http://www.stoneddog.com/guitar-recorders/
The downside of getting a record deal
Many artists and groups have often felt that obtaining signed by or to be offered a recording contract is the ultimate goal of his career. In some cases this may be true, but often can be the beginning of a new series of questions that no artist could never expect or want.
These days a record contract is not only a large cash advance to be recovered by the record company through the sale of its product. If not sold on the expectation that they still have to pay the money somehow. Record companies are a business and they are there to make money not lose it. This is no different from going to a bank and are preparing to sell their music in the car, but record companies can be afford to sell the product, go on the air and distribute the product throughout the country or world. Record corporate lending you the money to make music and get your money back through the distribution of it. Generally, artists are a small fraction Money Most CD through the circuits of goods.
If you can get a record company to get behind the music's a good thing. But watch out for the registration of companies trying to influence and change their sound, often to the point of rewriting his songs and even change your group or, worse still requires you to record songs made by other people.
Some difficulties that may occur in musicians who think they are signed and their way of filling stadiums around the world.
Set Excellent!
A group is signed money was presented for registration. The songs are recorded and finished, but the shelves "The record company of his act and never see the light of day but you can not take their product anywhere else because it is already signed. Often, you can even play live concerts without giving a% of its quota for the company performance label. What happened to Billy Joel, who was waiting five years playing piano bars.
The song is changed.
Often, you will ready to record their songs and the record company will appeal to one co-author or producer who changes his compositions beyond all recognition "to Registration style label. "You started to make an album of hard rock and you end up with a rap album of all their instruments and samples removed and replaced. Do you think Metallica finally as Jack Johnson. Then you have to go to promote something I really hate and your product is recognizable.
Where is the money?
Care with the money to make great progress and promote your music. If not sold, will have to pay money, with interest, such as banks. How do I pay? Live concerts tour, the radio, buying next ten years. How do all these artists who make millions of dollars by the end of bankruptcy? All bills not they knew they had to pay. It had so much fun, they have never seen where the money goes. Read the fine print does not end up like MC Hammer.
Where is my group go?
Often, the differences between the band members and record labels are determined by the company to dispose of and replace any member of the band disagree with them. They always try to find work for their own players and artists who have already been signed. Very often, you'll find all your guitars work re-recorded by producer Guy studio to accommodate its label or ease tensions within the group.
I'm a musician not a pop star.
Each more record companies try to "cross media" any act anyway they can. It will market all they can, and they begin to do things to increase their exposure and any way they can. You can find in commercial dog food, the older brother or, God forbid, the Australian Idol. Many records are emanations of the groups that control the mainstream media TV, radio, music and print media, and commercialized the way they see fit once more from their investment in you. Most musicians have a short shelf life for companies looking to maximize their profits now before the public to hear the next big thing. (We've all heard of the second year of crisis!)
Remember that the business of the music industry is 95% and 5% music. Try to go independent if you can, you know websites like Axebay and build their own presence in the world. More successful is the source of power is negotiating with record labels. If you receive an offer, have a good lawyer. You do not want to lose five years in piano bars.
About the Author
Matt Kepnes is a guitar worshiper who lives and breathes guitars. Check out his website at Axebay. There you can find a lot of information on used guitars and guitar tuners.
