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Blair has asked Thursday become Hip-Hop Night on the MOG . Fine. Only the real true shit allowed.

No damned poseurs dancing around pools with more gold on than a slave hole.
Which means Jurassic 5 will have to be in the house. Stand back.

What s Golden, from Power in Numbers (2004) Freedom, from Feedback (2006) , live on the Henry Rollins Show After much time (1 hour), with the help of Tech Support. I was able to reconnect to dsl. I was mistaken for my mom, and frequently referred to as ma am.

So much for that. Now, to business: Here is a new song. If you hate it, please don t just leave posts saying it s awful.

Please, tell me why. I can easily accept criticism here. It won t hurt my feelings.

In fact, I d even appreciate it. If it s bad, I want to improve. If you like it, please tell me, also.

is a simple song with a simple beat.
In our early playing years, coming up with bass lines on the spot can be nerve-racking. We may not have the confidence or fingerboard familiarity to relax and listen for what to add—so we stay with the old standbys: playing the roots, and following the guitar riffs and rhythms.

But there’s a better way, and John Paul Jones proved it on Led Zeppelin’s “Ramble On.” Recorded in 1969 when he was just 23, “Ramble On” has an easy feel in the verses and a soft-to-loud dynamic energy that stands apart from the rocked-out blues songs that dominate Led Zeppelin II. The track starts with Jimmy Page’s quick, 16th-note acoustic strum and John Bonham’s mellow yet persistent percussion.

Rather than following his bandmates’ rhythmic frenzy, JPJ generated the relaxed and memorably melodic line in Ex. 1. With the track playing along or a guitarist friend copping Page’s part, play just the first bar.

Notice any major difference between what you and your 6-string compadre are playing? In the space that Page’s pick went up and down 16 times, you’ve plucked just two sweet-sounding, syncopated notes! The pacing contrast is similar in bar 2, where the sing-song bass part moves up to the A chord, closing the phrase with off-the-beat accents.

The syncopation continues in bars 3 and 4, but that’s only part of what makes the second phrase rhythmically interesting. When you look at the whole phrase, you can see note values getting shorter and shorter: First there are quarter-notes (including the tied eighths in bar 2), then eighth-notes, then finally a 16th-note turnaround at the end of bar 4. Music theorists call this “rhythmic acceleration.

” By moving to smaller note values, the bass line makes the whole song feel like it quickens, adding tension and excitement with each four-bar cycle.
Rhythmic acceleration isn’t shaping only the four-bar verse phrases; it also shapes the whole song. Ex.

2 shows the prechorus bass lick, which has quarter-note-based phrases in bars 1 and 3, and begins to mix in eighth-notes and 16ths. The song climaxes with the chorus’s urgent 16th-note riffs, as in the composite version shown in Ex. 3.

For beginners, the chorus may be a little more challenging than the verses, but if you start slowly and gradually work up to tempo, you’ll be rambling on before too long.
The last piece you’ll need to put the song together is the bridge line, shown in Ex. 4, which fits between the second chorus and third verse.

Here, while Jimmy Page swaps strummy acoustic playing for twin electric licks, JPJ takes on the rhythmic accents that pulsated through that original 16th-note acoustic part, emphasizing beat one, the “and” of two, and four, seasoning the part with well-placed hammer-ons.
As when practicing the easy-feeling yet rhythmically precise verse and powerfully rockin’ chorus, remember that you’re doing more than just learning a classic bass line. You’re also gradually grasping concepts that can help enhance your creativity and build confidence for making up your own parts.

John Paul Jones said it best himself when we spoke to him in July ’03: “When you listen to a certain kind of music a lot, you begin to think that way—you understand why they play what they play, not just what they’re playing, which is the case when you’re simply copying something.”
“A lot of younger musicians don’t understand that you can move the beat around against a pulse, but we used to do it all the time—and that would change the tune’s dynamic. Sometimes we knew we were doing it, and we’d have fun seeing exactly how far we could lay back—but generally it was instinctive.

We’d know there was a song section that needed a bit more urgency but didn’t want to go any faster, so we’d get just get a little more on top of the beat and push it, but without speeding it up.” what is this mog-o-meter? what is it metering?

what does it mean below radar? does this mean nobody knows I exist??

The funniest thing happened today. This guy came in to apply. He started talking I should get your phone number or something So I changed the subject, trying to be nice but not wanting to give him my number.

I asked him what he s applying for. He said for the audio progam. I asked him what kind of music.

He said hip-hop. Well I m not particularly fond but still trying to be nice, I start talking about how the roots of hip hop come from funk and asked if he d ever heard of The Funk Brothers. He said no.

hmmm Then I start talking Sly and the Family Stone cause at least they are more widely known. still no. what!

! you never heard of Sly Stone!!

and you re into hip-hop??
That s like me saying I m into punk but never heard of Black Flag.

I mean you gotta know the roots of what you re playing. And yet he was all trying to get my number. Even if I was single, that would have never happened.

LOL
Really sucks! A lot of good people (and some close friends) will be out of work soon. I hate to see what happens to the Capitol Records tower in Hollywood!

Condos?
And what will happen to the legendary Capitol Studios?
Flom Will Lead N.

