Drummers will spend years learning fills, triplets, shuffle grooves, blast beats and double bass drum techniques. But what they rarely work on is tuning their kits. It is an oft neglected and misunderstood function of being a drummer and quite honestly, it is not an easy thing to do. Turning lugs and buying specific types of drum heads takes a trained ear and a lot of experimentation and even then very few drummers really know how to make a set sound like the kits they hear on record.
With the Tune-bot, all those problems are eliminated. After years of R&D, Overtone Labs has developed this nifty little drum tuning gadget. Best of all - it is easy to use. Simply clip the unit to the drum hoop you want to tune and hit the drum. You can measure the pitch of each individual lug simply by hitting the drum next to the lug in the same fashion as if you were tuning by ear. The little hand-held device automatically eliminates overtones and provides a consistent and accurate readout in Hz or musical notes.
There is a little bit of a learning curve here and it takes a few run-throughs to get the sequence right. But once you have that down, you'll be able to tune your drums accurately and musically every time.
Wrong, Anthony W. Rogers' second album recently released on 180 gram vinyl is a quirky and delightfully engaging 10-song collection that conjures up the very best memories the Beach Boys' hidden classic, Smile. Pursued in single-minded fashion as an organic and homemade project, Wrong was recorded on a multi-track machine with all parts beautifully performed by Rogers.
A veteran of the local tri-state rock and jazz scene in and around Washington, D.C., Rogers performed with several bands including The Now and Ten Below. The new album takes those early influences and distributes them over 10-engaging tracks including the bucolic "White Beach," the distorted guitar punch of "Crunch" and the acoustic and prog-leaning smokiness of "Wash."
And everywhere is the unmistakable Brian Wilson/Beach boys influence hanging delicately in the vocal harmonies and arrangements. "There is no question that the vocal arrangements that Brian did in his heyday are so firmly imprinted on my mind from my youth," Rodgers says. "It is an integral part of me and my own sound. I bought all the Beach Boys bootlegs, tape trading, past masters stuff since the '70s. Smile is a pillar of modern musical achievement."
Indeed, Brian himself might grin from ear-to-ear if he heard this one. It is a delight. This is wrong...but so right.
This remarkable 40th Anniversary Edition of Jethro Tull's 1975 classic Minstrel In the Gallery is a reminder of just how terribly good the band were. When the album first came out, it became the group's fifth consecutive U.S. Top 10 album where it peaked at number seven on American charts and number 29 in the UK.
This new deluxe expanded set includes:
The original album complemented by seven bonus tracks (six were previously unreleased)
Flat transfers of the original LP mix at 96/24
Flat transfer of the original quad mix of the LP
An eight-minute short documentary film of the group performing the title track in Paris from a July 1975 show.
This was the last album featuring the longtime lineup that included singer/flutist Ian Anderson, guitarist Martin Barre, drummer Barrie Barlow, bassist John Evans and keyboardist Jeffrey Hammond-Hammond. Their performance on this album was classic and a befitting end to such an extraordinary combination of musicians.
This is one of the band's best albums and harkens back to their earlier Thick As A Brick period, which combined orchestrated sections with more straightahead rock grooves. Steven Wilson's new stereo remix makes this sound even better than the day it was released on September 5, 1975.
Any of you diehard Yes fans - or aficionados of prog in general - should be salivating right about now. You can now book passage on this amazing cruise sailing from Miami on November 15th through the 19th. The ship - the NCL Pearl - will visit Key West and Great Stirrup Cay, Bahamas.
Besides Yes, the cruise will include: Marillion, Anathema; Allan Holdsworth; Three Friends; PFM; Saga; Martin Barre, Caravan; Spocks Beard; Nektar; Änglagrd; Lifesigns; Bigelf; IO Earth; Airbag; Casey McPherson; Messenger; Dave Kerzner; Moon Safari; Barracuda Triangle; Jolly; Enchant; Thank You Scientist; Steve Rothery; Bad Dreams; and AHEPJ.
Below, find all the information you'll need.
Guitar Heroes: Making History is an astonishing record featuring four of the best guitar players to ever pick up the instrument. Organized by Telecaster master Albert Lee, this meeting of six string giants - Amos Garrett, David Wilcox and James Burton - is both an historic and unique gathering. Lee wanted to bring together the best guitarists he could find and he did just that.
