BAND Mark Lettieri - guitar Cory Wong - guitar Sonny Thompson - bass Kevin Gastonguay - keys Nêgah Santos - percussion Petar Janjic - drums Eddie Barbash - alto sax/soprano sax Kenni Holmen - tenor sax/flute Sam Greenfield - bari sax/bass clarinet Jay Webb - trumpet/flugelhorn Jon Lampley - trumpet/flugelhorn Michael Nelson - trombone/horn arranger
MUSIC Produced by - Cory Wong Mixed by - John Fields Engineered by - Jake Hartsfield and Caleb Fisher Mastered by - Will Quinnell
VIDEO Executive Producer - Cory Wong Director - Ben Kadie Director of Photography Matt Burke Producers - Cory Wong, Michael Bowden Video Editor: Cory Wong Camera - Matt Burke, Dakota Diel, Trent Millspaugh, Michael Bowden Lighting Director - Jacob Padgett Set Production Designer - Tricia Robertson and Cory Wong
Video: The video has been upscaled to 1080p. The source was the KISSology version. I did a shot-by-shot adjustment to the entire show. Since this was taped in B&W, I decided to approach as if it had been lit for B&W, with a more even brightness on the entire band. In order to correct for this, I used layers and masking throughout the entire show in order to even out the lighting. In the original, Peter especially often appeared very dark (and also members not directly in the spotlight). I made my best effort to bring him and the other guys out more without simply brightening the entire shot. I also decided to go with a more high-contrast overall look rather than the washed-out grey seen on most of the original concert. It's always a tradeoff between keeping as much detail as possible while making it look good as a whole. This show is a fan favorite and was always one of the very best, IMO. basically, in this era KISS "was" black and white, so the look of this show combined with the powerful performances by all of the members, makes for a great presentation of the young, hungry band in their pre-superhero years. They were darker, more sinister and this show demonstrates what a really great and evenly matched rock and roll band they really were in the beginning. That early chemistry is on full display in this concert. As much as I'd love to see a full-color multi-cam HTH show, for this era B&W totally works.
I also did a bit of "creative" editing, mostly to remove all of the videotape/camera glitches seen throughout the concert. Many songs would be dark for the first several bars of the song, so I tried to use what I could to eliminate all of that black space. I also split shots to make the pacing (hopefully) more enjoyable. For instance, if the camera was on Gene for the entire 1st chorus and then only on Ace & Paul for the entire 2nd chorus, I would split and swap pieces to make it appear that the camera was switching back and forth.
AUDIO: The audio was created using isolated tracks from KISS Alive! along the actual Winterland concert. My attempt was to bring the sound of Alive! (but totally remixed) to the show while maintaining every aspect and nuance of the original performance. My goal was not to change or necessarily "improve" the playing, but rather to re-create it with much better quality.
Drums: Along with the original Alive! tracks, I replaced Peter's kick and snare drum with polyphonic samples I created from Pater's actual kit. I did not re-create Peter's performance note-for-note, but edited everything to match any time you can see him play something different (even when he drops a stick midway through Ace's solo in "NTL"). His entire solo in "100,000 Years" was done using his original Winterland drums combined with my samples to give it the same sound as the rest of the show.
Bass: All of Gene's parts come from Alive! with some added distortion to better match his live sound. I did use his Winterland bass for some things like in the blood-spitting bit before "100,000 Years" and the intro to "NTL" along with a few other bits.
Guitars: Most of the guitars come directly from Alive! with a few exceptions. Paul's guitar on "100,000 Years" comes from the "alternate" version which has better left/right separation than the album version. For Ace's solo's I kept him panned more to the right, replacing Paul's rhythm from other spots in the song. For Ace's guitar, is also comes from Alive! with the exception of any solos where he strays from the album version. For those songs, the solos are taken directly from the isolated Winterland track. His solo spot and the jam before it also come from the actual show.
Vocals: 99% of the vocals come directly from the Winterland show. The only exceptions are a few words here and there that do not come through clearly either due to the isolation software limitations or (mostly Paul) singing a bit off-mic. I also perfectly synced either the live album version or studio version of the vocals under the video and blend in only the high frequencies to bring good sibilance to the vocals to make them clearer. I corrected Gene's vocal flub in "Cold Gin" (sorry purists). I also blended a little bit of the Alive! vocals under the choruses of Parasite and Cold Gin because the audio wasn't very clear.
