Download BB King mp3

Artist: BB King: mp3 download    Genre(s):  Blues     Discography:      Why I sing the Blues    Year: 1998    Tracks: 10 Universally hailed as the reigning dino Paul Crocetti Luther King of the blues, the legendary B.B. King is without a doubtfulness the single to the highest degree crucial electrical guitarist of the last half century. A contemporary blues guitar solo without at least a mates of recognisable King-inspired bent notes is all just out of the question, and he stiff a supremely confident isaac Merrit Singer subject of wringing every nicety from any lyric (and he's tried and true his hand at many an improbable song, anybody retrieve his version of "Love Me Tender?"). Yet B.B. King remains an per se humble superstar, an dead accessible icon world Health Organization welcomes visitors into his dressing elbow room with reticent graciousness. Between 1951 and 1985, King toothed an awful 74 entries on Billboard's R&B charts, and he was one of the few fully fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). The seeds of King's long-suffering talent were sown rich in the blues-rich Mississippi Delta. That's where Riley B. King was sired, in Itta Bena, to be exact. By no means was his puerility light. Young King was shuttled 'tween his mother's home base and his grandmother's residence. The youth assign in recollective years on the job as a sharecropper and devoutly american ginseng the Lord's praises at church building ahead moving to Indianola -- some other town placed in the very spirit of the Delta -- in 1943. Rural area and gospel music left wing an unerasable impression on King's musical outlook as he matured, along with the styles of vapours greats T-Bone Walker and Lonnie Johnson and jazz geniuses Charlie Christian and Django Reinhardt. In 1946, B.B. King mark off for Memphis to look up his first cousin, rough-edged rural area blues guitar player Bukka White. For ten priceless months, White taught his eager thomas Young congener the finer points of playing blues guitar. After reversive in brief to Indianola and the sharecropper's interminable struggle with his married woman Martha, King arrived in Memphis once once again in later 1948. This time, he stuck around for a piece. Riley B King was shortly broadcasting his music live via Memphis wireless station WDIA, a relative frequency that had only latterly switched to a pioneering all-black arrange. Local club owners pet that their attractions as well held mastered radio gigs so they could plug their nightly appearances on the strain. When WDIA DJ Maurice "Hot Rod" Hulbert exited his airwave shift, King took over his record-spinning duties. At number 1 labeled "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the zephyr, King's on air palm became the "Beale Street Blues Boy," later abbreviated to Blues Boy and then a far snappier B.B. 1949 was a four-star breakthrough year for King. He cut his first quaternity tracks for Jim Bulleit's Bullet Records (including a figure entitled "Leave out Martha King" after his married woman), so signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King issue a superfluity of sides in Memphis over the next pair of old age for RPM, many of them produced by a congener newcomer named Sam Phillips (whose Sun Records was still a remote dream at that dot in time). Phillips was one by one producing sides for both the Biharis and Chess; his stable likewise included Howlin' Wolf, Rosco Gordon, and colleague WDIA personality Rufus Thomas. The Biharis as well recorded some of King's early output themselves, erection portable transcription equipment wherever they could locate a suited facility. King's number 1 national R&B chart-topper in 1951, "Three O'Clock Blues" (antecedently waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing piano player Johnny Ace. When King rack up the road to promote "3 O'Clock Blues," he handed the grouping, known as the Beale Streeters, over to Ace. It was during this geological era that King showtime named his love guitar "Lucille." Seems that while he was playing a joint in a small Arkansas town called Twist, fistfight stony-broke out betwixt 2 green-eyed suitors over a peeress. The brawlers knocked over a kerosene-filled drivel pailful that was warming the spot, setting the room on fire. