freak Out! In 1966, it was apparently this song that stuck in Paul McCartney's mind, inspiring the “Carnival of Light” recording to follow. 12:15 The Beatles, “Carnival of Light” an unreleased track that was commissioned by the Million Volt Light and Sound Rave, an event held at the Roundhouse in London on January 28 and February 4, 1967. Recorded during a session for the song "Penny Lane" in January 1967. Working with the recording studio as a creative tool, this was a project brought to band by Paul McCartney who had been asked by the festival sponsors to create a tape to be featured at the event. It was reported later that McCartney explained the exercise to his bandmates by saying, "This is a bit indulgent, but would you mind giving me 10 minutes? I've been asked to do this thing. All I want you to do is just wander round all of the stuff and bang it, shout, play it." The result was this sound piece. The Beatles were already conditioned for turning out spectacular sound effects in the studio. This was before the Moog Synthesizer came to Abbey Road. Nonetheless, they had access to all manner of guitar effects, echo, reverb, a Mellotron, electronic piano, organ, Lesley speakers and other devices with which to improvise. 13:08 The Riders Of The Mark, “The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg” from The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg/Gotta Find Somebody (1967 20th Century Fox). I wish I knew more about this band, but I don't. They had this one single. It has sometimes been included on compilation of psychedelia. Rock music, tape reversal, tape echo, fuzz tones, guitars. 2:13 Pink Floyd, “Interstellar Overdrive” from The Piper At The Gates Of Dawn (1967 Columbia). UK release of the formidable Pink Floyd, then making an impact with their first LP. No synthesizers, but there were electronic rock instruments galore and some imaginative stereo imaging, a benefit of working with tape in those days. Bass Guitar, Vocals, Roger Waters; Lead Guitar, Vocals, Syd Barrett; Drums, Nicky Mason; Piano, Organ, Rick Wright. 9:40 Bernard Parmegiani, “Pop'eclectic (1968)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Parmegiani was one of the lesser-known composers associated with the French musique concrete school, although he was no less prolific in many genres, including electronic music for commercials. He was adept at experimenting across genres, providing musique concrete vividness to works for jazz and rock music. I always find his work to be refreshing and uncluttered by musical cliches. 11:03 (Frank Zappa) The Mothers of Invention, “Are You Hung Up?” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 1:30 Silver Apples, “Velvet Cave” from Silver Apples (1968 Kapp). Composed and Arranged by, Dan Taylor, Simeon; Percussion, Dan Taylor; The Simeon (oscillators, filters), Simeon; Vocals, Dan Taylor, Simeon. “INSTRUCTIONS: Play Twice Before Listening.” This two-man group used a genius combination of drums and oscillators, a match made in heaven. 3:27 (Frank Zappa) The Mothers of Invention, “Nasal Retentive Calliope Music” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 2:03 The United States of America, “The American Metaphysical Circus” from The United States of America (1968 Columbia). While the entire psychedelic scene in America was adding tape manipulation, fuzz tones, and echo to their recordings, The United States of America brought a blend of rock musicianship and serious tape collage work to the fore. The tape effects in their music were not the usual brief hooks or the sake of novelty, but fully composed blocks of electronic and found sounds integrated in the core of their tunes. Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. 5:07 The United States of America, “Hard Coming Love” from The United States of America (1968 Columbia). Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. No synthesizers as such, but Tom Oberheim built ring modulators and other devices for them. 4:48 Bernard Parmegiani, “Du Pop À L'âne (1969)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Of special interest on this track is a sampled chunk of a song by the Doors that appears about 6 minutes in, altered and accompanied by editing and effects. This use of sampling speaks to the liberties that musique concrete musicians were taking with found materials. 10:14 Pierre Henry & Michel Colombier, “Prologue,” “Psyché Rock,” “Jéricho Jerk,” and “Teen Tonic” from Mass For Today / The Green Queen (1969 Limelight). Compilation of earlier works first released in 1967. These four works were part of “Mass for Today,” an electronic rock ballet.” This is a decent collection, with selections from other Henry musique concrete works. The electronic sounds and tape effects seem somewhat heavy-handed now, but at that time, this was what one could do without a synthesizer. Henry was already a maestro of musique concrete by that time so it's especially interesting to see what sounds he added without seeming trite or cliched. Réalisation Sonore, Pierre Henry; Written by, Michel Colombier, Pierre Henry. 9:54 Spooky Tooth and Pierre Henry, “Have Mercy” from Ceremony: An Electronic Mass (1969 Island). Bass Guitar, Andy Leigh; Composed by Gary Wright, Pierre Henry; Drums, Mike Kellie; Electronics, Realisation Sonore, Pierre Henry; Lead Guitar, Luther Grosvenor; Lead Vocals, Mike Harrison; Lead Vocals, Keyboards, Gary Wright. 8:10 The Free Pop Electronic Concept, “Pish! Pshaw!” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 4:47 The Free Pop Electronic Concept, “Cosmos Rhythms” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 3:01 Tommy James and the Shondells, “Cellophane Symphony” from Cellophane Symphony (1969 Roulette). This title track was a rare instrumental from this group normally associated with rock vocal hits. This is the only track in this podcast featuring the Moog Modular Synthesizer. There were certainly other examples of the Moog since it was first used in 1967, but I wanted to choose an example of how the synthesizer could be used by a rock band, rather than a pop artist such as Jean Jacques Perrey or Mort Garson. This is a terrific example that I would bet many of my listeners have never heard before. Tommy James, lead vocals, guitars, keyboards; Eddie Gray, lead guitar, backing vocals; Ronnie Rosman – keyboards, backing vocals; Mike Vale, bass guitar, backing vocals; Pete Lucia, drums, percussion, backing vocals. 9:37 West Coast Pop Art Experimental Band, “As Kind as Summer” from Vol. 3 - A Child's Guide To Good & Evil (1968 Reprise). American psychedelic rock band, formed in Los Angeles in 1965, broke up in 1969. Three teens (brothers Dan and Shaun Harris and their friend Michael Lloyd) teamed up with 30-year old Bob Markley, who got them a record deal with Reprise. Each of their albums was most bizarre, combining hummable pop tunes and spacey production. I included this particular track because it starkly demonstrates the use of tape loops and sound reversal. 1:10 Toshi Ichiyanagi, The Flowers, "Electric Chant” and “The Flowers (内田裕也とザ・フラワーズ)” from Opera "From The Works Of Tadanori Yokoo (1969 The End Record). Composed by Toshi Ichiyanagi and performed by the Japanese rock group The Flowers: Bass, Takeshi Hashimoto; Drums, Joji Wada; Guitar, Vocals, Remi Aso; Percussion, Backing Vocals, Yuya Uchida; Steel Guitar, Katsuhiko Kobayashi; Vocals, Hiroshi Chiba, Kento Nakamura. I'm including two pieces from this opera from 1969. The first, “Electric Chant” is electronic and includes tape collage while the second, “The Flowers” was performed by the Japanese pop rock band The Flowers and is loaded with distortion, echo, feedback, and reverberation, transforming the simple rock format into a discourse in electronic sound. 5:17 & 7:18 Tim Buckley, “Starsailor” from Starsailor (1970 Bizarre). Engineer, Stan Agol; Vocals, Producer, Written by, Tim Buckley. According to Larry Beckett, Buckley's chief lyricist and collaborator, who was there when they recorded this track, Buckley had a basic lyric track to which he recorded 18 additional vocals tracks on top of it. “He didn't write it out as a classical musician does, but it was thoroughly composed.” From the standpoint of rock music, this was more akin to composing with tone clusters than chord progressions. 4:34 Opening background music: Luc Ferrari, “Dialogue Ordinaire Avec La Machine (1984)” from Dialogue Ordinaire Avec La Machine / Sexolidad (2019 Elica). Composed and performed by Luc Ferrari. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Hey, rockers! Are you ready for the ultimate face-off? We're talking about the two of the greatest frontmen in the history of ROCK, and we're not holding back! It's "Frontman Faceoff: AC/DC" and we're diving in headfirst!We're talking Bon Scott, the wild man with a wicked sense of humor and bluesy vocals that would make even the devil himself jealous. And we can't forget about Brian Johnson, the screamin' eagle with high-pitched screams that could shatter glass!So buckle up, rockers! Whether you're a die-hard Bon fan or a Brian believer, this is the showdown you've been waiting for. It's "Frontman Faceoff: AC/DC" Let's Get it Up!