Y.-Based Label Group Including Capitol, Virgin; Slater Out
January 25, 2007
It s a done deal.
As part of our recently announced restructuring program, and after careful review of our US operations, I now want to share with you some important new initiatives for EMI Music in America.

Today we are announcing the merger of EMI ’s Capitol and Virgin labels in the U.S. to form the Capitol Music Group, a front line pop, rock and urban label group.

The combined artist roster, talent and market share of this new label group establishes Capitol Music Group as one of the U.S. music industry’s leading labels.

We will maintain operations in both New York and Los Angeles. Capitol Records and Virgin Records will remain as imprints under this new label group.
The music business shows exciting growth potential, but the environment remains extremely challenging.

In order to thrive and meet the demands of a rapidly evolving and dynamic music market, we must re-think our operations, not only to make them more efficient, but also more effective and focused on creative excellence. By bringing Capitol and Virgin into one label group, we’ll be better equipped than ever to promote and nurture artistic talent. We remain strongly committed to developing artists in America in all genres as this is a key repertoire source for the world, and to that end, we will maintain our A R focus and keep a presence in both LA and New York.

I have appointed Jason Flom to lead The Capitol Music Group as Chairman/CEO, reporting directly to me. Since joining EMI in 2005 as Chairman and CEO of Virgin Records America, Jason has quickly proven his leadership abilities and artist development talents. He and his team have aggressively and creatively pursued digital opportunities that have made a demonstrable impact on the company’s performance.

His track record as a hit maker was well established prior coming to EMI , with artists he signed and worked closely with selling more than 150 million records worldwide.
I am confident that as leader of the Capitol Music Group, Jason will help elevate EMI ’s US front line label operations to new levels of success in the pop, rock and urban genres.
Andy Slater has today stepped down as President and Chief Executive Officer of Capitol Records, a post he has held since 2001.

While here, Andy revitalized Capitol as a home for quality music and made significant contributions to the business, including breaking key artists from outside the U.S. such as Corinne Bailey Rae, Coldplay and Kylie Minogue in an extremely competitive American marketplace.

I thank him for his efforts over the years and wish him well in all that he does in the future.
More specific announcements about the management team at Capitol Music Group will be made shortly.
Our restructuring program will result in additional workforce reductions throughout our U.

S. operations. At the same time, we will increase our focus on building our digital capability.

Many of you will hear more about these changes in meetings with your department heads and HR.
These changes won’t be easy. Some of you will be asked to take on new responsibilities and roles.

But these measures are absolutely necessary for our business to succeed in a world where fans are evermore demanding and expect instant access to their favorite artists and music. We must be ready to satisfy rapidly changing consumer appetites. And, we have to be prepared to seize opportunities that we can’t even predict today.

The new Capitol Music Group, headed by Jason Flom will be part of a portfolio of labels that position us to be best-of-class in all genres in the US market. These labels will be supported by a talented central staff and reporting responsibilities will be as follows:
Ivan Gavin, COO EMI Music North America, will continue to report directly to me, as will Colin Finkelstein, CFO EMI Music North America, and the legendary Bruce Lundvall, President and CEO of the Blue Note Label Group.
o Ronn Werre, President EMI Music Marketing, who will continue to oversee the US sales organization, EMI ’s successful catalog marketing unit and its strategic marketing and special markets units;
o Mike Dungan, Capitol Nashville President and CEO , who has been responsible for some of EMI ’s best-selling records in the US in recent years;
o Bill Hearn, EMI Christian Music Group Chairman/CEO President, who continues to set the gold standard for the Christian market; and.

o Bill Hein, General Manager and SVP , Caroline Distribution, as we continue to develop a full service distribution and marketing operation for independent labels. Bill will also continue to oversee Astralwerks
EMI Televisa will continue to operate as EMI Music’s US Latin label, with Rodolfo Lopez-Negrete continuing in his role as President, reporting to EMI Music Latin America’s Marco Bissi.
Notwithstanding the anxiety that a restructuring program of this scale inevitably creates, I believe passionately that EMI has a tremendous future in America.

I am excited by the opportunities open to us all and to our artists.
You have my assurance that we will get through these changes as quickly as possible so that we can get on with our business of finding and nurturing the best artists, serving consumers and delivering music to fans whenever, wherever and however they want it.
Mouserocket, Song of Broken Glass Beehive and the Barracudas, Action Melvins, Rat-Faced Granny/The Hawk (which I had to fade out)
Kaki King, Armie of the Tyrannized Nobody The Mystic Chords of Memory, Decisions, Decisions Rashaan Roland Kirk, Serenade to a Cuckoo So this is probably not really news to anyone except for me.

Way back in the 80s, my first exposure to Herbie Hancock was Rockit. I didn t really like the song, and so it tainted my impression of Herbie Hancock s music and talents.
For some reason, I picked up one of his early albums, Takin Off, and my opinion started to change.

Shortly thereafter I picked up Maiden Voyage and again was impressed. Both are good 60s piano based jazz.
Then, I bought Head Hunters and was totally blown away.

This album is incredible. You can hear jazz/funk fusion being created before your very ears. Head Hunters is certainly one of the best albums I bought last year.

I highly recommend it if you ve never heard it.
Herbie, I m sorry I ever doubted your talents.