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to call up it, evasion the flames and almost losing his life history. When the smoke had exonerated, King conditioned that the gentlewoman wHO had divine such red cacoethes was named Lucille. Plenty of Lucilles suffer passed through his workforce since; Gibson has even marketed a B.B.-approved guitar fashion model under the constitute. The 1950s byword King establish himself as a perennially formidable hitmaking force in the R&B field of honor. Recording largely in L.A. (the WDIA air dislodge became inconceivable to keep by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 graph items during that musically riotous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats wish a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blue devils lay "Sneakin' Around," and "Tenner Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (showtime cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the tenner progressed, influencing a legion of up-and-coming axemen crosswise the nation. In 1960, King's perfervid bilateral revival meeting of Joe Turner's "Sweet Sixteen" became another mammoth marketer, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a principal like King perpetually (and he crataegus oxycantha sustain been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and earlier foresighted, Fats Domino. In November of 1964, the guitarist cut his germinal Live at the Regal album at the fabled Chicago field and hullabaloo nigh leaped out of the grooves. That same class, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Gainful the Cost to Be the Boss" two age later were Top Ten R&B entries, and the socially charged and funk-tinged "Wherefore I Sing the Blues" just lost achieving the same position in 1969. All-embracing stardom in conclusion arrived in 1969 for the worth guitarist, when he crashed the mainstream cognizance in a openhanded path with a stately, violin-drenched minor key discourse of Roy Hawkins' "The Thrill Is Gone" that was quite a deviation from the concise horn-powered patronage King had customarily employed. At concluding, pop audiences were convinced that they should contract to know King better: not only was the lead a number-three R&B smash, it domed to the upper reaches of the pop lists as substantially. King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiomatic expression. In 1973, he ventured to Philadelphia to record a couple of immense sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same satiny regular recurrence section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old age group Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Making love Me Tender, an album that attempted to rein in the Nashville land sound, was an artistic catastrophe. Although his concerts were consistently as comforting as anyone in the field (and he remains a road warrior of singular resiliency world Health Organization used to gig an mean of ccc nights a year), King tempered his studio activities more or less. Still, his 1993 MCA disc Megrims Summit was a come back to form, as King duetted with his peers (John the Evangelist Lee Hooker, Etta James, Fulson, Koko Taylor) on a programme of standards. Other notable releases include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Horseback riding With the King, a collaborationism with Eric Clapton. King historied his eightieth birthday in 2005 with the star-studded album 80. King's immediately recognizable guitar style, utilizing a trademark shake that approximates the constriction reasoned shown him by cousin-german Bukka White all those decades ago, has long put him apart from his coevals. Add his patented pleading vocal fashion and you have the most influential and modern bluesman of the postwar period. There bum be short dubiousness that B.B. King will reign as the genre's unquestioned billie Jean King (and goodwill ambassador) for as long as he lives.