You have arrived at the Ringtone factory and recording studio with daily bonus music to download and great digital music tips with iServalan, the composer and artiste at the Tale Teller Club.Let's go crazy in ringtone heaven with iServalan Homotech 23.More information on our tech blog with access to the archives and links to all the back catalogues and YouTube music station.www.tale-teller.clubLoop Lovers Production Studio for the latest technology content and bonus free digital music. Audio made by an expert to take the drama out of your creativity.Tale Teller Club, sharing modern music with the brave new world.To chat and checkout Midjourney AI, where we produce all our incredible merchandise and artwork, pop over to my server on #discordGet your free music discounts voucher on my Pond5 music is herehttps://www.pond5.com?ref=TaleTellerClubLoop Lovers Production Studio for the latest technology content and bonus free digital music. Audio made by an expert to take the drama out of your creativity.Tale Teller Club, sharing modern music with the brave new world.My Music on YouTube is herehttps://www.youtube.com/channel/UCE_rXZ4DiuopFwl2qFNU_cwFashion by iServalan Homotech 23 AI is herewww.iservalan.company.siteFree Loops n Ringtone Factory by Tale Teller Club presented by iServalan Homotech 23 with great tips on being the best musician you can with the current available technology and Logic Pro.The Tale Teller Club™ is an AI Orchestra and podcasts network, home of The Book of Immersion V1 Music and Audiobooks.iServalan Presents amazing free music every hour of every day for free!Who is iServalan?iServalan AI 23 is a Homotech artist and musician is from the band Tale Teller Club.She is part human and part AI, a futuristic entity finding out about life through music and poetry.The Tale Teller Club was created with funding from the Future's Venture Foundation in 2020. The TTC is an electroacoustic orchestra with a futuristic edge fusing jazz, classical, and contemporary stylistic elements to create cerebral dance music or CDM as well as music therapy recordings and film soundtracks.#AI #immersion #sci-fi #adventure #books #midjourney #beats #digital #audio #tech #library #loops #ringtones #funk #phonk #driftphonk #rap #trap #house #sub #technology #subwoofa #bass #jungle #memphis #southern #music #musicpodcasts #musician #composer #digitalmusic #arranger #performer #how_to_create_soundtracks #filmmaker #tools #postedit #procreate #jazz #blues #iservalan #taletellerclub #content #freemusic #royaltyfree #soundtracks_for_film, #classical #classicallytrained #contemporarymusic #recordingartist #††ç #TTC #entertainers, #futurism #arthouse #artschool #apple_loops_alternative #ringtone #ringtone_samples #logicpro #taletellerclub podcasts #freepodcast #audiobooks #spokenword #musician #composer #author Hosted on Acast. See acast.com/privacy for more information.

Timings for the SoundCloud audio version of Rhythm Guitar Lesson 1b: 00:00:22 Using Eartrainer to practise the rhythm of a piece separated from the melody 00:01:08 A simple idea for practising rhythm 00:01:22 Starting with a bar of 4/4 and then throwing in some 8th notes 00:02:28 Using the offbeat and how to play challenging rhythms 00:02:58 Riff from Human by the Killers and timing it right 00:03:40 The 8th note at the beginning of the riff that isn't heard 00:05:10 Sing the rhythms - do it in your head 00:05:20 Sixteenth notes starting on the offbeat can be tricky 00:05:43 Start of our Funk mini study 00:06:39 Yngwie's quote: "groove or die" 00:07:21 Right hand playing, percussive hits in funk music 00:07:51 Sixteenth notes with accents on the beat 00:08:26 Make the right hand consistent, lock in with drums / metronome 00:11:12 Demo of the same funk groove with and without the percussive notes 00:13:00 All this kind of practise helps to instil a sense of pulse 00:13:57 What does a drummer do when he is performing fills? 00:14:09 Demo of acting like a drummer 00:15:18 Playing funk solos in this way is a great way to practise 00:17:00 Dan's advice to listen to Cory Wong - will share in our show-notes 00:19:31 There is life beyond power chords Here is the second half of the lesson: Dan gives us some reminders for your practice and how to play 16th funk strumming patterns with confidence and so that they sound groovy. Dan demonstrates what we're aiming for when developing an inner pulse through a funk improvisation in which he mirrors what a drummer is thinking when they support a funky track with fills and mini solos. I have been adding to my own new practice regime lots of metronome work based on what we will discuss next time.