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25 Vivaldi Favorites $2.46 … |
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Dance of the Renaissance $11.95 A celebration of Renaissance dance music performed on Guitars, Harpsichord and Recorders…. |
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Extech 407730 40-to-130-Decibel Digital Sound Level Meter $87.00 Whether you’re monitoring workplace machinery, installing audio or alarm systems, or handling product noise certification and reduction, the Extech Digital Sound Level Meter gets the job done. This meter accurately monitors sound levels in a range from 40 to 130 decibels. It displays results in the large LCD display in two different ways, either by number or a fast-responding analog bar graph. The… |
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Roland (Boss) GT-8 DVD Video Training Tutorial Help $34.95 Learning how to use your new Roland GT-8 has never been easier thanks to the official Roland DVD Owner’s Manual!This DVD explains everything you need to know to get up and running quickly! It contains hands-on demonstrations to help visually guide you through your new product so you can start making great music!Host David Wills has been teaching musicians and studio owners for over 20 years and n… |
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Roland (Boss) GR-33 DVD Video Training Tutorial Help $34.95 Learning how to use your new Roland GR-33 has never been easier thanks to the official Roland DVD Owner’s Manual!This DVD explains everything you need to know to get up and running quickly! It contains hands-on demonstrations to help visually guide you through your new product so you can start making great music!Host David Wills has been teaching musicians and studio owners for over 20 years and … |
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USB Guitar Interface Link Cable for PC/Mac Computer Recording and a 1/4-Inch / 3.5mm Adapter $24.99 USB Guitar Link Cable is a professional tool that enables you to turn your PC or Mac computer into fantastic working platform on which you can use the classic effects, in the studio as well as on stage. It allows you to record, play along to a playback, or play directly over the modeling amps and effects. With a NOTEBOOK, Electric Guitar /BASS and USB Guitar Link Cable, it is possible to work in… |
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24>>24 Music [Deluxe Edition] $21.98 Of all the posthumous recordings in Arthur Russell’s voluminous legacy, the Dinosaur L recordings from 1981, titled 24 -> 24 Music on the original Sleeping Bag Records imprint, are the most delightful to listen to. While it’s true in one way they are not the most musically sophisticated of his many recordings — and this is not a disclaimer, far from it — in another way they are. Who else heard and created improvisational, non-ironic, avant-garde disco in 1981? The tunes here (at the time they were issued simply with numbered titles, and here are restored to their original names) are a series of preprogrammed beats, which change every 24 bars. Russell also used two 24-track tape recorders (hence the title 24 -> 24) to capture the music that he very loosely scored and directed in a series of a five musical sketches, thereby allowing players to come in anywhere on any of the songs he created. He used the tape decks — and ultimately the studio itself — as instruments. The studio band had to improvise everything else on top of the beats: from guitar lines, horns, vocals, keyboard vamps, basslines, etc.! The Ingram family were an established act, and had worked with Russell and Will Socolov on the Loose Joints sessions the year before and were used to Russell’s inventive quirks. They are fully present here, as are saxophonist Peter Gordon, organist/vocalist Julius Eastman, trombonist Peter Zummo, bassist Wilbur Bascomb Jr., conguero Mustafa Khaliq Ahmed, trumpeter Rik Albani, guitarists Larry Saltzman and Ed Tomney, and vocalists Jill Kroesen, Denise Mercedes, and Marie-Chantal Martin. The musical terrain is in the blurry hinterlands where disco, downtown avant improv, new music, and funk meet no wave playfulness. Many of these cuts were issued as 12″ singles, such as “#1″ (“You’re Gonna Be Clean on Your Bean”); “#3″ (“In the Corn Belt”), which has faux operatic vocals by a male baritone impersonating a tenor; “#5″ (“Go Bang”); and so on. There is no w… |