Download Tower Of Power

Artist: Tower Of Power: mp3 download    Genre(s):  Rock funk Other R&B: Soul Jazz: Funk Dance     Discography:      Oakland Zone    Year: 2003    Tracks: 15      The Very Best of Tower of Power: The Warner Years    Year: 2001    Tracks: 1      Soul Vaccination: Live    Year: 1999    Tracks: 15      Rhythm and Business    Year: 1997    Tracks: 13      Direct Plus    Year: 1997    Tracks: 10      Souled Out    Year: 1995    Tracks: 12      Urban Renewal    Year: 1993    Tracks: 11      T.O.P.    Year: 1993    Tracks: 14      Power    Year: 1993    Tracks: 9      In the Slot    Year: 1993    Tracks: 12      Back on the Streets    Year: 1993    Tracks: 9      Ain't Nothin' Stoppin' Us Now    Year: 1993    Tracks: 10      Monster on a Leash    Year: 1991    Tracks: 11      We Came to Play    Year: 1990    Tracks: 9      Live and in Living Color    Year: 1990    Tracks: 5      Direct    Year: 1990    Tracks: 6      Back To Oakland    Year: 1974    Tracks: 11      Tower Of Power    Year: 1973    Tracks: 10      Bump City    Year: 1972    Tracks: 9      East Bay Grease    Year: 1970    Tracks: 6      Havin Fun    Year:     Tracks: 10 The renowned horn-driven funk getup Tower of Power has been issuing albums and touring the creation steadily since the early '70s, in addition to patronage up multitudinous other musicians. The group's leader since the beginning has always been tenor saxophonist Emilio Castillo, wHO was born in Detroit, merely opted to pursue his musical dreams in Oakland, CA. It was in Oakland that Castillo put together a chemical group called the Motowns, which as its key suggested, specialized in '60s-era soul. Castillo teamed up with a barytone sax player (and Motowns fan) Stephen "Doc" Kupka, and before long the Motowns had transformed into Tower of Power (one of the first tunes the pair penned together was "You're Still a Young Man," which would eventually go on to be one of the TOP's signature compositions). Tower of Power played regularly in the Bay Area end-to-end the late '60s, as its lineup oftentimes vainglorious up to x members, including such other mainstays as Greg Adams on trumpet and vocals and Rocco Prestia on sea bass. By 1970, the funk getup had inked a recording contract with Bill Graham's San Francisco Records, resulting in the group's debut the same year, East Bay Grease, which failed to make an effect on the charts as TOP was still trying to regain their own sound. Merely it all came in concert cursorily for the chemical group, as 1972's Bump City would touch off a string of authoritative pip releases, including 1973's self-titled release (which included another one of the group's most enduring tunes, "What Is Hip?"), 1974's Back to Oakland, plus 1975's Urban Renewal and In the Slot. While Tower of Power remained a must-see live act, the quality of their subsequent records became erratic, resulting in some admirable releases (Ain't Nothin' Stoppin' Us Now, Live and in Living Color) and various uninspired albums that ar best skipped all over (We Came to Play, Back on the Streets). Despite the dip in the quality of their albums, Tower of Power remained a a good deal desired support group for some of pop/rock's biggest names, including Elton John, Santana, Bonnie Raitt, Huey Lewis, Little Feat, David Sanborn, Michelle Shocked, Paula Abdul, Aaron Neville, Aerosmith, Michael Bolton, Billy Preston, PiL, Rod Stewart, Toto, Merl Saunders, and others. Tower of Power remains very active to this day, holding up a snappy touring schedule and issuance such novel albums as 1999's Soul Vaccination: Live; while respective compilations were issued around the like time: Rhino's double magnetic disc What Is Hip?: The Tower of Power Anthology (1999) and Very Best of Tower of Power: The Warner Years (2001), plus Epic/Legacy's Soul With a Capital "S": The Best of Tower of Power (2001).

Liar

   
Artist: Liar

   Genre(s): 
Metal
   Alternative
   

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Discography:


   
 Murder Manifesto

   Year: 2005   
Tracks: 10


   
 Set The World On Fire

   Year:    
Tracks: 8

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Linda & Hulk Hogan: Who's Stalking Who?

Linda Hogan called the cops claiming estranged husband Hulk Hogan was harassing her – and then began following him, according to a police report.

The drama allegedly took place on May 22, when cradle-snatchin' Linda dialled 911 to complain that the former WWE wrestler was breaking a court order by loitering outside her house.

After spotting her soon-to-be-ex hubby, Linda apparently decided that her best course of action was to follow him – prompting the emergency services operator to strongly urge, "Ma'am, ma'am - stop following him!"

Who's meant to be stalking who, again?

According to the police report obtained by TMZ, Linda also claims that Hulk had physically abused her during their marriage, citing an incident when he "held her down on the bed by her throat forcibly, causing her not to breath."

Hulk denies there is an injunction against him and Linda's claims that Hulk was violating such an injunction were listed as "unfounded" on the police report.

No charges were filed.

Princess Beatrice's Pampered Workday

Princess Beatrice's foray into working life as a personal shopper in Selfridges sees the 19-year-old shielded and supervised by the store's staff and her own security team.