This is the first lesson in our new mini-series on the topic of rhythm. R.I.P. Jeff Beck :( Dan and I, in our first lesson look over the basics of rhythm: Firstly, covering what the difference between a quarter note, eighth note and sixteenth note along with the synonyms of crotchet, quaver and semi-quaver. Next Dan talks about staccato, dotted notes, tied notes, off-beats and counting; along with guitar strumming techniques which work for him. Finally, we look at some reggae and funk examples – although the funk examples will be reserved for next installment of the podcast when we will release the second half of the first lesson. Stay tuned for some brilliant reminders for your practice and how to play 16th funk strumming patterns with confidence and so that they sound groovy – all coming up in Rhythm Guitar Lesson 1b. I have been adding to my own new practice regime lots of metronome work based on what we will discuss next time. Timings for the SoundCloud audio version 00:01:25 A few words on Jeff Beck 00:04:45 Intro to rhythm and a reminder about how important it is to work on 00:05:32 Quick bit on EarMaster and how Gary has been using it in his practice 00:07:22 Look at the real basics of note values and rhythmic divisions in a bar 00:08:27 Dan's breakdown of rhythmic values and basics of music reading 00:14:22 Stacatto notes 00:14:52 Extending notes with dots or ties 00:15:34 Using the spider gym for warming up, rhythm and playing without tension 00:16:01 Variations of Spider Gym finger patterns - see notes 00:16:51 Funky and reggae rhythms and use of syncopation and off-beats 00:18:40 Keeping track by using down and upstrokes to help your rhythmic work 00:20:21 Reggae: focussing on the offbeat on the high strings I have always struggled with rhythm playing: it doesn't come very naturally to me. Recently, I have been coming to the realisation that this aspect of my playing, while I have already worked hard to really improve it, needs a lot more work and practice. I remember having a discussion with a musician friend of mine and we were discussing ‘groove' and ‘being in the pocket' and he mentioned a person who he played with sounding so professional and being of the mind that it is because her rhythm playing is so strong and well-rehearsed. This rings true for me and I can hear that same level of precision and expertise in Dan's playing. Spider Gym finger patterns: 1234 2134 3124 4123 1243 2143 3142 4132 1324 2314 3214 4213 1342 2341 3241 4231 1423 2413 3412 4312 1432 2431 3421 4321

All music used with permission by Occidental Gypsy.       It Don't Mean a Think (If it Ain't Got That Swing) - Ellington/Mills Messalina - Feldman Douce Ambiance - Reinhardt Georgia on My Mind - Carmichael/Gorrell Betty's Bossa - Feldman It's Only a Paper Moon - Arlen/Harburg/Rose Minor Swing - Reinhardt Gypsy Blues - Feldman/Bishop/Frantz/Chapman Shine - Mack/Dabney/Brown A Day With Paula May - Feldman Tonight - Feldman/Bishop 44070: Song for Verba - Feldman The House I Live In - Robinson/Meerpol Thriller - Temperton   An Occidental Gypsy show is, without question, the most fun you can have in their native Rhode Island. Their unique blend of gypsy jazz, western rhythms and early swing era vocals have brought them international acclaim.  Every Occidental Gypsy show is a party, and it's every bit as enjoyable as the after party. Featuring Brett Feldman on Lead Guitar, Eli Bishop on Fiddle, Jeremy Frantz on Vocals and Rhythm Guitar, Jeff Feldman on Bass, and Jon Chapman on Percussion, and from a March 31st, 2022 performance it's Occidental Gypsy – Live at the Bop Stop. Live at the Bop Stop is made possible by the Music Settlement – serving Northeast Ohio by offering music instruction – music therapy and early childhood education since 1912. The Music Settlement's mission is to welcome all to our music and arts community to learn – create – inspire – and heal.   This program is recorded at the Robert Conrad Studios at the Bop Stop in Cleveland, Ohio and the studios of KUNV in Las Vegas, Nevada. Additional production at the Bop Stop is provided by Graham Rosen. Editing for WOBC,WNPA and the Public Radio Exchange is provided by Dr. Pete Naegele - and for our podcast and other radio affiliates by Shawn Gilbert at Gilazar Media.     The executive producer is Daniel Peck – with additional consulting production by Bryan Kennard and Gabe Pollack.   For extended versions of all of our shows –our Live at the Bop Stop podcast can be found on your favorite podcast app or visit our website at www.themusicsettlement.org and click the Bop Stop link.   Want to Support The Bop Stop?  Donate here!   Contact us here

Non-Stop Rock Talk welcomes singer/rhythm guitarist Ryan Jones of Bay Area band Corvus Lore to discuss the bands history, influences and how those influences come out in the Corvus Lore  sound. Sit back and enjoy!!!                                                   

Porcelane is a Malaysian rock outfit based in Kelana Jaya. With the vision to enthral audiences through story and music, the band challenges the limits of genres by combining the sounds of midwest-emo, shoegaze and pop-punk in hopes of birthing something chaotic and new. Fueled by "ikat-tepi" drinks and a burning drive, the band consists of members Adam Ariff(Vocals, Rhythm Guitar), Ajith Nair(Lead Guitar), Sandro Guerzo(Bass Guitar) and Daud Ho(Drums). With each of them bringing a unique perspective, Porcelane is inspired by bands such as Basement and Nothing, blending chugging bass lines and swirling guitars, to conjure up feelings of languish, sorrow, perseverance and prevalence. Join us in this episode and let's get to know the band and their music. For more visit www.sltwithnav/porcelane This podcast episode is supported by Malaysia's Cultural Economy Development Agency ( CENDANA )