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6000 Sunset Blvd. $18.98 In the spring of 1953, Tennessee Ernie Ford — then near the peak of his popularity — recorded an amazing amount of transcriptions for RadiOzark at Western Recorders on 6000 Sunset Boulevard in Los Angeles. Twenty-three songs from those sessions are on this important archival collection, which isn’t only of interest to Ford fans or early country scholars. For one thing, the sound, considering the age and source of the original recordings, is amazing — it’s clear and full, on par with studio sessions for commercial releases. Also, Ford is backed by a fine band including pedal steel virtuoso Speedy West, a notable recording artist in his own right who gets an instrumental showcase for his astonishing steel guitar work on Rodgers & Hart’s “Lover.” Also in the lineup are a young Billy Strange on rhythm guitar, Billy Liebert on accordion and piano, George Bruns on bass and trombone, and Harold Hensley on violin and clarinet, with most of the guys also contributing backup vocals. Though Ford was nominally a country singer, the songs selected for this compilation show him to be at home with interpreting many strains of American popular music through his easygoing style, from covers of hits by Eddy Arnold, Bunny Berigan, and Fats Waller to standards like “Try a Little Tenderness,” “There’ll Be Some Changes Made,” and Hoagy Carmichael’s “Up a Lazy River” and “Georgia on My Mind.” These might have been recorded in a professional studio for radio transcriptions, but the result comes off almost like an informal living room/front porch musical get-together, Ford joking around amiably with his band between songs. It should be acknowledged that for all its quality, this is nonetheless not the place to hear Ford at his best or most representative, it being light on the country boogies for which he was most known for playing on his hit records of the period, and heavier on his covers of non-country pop tunes than might be expected. But as good-sounding and well-played… |
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AMERICAN DJ Digital Pocket Recorder $119.99 The Pocket Record from American Audio is a compact Stereo Digital audio Recorder ideal for musicians, journalists, students, and more. The compact device has built-in stereo condenser microphones to capture audio, as well as a pair of 1/4″ Input jacks that can accept mic, guitar, or line level Sound sources. Individual volume controls are provided for each input Channel for making precise mixes.–Audio can be captured as CD-quality WAV files at 44.1kHz, or as MP3 files for convenient sharing. The recorder has 128MB of built-in memory, plus an SD card slot for increasing memory by up to 4GB. Standard 3.5mm Headphone and line Output jacks let you connect headphones, mixers, portable speakers, or additional recorders. An Integrated speaker lets you Monitor your tracks directly from the recorder. A USB port allows you to transfer your files to a Mac or PC, and also acts as a DC Power input. The recorder operates on a pair of AA Batteries so you can record anywhere.-Features-Portable High Quality Digital Audio Recorder-Specially Designed For Voice & Audio Recording-Stereo built-in condenser microphones-Support high quality 44 KHz WAV and MP3 recording formats-Stereo audio inputs-Switch to microphone, guitar & line-in recording sources-Volume control for input and output level adjustment-Stereo earphone jack-Built-in 128Mb Flash memory-Equipped with an expanded memory slot for an SD card (reads SD cards up to 4GB each / Does not accept SDHC cards)-USB port for Computer connection and DC power in-Works with either two AA batteries or a DC 5V-Dimensions: 6″L x 3-1/2″W x 1″H-1-year Manufacturer’s warranty-Specifications-Voice Recorder Type: Digital-Memory Capacity: 128 MB-Connection Type: USB 2.0-Recording Format: Internal Flash Memory / SD card Hybrid-Power Source: Battery-Battery Type: AA-Sizes: 3-1/2 x 1.0 x 6.0 in. |
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Barney Kessel – Solo $11.99 Solo performer: Barney Kessel (guitar). Recorded at Coast Recorders, San Francisco, California in April 1981. Includes liner notes by… |
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Beachhead $16.98 While 2003′s Do You Swing? was strong enough to convince any doubters that the Fleshtones were still firing on all cylinders after cranking out the “Super Rock” since 1976, 2005′s Beachhead goes that fine album one better — Beachhead not only matches it for great songs, but actually rocks out with greater muscle and ? lan. Six of Beachhead’s 11 songs were recorded with nuevo-garage kingpin Jim Diamond at his Ghetto Recorders studio in Detroit, while the remainder of the disc was produced by Rick Miller of Southern Culture on the Skids at his Kudzu Ranch facilities, and the tag-team production seems to have been a shrewd choice — Miller’s recordings boast a bit more production police and nuance, while Diamond captured the Fleshtones while they were fired up and rocking hard, and when you put it all together one gets the best of both worlds. (Though Diamond was behind the board for the moody closer, “Late September Moon,” and Miller recorded the rollicking “Push Up Man,” proving neither man’s skills are mutually exclusive.) If Peter Zaremba’s voice isn’t as smooth as it once was, he’s still plenty commanding, and the rest of the band — Keith Streng on guitar, Ken Fox on bass, and Bill Milhizer at the drums — sound sharp, powerful, and muscular without losing touch with the smarts and sense of fun that always made this band a hit at social gatherings. And the opening hat trick of “Bigger and Better,” “Serious,” and “Pretty Pretty Pretty” shows these guys still have the hooks, the riffs, and the gift of gab firmly at their command — the Fleshtones haven’t stopped writing cool songs and playing them right, and Beachhead is one solid blast of Super Rock thunder that will get the party started. ~ Mark Deming, Rovi |