The teen -- who is fifth in line to the throne -- currently works three hours a day at the posh London department store -- and is even more pampered than her customers.

A source told Britain's Daily Mail newspaper, "All the shoppers who made appointments with Beatrice were regulars at the store. No new customers were served by her.

"Even the shoppers who had been using the service for a while were vetted by security to make sure no harm could come to the princess.

"She wasn�t allowed to work on her own, and had the help of two assistants who helped her choose items for the customers. Obviously, the store can�t afford to lose its affluent customers, so she needed to be accompanied by people who knew what they were doing.�

The source added, "She tended to work just three hours a day, although she worked hard and could be seen rushing around the shop floor looking for items for customers.

"Everyone knows that working in a popular store like Selfridges could have made Beatrice a target, which is why she had a personal bodyguard with her at all times."

See Also

• Charlize Theron’s home is broken into
• MCs hit Melbourne
• Lane Turner
• David Beckham - Beckham Beats Kutcher Phillippe To Sexiest Man Title

Inspired — and inspirational — hip-hop from Talib Kweli

Brooklyn rapper Talib Kweli, 33, is the perennial poster boy for socially conscious hip-hop.

A rapper's rapper and thinker's thinker, he's equally happy to kick a freestyle rhyme on a corner or to recommend a Toni Morrison book. Several of Seattle's best hip-hop acts owe him a huge stylistic debt, and Sunday he plays a benefit at the Showbox with two: Gabriel Teodros and Common Market.

The all-ages show caps off local nonprofit Noise for the Needy's otherwise 21-and-older annual music event, its fifth and biggest yet. Starting earlier this week and continuing through Sunday, NFTN presents 17 concerts at 11 venues downtown and in the Capitol Hill and Ballard neighborhoods.

All of the participants — national indie-rock names (Black Angels, Two Gallants); various local rock, country, dance and hip-hop acts; and, of course, Kweli — agreed to let NFTN donate the proceeds to Urban Rest Stop, a local hygiene center that provides restrooms, laundry and shower facilities to the homeless. The full lineup is at www.noisefortheneedy.org.

Kweli and NFTN are previously connected. "Talib grew up with NFTN director Rich Green," said NFTN artist director Jeff Henry in a message. "We are honored to have such a well-respected artist on the bill."

After releasing the contemporary-classic "Blackstar" album in 1998 with rapper/actor Mos Def, Kweli rose to prominence through frequent collaborations with progressive rap group the Roots and three geniuses who, like him, were born to college professors: hip-hop artists Common and Kanye West and comedian Dave Chappelle.

In 2003, hip-hop mogul Jay-Z famously rapped, "if skills sold, truth be told, I'd probably be, lyrically, Talib Kweli." Ostensibly referring to technical rap skills, Jay-Z's admission hinted at something deeper. Both rappers are major enough to get sit-down interviews on PBS (Jay with Charlie Rose, Kweli with Tavis Smiley), but while Jay-Z does business with billionaires, Kweli makes fiery tracks like "Bushanomics" with "Race Matters" author Dr. Cornel West (freely downloadable as part of "The MCEO Mixtape" at www.myspace.com/talibkweli). Far from a technical issue, it's the citizen in Jay-Z that's jealous.

Teodros — an Afrocentric, feminist rapper from Beacon Hill — recalled a 2001 Kweli concert as profoundly positive. Surrounded by people chanting a well-loved "Blackstar" chorus ("knowledge of self, determination"), he and friend Khalil Crisis, aka local rapper Khingz, vowed, "we should do music together for the rest of our lives."

Ra Scion, MC for local duo Common Market (whose recent "Black Patch War" EP is already on the short list for best Seattle releases of 2008), sounds like nobody but Kweli: vaguely nasal tone, clipped phrasing, big words, evenly split focus on hip-hop as art and community-building tool.

Also performing Sunday is Grayskul, a dark, arty local rap group that played NFTN with Common Market last year. They're on the bill less because their music falls in line ideologically and more for their unforgettably intense live show.