El especial de este mes en Achilitime gira en torno a la figura del productor gitano más avanzado del planeta según Txarly Brown: Jack Jean Tarradellas "Jack Chakataga" Escoudé (Barcelona, 14/6/1984) hijo del mítico Johnny Tarradellas "Chipén". Jack es una figura imprescindible para entender la evolución de la rumba y el flamenco en el siglo XXI en nuestro país. Su curriculum es tan extenso como el de Pharrell. Un productor vocacional es el que no mira nunca el reloj en su estudio. Jack no sabe si es de día o de noche. Aparece con tan solo ocho años en los créditos de No Sólo de Rumba Vive el Hombre (BMG, 1992) de Albert Pla como corista. Su primer encuentro con los controles de un estudio de grabación se remontan al disco coral ideado por su padre, Som la Rumba (Zanfonia, 2000) con 16 años. Antes ya había formado su primer combo rumbero, Chipimaya, a duo con Chiqui Amaya hijo de José de Los Amaya. Más tarde cursa estudios musicales en el Taller de Mùsics donde forma (entre otros muchos) el proyecto de corte flamenco latin jazz Chakataga; uno de rumba arabesca junto músicos amazighs, Rumbamazigha, y otro de recuperación del legado de la rumba catalana con Rumba Vella. Todos ellos editan más de un disco que él mismo graba y arregla. También forma parte fundamental del proyecto Banda Achilifunk y actualmente del Achilifunk Sound System. Paralelamente arranca su carrera como productor, técnico de sonido y arreglista convirtiéndose en el pluriempleado más prolifico de la escena rumbera. Por sus manos han pasado Lady Gipsy, Sabor de Gràcia, Arrels de Gràcia, Viejos Rumberos, Micu, Ai Marai, Revolución, Manuel Malou, 4 de la Cera, Ramonet, Peret, Chacho y una lista interminable... También podemos otorgarle el mérito de ser el primero en grabar a Rosalía cantando Herois Obscurs en el disco Or Verd (Temps Record, 2014). Para más "inri", toca con solvencia prácticamente todos los instrumentos conocidos y si no, aprende en el tiempo que tarda en sujetarlos. Y es el inductor a la rumba y el flamenco de todo tipo de músicos: del pop al jazz. Algo así como lo que hizo Víctor Martínez en la mutación de C Tangana a la rumba: Musical Box, Handclaps, Guitar, Keyboards, Flamenco Guitar [Spanish Guitar], Electric Bass, Classical Guitar, Congas, Bongos, Bells, Maracas, Guiro, Backing Vocals, Timbales, Claves, Voice, Effects [Flamenco Percussion], Rhythm Guitar & Drums. Eso consta en los créditos.Veamos lo que hace Jack en un año de trabajo. Estamos en 2022. El programa de hoy recoge algunos de esos momentos. Desde sus conocimientos musicales y su bagaje sonoro, recrea y reinterpreta estilos dispares con una versatilidad y soltura impresionante. Arrancamos con el track que marcará el futuro presente. Cuando el rumbatón (o flamencotón) y la kinkydelia electrónica andaluza ya son mainstream (Tangana / Califato) Jack los adelanta a todos por la izquierda y se saca de la manga un taladro con adornos flamencos que dinamita las redes: Gipsy Drill. Jack hace tiempo que está a la vanguardia, a pesar de que nadie se entere de ello. Quizás su modestia y el no vivir a sueldo de una multinacional lo hacen único. Su espíritu libre y su caos vital lo acercan al genio indomable que siempre está un paso por delante. Si alguien se ofende lo sentimos, pero en este país de "catetos" Stromae o Tyler The Creator serian camareros. España es esa monarquía bananera en el que el Ministro de Cultura tiene menos ídem que un youtuber y lo más bochornoso es que no se avergüenza de ello. Eso lo explica todo.Volvamos al tracklist. Alternaremos a A93 con las 4th music sessions: trap, drill y rumbaton de salida a toda velocidad. Pasando por las baladas electrónicas de Iria M caeremos en la electrónica arabesca experimental. Con ella nos mudaremos al anime japonés. Lo de Jack es realmente de otro planeta: trasladar al flamenco sintonías de videojuegos. Otro salto estilístico: de la sintonía del Festival Flamenco Trocadero de Sotogrande de aire salsero gitano caeremos en la copla modernizada de Manuel Fernandez y su Bien Pagá. Repite Iria M, la musa de Jack (que en cuanto la descubra una multinacional volará hasta la luna). Sigue el programa con un surtido de rumbas al estilo moderno, sumándole samba, electrónica, balkan beats, metales preciosos, catalanismo o lo que haga falta, Jack siempre sorprende. Hasta Machado sucumbe al taladro. Y como colofón una sinfonía experimental de flamenco jazz. Talento en estado puro. Estos son algunos proyectos recientes, no es un "Lo Mejor de..." porque sería imposible sintetizar su carrera en una sola hora. Simplemente es un muestrario reciente de la extraordinaria versatilidad del mejor productor gitano en activo. Un crack.

