Down Is The Power - Dan Electro - Got Soul (Vinyl)


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Variety dalam bahasa Inggris. Diakses tanggal 20 April Diakses tanggal 12 November Digital Spy. A range of keyboard instruments are used Down Is The Power - Dan Electro - Got Soul (Vinyl) funk.

Synthesizers were used in funk both to add to the deep sound of the electric bass, or even to replace the electric bass altogether in some songs. In the s, funk used many of the same vocal styles that were used in African-American music in the s, including singing influences from blues, gospel, jazz and doo-wop.

As funk emerged from soul, the vocals in funk share soul's approach; however, funk vocals tend to be "more punctuated, energetic, rhythmically percussive[,] and Down Is The Power - Dan Electro - Got Soul (Vinyl) embellished" with ornaments, and the vocal lines tend to resemble horn parts and have "pushed" rhythms. The lyrics in funk music addressed issues faced by the African American community in the United States during the s, which arose due to the move away from an industrial, working-class economy to an information economy, which harmed the Black working class.

The Funkadelic song " One Nation Under A Groove " is about the challenges that Blacks overcame during the s civil rights movement, and it includes an exhortation for Blacks in the s to capitalize on the new "social and political opportunities" that had become available in the s. The political themes of funk songs and the aiming of the messages to a Black audience echoed the new image of Blacks that was created in Blaxploitation films, which depicted "African-American men and women standing their ground and fighting for what was right".

Funk songs included metaphorical language that was understood best by listeners who were "familiar with the black aesthetic and [black] vernacular". In the s, to get around radio obscenity restrictions, funk artists would use words that sounded like non-allowed words and double entendres to get around these restrictions. Horn section arrangements with groups of brass instruments are often used in funk songs.

Funk horn sections performed in a "rhythmic percussive style" that mimicked the approach used by funk rhythm guitarists. The instruments in funk horn sections varied. If there were two brass instruments, it could be trumpet and tenor sax, trumpet and trombone, or two saxes. Quintets would typically take a pair of brass instruments saxes or trumpetsand add different high and low brass instruments.

With six instruments, a brass section would typically be two pairs of brass instruments plus a trombone and baritone sax holding down the bottom end. In bands or shows where hiring a horn section is not feasible, a keyboardist can play the horn section parts on a synthesizer with "keyboard brass patches", however, choosing an authentic-sounding synthesizer and brass patch is important.

Funk bands in the s adopted Afro-American fashion and style, including " Bell-bottom pantsplatform shoes, hoop earring[s], Afros [hairstyles], leather vests, Funk allowed everyday experiences to be expressed to challenge daily struggles and hardships fought by lower and working class communities. Gerhard Kubik notes that with the exception of New Orleansearly blues lacked complex polyrhythmsand there was a "very specific absence of asymmetric time-line patterns key patterns in virtually all early twentieth century African-American music These do not function in the same way as African time lines.

In the late s this changed somewhat when the two-celled time line structure was brought into New Orleans blues. Robert Palmer reports that, in the s, Professor Longhair listened to and played with musicians from the islands and "fell under the spell of Perez Prado 's mambo records. Longhair's rhythmic approach became a basic template of funk. According to Dr. Longhair's thing had a direct bearing I'd say on a large portion of the funk music that evolved in New Orleans.

Alexander Stewart states: "Eventually, musicians from outside of New Orleans began to learn some of the rhythmic practices [of the Crescent City]. Most important of these were James Brown and the drummers and arrangers he employed.

In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel to even or straight eighth notes.

By the mids, James Brown had developed his signature groove that emphasized the downbeat —with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African-American music.

Brown's style of funk was based on interlocking, contrapuntal parts: syncopated basslines16th beat drum patterns, and syncopated guitar riffs. On "Ain't it Funky" the tonal structure is barebones.

Brown's innovations led to him and his band becoming the seminal funk Down Is The Power - Dan Electro - Got Soul (Vinyl) they also pushed the funk music style further to the forefront with releases such as " Cold Sweat "" Mother Popcorn " and " Get Up I Feel Like Being A Sex Machine "discarding even the twelve-bar blues featured in his earlier music.