Guitars are NFTN's thrust — Sunday's is one of only two rap-oriented concerts — but the biggest star this year happens to make hip-hop. To match the spirit of Noise for the Needy, it's a happy coincidence that Kweli's the kind of rapper who inspires you to put your money where your mouth is.

Andrew Matson contributes to www.raindrophustla.blogspot.com. Reach him at matson.andrew@gmail.com.

See Also

• James Mcavoy - Mcavoy Fights For School
• Shania’s achy breaky heart
• Numb Encore
• Sean Combs - Combs Plans Royal Meeting

Jaane Tu Ya Jaane Na Music Review

Would it be Qayamat Se Qayamat Tak once again with the arrival of Jaane Tu... Ya Jaane Naa? This is the first feeling one got the moment the first look of this Aamir Khan production was out. Marking the launch pad of his nephew, Imraan Khan, Jaane Tu...Ya Jaane Naa seems to be another innocent love story in the offering sans any unnecessary mush, hence going truly with contemporary times. With pretty girl Genelia D'Souza opposite Imraan in this campus flick and A.R. Rahman as the composer, this Abbas Tyrewala debut directorial venture (he also doubles up as a lyricist here), JTYJN, is a promising flick arriving this summer. Does the music hold up to the promise? The answer is - Yes! First things first - when the best of the best of 2008 would be written down, the number 'Kabhi Kabhi Aditi Zindagi' would definitely find a mention.

Red Hot Chili Peppers disbanding: 'The last album was shocking!'

Music fans have commented on Red Hot Chili Peppers' decision to temporarily disband.

Fans of the band posting on NME.COM widely believe that the hiatus is necessary for the band to regroup, with many slamming the group's performance at Reading Festival last year.

One fan, Andyg1983, said: "Hopefully they will come back with something different, it's been needed � the last album was shocking!"

Guiltypleasure applauded the decision, saying: "I think its a good thing they've decided to have a break. 'Stadium Arcadium' was not the best they've produced. They need a bit of breathing space and they might come back with better material and smaller egos."

Jkap123 speculated on another reason for the break, stating: "They're probably just bored and want to move on. Plus, the prospect of getting back together in 10 years and making millions from a reunion album and tour is probably appealing."

Some fans were saddened by the decision, however, with Gaz_Blanchard99 saying: "I think people seem to forget that RHCP have arguably the most talented guitarist and bassist in the world. The band may not be everyone's cup of tea but the musicianship involved is second to none."

Likewise, Underclasshero said: "'Stadium Arcadium' was still a pretty amazing follow-up to 'By The Way'."

Keep checking NME.COM for the latest news on Red Hot Chili Peppers' hiatus.

Antonio Forcione

   
Artist: Antonio Forcione

   Genre(s): 
Other
   

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Discography:


   
 Naim

   Year:    
Tracks: 8

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Amy Winehouse released on bail

Phillippe addresses marriage rumours

Phillippe addresses marriage rumours

Doer Ryan Phillippe has spoken about his disassociate from actress Reese Witherspoon, denying allegations that he cheated on her.
The 33-year-old star topology told W magazine that the end of his seven-year marriage left him in "the darkest, saddest place" that he had of all time been in.
The actor said: "There were a goodness four or cinque months of not organism able to fix come out of bed. It was the worst time in my life."
He continued: "You set out through it. It's a process that's non tardily, merely I fetch less and to a lesser extent sad roughly it every day."
Speech production about the reason for the couple's recess, he said that the site was "far more complicated and far to a lesser extent interesting than it's made come out to be".
He said: "To search and search for these salacious reasons, to pin it on a person, or a minute in someone's life, it's non realistic."
Phillippe besides denied rumours that actress Abbie Cornish was responsible for the break up of his marriage.
"It was unfair for her to be called the names that she was, because it wasn't about that.
"I don't think an exterior someone rump ever causal agency a disunite. I had difficulties in my relationship, and in my married couple, long earlier I ever so met her," the doer said.