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. In this episode Perry Smith discusses techniques for playing Rhythm Guitar in Jazz. Follow and support us on Patreon. https://www.patreon.com/newwestguitargroup ★ Support this podcast on Patreon ★

Episode 74 The Polyphonic Synth Journey of Fusion Jazz   Playlist Jan Hammer, “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). I am including two versions of the same track from Jan Hammer, a master synthesist who moved from monophonic to polyphonic synths gradually, making the best used of the expressive qualities of each technologh. This track is from 1975 and uses Oberheim modules, probably the 2-voice or even 4-voice, but along with the Minimoog and what sounds like an uncredited Mellotron. Hammer was insistent in the notes for this solo album that none of the sounds were made with the guitar. This makes the contrast of this track with the next version performed live with Jeff Beck and even more interesting contrast. Producer, Engineer, Piano, Electric Piano, Moog and Oberheim synthesizers, Drums, Percussion, Composer, Jan Hammer. 4:30 Jeff Beck With The Jan Hammer Group, “Darkness/Earth In Search Of A Sun” from Live (1977 Atlantic). Here is the same tune written by Hammer for his solo album, now performed live with Jeff Beck. I think one can assume that all soloing in done on a Minimoog while all other synth sounds, including strings, are provided by the Oberheim modules and Freeman string synth. Bass, Fernando Saunders; Drums, Tony Smith; Guitar, Effects, Jeff Beck; Moog, Oberheim, and Freeman synthesizers, Electric Piano, Timbales, Jan Hammer; violin, string synthesizer, Steve Kindler. 7:55 Billy Cobham, “Leaward Winds” from Magic (1977 CBS). Early days of the Oberheim polyphonic, used again as background comping and fills to back-up the guitar and piano leads. Bass, Randy Jackson; Guitar, Peter Maunu; Piano, Oberheim Synthesizer, Mark Soskin; drums, producer, Billy Cobham. 3:38 Herbie Hancock, “Hang Up Your Hang Ups” from Man-Child (1975 Columbia). Along with Jan Hammer, Herbie Hancock was an early pioneer of using polyphonic synths in his ensemble. While I don't hear the Oberheim module being played until about the 5:30 mark in this track, I wanted to include it because Hancock uses many synths at his disposal to achieve the overall sound. The next two tracks from the Eddie Henderson album Mahal used a similar but updated keyboard ensemble, including the Oberheim 8-voice polyphonic and Prophet 5 synths. Bass, Henry Davis, Louis Johnson, Paul Jackson; Drums, Harvey Mason, James Gadson, Mike Clark; Guitar, David T. Walker, Blackbird McKnight; Guitar, Synthesizer, Melvin "Wah Wah" Watson; Percussion, Bill Summers; Piano, Fender Rhodes, Arp Odyssey, Pro Soloist, 2600, String Ensemble, Oberheim Polyphonic Synthesizer, Hohner D6 Clavinet, Herbie Hancock; Saxophone, Flute, Ernie Watts, Jim Horn; Soprano Saxophone, Wayne Shorter; Soprano Saxophone, Tenor Saxophone, Saxello, Bass Clarinet, Bass Flute, Alto Flute, Bennie Maupin; Trombone, Garnett Brown; Trumpet, Bud Brisbois, Jay DaVersa; Tuba, Bass Trombone, Dick Hyde. 7:27 Eddie Henderson, “Cyclops” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:19 Eddie Henderson, “Prance On” from Mahal (1978 Capitol). Bass, Paul Jackson (2); Congas, Percussion, Bill Summers; Drums, Howard King; Fender Rhodes, Clavinet, ARP 2600, Oberheim 8 Voice Polyphonic, Prophet-5, ARP Strings Ensemble, Minimoog, Yamaha CS-80 Polyphonic synthesizers, Herbie Hancock; Flute, Hubert Laws; Guitar, Ray Obiedo; Piano [Acoustic], Mtume; Prophet-5 Programming, John Bowen; Tenor Saxophone, Saxophone [Saxello], Bennie Maupin; Trombone, Julian Priester; Trumpet, Flugelhorn, Eddie Henderson. 5:17 Rolf Kühn. “Cucu Ear” from Cucu Ear (1980 MPS Records). This German disc features keyboardist Rolf Kühn and highlights the Roland Jupiter 4, a 4-voice polyphonic synth. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Jupiter 4 Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:05 Rolf Kühn. “Key-Alliance” from Cucu Ear (1980 MPS Records). On this track the Roland Jupiter 4 is played by Joachim Kühn, brother of Rolf. Bass, N.-H. Ø Pedersen; Clarinet, Roland Sting Synthesizer, Roland Amps, Rolf Kühn; Drums, Alphonse Mouzon; Engineer, Walter Quintus; Guitar, Peter Weihe, Philip Catherine; Steinway Acoustic, Roland Jupiter 4 Synthesizer, Fender Rhodes pianos, Roland Amps and Echoes, Joachim Kühn; Reeds, Charlie Mariano, Herb Geller; Trombone, Egon Christmann, Wolfgang Ahlers; Trumpet, Klaus Blodau, Larry Elam, Mannie Moch, Paul Kubatsch. 5:41 Didier Lockwood, “Ballade Des Fees (Quartet Without Drums)” from Live In Montreux (1980 Disques JMS). Look who's featured on this album by French violinist Dider Lockwood—it's Jan Hammer again. Only this time he's using an unnamed “polyphonic synthesizer.” Your guess is as good as mine on this one, although he was using Oberheim and Yamaha CP70 keyboards around this same time. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 4:50 Didier Lockwood, “Fast Travel” from Live In Montreux (1980 Disques JMS). Another track with Jan Hammer using an unnamed polyphonic synth. There is a really smart Minimoog solo beginning as about 1:21, polyphonic fills are most apparent around beginning around 4:08. Bass, Bo Stief; Drums, Gerry Brown; Rhythm Guitar, Marc Perru; Polyphonic Synthesizer, Jan Hammer; Tenor Saxophone, Bob Malach; Violin, Didier Lockwood. 7:06 Georges Acogny, “Karimagie” from First Steps In (1981 String). This track uses a Polymoog effectively for some nice runs and comping, beginning around 3:40. I do not know what instrument was used to create the the white noise heard in the opening and throughout since I don't believe you could do that with the Polymoog. Bass, Dominique Bertram; Composed By, Khalil Chahine; Drums, Paco Sery; Guitar, Georges Acogny, Kamil Rustam; Percussion, Sydney Thiam; Piano, Patrick Gauthier; Soloist [Acoustic Guitar], Larry Coryell; Soloist [Bass], Nicolas Fizman; Soloist [Electric Guitar], Kamil Rustam; Polymoog synthesizer, Rachid Bahri. 8:30 Georges Acogny, “1st La Rosée” from First Steps In (1981 String). Acogny is a guitar player so the polyphonic synth tends to play a supporting role to the string work on this track. In this case, the Prophet 5 is used, most notably at about 30 seconds into the track. Bass, Nicolas Fizman, Electric Piano [Fender Rhodes], Olivier Hutman, Guitar, Kamil Rustam, Guitar [Ovation], Georges Acogny, Piano, Jean-Pierre Fouquey, Soloist [Trombone], Hamid Belhocine, Prophet 5 Synthesizer, Didier Egea. 4:37 Combo FH, “Zelený Muž (Green Man)” from Věci (Things) (1981 Panton). Here is a short track that uses the Italian-made Farfisa Syntorchestra, a rare keyboard made in 1978 that had a split keyboard, part polyphonic string synthesizer and part monophone synth section. Mostly used on European tracks by German composers including Klaus Schulze, here is an unusual jazz fusion example from a group in the Czechoslovakia. This group was known for its unusual instrumentation, including lead bassoon heard on this track. Bass Guitar, Václav Pátek; Bassoon, Percussion, Milan Sládek; Percussion, Richard Mader; Organ, Farfisa Syntorchestra synthesizers, Percussion, Leader, Daniel Fikejz; Percussion, Bořivoj Suchý. 1:48 String Connection, “Quasi String Waltz” from Workoholic (1982 PolJazz). Recorded in Poland and distributed by the Polish Jazz Society. This album features some strings sounds played on the Polymoog, which was still being used for its unique sounds even by this late date, because the Polymoog had been retired by this time. Listen for fills and chords beginning around 1:08. Bass Guitar [Gitara Basowa], Krzysztof Ścierański; Drums [Perkusja], Zbigniew Lewandowski; Piano [Fortepian Akstyczny], Violin [Skrypce], Polymoog Synthesizer, Krzesimir Dębski; Piano, Hammond Organ , Polymoog Synthesizer, Trombone [Puzon], Janusz Skowron; Tenor Saxophone [Saxoton Tenorowy], Soprano Saxophone [Saxofon Sopranowy], Andrzej Olejniczak. 3:19 Mike Elliott, “For Janny” from Diffusion (1983 Celebration). Another interesting album of guitar-based fusion jazz with synthesizer touches. Seemingly self-produced in Minnesota. Although the Minimoog is also used on this recording, I selected a track that was primarily using the Polymoog, beginning around 50 seconds. Fender Bass, Rick Houle; Drums, Gordy Knudtson; Flugelhorn, Bobby Peterson; Gibson ES-347 guitar, Ryoji Matsuoka Flamenco guitars, solid body kalimba; Mike Elliott; grand piano, Polymoog and Mini-Moog synthesizers, Ricky Peterson; Producer, Mike Elliott. 4:42 Martin Kratochvíl & Jazz Q, “Trhanec (The Muffin)” from Hvězdoň Asteroid (1984 Supraphon). From Czechoslovakia, a brilliant ensemble of musicians led by keyboardst Martin Kratochvíl. Here is another mix of monophonic synths and the polyphonic Oberheim 4-voice, heard in the opening riff that's repeated throughout. Bass Guitar, Přemysl Faukner; Drums [Bicí Nástroje], Pavol Kozma; Electric Guitar [El. Kytara], Twelve-String Guitar, Fender Rhodes, Minimoog, ARP Omni, Oberheim 4-Voice Polyphonic synthesizers, Leader [Vedoucí], Engineer [Recording], Recording Supervisor [Recording Director], Martin Kratochvíl. 4:34 Opening background music: Short piece by Thom Holmes using the Arturia Prophet 5 plug-in. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