Instead, Brown's music was overlaid with "catchy, anthemic vocals" based on "extensive vamps" in which he also used his voice as "a percussive instrument with frequent rhythmic grunts and with rhythm-section patterns Ellis credits Clyde Stubblefield 's adoption of New Orleans drumming techniques, as the basis of modern funk: "If, in a studio, you said 'play it funky' that could imply almost anything.

But 'give me a New Orleans beat' — you got exactly what you wanted. And Clyde Stubblefield was just the epitome of this funky drumming. In a interview, Brown offered his reason for switching the rhythm of his music: "I changed from the upbeat to the downbeat Simple as that, really. Reflecting back to his early days with Brown's band, Parker Down Is The Power - Dan Electro - Got Soul (Vinyl) that he had difficulty playing "on the one" during solo performances, since he was used to hearing and playing with the accent on the second beat.

A new group of musicians began to further develop the "funk rock" approach. Innovations were prominently made by George Clintonwith his bands Parliament and Funkadelic. Together, they produced a new kind of funk sound heavily influenced by jazz and psychedelic rock.

The two groups shared members and are often referred to collectively as "Parliament-Funkadelic. Clinton played a principal role in several other bands, including Parletthe Horny Horns, and the Brides of Funkenstein, all Down Is The Power - Dan Electro - Got Soul (Vinyl) of the P-Funk conglomerate. Following the work of Jimi Hendrix in the late s, artists such as Sly and the Family Stone combined the psychedelic rock of Hendrix with funk, borrowing wah pedalsfuzz boxesecho chambersand vocal distorters from the former, as well as blues rock and jazz.

Other musical groups picked up on the rhythms and vocal style developed by James Brown and his band, and the funk style began to grow. Dyke and the Blazersbased in Phoenix, Arizonareleased " Funky Broadway " inperhaps the first record of the soul music era to have the word "funky" in the title.

In Jimmy McGriff released Electric Funkfeaturing his distinctive organ over a blazing horn section. Their debut album East Bay Greasereleasedis considered an important milestone in funk. Throughout the s, TOP had many hits, and the band helped to make funk music a successful genre, with a broader audience.

Notably, these afforded the group and the genre crossover success and greater recognition, yet such success escaped comparatively talented and moderately popular funk band peers. The Temptationswho had previously helped to define the " Motown Sound" — a distinct blend of pop-soul — adopted this new psychedelic sound towards the end of the s as well.

The s were the era of highest mainstream visibility for funk music. Disco music owed a great deal to funk. Many early disco songs and performers came directly from funk-oriented backgrounds. InRose Royce scored a number-one hit with a purely dance-funk record, " Car Wash ". Even with the arrival of disco, funk became increasingly popular well into the early s.

Funk music was also exported to Africa, and it melded with African singing and rhythms to form Afrobeat. Nigerian musician Fela Kutiwho was heavily influenced by James Brown's music, is credited with creating the style and terming it "Afrobeat". Jazz-funk is a subgenre of jazz music characterized by a strong back beat grooveelectrified sounds [84] and an early prevalence of analog synthesizers. Similar genres include soul jazz and jazz fusionbut neither entirely overlap with jazz-funk.

In the s, at the same time that jazz musicians began to explore blending jazz with rock to create jazz fusionmajor jazz performers began to experiment with funk. Jazz-funk recordings typically used electric Down Is The Power - Dan Electro - Got Soul (Vinyl) and electric piano in the rhythm section, in place of the double bass and acoustic piano that were typically used in jazz up till that point.

Pianist and bandleader Herbie Hancock was the first of many big jazz artists who embraced funk during the decade. Hancock's Headhunters band played the jazz-funk style. The Headhunters' lineup and instrumentation, retaining only wind player Bennie Maupin from Hancock's previous sextet, reflected his new musical direction.