This concert cuts off mid-song during LMG,RnR, but there was enough to get all three verses with a bit of creative editing (since much of the parts repeat throughout the song). I used some of the middle jam for the credits and pieces together the ending just so we have a semi-cohesive full song.
As I always say, these shows are NOT for the purists. We will always have the originals for that. My goal is to make these shows as true to the original, but with much improved audio that is a realistic representation of the actual performance. These shows have taken many months and countless hours to assemble, so I do hope other KISS fans like myself enjoy them.
His unforgettable Rockpalast performance on November 4, 1976, catapulted Canadian multi-instrumentalist Pat Travers into Europe's spotlight. With Peter "Mars" Cowling on bass and a young Nicko McBrain on drums (later of Iron Maiden), his raw, dynamic energy captivated audiences. Despite shifting trends in the 1980s, Travers maintained his legendary status as an electrifying live act. Now available on DVD+2CD, this Rockpalast concert is a timeless document of rock history.
From: Live At Rockpalast: Cologne 1976 Content licensing from MVD to Little Dot Studios.
William, It Was Really Nothing was released as a single in August 1984, reaching No. 17 in the UK Singles Charts. The song it also featured on the group's compilation albums Hatful of Hollow and Louder Than Bombs.
Lyrics
The rain falls hard on a humdrum town This town has dragged you down Oh, the rain falls hard on a humdrum town This town has dragged you down Oh, no, and everybody's got to live their life And God knows I've got to live mine God knows I've got to live mine William, William it was really nothing William, William it was really nothing It was your life... How can you stay with a fat girl who'll say: "Oh! Would you like to marry me? "And if you like you can buy the ring" She doesn't care about anything Would you like to marry me? And if you like you can buy the ring I don't dream about anyone - except myself! Oh, William, William it was really nothing William, William
Jackie Shane was a familiar name in the 1960s soul hub in Toronto, only to mysteriously disappear from music altogether in 1971. It wasn't until 2017 when the Numero Group producer Douglas McGowan convinced her to return and release a compilation box set album of her greatest hits, which earned her a Grammy and a resurgence in her fanbase. Today we will explore what made the underground soul singer so revolutionary.
Soundtrack: Jackie Shane - "Money (That's What I Want)" Jackie Shane - "Walk the Dog" Jackie Shane - "Any Other Way" Slow Habits "Luar - fly low" https://soundcloud.com/slowhabits/lua...
Under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education, and research.
My Ever Changing Moods" is a song by the English band the Style Council. It was their fifth single to be released. The album version features vocals by Weller only accompanied by acoustic piano.
The Style Council - It Didn't Matter promo from 1987
Mark Dobis's insight:
"It Didn't Matter" is a song by the English band The Style Council which was their fifteenth single to be released. The song was duetted by Weller and his then-wife Dee C. Lee.
"Right" is a song by the English musician David Bowie from his album Young Americans, released on 7 March 1975. The repetition of the main lyrics, the prominence of the percussion and bass, and the emphasis on the backing singers made "Right" one of the album's "authentically soulful" songs, according to professor of music Ian Chapman.
Vincent Fenton (born 26 March 1990), known professionally as French Kiwi Juice or the abbreviation FKJ (sometimes stylized Fkj), is a French multi-instrumentalist, singer, and musician from the city of Tours.
David Pimentel, who also goes by “Pomo,” is listed as one of the many contributors to WE ARE, an an album that the Port Moody native helped to produce.
""The beat for crazy dream I actually made about two years ago. I had it sitting around for ages and never planned to develop it until my mate said he thought it was a banger! I revisited it and sung a hook on it, then invited Loyle to do a verse"
Stars in Your Eyes (Special Disco Remix) · Herbie Hancock
The Legacy of Funk
℗ 1980 Columbia Records, a division of Sony Music Entertainment
Released on: 2015-07-17
Composer, Lyricist: Ray Parker Jr. Producer: David Rubinson Composer, Lyricist: G. Christopher Composer, Lyricist: L. Capuano
Auto-generated by YouTube.