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Charlie Byrd – Blue Byrd $11.99 Personnel: Charlie Byrd (guitar); Joe Byrd (vocals, bass); Wayne Phillips (drums). Recorded at Coast Recorders, San Francisci,… |
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Charlie Byrd – Blue Byrd $5.99 Personnel: Charlie Byrd (guitar); Joe Byrd (vocals, bass); Wayne Phillips (drums). Recorded at Coast Recorders, San Francisci,… |
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Danzig – Danzig II: Lucifuge $5.99 Danzig: Glenn Danzig (vocals); John Christ (guitar); Eerie Von (bass); Chuck Biscuits (drums). Recorded at Hollywood Sound Recorders,… |
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David Gates – Never Let Her Go $11.99 Personnel: David Gates (vocals, guitar). Recording information: Elektra Sound recorders, Los Angeles, CA. Photographer: Frank Bez. No… |
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Glen Campbell – Reunion: The Songs of Jimmy Webb [Bonus Track] $3.99 Personnel: Glenn Campbell (vocals, guitar); Jimmy Webb (arranger). Recorded at Hollywood Sound Recorders, Hollywood, California…. |
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Good News $11.99 Kathy Mattea’s album for the Christmas season is unlike any country Christmas record ever released. For starters, she and producer Brent Maher commissioned original songs rather than taking them from the canon, or adapted obscure songs from the ages. Secondly, the band was formed around what served each song to make it feel as organic as possible. Strange instruments appear, such as the marimbas on “New Kid in Town,” recorders and a high string guitar and recorders on “Christ Child Lullaby” (courtesy of Dougie MacLean and Jim Horn), and a full choir on the closing title track. This doesn’t feel like any Christmas record you’ve ever heard before, either. It sounds like a well-crafted, gorgeously wrought folk/country/Celtic-flavored Kathy Mattea record. Give a listen to any of the above, or especially the haunted traditional song “Brightest and Best,” completely reworked by Mattea and Maher. The guitars caress the open space between themselves and Mattea’s voice, as the pipes and recorders float within. Likewise, listen to “Mary Did You Know,” which is one of the most stunningly beautiful Christian folk songs written in decades (by Mark Lowry and Buddy Greene). But then, while songs can be many things, they cannot be given life without a singer, and on Good News, in Mattea’s instrument, the grains of truth add up to something incalculable: high art. ~ Thom Jurek, Rovi |
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Hopper Tunity Box $17.98 Ex-Soft Machine bassist Hugh Hopper augments his rather infamous fuzz-bass attack by performing on guitar, recorders, soprano sax, and percussion on this reissue of the original LP. Recorded in 1976 and re-released on CD by Culture Press in 1996 and Cuneiform in 2007, this outing features the bassist’s fellow Soft Machine bandmate, saxophonist Elton Dean, along with others of note. Moreover, Hopper veers into jazz fusion territory amid his often memorably melodic compositions, also including an investigative spin on modern jazz great Ornette Coleman’s “Lonely Woman.” Hopper and associates mince heavy-handed rhythms with subtle EFX treatments, a jazz waltz motif, dreamy choruses, and commanding jazz-based horn charts. Here Dean, keyboardist Dave Stewart, and saxophonist Gary Windo add a bit of luster to the session, thanks to emotionally charged soloing and wistful lines. The Culture Press CD audio characteristics tend to be a bit muddy (a minor flaw), but this shortcoming was remedied by the Cuneiform remastered version of the landmark Hopper Tunity Box in 2007. This production stands as one of Hopper’s finest solo efforts — largely due to the inspiring ensemble work and the bassist’s strong material. Recommended. ~ Glenn Astarita, Rovi |
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In the House of Mirrors $13.98 French composer and musical auteur Hector Zazou passed away shortly after completing In the House of Mirrors, his final album for the venerable Crammed label in Belgium. Zazou made a name for himself with European audiences back in the 1980s by virtue of Noir et Blanc his brilliant collaboration with Congolese vocalist Bony Bikaye. He finally scored in the United States with Sahara Blue, which featured his musical collaborations with a number of artists ranging from John Cale and actor Gerard Depardieu to Dead Can Dance, Bill Laswell, and David Sylvian, to name a few. His subsequent efforts were greeted with everything from lukewarm attention in the cultural Philistine wasteland of the United