Scott Liss & the Sixty-Six- The Blackpool Letters
Liss and crew are poster boys of risk here, mixing many expansive musical influences and scoring big on “The Blackpool Letters. I admired the skill and patience spent culling sounds and sculpting flytrap arrangements on this cd. As Scott says, “watching it take shape as the songs and through the production is the best part. I love the creative process the most. I could spend days, weeks, in the studio doing nothing but writing and recording, experimenting with sounds and techniques.”
Produced by Liss in conjunction with Paul Ritchie, (Parlor Mob) the disk owes its edgy dark sound in part to Scott’s penchant for alternate tunings, especially the use of an open D (primarily for tone color) as it allows him to focus on the movement of internal melody and gives him a better grip on chord development. The cd was recorded at John Noll’s Retromedia Studios in Red Bank as well as Joey DeMaio’s Shore Fire in Long Branch. Kick in help from friends like Nicole Atkins and Dave Rosen and you really can't go wrong.
”The Blackpool Letters” jumps right out of the gate with “Shotgun.” Deeply reverbed piano (slightly de-tuned) and understated synths roll quietly before waking you up with heavy double time drum hits and big coarsely chopped guitar down strokes. Alternative by nature, this is my favorite rocker on the disk. Performance highlight is when Scott’s last vocal note of the chorus lingers to melt brilliantly into the first two measures of the bridge before fading. And even though Liss has nothing to do with Ozzy, the lead work of Dave Rosen jumps in out of left field with tonal qualities of Randy Rhoades. Frenetic synthetic and expressively manic, its Hungarian (harmonic) minor mode...
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...Captain James and the Pain, Joe Harvard, Colie Brice and others. Saturday featured artists on the big beach stage. New Jersey artists such as Bob Polding with Gary Oleyar (Loggins and Messina) did a set of their own unique blend of American Rock and roll, and Sean Cox had a set before making way for the ever-popular River City Extension.
Seaside Music Festival 2010 was better than the last two years combined but they still have a large demographic to romance up on the boardwalk. Don’t write them off just yet because as this festival weekend proved, with steadfast vendor participation, built to scale events and good music, new people are coming around and joining in on this alternative Seaside fun. And that’s the ticket that could change this little festival into a major New Jersey event. For further information check out the website at: www.seasidemusicfest.com
He’s been called everything from the “The Mayor,” to the “The G-Don” but anyone associated with entertainment here in New Jersey; specifically the Jersey Shore music scene, should know who Gordon Brown is. Whether you've heard about his major label accomplishments thru bands such as Mr. Reality or Highway 9, or you’ve spent an evening watching one of your favorite acoustic artist at The Count Basie theater or Monmouth University, he has affected your musical experiences thru his business savvy and compositional skills, helping to create new outlets for some of New Jerseys best performers while coming up with events such as Writers In The Raw and The Wave Gathering Music Festival.
London: MacMillian & Co. Smith, N. & Stoutamire, A. (1989) Band Music Notes.
I am visiting Kemah Boardwalk for the day; I came down from Central Texas to visit my friend, Astronaut Rex, at NASA. He recommended I visit the Boardwalk as it is a very nice tourist destination and it sits on the coast. Driving up to Kemah I see there is a very nice waterfront hotel that sits on, what I will call a plaza, it has restaurants around it and lots of entertainment. I see rollercoasters and I am very excited to be here, the view promises lots of fun for children and adults alike. I walk up and first thing I see is a band playing under a tent. The music is upbeat and it sets the mood for dancing. I see a few people bopping their heads to the beat of the music. I see others cheering the band. As I keep walking and reach a little pond where you can pay to drive little boats around, it’s a boating race! Lots of children are lined up on the edge, I see that I have to put two quarters in the machine that has a wheel and a number, the number corresponds to the boat you are controlling. I pay for my daughter to race her boat and the race begins. My daughter is winning she is jum...
The concert is performed by the Lincoln Center Orchestra with Wynton Marsalis. The video of this concert is 90 minutes in length. The concert was an ensemble of various Dave Brubeck arrangements utilizing various jazz techniques and styles with mainly the following instruments: bass, piano, trumpet, trombone, tenor sax, soprano sax, clarinet, bass clarinet, alto sax, flute, piccolo, baritone sax, drum, and tambourine. The performance included these 15 pieces: “Unsquare Dance”, “Three to Get Ready”, “The Duke”, “Cassandra”, “Strange Meadowlark”, “Who Will Take Care of Me?”, “It’s a Raggy Waltz”, “Tokyo Traffic”, “Take Five”, “Lost Waltz”, “Upstage Rhumba”, “In Your Own Sweet Way”, “Fast Life”, “Bluette”, and “Blue Rondo a la Turk”. The performance highlights the versatile, influential and extraordinary life’s work of Dave Brubeck.