Amos Garrett has played with everyone from Ian & Sylvia's Great Speckled Bird back in 1969, Maria Muldaur -where he played the most marvelous guitar licks on "Midnight at the Oasis" - Bonnie Raitt, Jerry Garcia, Doug Sahm and many others. David Wilcox also played in Great Speckled Bird and emerged as one of Canada's most influential roots music guitarists. James Burton is most well-known as Elvis Presley's guitarist from 1969 through 1977 but also played with Jerry Lee Lewis, Rickie Nelson, Gram Parsons and Emmylou Harris and many others.
The quartet runs through a handful of standards, many of which are symbolic of their individual careers. Lee burns it down on his signature "Country Boy" while Burton blows it up on Arthur Crudup's "That's All Right (Mama)," which was the track made famous by Presley. Wilcox demolishes his own "Bad Apple" while Garrett destroys "Sleep Walk."
The playing here is passionate, articulate and so damn good it will make you swoon. You'd be hard pressed to find four better Telecaster players anywhere. If you're a guitar aficionado, you need to hear this.
Arguably one of the best hard rock bands to emerge from the mid'70s, Bad Company fused electric guitar licks with bluesy vocals to create some of the most passionate and radio-friendly rock to come out of the UK. Fronted by ex-Free vocalist Paul Rodgers, ex-Free drummer Simon Kirke, former Mott the Hoople guitarist Mick Ralphs and one-time King Crimson bassist Boz Burrell, the quartet's first two albums were virtual blueprints for the guitar-driven rock that would soon follow.
The self-titled debut Bad Co. released in 1974 was recorded with Ronnie Lane's mobile studio at Headley Grange, a location Led Zeppelin had used to record their fourth album. This first album contained the title track, "Can't Get Enough," "Ready For Love" and "Movin' On," all representing big radio tracks.
In this remastered deluxe box set, there is a second disc containing 12 tracks, including eight previously unreleased recordings. There are alternate takes of "Bad Company," a version recorded right before the take that would become the album track as well as a single edit of "Can't Get Enough," and the b-sides "Little Miss Fortune" and "Easy On My Soul."
The follow-up Straight Shooter album released in April 1975 was a monster record and contained the hit singles "Good Lovin' Gone Bad," "Feel Like Makin' Love" and "Shooting Star." The album would eventually land at number three on the Billboard charts and attain triple Platinum status.
A second CD here includes 14 bonus tracks, which are all…Continue
John Mayall has been called the Godfather of British Blues and rightly so. At one time or another, everyone from Eric Clapton, Mick Taylor, Jack Bruce, Andy Fraser, Harvey Mandel, Jon Hiseman and a host of other iconic musicians has passed through the ranks of Mayall's groups. On this rare and archival recording, Mayall, guitarist Peter Green [who would later leave to form Fleetwood Mac), and the rhythm section of bassist John McVie and drummer Mick Fleetwood [who would join Green] run through a live set of songs that was originally recorded on the Bluesbreakers first and second albums: John Mayall's Bluesbreakers featuring Eric Clapton and A Hard Road [this latter recording was Green's debut].
Though this quartet was only together for a short period, they wielded an immense impact on the overall blues scene in England. Green's guitar playing was nothing less than remarkable as he blazed his way through a set of classics including "Double Trouble," "So Many Roads" and "I Can't Quit You Baby" [classics made famous by Otis Rush] as well as songs immortalized by Freddy King such as "San-Ho-zay," "Someday After Awhile" and "The Stumble."
Listening to the rhythm section of Fleetwood and McVie brings an early look at the type of music they'd make together in the band that would ultimately bear their names. And Mayall is nothing less than energized as he handles all the keyboards, vocals and harmonica.
This recording was the result of an avid fan sneaking a one-channel reel-to-reel tape machine into a series of London clubs [including the Marquee] in early 1967 and recording this particular performance. Forty Below REcords executive Eric Corne says, "While the source recording was very rough and the final result is certainly not…Continue
Modestep were born in 2010 when they began marrying dubstep and electronica elements together in a way no one had quite ever heard before. On their second album titled London Road, the band—singer/producer Josh Friend, guitarist Kyle Deek, DJ/producer Tony Friend and drummer Pat Lundy—has mixed these textures up to create an intoxicating and mesmerizing collection of songs. There are guest appearances by the likes of Funtcase, Teddy Killerz, Culprate, the Partysquad and others. Here Josh Friend talks about the album and how the band makes music.
Where did you want to go musically on the London Road album?
Before this record we had been touring pretty solid for about four years. It gave us a real insight into what kind of music we would like to create to complement our live show in the best possible way. We took all of our influences from over the years, whether it be garage or British rock and tried to tie it all together into one piece. It was really important to us that this played as a record from start to finish and not just a collection of singles.
Can you talk about…