He used percussionist Bill Summers in addition to a drummer. On the Corner was jazz trumpeter-composer Miles Davis [86] 's seminal foray into jazz-funk.

Like his previous works though, On the Corner was experimental. Davis stated that On the Corner was an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk.

While there is a discernible funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tanpura and tablasand Cuban congas and bongos, create a multi-layered soundscape. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic.

To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound. Critically lauded and deemed very much worth the wait, Interiors succeeded in reestablishing the band as the powerful and contemporary entity they had always been.

Distant Po p ulations has a punchier, more up-tempo sound than its predecessor; its 11 songs are concise, carved sonic jewels boasting not a single wasted note; and its raw power, its gripping lyricism, leaps out from the very first listening.

It is a striking step up for the band. The songwriting itself had been no minor process: Following the release of Interiors, the band successfully toured around the world and in the process fully re-established their chemistry together.

Not a single one of these songs has ever been played live onstage. Wide Spine Jacket. Indie Exclusive Yellow 2 LP. The Smithsonian Anthology of Hip-Hop and Rap is a first-of-it's-kind multimedia collection chronicling the growth of the music and culture from the parks of the Bronx to solidifying a reach that spans the globe.

The set includes tracks on 9 CDs and a page book with original design by Cey Adams, artist and founding creative director of Def Jam Recordings, as well as essays by some of hip-hop's leading writers and critics and never-before-seen photographs.

Through the music, writing, and extensive liner notes, the Anthology reveals the many trends within this multifaceted genre, it's social and political implications, and it's influence on popular culture. The Anthology is the third major compendium produced by Smithsonian Folkways Recordings that tells the story of a defining era of music "of, by, and for the people," following the Anthology of American Folk Music and Jazz: The Smithsonian Anthology.

It frequently highlights the objects and stories of hip-hop displayed in the National Museum of African American History and Culture galleries, offering perspective on the African American experience and it's impact on American culture. The songs were recorded in lockdown by Chrissie and her Pretenders bandmate James Walbourne, almost entirely by text message. James would record an initial idea on his phone and send it off to Chrissie to add her vocal, before the tracks were mixed by Tchad Blake U2, Arctic Monkeys, Fiona Apple.

Featuring 41 previously unreleased demos, sessions, live tracks, and 21 unreleased TV performances. Plus, an illustrated pg essay book, a pg replica of the original "Teaser And The Firecat" book, and a 7" single of "Moonshadow.

Sometimes, the best place to begin is at the end. It touches on all the themes of the previous songs, but there are also callbacks to songs from earlier in our career. Personal anxieties and political struggles collide with a series of portentous, apocalyptic and dramatic tunes, resulting in some of the darkest music the band has made since forming in Grandson of country pioneer Hank Williams and the son of outlaw legend Hank Jr.

He sings with his own singular voice and he writes in his own singular style, fusing gut-wrenching honesty and plainspoken poetics with raw vulnerability and deep empathy. Sam Williams continues to prove that he is making a legacy for himself that is completely his own. The Best of Bond. James Bond is a compilation featuring celebrated theme songs from the longest-running franchise in the history of cinema. This updated collection includes "No Time to Die" by Billie Eilish, the title theme song from the highly anticipated new film.

Effervescent nu-disco act Bad Business Club present their second supremely refined full-length album the deliciously sun-soaked and harmonically rich 'Naked Neighbor'.

All music overseen by executive producer Giles Martin. The seven LPs will be housed in die-cut jackets with a booklet in a library-style slipcase. She has built a loyal following on social media and on the live show circuit over years, and now her debut album. The song has consistently been among top trending releases on Shazam, Twitter, and Tik Tok.

These marked Spice's performance debut on National television in the U. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. His holiday record with Decca Records will be his first full-length album. It showcases creative reimagining of classic tunes and rarely covered hidden gems.

DJ Shadow - Endtroducing A seminal, incredibly influential hip-hop release, Endtroducing Vinyl Movie Screening. Roger Taylor Outsider [LP]. Quick View. Carolyn Wonderland. Various Artists. The Best Of Bond

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