Playlist Computer Magic (Danielle Johnson), “Data” from Danz (2018 Channel 9 Records). US. Written, Recorded, Arranged, Produced, Mixed, Mastered by, Danielle Johnson. 1:57 Angie, “The Computer Did” from The Computer Did (1984 Munich Records). Netherlands. Producer, A. Bredehoft, C. Wegener, K. Marvin; Technician, Wil Hesen; Written by C. Wegener. 3:15 Kraftwerk, “Computer Love” from Computer World (1981 EMI). Germany. Hardware, Matten & Wiechers Bonn, Peter Bollig, Mr. Lab & Friend Chip Berlin, Hermann Poertner, Gerd Rothe; Software, Guenter Froehling, Emil Schult, Pit Franke, Karl Klefisch, Computergraphics System Bernd Gericke Erlangen, Falk Kuebler, Martin Tewis, Carol Martin, Takeshi Shikura, Ian Flooks, Marvin Katz, Maxime Schmitt, Ralf Hutter, Karl Bartos, Wolfgang Flur, Florian Schneider. Kling Klang Studio: Joachim Dehmann, Guenter Spachtholz. 7:17 Little Computer People Project (Anthony Rother), “Little Computer People (Karl Bartos Remix)” from Little Computer People (Remixes) (1998 Psi49net). Germany. Produced, Performed by The Little Computer People Project (Anthony Rother); remixed by Karl Bartos. 5:31 Doris Norton, “Parallel Interface” from Personal Computer (Durium 1984). Italy. Arranged, composed, synthesizers by Doris Norton; keyboards, Antonio Bartoccetti. 4:27 The Microbes, “Computer” from Computer (1980 DJM Records). UK. Produced, Written by, C. Chiappe, J. Chegwin, O. Falquero. 2:32 Zapp & Roger Featuring Shirley Murdock and Charlie Wilson, “Computer Love” from The New Zapp IV U (1985 Warner Brothers). US. Produced, written by, Larry “Zap” Troutman, Roger Troutman; mixed by Roger Troutman. Backing Vocals Aaron Blackmon, Billy Beck, Bobby Glover, Charlie Wilson, Dale Degroat, Donna Sloss, Gregory Jackson, Jannetta Boyce, Ray Davis, Rhonda Stevens, Robert Jones, Roger Troutman, Shirley Murdock, Wanda Rash, Zapp Troutman; Bass Guitar, Aaron Blackmon, Roger Troutman, Zapp Troutman; Drums, Damian Black, Lester Troutman, Edited by Zapp Troutman; Horns, Carl Cowen, Jerome Derrickson, Michael Warren, Robert Jones; Keyboards, Bernie Worrell, Billy Beck, Dale Degroat, Greg Jackson, Roger Troutman, Zapp Troutman; Lead Guitar, Rhythm Guitar, Aaron Blackmon, Roger Troutman; Lead Vocals Greg Jackson; Mixed by Lester Troutman, Zapp Troutman; Percussion, Larry Troutman, Lester Troutman, Robert "Kuumba" Jones. 4:43 Raymond Scott, “IBM Probe” from Manhattan Research Inc. (2000 Basta). US. Music from 1963-64. Outtakes from the music and sound effects created for the promotion of the IBM MT/ST (Magnetic Tape/Selectric Typewriter), an early word processor. Remember those? 1:54 Ugliman, “Computer” from Computer (1985 10 Roosevelt Ave.). Jamaica. Producer, Harry J; Written by H. Johnson, R. Crawford. 4:00 Ikue Mori, “Abacus—Blue Parrot” from Garden (1996 Tzadik). US. Composer, performer, producer, drum Machines, effects, Ikue Mori. 10:57 Jóhann Jóhannsson, “IBM 1401 Computer Manual” (2006 4AD). UK/Iceland. The IBM 1401 was a mainframe computer introduced by IBM in 1959. Orchestra, The City Of Prague Philharmonic Orchestra; Orchestrated by Arnar Bjarnason, Jóhann Jóhannsson; Hammond B3 organ, Piano, Celesta, Bells, Jóhann Jóhannsson; IBM 1401 Data Processing System recorded by Elías Davídsson, Jóhann Gunnarsson, Örn Kaldalóns; Written, arranged, produced by Jóhann Jóhannsson. Jóhannsson's father had worked as an engineer on this computer and recorded some musical snippets when the machine was retired in 1971 that were used by his son to make parts of this recording. “The orchestra was recorded at Barrandov Studios, Smecky Soundstage in Prague in September 2005. Additional recordings were made in Reykjavik, Skálholt, Florence, Madrid, Zurich, Piran and Rennes during the period 2003-2006. Mixed in Syrland, Reykjavik in February 2006. Tracks two and three feature the voice of "an unknown instructor from an IBM 1401 Data Processing System maintenance instruction tape found in my father's attic. All electronic sounds were derived from the IBM 1401 Data Processing System and the Hammond B3 organ with Ring Modulator, Distortion and Filter pedals. The music and sounds of the IBM 1401 Data Processing System were recorded by Jóhann Gunnarsson, Örn Kaldalóns and Elías Davídsson in Reykjavik in 1971. The musical fragment played by the computer is from the hymn "Ísland Ögrum Skorid" by Sigvaldi Kaldalóns, used by kind permission. 42:25          The work is organized as follows:                Part 1 / IBM 1401 Processing Unit                Part 2 / IBM 1403 Printer                Part 3 / IBM 1402 Card Read-Punch                Part 4 / IBM 729 II Magnetic Tape Unit                Part 5 / The Sun's Gone Dim and The Sky's Turned Black 12. Kate Bush, “Deeper Understanding” from Director's Cut (2011 Fish People). UK. A different edit from the official album version. Bass, John Giblin; Computer, Albert McIntosh; Drums, Steve Gadd; Harmonica, Brendan Power; Written, produced, vocals, keyboards, Kate Bush; Performer (Beryl Van Heem), Hazel Pethig; Performer (Professor Need), Terry Jones; Performer (Toll), Remi Butler; Vocals, Trio Bulgarka; Vocals Featuring, Yanka Rupkhina. 4:53 Opening background music: Outputmessage (Bernard Farley), “Switch” from Oneiros (2004 Echelon Productions). Written, performed, and produced by Bernard Farley. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