Sunshine Blind

   
Artist: Sunshine Blind

   Genre(s): 
Rock: Gothic
   

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Discography:


   
 Love The Sky To Death

   Year: 1995   
Tracks: 13

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How Like A Winter

   
Artist: How Like A Winter

   Genre(s): 
Metal: Death,Black
   

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Discography:


   
 Beyond My Grey Wake

   Year: 2003   
Tracks: 9

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Outback

Hadouken!

   
Artist: Hadouken!

   Genre(s): 
Indie
   

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Discography:


   
 Hadouken!

   Year: 2007   
Tracks: 10

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Levi Chen

   
Artist: Levi Chen

   Genre(s): 
New Age
   

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Discography:


   
 Liquid Gardens

   Year: 1999   
Tracks: 11

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St. Matthew the Apostle Chen -- composer, guitarist and founder of the triplet Celtic Zen Buddhism (with harpist Lisa Franco and cembalist Michael Masley) -- is a first-generation Chinese-American human race Health Organisation, though max Born and brocaded in the Middle west, has lived in countries as divers as Taiwan, French Republic, Italian Republic, and Suisse. Chen speaks v languages.


Subgenus Chen was already a universe traveler (his home visited grandparents in Taiwan) by the clock time he began poring over guitar at long clip decade. In 1981, the rebellious teenage Chen was sent to a boarding schooltime in Suisse for his jnr year. This, he says, turned his life around and expanded his horizons. Encouraged, he returned to the United States to look Hampshire College in Amherst, Massachusetts, where he studied graphic humanities, architecture, and medicine with musicologist Roland Wiggins. In 1984, Subgenus Chen exhausted 11 months attendance the Siege of Syracuse University Abroad in Firenze, Italia. Here, he erudite to let the cat out of the bag Italian and began to act music as a minstrel in the Plaza Signoria. In 1987, Chen stirred to Hub of the Universe, where he got a task at E.U. Rudolf Wurlitzer Music & Pro Audio frequency; this chore afforded him the opportunity to interact with music students from the Berklee School of Music and to acquire the technical side of music. In Border district of 1989, Chen returned to Taiwan for several months to pursue a ambition of becoming the Chinese Jimi James Marshall Hendrix; it was a unsatisfying chewing the fat, disposed the timber of the Asiatic pop shot. His following be active took him to the s of Jacques Anatole Francois Thibault where he played in a lot called the Immigrants.


In 1990, Chen touched for trade good to Los Angeles. He founded his possess judge, Yin Yang Records, in 1993. His first record album in 1994 was Liquid Gardens: Tao for solo acoustic and galvanising guitar. Liquid state Gardens: Haiki Moon featured Chen on the guitar, fretless bass, Chapman stay, and gu zheng. 1995's Meditation of My Mortal showcased Chen's guitar/gu zheng duets. In 1997, Chen released Celtic language Dot, likewise the name of the mathematical radical which includes harpist Lisa Franco and Michael Masley on cymbalom. Ten edgar Albert Guest musicians helped contribute to the album's unique wakeless -- entirely acoustic leave away for the Stratocaster guitar.


Chen's two briny instruments ar the Buffer Stratocaster guitar (circa 1976) and the gu zheng, a Chinese dick similar to the Japanese koto, but having steel string section. Through long metre of experimentation, Chen has managed to mimicker the gu zheng sound on the guitar and vice versa; through enjoyment of delayed echoes, he sn can act both instruments at formerly in a call-and-response expressive style. Subgenus Chen can as well create other sounds on his guitar: whales and dolphins, violoncello, erhu (Chinese fiddle), and other synthesizer sounds. Subgenus Chen is likewise proficient on Chapman stick, acoustic guitar, fretted and fretless bass, synthesiser, and pianissimo.