States to rapt celebration in Europe, Africa, and the Far East. That said, Zazou may’ve indeed saved the very best for last. This set was recorded in Mumbai with a quartet of musicians called Swara who hail from India and Uzbekistan-Toir Kuziyev (tambur and oud), Milind Raykar (violin), Ronu Majumdar (flute), and Manish Pingle (Indian slide guitar). They work as a unit and with sonic assistance from trumpeter Nils Petter Molvaer, percussionist Bill Rieflin (formerly of Swans, currently of R.E.M.), pianist Diego Amador, and violinist Zolt? n Lantos. These musicians present a fresh take on classical Indian and Middle Eastern-Asian classical music, enabled by the most subtle repossessing of the sonic environment without any additional electronic elements layered in or added in any way. In other words, the music is mirrored to these performers only as itself, sonically reflected back, one note to the next, without enveloping, or recontextualizing the original sounds in any way. Think of Robert Fripp’s Frippertronics process without tape recorders, and with less actual repetition and more musical reportage and you get an idea. The actual soundwaves are reflected back as a way of deepening the original sound made on an instrument, pushing it back into itself, to emerge as somethin… |
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John Fahey – Twilight on Prince Georges Avenue: Essential Recordings $9.99 Personnel: John Fahey (guitar). Recording information: Cascade Recordings Services, Portland, OR; High Tech Recorders, Portland, OR;… |
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Johnny Guitar Watson – Johnny Guitar Watson and the Family Clone [Bonus Tracks] $9.99 Personnel: Johnny “Guitar” Watson (vocals, various instruments); Emery Thomas (drums). Recorded at Artisan Sound Recorders, Hollywood,… |
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Laurindo Almeida/Charlie Byrd – Brazilian Soul $11.99 Personnel: Laurindo Almeida, Charlie Byrd (guitar); Bob Magnusson (bass); Milt Holland (percussion). Recorded at Coast Recorders, San… |
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M-Audio Octane 8-Channel Preamp $599 The 8-channel Octane preamp is specifically designed to enhance the front end of any multitrack digital recording system. Its award-winning M-Audio preamp technology delivers pristine digital signals to any Lightpipe-compatible devices such as hard disk recorders and digital mixers. Octane is ideal for miking drum kits or bands – and the two mic/instrument channels are great for guitar, bass and other instruments. M-S matrix encoding lets you employ stereo miking techniques previously available only in pro studios. Octane even has analog preamp (direct) outs for each channel, making it the perfect upgrade for any digital audio interface or mixer. Word clock also means that you can sync multiple Octanes for as many channels as you need as your studio grows. |
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M-Audio Octane 8-Channel Preamp & A/D Converter with ADAT Lightpipe $483.99 M-Audio Octane — This elegant 8-channel preamp is specially designed to enhance the front end of any multitrack Digital Recording system. Its award-winning M-Audio preamp technology delivers pristine digital signals to any Lightpipe-compatible devices, such as hard Disk recorders and digital mixers. Ideal for miking drum kits or bands 8 MIC preamp channels, 2 with instrument ins The two mic/instrument channels are great for guitar, Bass and other instruments 24-bit audio Resolution throughout M-S matrix encoding lets you employ Stereo miking techniques previously possible only in pro studios Direct Analog preamp outs for each channel make it the perfect Upgrade for any digital audio Interface or mixer Word clock permits you to sync multiple Octanes, for as many channels as you need as your studio grows! Frequency response: 20Hz – 20kHz +/-0.11dB Signal-to-noise ratio: 120dB, A-weighted Rack mountable |
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Martin Simpson – Grinning in Your Face $14.99 Personnel includes: Martin Simpson (guitar). Personnel: Martin Simpson (vocals, guitar). Recording information: Ideal Sound Recorders,… |
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Music for Children – Accompaniment CDs (Set of 3) $47.95 By popular request, these songs and pieces from the 5 volume English edition (by Margaret Murray) of Carl Orff and Gunild Keetman’s ‘Schulwerk’ are now available in CD format. Singers and speakers are from a variety of English, Welsh and German schools with professional musicians playing instruments. The Schulwerk idea is one that transplants well, founded as it is on the basic elements of language, music and dance, with which children are encouraged to play and improvise imaginatively, so that, through the use of simple forms, they will be able to make their own music. The material is not restricted to Britain, but also includes songs from Canada and the United States. The instrumental ensemble is directed by Carl Orff and Hermann Regner. All possible instrumental resources suited to this elemental style of music making have been used. The barred percussion instruments that carry Orff’s name such as glockenspiels, xylophones and metallophones, are used, as well as simple, small percussion instruments and the larger ones found in the conventional orchestra. The older forms of wind instruments are favoured, such as recorders, sorduns and crumhorns. Brass instruments such as trumpets and trombones, are also used. The guitar, cello and double bass have an important role, and, where available, the older forms of string instruments, such as the viol or viola da gamba, blend well into the ensemble. |
