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To the artists using R&B beats, it truly is exceedingly hard to come by the high quality of R&B beats that they need. Many good artists from all within the world stated that they have had a very tough time discovering the right R&B beats and producers in his or her city.

Just about the most common reasons behind this in order to that it is little more challenging and tough to produce R&B beats. Usually, the most beneficial R&B beats have the continuing development of chords, scales and only a talented and accomplished musician can be capable to understand how to put both them together. Inside the world of New England, hip hop and rap beats, theory of music is not used much, along with the beat the drum can transport the entire song. Read the rest of this entry »

Works out Joe Jonas has better use than merely looking good. After teasing fans for quite a while, the Jonas Brother has finally began his solo career by revealing his first single See No More. Yes, he might happen to be component of Disney’s many awful, ready-made bands for screaming fans producing the cheesiest music around, but don’t permitted this to placed you off this track because it is really quite good.

Before it’s premiere, Joe promised that his music would more dance focused while using club beats, however in actual fact See Get rid of is a lot more urban/R&B pop. The song was that is generated by Brain Kennedy and co-written by Chris Brown – his presence explains it’s genre. While it is probably a Breezy throwback, this song is a modern, more aged solid track. Joe visits what any pop star on the planet does, he sings about post-breakups: “I don’t wanna lose time waiting for you/ I don’t wanna awaken thinking, hoping you’re gonna set things right this time.“ Read the rest of this entry »

Music workstations have come a long way ever since the beginning of electronic musical technology. The Yamaha S90XS Workstation uses the real performance features of a high quality keyboard to a higher level. This powerful device is clearly designed with the performer in mind instead of just for creating a sound to be applied inside a studio nonetheless it measures up in each areas.

The audio quality is as high as you’d assume from Yamaha tools. The giant 142 megabytes worth of Piano wave forms carries the audio from the S6 Concert Grand Piano coupled with the excellent weighted keys will make you overlook that you aren’t sitting down behind an actual piano. The performance creator function is used to develop rich soundscapes with a single press of a key, adding various voices and also arpeggios over the top of the main sounds.

The planning with the system is certainly geared towards live musicians. Every one of the quickly reachable controls work in real-time without clipping or glitching out the sound. Adapt the reverb or chorus when playing and the audio currently being produced doesn’t miss a beat. Other great performance characteristics are a Microphone source which lets you record and add effects to vocals also.

Going from the stage into the studio, the Yamaha S90 XS does not dissatisfy. An unbelievable attribute enables you to record straight to a USB backup device in an music data format. No recording software is needed, merely push Record, Play, Hit end and you possess an sound file on your USB system of whatever you just performed. You may also make use of this function in order to save a previous recording and then play over it, best for backing up your own solos with a chord progression or maintaining atmospheric feel running in the backdrop of a song. You will find excellent methods for producing VSTs and integrating with computer composition and recording software package.

The Yamaha S90XS Workstation places the bar very high for competitors. Dedicate some hours to learning to use this exceptional machine and you’ll be all set for the stage and the studio.

THE GREAT KAT’S “METAL MESSIAH” IS #1

ON WMUC RADIO’S “HEADBANGING ECSTASTY” PLAYLIST!

He Wang, DJ, WMUC

“Metal Messiah“ – Hit Song From The Great Kat’s Speed Guitar Masterpiece “WORSHIP ME OR DIE!” CD!

The Great Kat Guitar Goddess:

“Top 10 Fastest Shredders Of All Time” (Guitar One Magazine)

“50 Fastest Guitarists Of All Time” (Guitar World Magazine)

“The 100 Wildest Guitar Heroes” (Classic Rock Magazine)

“12 Greatest Female Electric Guitarists” (Elle Magazine)

Juilliard graduate violin virtuoso/Concertmaster of the Juilliard Pre-College Orchestra

Winner of the Artists International Competition on Violin/Carnegie Recital Hall Debut on Solo Violin

PRESS REVIEWS:

-”Wow! Very rarely does a DVD come along that inspires the old ‘You’ll have to see it to believe it!’ But such is the case with The Great Kat’s Beethoven’s Guitar Shred, an amazing display of speedy guitar wizardry. Kat slices and dices the Paganini composition with precision on guitar but she also plays a violin part that makes Charlie Daniels’ fiddle-off with the devil on ‘The Devil Went Down to Georgia’ look like a molasses-dripping contest.” – Kevin Wierzbicki, antiMUSIC

