Hold On - Noel Pointer - Hold On (Vinyl, LP, Album)
Goes C. The Josh White, Jr. Fred Carter Jr. Report error. La piscine - Original Soundtrack. Queimada - Colonna sonora originale del film.
Bande sonore originale du film "Du soleil plein les yeux". The Nitty Gritty Dirt Band. Will the Circle Be Unbroken. Live at the Comedie des Champs Elysees. Music from the Roaring 20's. Al Caiola and Ralph Marterie. Golden Hit Instrumentals, Vol. From Russia with Love - Soundtrack. Goldfinger - Original Motion Picture Score. I've Got a Song for You! George Martin and His Orchestra. Art Blakey Jazz Messengers. Bill Evans, Jim Hall. Bud Freeman and Two Guitars. Finian's Rainbow and Brigadoon Remembered:.
Max Kaminsky and His Dixie Eight. Ralph Marterie LP His Marlboro Orchestra. Al Caiola and His Islanders. The Best of George Jones. Big Howdy Fiddlin' Country Style. As Long as the Winds Blow. Frank Cordell and His Orchestra. Lee Schaefer - Jim Hall. Benny Carter Quartet. The Knack Ike Turner presents The Family Vibes. Uncle Jesus, Auntie Christ. Legendary Masters Series No. The 50 Guitars of Tommy Garrett. Stars and Stripes Forever. Electric Light Orchestra. Dial "M" for Music.
Tina Turns the Country On. Bryan Loren. Reggie Lucas. Arif Mardin. Nick Martinelli. Arnold feat. Nigel Martinez.
Eric Matthew. In the late '70s he formed this group with partner Gary Turnier to play weddings and other celebrations in the New York area. Gary 's Gang got subsequently signed and hit the dancefloors worldwide with the disco anthem "Keep On Dancin'". This success and collaborations with producer Darryl Payne and friend Gary Turnier allowed him to produce an array of artists for the N. In he decided to form his own label Radar Records. During the early '80s Eric Matthew realised few quantity but established high quality and is in many aspects the producer archetype of the soulful New York club music with its sweet dance grooves, smooth harmonies and great hooks.
James Mtume a. James Heath percussion, guitar, keyboards and Reggie Lucas guitar met during their days as members of the Miles Davis band in the early '70s. The very successful association lasted until when they started working independently. Mtume is the son of saxophonist Jimmy Heath of the Heath Brothers. In addition to his production and session work he formed the band Mtume, released seven albums between and and introduced female singer Tawatha Agee.
In Mtume moved away from the full string and horn sound towards a much sparser, stripped down synth-funk formula hit: Mtume "Juicy Fruit". At the end of the '80s he left the record industry because the changing musical climate clashed with his artistic integrity. Mtume resurfaced as a successful record producer halfway the '90s, bridging the generation gap. Later he was a member of Mtume and Sunfire. As a solo artist he released the fusion album Survival Themes in James Mtume. Randy Muller. Thunderstorm: LP Thunderstorm Dureco, - songwriter.
One Way-related:. Al Hudson. Al Perkins. Kevin McCord. Ray Parker Jr. Tucker: LP Jr. Darryl Payne. From '80s disco-funk to garage and early house Darryl Payne has showed what quality, dedication and determination was. At the age of 17 he started up a successful record promotion business in N. In he left the security of a thriving business for the unsafe world of creativity, in this case record production.
This record marked the birth of two major careers being Darryl Payne's first ever production and Shep Pettibone's first ever mix. From then on production work came in thick and fast. Further inspired by this success Darryl Payne used his previous business experience to set up his own record label New Image Records in Since the early '90s Darryl Payne's productions have been low profile, but the work done in the '80s as an ambassador of the New York club sound permitted him to gain the just respect for a major talent.
Richard Perry. Michael J. Nile Rodgers. Skip Scarborough. Lonnie Simmons. Rahni Song a. Michael Stokes. Leon F. Rod Temperton. Russell Timmons Jr. Roger Troutman. Luther Vandross. Narada Michael Walden. Dexter Wansel. Richie Weeks. Maurice White. Kae Williams Jr. Angela Winbush. Stevie Wonder. Robert Wright. Your view of that era informs and entertains as well. A pleasure to read. It brought back memories of my youth.