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Octane – 8-Channel Preamp and A/D Converter with ADAT Lightpipe $749.95 The 8-channel Octane preamp is specifically designed to enhance the front end of any multitrack digital recording system. Its award-winning M-Audio® preamp technology delivers pristine digital signals to any Lightpipe-compatible devices such as hard disk recorders and digital mixers. Octane is ideal for miking drum kits or bands – and the two mic/instrument channels are great for guitar, bass, and other instruments. M-S matrix encoding lets you employ stereo miking techniques previously available only in pro studios. Octane even has analog preamp (direct) outs for each channel, making it the perfect upgrade for any digital audio interface or mixer. Word clock also means that you can sync multiple Octanes for as many channels as you need as your studio grows.Features:• Award-winning M-Audio preamp technology• 8 mic preamp channels, 2 with instrument ins• 8 line inputs• ADAT Lightpipe output (TOSlink)• 24-bit audio resolution throughout• and more! |
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Odyssey $19.98 The combination of rock and classical elements are heightened on Bedford’s musical portrayal of Homer’s Odyssey as his multi-layered keyboard work solidly defines the essence of each individual track. Conjuring up mood, compelling rhythmic textures, and elaborate choral arrangements that float above the use of the Hammond organ and the ARP 2600 synthesizer, Bedford with the help of the Queen’s College Choir presents a conceptual piece that stays magnificently on course without losing its progressive rock overtones. Mike Oldfield plays guitar on “The Phaeacian Games” and again on “The Sirens” while Andy Summers makes an appearance here as well, contributing his guitar know-how on “Circe’s Island” before becoming part of the Police. Even with the utilization of these guitar virtuosos, the emphasis cannot be sidetracked from Bedford’s dexterity and excellence as a keyboard player. Throughout these 11 tracks, he summons up the powerful history of Greek lore by customizing his keyboards to dictate the beauty or the fervency of each individual reference. “The Battle in the Hall” is set to a rambunctious pace, while the five inclusions of “Penelope’s Shroud” reflects the subtlety of the piano and organ. His employment of such simplistic props as wine glasses, lone gongs, and cymbals don’t go unnoticed either, and the welcomed addition of oboes and recorders helps to reinforce a classical ambience in a number of pieces. This album along with 1975′s The Ancient Mariner are Bedford’s greatest solo achievements, with The Odyssey exhibiting a more progressive environment on the whole. ~ Mike DeGagne, Rovi |
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Pennywise – Pennywise [Remaster] $11.99 Pennywise: Jim (vocals); Fletcher (guitar); Jason (bass); Byron (drums). Recorded at West Beach Recorders, Hollywood,… |
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Primus – Miscellaneous Debris [EP] $5.99 Primus: Les Claypool (vocals, kazoo, fretless bass); Larry Lalonde (guitar); Tim “Herb” Alexander (drums). Recorded at Coast Recorders,… |
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Scott Morgan $15.98 Scott Morgan had the good fortune of being in two of Michigan’s most powerful and important rock bands — in the 1960s, he was the lead singer with the legendary blue-eyed soul combo the Rationals, and in the ’70s, he sang and played guitar with Sonic’s Rendezvous Band, a mighty hard rock band formed by Fred “Sonic” Smith of the MC5. However, outside the Midwest, Morgan has never received the attention he deserves — the Rationals’ excellent recording of Otis Redding’s “Respect” was stopped dead in its tracks by Aretha Franklin’s admittedly outstanding cover, and Sonic’s Rendezvous Band never scored the record deal they richly deserved, their recorded legacy during their lifetime limited to just one single. But Morgan has never stopped making great music, continuing to perform and record with a variety of groups over the years, and 2010′s Scott Morgan (his first proper solo album) confirms he still has a superb voice that can handle blues, soul, and rock with equal assurance while his songwriting chops are in great shape. Scott Morgan teams the singer with a top-notch