-”The Great Kat rises again as Beethoven gets the guitar shred treatment on DVD. If you like heavy metal, distorted guitars and wild ladies in bondage gear, we have just about the perfect DVD for you – The Great Kat’s Beethoven’s Guitar Shred. Kat’s ‘shredding’ style is based on her classical violin education, now put to use mangling the greats of classical music into a nerve-jarring aural assault of finger-blisteringly fast electric noise. It is something you’ll want to watch over and over again, as much for Kat’s scantily-clad, blood-spattered dominatrix stage persona as for her blistering performances.” – Chris Jenkins, Home Cinema Choice

-”The Great Kat. She is the Juilliard-trained guitar shredder goddess of great note and can play ‘The Flight of the Bumblebee’ at 300 beats per minute. I was charged by her ‘Bloody Vivaldi’ release with ‘The Four Seasons’ for violin, chamber orchestra and band. She’s all over it and it’s fast, amazing and memorable. Sarasate’s ‘Carmen Fantasy’ is another classic twist. Pictured in a black bikini and chains on the back, The Great Kat’s long, golden hair is as wild as her playing is meticulous. Kat is still shocking. She’s already tackled ‘Beethoven’s Guitar Shred’ and other familiar artists.” – Darragh Doiron, The Port Arthur News

The exceptionally talented Rock group Counting Crows have released their CD entitled This Desert Life. I am very confident and happy to announce that I believe Counting Crows fans, and Rock fans alike will be pleased with this one. With the release of This Desert Life their artistic excellence is on full display as they have once again delivered a brilliant collection of tracks that could very well be their best work to date.

Refreshingly, this was one of those CDs I was able to just pop in and comfortably listen to from beginning to end. Every track is enjoyable and was pretty easy for me to listen to from start to finish.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

If you’re a Counting Crows fan, or just a fan of Rock music this is a CD your collection simply should not be without.

While this entire CD is really very good some of my favorites are track 3 – Amy Hit The Atmosphere, track 8 – I Wish I Was A Girl, and track 10 – St. Robinson In His Cadillac Dream

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Hanginaround. Great track!

This Desert Life Release Notes:

Counting Crows originally released This Desert Life on November 2, 1999 on the DGC (David Geffen Company) label.

CD Track List Follows:

1. Hanginaround 2. Mrs. Potter’s Lullaby 3. Amy Hit The Atmosphere 4. Four Days 5. All My Friends 6. High Life 7. Colorblind 8. I Wish I Was A Girl 9. Speedway 10. St. Robinson In His Cadillac Dream

Counting Crows: Adam Duritz (vocals, piano); David Bryson (acoustic, electric, 12-string & slide guitars); Dan Vickrey (acoustic & electric guitars, sitar, background vocals); Matt Malley (12-string guitar, bass, background vocals); Ben Mize (drums, percussion, background vocals).

Additional personnel: David Immergluck (pedal steel & electric guitars, bass); Joel Derouin, Eve Butler (violin); Matt Funes (viola); Larry Corbett (cello); Dennis Herring (keyboards); David Lowery, Chris Seerfried, Gary DeRosa, Cinjun Tate, Charles Gillingham (background vocals).

Recorded in Hollywood, California in 1998.

Coming on the heels of the Rolling Stones’ most acclaimed album Exile On Main Street and a four album winning streak, Goats Head Soup had the deck stacked against it from the beginning as the reviews were less than enthusiastic with some critics proclaiming it the band’s worst album since 1967′s Their Satanic Majesties Request. First off, Their Satanic Majesties Request was not a bad album, and neither is Goats Head Soup. As a matter fact, it is very good-and on top of this it shows Mick Jagger and Keith Richards going in different directions, as Jagger is ascending up the celebrity A-list while Richards is slipping deeper into drug addiction.

There are moments that border on the rock n’ roll decadence parody that the subsequent It’s Only Rock ‘n Roll would bring to the surface as the opening track, “Dancing With Mr D.” “Dancing” would take the band’s (namely Jagger’s) satanic image to comic extremes while the closing track “Star Star” (originally titled “Starf___er”) celebrated their (and many other celebrities’) decadent lifestyle in an over-the-top sexually explicit manner. Aside from those two tracks there are beautiful songs: such as the haunting “100 Years Ago”; the smash hit ballad “Angie” which Jagger wrote for Anita Pallenberg (who was married to Keith Richards at the time!); the majestic and drugged out tracks “Winter” (which recalls “Moonlight Mile” on Sticky Fingers) and Keith’s vocal contribution “Coming Down Again”; and the murky psychedelia of “Can You Hear The Music.” Of course there is always good blues rock as “Silver Train” and “Hide Your Love” best demonstrate.