I smiled when you wrote of the "Death of Disco" I was tagged with the nickname "Colonel Disco" in my 20's when I mixed the Undisputed Truth and other Norman Whitfield groups such as Rose Royce, Stargard, Willie Hutch and many more great talents no longer with us, fond memories to say the least.
I started mixing Lakeside LP'sin my 30's. The first LP I recorded with them was Untouchables infrom then on I have been recording the albums and mixing the live concerts some 29 years. Again thanks for the walk back down memory lane. My name is Zack Vaz and I would like to clarify, if I can, some of your thoughts in regards to some of the work mentioned there. Both tracks on the debut release from this one-man band were recorded in Gene's bedroom studio and feature him on trumpet, saxophone, drums, bass, guitar and piano.
Both are available now as a free download while we also have beautiful heavyweight 7" vinyl - officially released on April 29th. In the live arena, rather than trying to play all the instruments himself, Gene deploys a quartet of top notch young musicians to help him out whilst Gene mixes it up between bass and keys throughout the set as witnessed at the recent Hot 8 Brass Band gig in London, The Gene Dudley Group's debut live show. By the late Ian Morris. Original herealong with other great pieces of advice from Ian like Top recording studio tipsand How to make a great cup of tea.
The vocal connects to your brain and the snare to your butt. The snare has always been a primal force in popular music, from the echoed slap of early rock 'n' roll records, Ringo's compressed kit and John Bonham's ambient boom, through to the gated monster drums of the s and the machine clicks and pfutzes of modern hip hop.
Stebbing's main recording room is a vast, dead area, in my opinion wholly unsuited to recording The Stebbings themselves will tell you it was designed by some acoustic wunderkind in Germany to exacting specifications, and perhaps it does sound great to German acoustic wunderkinder, but to normal people - orchestras, opera singers, jazz players and rockers - it's a bass-heavy, lifeless, ambience-free zone.
The only way to record an ensemble was to screen every player off as much as possible: any sound from the drum kit leaking into the piano microphones cast a dark, muddy pall across the sound of the whole recording. Anyways, here I was inchief engineer at Stebbings, and David Bowie's album Low had just been released. On that album Dennis Davis's snare drum had been treated with the newly-invented Eventide Harmonizer. The Harmonizer dropped the pitch of the drum and fed the signal back into itself, resulting in the famous falling cascade sound.
It would be several months before a Harmonizer made its way to li'l ol' New Zealand, but the sound had me enthralled. Incidentally, Stebbings - of course! They immediately - of course! They're like that. This little blue box regularly oscillated the pitch of the sound, and when that processed signal was mixed with the original signal a strange, warbly effect was produced.
Deciding to take advantage of the huge dead German air space on the other side of the control room glass, I fed Ricky Ball's snare drum signal out of a massive Altec Lansing speaker normally used for playback monitoring and re-recorded the sound via a microphone at the far end of the studio.
Suddenly der grosse Zimmer sparkled! The explosive boom that came back from the microphone was monstrous. I fed that through the MXR phaser - set to "stun", of course - and recorded it to tape at a super-excessive level that had me hiding the fragile, freaking-out VU meters whenever a Stebbing entered the control room.
Then, on every second snare beat, we overdubbed handclaps, also printed to tape at a super-excessive level that compressed and distorted so much you can hear hear clapping bass player Lisle Kinney chewing gum in the quiet bits. It wasn't the Low sound, but by God it was a big noise! By the mid s technology had made such huge snare sounds not only possible, but more or less mandatory.
Unfortunately, that technology could also get in the way of many otherwise fine albums from Album) artists. I have a John Prine album made in the mid s. It features Prine's trademark exquisitely observed lyrics, high-strung guitar and plaintive voice, but it's got that damned gun-shot snare all the way through it, rendering the whole thing unlistenable.
The whole big snare drum sound came about - I believe - due to the almost complete absence of good rhythmic feel that tends to happen when you use a drum machine. The snare sounds, in isolation, are pitiful, but the songs swing like a bastard. The secret is the drop - the exact moment when the drummer lays stick to snare skin. A fraction of a millisecond either way radically affects the groove of the song.
A drum machine, in contrast, plays metronomically correctly, mathematically, beat after mechanical beat. After all the overdubs are done there is still that nagging doubt that the song just doesn't groove, baby. What to do? Stick a big echo on the snare. It may not improve the groove, but it can take our minds off the Hold On - Noel Pointer - Hold On (Vinyl. Your information will not be shared. And you can un-subscribe with one click at any time.
