The original was regarded to have transcended from the West to the East and this tribute absolutely manages to do so! What a tribute and proof that when the East and West compliment rather than compete, there is no limit to what we can achieve! #Makejazznotwar! Sachal Includes Baqir Abbas (flute, bansuri), Nijat Ali (conductor), Ustad Ballu Khan (tabla), Nafees Ahmed (sitar), Asad Ali (guitar), Najaf Ali (dholak), Rafiq Ahmed (dholak)
Filed under: Media — Tags: Music — Nicholas @ 02:00
Rabea Massaad Published on 10 May 2017
Wicked Game (Cover) – Hannah Boulton, Rabea Massaad, Dave Hollingworth & Ben Minal
As requested here is just the track from my Universal Audio Apollo 8P vs Neve 1073 shootout.
The question here is, which do you think you are hearing?
H/T to ESR, who said “Rare case of a cover that is way better than the original.
Who knew you could improve Chris Isaak’s Wicked Game by re-imagining it as a blues shuffle? Boulton’s vocals and Massaad’s guitar just nail that timeless feeling.”
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CELTICA -Pipes Rock! Official videos Published on 3 Apr 2017
Megawatt performed by Celtica during the Wild Wild Wild West Steampunk Convention at Old Tucson Studios in spring 2017. Thanks to all the creative, awesome Steampunk-people who made the video a colorful extravagaza.
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Not only pre-fabricated, but with a global audience that has been trained to like their music in advance. You could go so far as to say they’ve been brainwashed into liking it. ESR commented on this and shared the following video.
Not just a get-off-my-lawn rant, very exact information on how modern production techniques and producers’ economic incentives squeeze the life and variety out of popular music.
I actually didn’t know how bad it had gotten out there, I never hear any of this chart-topping crap because I select my music from niche genres without lyrics – instrumental prog metal, jazz fusion, space ambient. I thought that was just me, but maybe such strict selectivity is what one has to do to avoid being inundated in garbage these days.
By José Antonio…. Because the original version of this video, has low quality in both audio and video, I took the trouble to improve with better sound, better image quality, better zoom and better edition with the best of intentions, thanks.
En vista de que la versión original de este video, tiene baja calidad tanto en audio como en video, me tomé la molestia de mejorarlo con mejor sonido, mejor calidad de imágen, mejor zoom y mejor edición con la mejor de las intenciones, gracias.
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When a 200 year old Traditional Scottish Folk song gets a Punjabi Dubstep revival by The Snake Charmer. A multi cultural music video with Britain’s Castles, highland dancers, Bagpipes, Graffiti walls from India, punjabi folk, bhangra dancers, Russian violinist and a crazy dhol player get together to showcase the amazing diversity in the world and how we all have something in common and can contribute to each other despite the distance and differences. Enjoy this brand new Celtic punjabi mix with Bagpipes.
Highland Dancers – Northumberland Church of England Academy combined cadet Force, Laura Greyson, Whistle School of Highland Dance.
Bhangra Group – https://www.facebook.com/bhangrainspire/
Dhol Player – Sarthak Pahwa
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AMG: Brand X were a British jazz-rock fusion outfit formed by Genesis drummer Phil Collins and Atomic Rooster guitarist John Goodsall as a side project from their regular groups. Their initial lineup also included keyboardist Robin Lumley and bassist Percy Jones (the Liverpool Scene, the Scaffold). Brand X’s debut album, Unorthodox Behaviour, was released in 1976; a live album, Livestock, and the studio effort Moroccan Roll followed in 1977. Collins left the group to concentrate on Genesis, and for 1978’s Masques, he was replaced by Al Di Meola drummer Chuck Burgi, as well as additional keyboardist Peter Robinson, who had played with Stanley Clarke. Three further albums — 1979’s Product, 1980’s Do They Hurt?, and 1982’s Is There Anything About? — followed before the group disbanded. In the mid-’90s, Lumley, Goodsall, and Jones reunited, issuing several live collections in the years to follow.