The highpoint along with maybe “Angie” is the socially conscious funky hard-rocker “Doo Doo Doo Doo Doo (Heartbreaker)” which deals with the grit and filth of 1970s New York City, namely the accidental shooting of a young boy by the police.

While Goats Head Soup might be a notch below Exile, it is much more accessible, not to mention, a great album.

The exceptionally talented Pop artist Toni Braxton has released her CD entitled Libra. I am very confident and happy to announce that I believe Toni Braxton fans, and Pop fans alike will be pleased with this one. With the release of Libra Toni Braxton’s artistic excellence is on full display as Braxton has once again delivered a brilliant collection of tracks that could very well be her best work to date.

Libra literally grabs your attention right from the start with Please and won’t let go until the very last note of the very last song Shadowless, which is another great track by the way.

Libra is a nicely varied, mix of 10 tracks that are very well written songs by this clearly outstanding artist. Most of the songs display a lot of the kind emotion that makes for a really great listen. Seemingly drawing from what I can only imagine are her own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

I give Libra my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While the entire album is outstanding the truly standout tunes are track 3 – What’s Good, track 6 – I Wanna Be, and track 10 – Shadowless.

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Please. Great track!

Libra Release Notes:

Toni Braxton originally released Libra on September 27, 2005 on the Blackground Enterprises label.

CD Track List Follows:

1. Please 2. Trippin (That’s The Way Love Works) 3. What’s Good 4. Take This Ring 5. Midnite 6. I Wanna Be (Your Baby) 7. Sposed To Be 8. Stupid 9. Finally 10. Shadowless

Personnel include: Toni Braxton (vocals); Rich Harrison (various instruments); Dan Shea, Siete (guitar); Kendrick Dean (strings); Greg Phillinganes (piano); Tamar Braxton, Babyface (background vocals). Recording information: The Hit Factory, Criteria, Miami, Florida.

“Beck” is an American indie/alternative artist from Los Angeles, California. Although born as Bek David Campbell, he is known as Beck or Beck Hansen on stage. Beck is mainly into making indie and alternative music which covers folk rock, hip-hop, electronic, rock and even blues. Beck is also known for being a multi-instrumentalist where he plays guitar, keyboards, bass, drums, harmonica, percussion, banjo, synthesizers and other instruments.

Modern Guilt dives in with folky opener “Orphans”. It has a distant bass sound in the beginning. Once the guitar enters and Beck voices out, the track just hits the jackpot like that. It produces a country-like atmosphere to it, folk and country rock altogether. Indie artist Cat Power also known as Chan Marshall is also featured here to lend her vocals to Beck. In the bridge, the additional flute is a thing to watch out for. Very well-harmonized vocals on Orphans towards the end. Very tempting opener that will haunt especially the adults.

“Gamma Ray” is a faster tempo track and i wouldn’t mind if i’ve been hit by Gamma Ray. The music itself speaks for itself. The vocals of Beck just add extra pump and weight to the whole song. The bass and drums keep re-looping themselves until they hit a climax further down into the track. In the verse, the music seems to be taking a break and slowly build itself for a breakthrough in the coming chorus. Every phrase that Beck sings is followed by gospel-like backing vocals. I just love the music on Gamma Ray, infectiously groovy!

“Chemtrails” is a track that suddenly slows down Modern Guilt’s momentum. Listening to Chemtrails revokes your imagination, you would like you’re dreaming. The piano and the synthesizers just create a soundscape that is so unreal, you be dreaming away listening to Chemtrails. Even Beck’s vocals on Chemtrails blends in very well with the music. Full of howls and moans to greatly enhance the atmosphere of Chemtrails. The remaining one minute instrumental, you would enjoy the beautiful violin that plays on just before the track ends and fades into silence. What an experience!

“Modern Guilt” has a steady drum beats once it enters. Beck moans through each phrase with his vocals. Combined with the music, Beck is twisting his vocals here and there to accustom himself to Modern Guilt. Entering the chorus, the guitar just comes plucking itself in and it’s really good, Beck just goes on with, “Modern guilt, i’m stranded with nothing… Modern guilt, I’m under lock and key…” In the bridge, the piano and violin speak for themselves. Beck just adds in some vocal effects to complement the music. Until the end, the whole track seems to be saving the best for last. It’s very beautiful and i find myself swaying away listening to it.