UK album chart. Click here for more info. The set comes pressed on GM vinyl and includes a free download code to get all of the music for free on MP3.
Each album in their own picture sleeve and all housed in a slipcase style card picture slipcase and remains factory sealed in the hype-stickered shrink. Originally released in The sleek book-style set includes a page booklet with a new essay by producer, filmmaker, songwriter, music publisher and author, Ken Barnes, who attended the Great Songs From Great Britain sessions, the album's original liner notes, newly-written track notes, details about Sinatra's many visits to Album) U.
Carolina-born Houston Person is a towering figure in Hold On - Noel Pointer - Hold On (Vinyl world of soulful jazz. His albums for Prestige, Muse, Westbound and beyond have always been joyous affairs, filled with soul and aimed at those who like their jazz with a beat.
Until now the three albums which he recorded for the Detroit-based Westbound label and its subsidiary Eastbound have never been reissued. This release pairs his second and third albums for them. Person made his name in Johnny 'Hammond' Smith's group between and ; in he signed as a band leader to Prestige, where his album Goodness was a hit.
He moved to Eastbound in and when it closed moved to its parent for the release of Houston Person '75, the first album he produced himself.
It is a raucous party with Person's sax lines playing over some tight funky arrangements; one track features Etta Jones. Get Out'a My Way follows in the same vein, an excellent soulful jazz album which suits Person's style. Featuring musical backing from the Westbound Gang and backing vocals by Honey, it is a fine addition to Person's catalogue. The intent behind Jamie Album) seventh album, Interlude -- released in the U.
Gone are the flirtations with electronics, along with original material: Cullum is playing live with a jazz orchestra, singing standards that are familiar but not shopworn. He's growling and crooning as he alternately pounds and tinkles his piano, giving plenty of space for the orchestra to surge but not allowing a lot of room for improvisation.
Most of the songs here clock in somewhere between three and four minutes, which is a strong indication that this album lies toward the pop end of the jazz spectrum. This is by no means a bad thing. By devoting himself to a strong book of standards and recording with a live big band, Cullum seems reinvigorated.
He's enjoying tearing into these old tunes and that excitement isn't merely palpable, it's contagious. However, enough changes had been made to make it clear that the alto saxophonist -- contrary to his detractors' sneers--had a specific sound he was aiming toward, and a clear idea of how to get there. The biggest change between this album and Coleman's debut is the lack of a pianist, which puts the melodic emphasis solely on Coleman's sax and Don Cherry's trumpet.
Coleman and Cherry are in remarkable sync throughout; indeed, "Rejoicing" features several passages of the pair playing in unison, and two of the album's most harmonically fearless and rhythmically loose solos are Cherry's spotlights in "Giggin'" and "Endless. Originally released on Contemporary Includes original liner notes by Nat Hentoff. Funkee Boy also grooves to R. Funkee Boy then plays with your senses and invokes a certain type of mood by drawing on the 50 Shades Of Grey inspiration with the solo piano piece "Escala".
The album exhibits the kind of stylistic breadth and alert experimentation that one would expect from a leader famed for his work in both the worlds of new jazz and contemporary classical music. Striking improvisations from the trio of Joe Morris on guitar, Steve Lantner on keyboards, and Jerome Dupree on bass — working here on material that's composed on the spot during performance, but which has a surprising sense of structure at times!
Both Morris and Lantner use cycles of sound to their best advantage — spinning out elements that are noisy, but which really warm with familiarity — especially as they find a way to resonate strongly together. The drums can be intense one minute, looser the next — which provides a good sense of tension in the record — and titles include "Dirt Reverence", "Response Arena", "Advanced Animal", "Hymn Zone", and "Magnet Move".
One of the darkest soundtracks we've ever heard from David Holmes — presented here as one single long piece of music, put together almost as an audio collage that evokes all the tension and black mood of the film 71!
Holmes really stretches himself strongly here — and goes for these subtle, often lower-end sounds that kind of bubble together in the darkness, then emerge in different ways as the piece goes on — and if you only know the work of David Holmes from his funky or more retro-styled film scores, you'll be pretty stunned here!
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