On this episode I am joined by musician and author Mickey Leigh! A staple in New York City music since the 1970's playing in bands like The Rattlers and Stop, Mickey's latest group Mickey Leigh's Mutated Music recently dropped their debut record Variants of Vibe. We discuss new music as well as-Goals for Mutated Music-Having Steven Van Zandt release your bands new record-Mickey's songwriting approach-Seeing he and brother Joey Ramones lives reenacted on the big screen as his book I Slept With Joey Ramone gets adapted into a Netflix movie-The great undertaking of writing a book and if he could see himself ever doing it again-The added responsibilities of being the sole guitarist in a band-If New York City surroundings shape the sound of his music-Finding creative inspiration in others lives and journeys and not just sticking to what you know-Being the most critical of your own work and why musicians are never 100% happy with the final product-What goes in to putting together the Joey Ramone Birthday Bash every year (and his plans for this year)-The ever changing music industry-The feeling he gets from playing Ramones songs on stage with Richie and CJ and much more!Follow Mickey Leigh/Mutated Musichttps://mickeyleigh.comhttps://mickeyleighsmutatedmusic.bandcamp.com/album/variants-of-vibehttps://www.youtube.com/user/OfficialMickeyLeighhttps://www.instagram.com/mickeyleighnyc/?hl=enhttps://www.facebook.com/MickeyLeighhttps://twitter.com/MickeyLeighNYCCheck out the Power Chord Hour radio show every Friday night at 10 to midnight est on 107.9 WRFA in Jamestown, NY. Stream the station online at wrfalp.com/streaming/ or listen on the WRFA app.powerchordhour@gmail.comInstagram - www.instagram.com/powerchordhourTwitter - www.twitter.com/powerchordhourFacebook - www.facebook.com/powerchordhourYoutube - www.youtube.com/channel/UC6jTfzjB3-mzmWM-51c8LggSpotify Episode Playlists - https://open.spotify.com/user/kzavhk5ghelpnthfby9o41gnr?si=4WvOdgAmSsKoswf_HTh_Mg