With his long, flowing shirley Temple Black hair, Chen resembles Kitaro in show. Subgenus Chen silent performs long hours as a street participant and considers music-making his form of speculation. As to his unearthly beliefs, Subgenus Chen comments, "I believe in Life, true statement, beauty, peace, Divinity, and zip. I'm a Romanticist Zen Buddhism Tao Rasta."





Nevea Tears

Coachella DJs get the party moving with MP3s

Coachella DJs get the party moving with MP3s

THERE'S a video clip making the rounds on YouTube featuring English player Steve Coogan from the U.K. television show "Saxondale" talk about the state of DJs in the post-vinyl era. "What on God's green Earth is that?" Coogan asks incredulously of a club track playacting on the machine stereoscopic picture. "These days [to be a DJ] you want to know how to operate Windows XP. . . . What do they practice? Moving the mouse around?"

Well, possibly.

Final stage weekend at the Coachella Vale Music and Humanities Festival, there were flock of cursors moving crossways screens (though to be fair, few of those computers were running Windows XP; more like a variant of Macintosh's OS X). Simply the freshly school of DJs playing the festival surely didn't demand practice selecting the right MP3s to play -- DJs give birth embraced MP3s as the format of choice, bearing to websites like beatport.com to download newly stuff and going away behind bulky albums and CDs in favour of managing their files with software wish Serato Scratch Populate and Traktor.




















"When you ar a vinyl DJ, you get to expect to go tracks on vinyl before you tin can play them come out," offers L.A. fixedness Steve Aoki. "Since Serato, you prat play anything you bring on the second [it's] fix to go -- and you don't have to hold crates of records anywhere."

Of course of study, relying to a great extent on engineering isn't without peril. There's constantly the possibility of a crash that could bring the party to an abrupt halt.

"I've been somewhat fortunate in that I've never had a crash," says electronic creative person Deadmau5 (whose adopted nickname is pronounced Deadmouse simply whose real number nominate is Book of Joel Zimmerman). "I'm exploitation custom-made software, which helps."

Non every dance music purveyor has been so lucky. British DJ Sasha has been very public around his reluctance to switch over to crash-prone computers when playing be and his subsequent late transition to victimisation a Mackintosh G5 alternatively of vinyl radical or CDs. So, of course, he was the one to have every DJ's worst nightmare earlier a high profile employment in Miami ternion months ago during the annual dance music confer known as the Winter Music League.

"10 transactions before I was supposed to play at [South Beach club] Sign, . . . I was just around to go on and play and my system crashed," he says. "I made a eleventh hour call to a friend, and he brought me a save comptroller. . . . I went on a half-hour late, and it messed up my entire night, to be honest. If you don't know what caused the glitch, it stresses you out."

Forthwith, though, he's become a convert. Sasha, world Health Organization played Coachella on Apr 26, is victimisation Ableton software for his Mack to wager survive. He says it's a "rare occurrence" that he has a fatal technical school fault that michigan his fructify and that the "pluses outweigh the minuses" when it comes to exploitation a computer-based weapons platform.

"For the number one vI months, I was like a kidskin with a new toy," he says of his relatively new set up. "But it didn't sound like me . . . it's well-nigh like I had to train myself to sound like myself once again." He sighs, adding: "I had to remember that it wasn't essential to overlay every track with effects."

Zimmerman, world Health Organization programs his own sets or else of traditional "DJ'ing," likes to experiment with his possess material on the fly, an example being his dearest progressive tense sign of the zodiac running "Faxing German capital," using computer code he wrote himself.

"I habit different software program altogether the time," he says. "The methodological analysis of penning [in dancing music] involves multiple passes, experimentation . . . stuff that you bear to go back and edit out. I'd be hard-pressed to be able to do that inhabit on microscope stage. But I always try to cut-in or so elements that are new so that I'm at least acting the running. Audio frequency engineering science keeps climax out with new stuff. If it's new, work it. That's the unit idea behind engineering."

charlie.amter@latimes.com