crew of Michigan rock talent — Jim Diamond recorded the sessions at his Ghetto Recorders studio and plays bass, while Matthew Smith (Outrageous Cherry, the Volebeats) and Chris Taylor (Mazinga, Powertrane) handle the guitars, and Dave Shettler (the Sights, SSM) was the drummer. The results blend the hard rock power of Morgan’s work with Sonic’s Rendezvous Band and Powertrane and the passionate soul sounds of the Rationals while conjuring a tough, funky groove that’s fresh and strong while rooted in a classic style. The new tunes on the album (written by Morgan and his bandmates) deliver a muscular, big city variation on classic soul archetypes (celebrated in the joyous “Memphis Time”), while his covers of “Bring It on Home to Me,” “Do I Move You,” and “Something About You” show Morgan can breathe new life into songs that have been in circulation for years, and his reworking of “Mississ… |
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Stone Temple Pilots – Core $5.99 Stone Temple Pilots: Weiland (vocals); Dean DeLeo (guitar); Robert DeLeo (bass); Eric Kretz (drums). Recorded at Rumbo Recorders, Los… |
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Tal Farlow – A Sign of the Times $11.99 Personnel: Tal Farlow (guitar); Hank Jones (piano); Ray Brown (bass). Recorded at Coast Recorders, San Francisco, California. Includes… |
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Tascam DP-03 Digital Portastudio $499.99 The DP-03 is the latest Portastudio in TASCAMs 37-year progression of making recording simple and affordable for musicians. The 8-track digital recorder captures your music at CD quality to affordable SD/SDHC cards, and a 2GB card is included with the recorder. With built-in microphones, effects, mastering and CD burning, the DP-03 provides everything musicians need to record and share their music. A pair of stereo condenser microphones is built into the front panel of the DP-03, helpful for capturing a rehearsal, live performance or songwriting ideas. Also included are a pair of high-quality XLR microphone preamps with phantom power for condenser microphones. 1/4 line inputs are also available, and an instrument-level switch allows you to record a guitar or bass without a direct box. A three-button footswitch, the RC-3F, is available for control and punch in. Routing the inputs to one of the eight tracks is simple, and you can record two at a time until you fill up all eight. A tuner and metronome are built-in for tight-sounding tracks, each with its own dedicated button for quick access. Track can be edited with commands like copy/paste, silence, clone track and undo. Bouncing is also available, even bouncing all eight tracks down to one or two. Theres even the option to import a recording through USB or audio CD. Each track has its own send to a stereo reverb processor as well as two-band shelving EQ. Once youve perfected your mix with the 45mm faders, pan knobs, reverb and EQ, record it to the dedicated stereo master track. Your mix can be processed with mastering effects like EQ and limiting for a tight, modern sound. When youre satisfied, transfer your mix to a computer over USB 2.0 or burn an audio CD. |
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The Bomb – Indecision $13.99 Personnel: Jeff Dean (guitar); Mike Soucy (drums); J. Robbins (tambourine). Recording information: Great Western Recorders, Tolono, IL… |
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The David – Another Day, Another Lifetime $15.99 The David: Warren Hansen (vocals, organ); Mark Bird (guitar); Chuck Spieth (bass); Tim Harrison (drums). Recorded at Sound Recorders,… |
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The Offspring – Ignition $11.99 The Offspring: Dexter Holland (vocals); Noodles (guitar); Greg K (bass); Ron Welty (drums). Recorded at Westbeach Recorders, Hollywood,… |
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The Offspring – Ignition $11.99 The Offspring: Dexter Holland (vocals); Noodles (guitar); Greg K (bass); Ron Welty (drums). Recorded at Westbeach Recorders, Hollywood,… |
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The Offspring – Ignition $15.99 The Offspring: Dexter Holland (vocals); Noodles (guitar); Greg K (bass); Ron Welty (drums). Recorded at Westbeach Recorders, Hollywood,… |
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The Watts 103rd Street Rhythm Band/Charles Wright & the Watts 103rd Street Rhythm Band – In the Jungle, Babe $11.99 Personnel: Charles Wright (vocals, guitar). Liner Note Author: Charles Wright. Recording information: Western Recorders, Hollywood, CA… |