The bass in the beginning of “Youthless” really revs me up. It’s very tight and fast the way the bass is being played on Youthless. Even Beck sings as if he’s rapping softly at between intervals. When it comes to the chorus, Beck just sings at a slightly higher pitch that seems to be echoing itself through the chorus, “And they’re helpless and forgetting in the background holding nothing, and they’re youthless and pretending with their bare hands holding nothing…” The synthesizers also seems to be having fun from here onwards, coming in and out, creating some cute sounds at intervals that delight us. Towards the end, cello enters and give some extra support to the bass. Very smartly composed music, very tight!

“Walls” already surprises me in the beginning. The violin-like sound created by synthesizers is really the core music on Walls. Beck just sings on as the music goes on like that. Approaching the chorus, there’s a lady-like sound in the background, sometime i would think that it’s Alvin from The Chipmunks which is making those funny sounds. Cat Power is again featured on this track in the chorus, where she would join Beck, “Hey what are you gonna do, when those walls are falling down, falling down on you…” The music on Walls just ends almost the way it started. Weirdly good!

“Replica” is fast and delicate simultaneously. The beats on Replica are tight and light. Due to a distant sound in the music, it makes the whole track sort of delicate. Delicate enough you would also hear Beck singing in a distant voice. Piano can also be heard in this track as Beck sings. Nearing the end, the violin only comes in and the whole track turns into an instrumental adventure before fading itself to night.

“Soul Of A Man” sounds like a rock track for the army. The bass line just follow every lyrics that Beck sings, like a chick following its mother. Handclaps and guitar riffing can also be heard as Beck sings through the track. When the chorus comes, the whole track seems to be floating in mid-air and Beck goes, “Cold was the storm, that covered the night…” Soul Of A Man is at times like a folk rock track that would definitely be appeal to the old ages. It’s not loud, but its groovy beat will get onto you quietly.

“Profanity Prayers” is an upbeat track with infectious drum beats and smart vocals that just know how to enter and exit. Beck can be heard singing in a speedy voice in the verse. In the chorus, he just raises his pitch and let go of his vocals that echo back to him, “Who’s gonna answer, profanity prayers, who’s gonna answer, these profanity prayers…” I also like the guitar that enters in the chorus, it has this special rhythm with it. When Beck is not singing, the music just plays itself out. And i have to say, it’s really good!

Beck ends Modern Guilt with slow-driving “Volcano”. Beck’s voice on this track gives a hint that he might be tired from all the singing that he has done on Modern Guilt. Therefore he’s taking it slow with Volcano. When it comes to the first chorus, you would hear some backing vocals helping Beck out when he goes, “I don’t know what I’ve seen, was it all an illusion? Or a mirage gone bad? I’m tired of evil, and all that it feeds, but I don’t know…” With the backing vocals, it sounds really great as it adds the definitive weight to Volcano and Beck’s voice. Volcano is slow but it’s able to gulp you down slowly after listening to it a few times. Once you get the hook of it, you would find it hard to drop it. Sometimes it’s just beautiful!

Cheers!
Darren Tan
Indiesurf.com

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Thinking Of Home is the latest release from Rock Artist Hank Mobley, and I can only think of one word to describe it… AWESOME!

Thinking Of Home will grab your attention right from the beginning with Suite: Thinking Of Home / The Flight / Home At Last and doesn’t let go until the very last note of the very last song Talk About Gittin’, which is another great track by the way.

Thinking Of Home has a pleasantly varied, mix of Suite: Thinking Of Home / The Flight / Home At Last tracks that are very well written songs by this clearly outstanding artist. Most of the songs display a lot of the kind emotion that makes for a really great listen. Clearly drawing from what I can only imagine are him own real life experiences. At different points touching on the most real emotions like love, heartbreak, pain, failed relationships and unattainable romance. They’re all here.

I give Thinking Of Home my highest recommendation. It just plain belongs in any serious music collectors collection regardless of genre preference.

While this entire CD is really very good some of my favorites are track 3 – You Gotta Hit It, track 4 – Gayle’s Groove, and track 2 – Justine

My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is track 1 – Suite: Thinking Of Home / The Flight / Home At Last. Great track!

Thinking Of Home Release Notes:

Hank Mobley originally released Thinking Of Home on October 8, 2002 on the Blue Note Records label.

CD Track List Follows:

1. Suite: Thinking Of Home / The Flight / Home At Last 2. Justine 3. You Gotta Hit It 4. Gayle’s Groove 5. Talk About Gittin’

Personnel: Hank Mobley (tenor saxophone); Woody Shaw (trumpet); Cedar Walton (piano); Eddie Diehl (guitar); Mickey Bass (bass); Leroy Williams (drums). Recorded at van Gelder Studios, Englewood Cliffs, New Jersey on July 31, 1970. Originally released on Blue Note (40531). Includes liner notes by Todd Barkan.