Remy prepares summer travelers for groping season.
“The Longest Time” parody written and performed by Remy. Background vocals and Mastering by Ben Karlstrom. Video produced and edited by Austin Bragg.
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LYRICS:
Whoa-oo-aa-ooah
For the longest time
If you book a ticket for a flight
Stow your baggage and some of your rights
Travel, you’re hoping
But first you’ll get a groping
And you’ll be waiting for the longest time
My last job? I guess it paid the bills
This pays more for using the same skills
At first we hound you
Then we put our arms around you
And you’ll be waiting for the longest time
Whoa-oo-aa-ooah
For the longest time
Supervisors try to sneak bombs by
Of 100, 80 make it by
I like those chances
I forgot how nice your pants is
I haven’t touched them for the longest time
I had other jobs at the start
I said to myself “just follow your heart”
Now I know the woman that you are
I’ll swab your Magic cards
And you’ll miss your connection…
Who could guess what consequence this brings
We have issues keeping nicer things
Our record’s so bad I think you ought to know this summer
you’ll be waiting for the longest time
Whoa-oo-aa-ooah
For the longest time
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We’re indebted to the Open Culture website for bringing to our attention the work of the Korean musician Luna Lee. She performs Western music on the gayageum, a traditional 12-stringed instrument from Korea that’s something like a zither. Dating from the 6th century, it’s from the same family as the guzheng from China and the koto from Japan. One of her remakes will be particularly fascinating to Dire Straits fans.
Luna’s clip of her performance of the band’s early, classic Mark Knopfler composition “Sultans Of Swing”, nimbly performed on the aforementioned gayageum, already has some two million views. It may be hard to imagine a Korean-Greek-sounding instrumental version of this enduring tune, but here it is
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How do you define success for a rock group? The nature of the ladder is very clear at the bottom: the rungs are marked with “playing competently in the same key,” “playing for money for the first time,” “becoming spiritual leaders of a local music scene,” “having a national hit single” … it is all easy to work out. At the top, though, the standards are no longer technical and commercial. They become historical.
Above the level of “mere” successful hit-makers, there are artists whose core discography, or even their entire career in the studio, becomes part of a larger cultural story — the Led Zeppelins, Black Sabbaths and Kinks. And there’s a level above that, at which a group’s individual tracks become the subject of extensive study, entire mini-literatures — where even B-sides and cast-offs attract interest, and every move, every day, is extensively documented. That level’s pretty much Bob Dylan and the Beatles.
Here is our version of J.R.R. Tolkien’s poem, “The Lament for the Rohirrim!” We hope you enjoy it:)
A note on our interpretation:
We approached this piece more “organically”. The melody was composed by singing the lyrics, seeking to be true to the notion of vocal folk tradition. Therefore, the feel of this song is more rhythmically free and more focused on simply dwelling on the questions and answers of the text. There are two sections of the piece: the melody is sung first in a “contemplative” setting, and then repeated in a more “epic” setting, to explore varying sentiments drawn from this beautiful text.
We hope you enjoy this as much as we did creating it! Thanks very much for listening and for your support!
We are unable to get permission to sell this song so we are posting it here free for your enjoyment. If you want a copy of the mp3, we are offering it to those who support us on Patreon!
My brother composed and arranged the piece. My family sang it.
Please no bad language in the comments. We want this to be family friendly:)
Lyrics:
Where now the horse and the rider?
Where is the horn that was blowing?
Where is the helm and the hauberk,
And the bright hair flowing?
Where is the hand on the harpstring,
And the red fire glowing?
Where is the spring and the harvest
And the tall corn growing?
They have passed like rain on the mountain,
Like a wind in the meadow;
The days have gone down in the West behind the hills into shadow.
Who shall gather the smoke of the dead wood burning,
Or behold the flowing years from the Sea returning?
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