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USED: Automatic 7 $6.99 Rock ‘em, sock ‘em punk rock always has a place when it’s got the hooks, and hot guitar lines that So-Cal bands have been famous for since, oh, The Adolescents, Mommy’s Little Monster, Milo Goes to College, and How Could Hell Be Any Worse? Recorded at the now legendary West Beach Recorders, and flawlessly mixed by THOM WILSON (the man responsible for so many of the those great early ’80s L.A. punk LPs), this L.A. four have got the sound, the hyped-up moxie, the tunes, and the lyrics to make this stuff sound brand new, even when the guitars seem particularly nostalgic for the Adolescents’ Agnew brothers. Each song is zippy, fast (but never thrash), and really well-played (nice surging, balls-out style), and JOHN HULETT’s super-tuneful, forceful snarl keeps one reaching for this disc. All ten cuts could have been singles, even an oddly chosen but roaring cover of SOUL ASYLUM’s “Closer to the Stars,” thanks to the pile-driving harmonies on the choruses. Why do people go so ape-shit over Rancid, OK as they are (and their ska “Time Bomb” is great), when bands like these blow them out of the water for playing and material and most of all, talent? And are there any more more consistent punk labels in the world than B.Y.O. and Epitaph? And they’ve both been doing it for fifteen years. Not exactly jumping on the bandwagon! ~ Jack Rabid, All Music Guide |
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USED: Exit $6.99 Shugo Tokumaru is not (as many reviewers have assessed) the Japanese Sufjan Stevens. He may share some of Stevens’ fascination with found instruments and eccentric acoustic arrangements, but that’s where the similarities end. Tokumaru, in general, seems to go much deeper into his own musical world — playing with sounds more and taking ideas much further. If comparisons must be made, it would better describe Tokumaru’s trajectory to align him with the likes of a less predictable pop experimenters like Lindsey Buckingham. Like Buckingham, Tokumaru’s songs can sound deceptively simple on the surface, but closer listening reveals a very sophisticated musician at work. Anyone can layer instruments on top of one another (and, with the advent of digital home recording, often to a ludicrous level), but it takes a real talent to sort out how they should fit together. This is where Tokumaru shines, especially on his album Exit — a home-recorded affair that flirts with indulgence but rarely succumbs to it. That’s an important point because a song like Exit’s opener, “Parachute” — with its multi-layered fingerpicked guitar propulsion and more melody lines than you can shake a stick at — could have been just a predictable lo-fi m? lange had someone else been at the helm. In Tokumaru’s hands, indulgence is tempered with taste and taste is augmented by confident individuality and competent musicianship. That individuality and musical prowess are evident enough — as Tokumaru is clearly at ease on a number of different instruments — but all of that would amount to beans if you couldn’t put it together just as expertly. In the arrangement department, Tokumaru displays both skill and mischievousness. He has a Brian Wilson-like penchant for playing instruments off of each other to achieve a greater result (just listen to the Pet Sounds playfulness of “La La Radio”) and is fearless in his use of dissonance (check the gradually twisted interplay between the recorders and mel… |
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USED: NEXT NOEL 0990 $7.99 As the subtly surreal cover and the ambiguous title imply, this is not an album for purists. Ekimi (named after a Congolese word meaning “calm peaceful feeling”) is a group based around the talents of pianist Billy Larkin and bass player Chris Dahlgren, both classically trained musicians currently involved in the Cincinnati jazz scene. Following their desire to create “a new context” for Christmas music, they offer very liberal interpretations of carols like “We Three Kings” and “Silent Night” with Dahlgren’s fluid electric and acoustic bass and Larkin’s jazzy piano freely improvising around the unique melodies. Singer Kathy Wade adds smokey vocals to the original ballad “Snow” as well as to the gospel chestnut “Go Tell It on the Mountain,” while on four tracks Chris Philpotts provides tonal coloring with oboe, recorders, and English horn. “Good King Wenceslas” features a dramatized reading by Gary Barton of the inspirational story told in the song over piano and bouncy string bass, while the 11-minute version of “The Little Drummer Boy” effectively marches along to a percussive bass beat, with background synthesizer chords creating space for the sensitive piano themes that dance around the melody. The strangest piece is a downright bizarre rendition of “God Rest Ye Merry Gentlemen” featuring electronically processed basses, with the lead line sounding oddly like a distorted electric guitar, to a rhythmic accompaniment provided by percussive piano in combination with what sounds like a muted dulcimer. If you are looking for something wilder and more daring than the normal Christmas fare, look no further. ~ Backroads Music/Heartbeats, All Music Guide |
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Waylon Jennings – #1 Nashville Outlaw $10.99 Personnel: Waylon Jennings (vocals, guitar); Buddy Holly (guitar); Bob “Crow” Clarke (drums). Recording information: Audio Recorders,… |