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of Practice Routines. Check out the episode for a discussion and playing examples. Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Our 95th podcast episode found us chatting with the Asbury Park progressive punk band, FREE THE WITNESS in our Asbury Park Vibes Studio! Band members Jake Bedel-Franklin (Lead Vocalist, Rhythm Guitar) and Chris Reith (Lead Guitar, Vocals) talked about their newly released album, Deliverance, which is a melodic/punk/hardcore masterpiece based upon the Dante's Inferno (the first part of Italian writer Dante Alighieri's 14th-century epic poem Divine Comedy.) The rich harmonies, layered guitars, and subtle keys amidst the backing of demon-like methodical drumming make this a concept album that's an absolute "must-listen!"Tune in to hear all about the band's dedication and drive to make their presence known. They are a force to be reckoned with and a band that is most definitely on the rise!!Podcast Hosts: Diane DiMemmo & Doug DresherOpening Podcast Music by Connor Bracken

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of inspiring teachers. Check out the episode for a discussion and playing examples.  Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of melodic techniques. Check out the episode for a discussion and playing examples.  Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of Rhythm Guitar. Check out the episode for a discussion and playing examples.  Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Based out of Virginia, Low Water Bridge Band consists of Logan Moore on Rhythm Guitar and Lead Vocals, Alex Kearns on Bass and Vocals, Riley Kearns on Drums and Vocals, Cory Kreitzer on Mandolin, Stacey Sinclair on Fiddle, and James Montgomery on Banjo and Electric Guitar. They recently released their debut album, "Midnight in Virginia" on November 19, 2021.  Logan, Alex, and Riley join us for this episode!  BUY MUSIC https://www.lowwaterbridgemusic.com SUPPORT THE PODCAST https://www.patreon.com/hippiesandcowboys MUSIC FEATURED Low Water Bridge Band - Midnight In Virginia - Last Minute Morels - Crossing Lines BUY OUR MERCH https://www.thehippiesandcowboys.com/shop Join our online community on Patreon! Gain access to exclusive content, early guest announcements, giveaways, ask questions to our guests, and bonus podcasts! Join for as little as $1 - https://www.patreon.com/hippiesandcowboys SPONSORS WORKMANS RELIEF - https://workmansrelief.refersion.com/c/d42e52 - SAVE 15% using the promo code HACCBD at checkout! FOLLOW US https://twitter.com/HippiesCowboys https://www.instagram.com/hippiescowboyspod/ ALL MUSIC IN THIS PODCAST HAS BEEN USED WITH PERMISSION FROM THE ARTIST AND LABEL

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of Chord Melodies. Check the episode for a discussion and playing examples.  Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry John and Will discuss the topic of accompanying a vocalist. Check out the episode for a discussion and playing examples. Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. Perry John and Will discuss the intimidating topic of Sight Reading on the Guitar. Check out the episode for a discussion and playing examples. Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

Our New Year Jazzcast features lyrical and screaming leads playing off of a rhythmic and percussive harmony-background. Hear the clear-tone jazz guitar on: OUT OF THE BLUE, LOOKING GOOD, I THINK YOU REALLY MEAN THAT, INTERLUDE VERSION 6, and PLAYING ON A STAR. Enjoy!

Welcome to "High Action" - a podcast about our favorite instrument, the guitar, and the extraordinary people who play it! We are Perry Smith, Will Brahm, and John Storie - the New West Guitar Group. Season 2 features the members of NWGG performing and discussing for the listeners the many exciting topics of contemporary guitar playing. This week Perry, Will and John discuss and perform using pedals and various effects that can enhance to your tone. Follow and support us on Patreon https://www.patreon.com/newwestguitargroup★ Support this podcast on Patreon ★

I had the fantastic opportunity to sit down with the Iowa-Based, 5-man band named Citrus Sunday. Their music is self proclaimed "Rock-Zero:" a blend of Hard Rock and Blues with a Psychedelic feel. In Citrus Sunday Fashion, they have a lot to say about their adventures as a band!Tune in to hear about their journey as they document their humble beginnings of rehearsing on Sunday's to their new album, First Light. Citrus Sunday is comprised of Travis Siegel on Lead Vocals, Kameron Valdivia on Lead Guitar, Ethan Adato on Rhythm Guitar, Mitchell Wisnewski on bass and Ben Yusen on Drums. You can tune in to their music on all music platforms! Check them out on... Facebook - https://www.facebook.com/citrussunday/ Instagram - https://www.instagram.com/citrussunday/ Spotify - https://open.spotify.com/artist/5bGSEWSy5d2pwWOgFcXuGn?si=EWLhIIQwRHWSz1m4dsHTrw      

IN PERIL is a new, UK-based hard-rock band playing original music (with a few choice covers, of course!) Comprising four members – Hayden (Lead Vocals & Rhythm Guitar), Matt (Lead Guitar), James (Bass Guitar) & Gary (Drums), the band has been established for around 18 months in the current format. In October 2020, the band recorded several of their original works and is working to release these tunes into the wide-world independently. The debut ‘single' – "Bad Dreams & Battering Rams" was released into the wilds of the internet on 31st October 2020. https://youtu.be/AkhJQMyGPBIhttps://youtu.be/pU6FYYnztfM Facebook Twitter Youtube Spotify Instagram

Often overlooked yet likely one of the most dynamic members of the band. The Rhythm Guitar Player. What makes one great? Let's talk about it. Segment Run: Intro & Around the horn Rhythm Guitar Players Versus: CSN&Y Vs. The Eagles --- with a focus on vocal harmony Sounds from the Rhythm Section (mail) Feedback (Love and/or Hate mail): musicandtheorypodcast@gmail.com Follow us on: Instagram (musicandtheorypodcastofficial) Facebook (@themusicandtheorypodcast)

On this episode of The Brutally Delicious Podcast we chat with John Malkin of The Simple Radicals a retro rock band from the great blues and rock city of Chicago, Illinois, featuring John Malkin on Lead Vocals and Rhythm Guitar and John Griffin on Lead Guitar and Vocals. Together, they capture the passion and energy of their collective musical experience, with different tastes, sounds, and styles. The music they create is pure, visceral rock 'n' roll - poignant, from the heart, topical and direct. --- Send in a voice message: https://anchor.fm/brutally-delicious/message