It could be argued that ‘In-A-Gadda-Da-Vida’ served exemplary as testament to the changing attitudes towards rock music and psychedelic acid rock of the time. The prevalence of the genre was tangible, even the AFVN (American Forces Vietnam Network) added a special channel in 1968 for those soldiers serving overseas who had reported an interest in the musical style (Kramer, 2006). Perhaps this song was indeed the natural progression of music in a time of so much uncertainty for an entire generation fraught with equal parts revolutionary ideals and Cold War paranoia. The track’s tone, ambiance were defined by an eerily dark otherworldliness unheard of up until that point in rock music and arguably not replicated again until Black Sabbath’s NIB
The band consist of 8 members, Nathan East bassist/vocals, Andy Fairweather-Low, lead guitar/vocals, Steve Ferrone- drums, Chuck Leavell-key boardist, Ray Cooper- tambourines, Katie Kissoon and Tessa Niles- vocals, and Eric Clapton- composer, rock n roll guitarist, lead vocalist. The band members dressed in casual attire. The band members were professionals, they knew exactly how to orchestrate every chord, they collaborated with the lead singer and each other in ways that wasn’t so noticeable to the audience but they knew which chords to use for every song, the band was a top notch team. The tempo of the songs were a mixture of fast, slow, to a medium style beat. The texture of the songs was homophonic and well put together lyrics. The style of the music was from the 1960s-1970s which genres were rock, blues rock, psychedelic rock, hard rock, jazz and blues.
The Beatles and the Beach Boys are two of the most recognized, well-known and most popular musical acts of the 1960’s right through to the 1970’s. I will be focusing on the group acts rather than solo performers such as John Lennon, Paul McCartney and George Harrison of the Beatles, who took their own stylistic approach to their music after the Beatles’ separation. Each group’s arrangement and use of instruments classify them as part of the overall associated sound and typical subject matter of songs in the 1960’s, yet remain different enough to distinguish between each group’s desired sound.
"Authentic Hendrix - The Official Jimi Hendrix Online Store Home Accents | Shop the Authentic Hendrix - The Official Jimi Hendrix Online Store Official Store." Authentic Hendrix - The Official Jimi Hendrix Online Store | Shop the Authentic Hendrix - The Official Jimi Hendrix Online Store Official Store. Web. 05 Oct. 2011. .
The first song played was from a genre that I had previously taken a test on, Sonata. The musicians played the song by the book. There were three movements and polyphonic texture. It was even fast and jerky. Nonetheless, this is the part where my rollercoaster was going down. In my opinion it was boring. Although very well played, the song itself did not interest me. I did not like the roadrunner, coyote essence of the song. The piano accompaniment would sometimes play the melody and let the clarinet follow and then they would switch. This to me seemed force instead of like the Sonatas that I listened to in class. However, apart from the musical aspect of the first piece there was a certain intensity expressed by the performers. I had never seen a
Alistair MacLeod has a unique style of writing in the story, “The Boat”, which is composed of fairly simple words to present the reader with a smooth read. The context of the passage is witnessed in the eyes of the narrator, and it voices the dedication of his father; whom works diligently as a fisherman with his son following his footsteps. The excerpt from the story relates to the story as a whole since his father carried on the tradition of fishing at sea from previous generations - despite his appreciation for books, he gave up on his dreams for the sake of family heritage. MacLeod describes the father in the story with detail about what he was wearing “rubber-booted heel” (228), his age “sixty-five” (228), and also reveals facial features
The fifth song was a ballad called “Last Night When We Were Young.” This song had a relaxing and romantic sound. It had a steady and constant tempo. The bassist also used the pizzicato technique during his solo in this piece.
This is a song released in late 1980’s, written and produced by Giorgio Moroder and performed by Donna summers. It is an all time disco classic which used futuristic production in an era where the industry standard was orchestra.
Rawlinson, J. (2013). Music Festival Tourism Worldwide - International - June 2013. Retrieved 02 28, 2014, from Mintel Report: http://academic.mintel.com/display/643783/
What I found interesting though was that most of the male performers had adorned hats as if it was a symbol of the Jazz. The performers interacted with each other and with the audience in a very informal manner leading one to conclude that it was not just the wide variety
Lee, Chris. "The Magic Of Coachella." Newsweek 159.16 (2012): 51. MAS Ultra - School Edition.