Mark Dobis's insight:
Monster is the twenty-third album by jazz pianist Herbie Hancock. As a follow-up to the album Feets, Don't Fail Me Now (1979), it continued the trend of disco songs. The album features vocals on each track, this time without vocoder processing. The album also includes an appearance by Carlos Santana on the opening track "Saturday Night";[1] this track was the first of many eventual collaborations with Santana, including the 1980 album The Swing of Delight. The track "Stars In Your Eyes" was issued as an extended 12" single.
Ike & Tina Turner "Funky Street, Proud Mary & Bold Soul Sister" on The Ed Sullivan Show, January 11, 1970. Subscribe now to never miss an update: https://ume.lnk.to/EdSullivanSubscribe
The Ed Sullivan Show was a television variety program that aired on CBS from 1948-1971. For 23 years it aired every Sunday night and played host to the world's greatest talents. The Ed Sullivan Show is well known for bringing rock n' roll music to the forefront of American culture through acts like Elvis Presley, The Beatles, and The Rolling Stones. The entertainers each week ranged from comedians like Joan Rivers and Rodney Dangerfield, to Broadway stars Julie Andrews and Richard Burton, to pop singers such as Bobby Darin and Petula Clark. It also frequently featured stars of Motown such as The Supremes, The Temptations, Stevie Wonder and The Jackson 5. The Ed Sullivan Show was one of the only places on American television where such a wide variety of popular culture was showcased and its legacy lives on to this day.
Simone performed "Mississippi Goddam" on The Steve Allen Show on September 10, 1964. First Amendment scholar Ronald Collins felt that Steve Allen, the "famed host of a nationally syndicated TV variety program ... was one of the few who then dared to provide a forum for those with dissident views." Therefore, when Nina Simone "joined Allen at the desk before [the] song, he told her he wanted her to sing 'Mississippi Goddam' because he knew it would provoke a lively discussion about censorship."
Roy Panton and Yvonne Harrison made history as one of the first Jamaican ska duos. Decades after going their separate ways, the pair rekindle their magic—this time, 3,000 kilometres north, in Scarborough, Ontario.
Mark Dobis's insight:
Against the changing face of Toronto’s Little Jamaica, where she established some of the city’s landmark reggae record stores, singer Nana McLean challenges outdated stereotypes and establishes her reputation as the queen of Reggae in Canada.
This captivating five-part anthology series takes you from Kingston to Kensington Market to see and hear how reggae made roots in Canada against all odds.
OUT OCTOBER 20TH; 2xLP/2xCD + EXTENSIVE LINER NOTES & ARCHIVAL PHOTOS
The first artist-approved collection of Ms. Shane’s work features all six of her 45s and every highlight from the legendary 1967 live sessions at the Sapphire Tavern, including three previously-unreleased tracks.
Numero Group Online:
numerogroup.com
twitter.com/numerogroup
soundcloud.com/numerogroup
facebook.com/numerogroup
instagram.com/thenumerogroup
Mark Dobis's insight:
Jackie Shane American soul and R&B singer who rose to prominence in Toronto's 1960s music scene.
Lyrics: So shouldn't I realize You're the highest of the high If you don't know, then I'll say it So don't ever wonder (don't ever wonder) So shouldn't I realize (shouldn't I realize) You're the highest of the high If you don't know, then I'll say it So don't ever wonder
Film Credits: Director - Milo Blake Production Company - Spindle & Soul Purpose Managing Director - Stitch Richardson Executive Producer - Mayling Wong Producer - Jordi Estape Commissioner - Connie Meade Director's Assistant - Anne Sofie Lingaard Production Manager - Edwin Brawn Show Creative Direction - The Unlimited Dream Co
Special thanks to the band: Musical Director - Aviram Barath Bass by Marla Kether Guitar by Mark Mollison Drums by Richard Spaven Piano & Electric Piano by Finn Carter Harp by - Marysia Osu Violin by Evie Hilyer-Ziegler & Annie Yin Han Viola by Isobel Doncaster Cello by Mathew Roberts Percussion by Ernesto Marchiales
Mixed by Nick Mills Audio Produced by Aviram Barath & Loyle Carner Synths, Programming & Trumpets by Aviram Barath
Sound Post House - PictureShop Sound Mix - Lydia Brown Audio Post Producer - Benjamin Darlington
Guest Performers - Jordan Rakei (@jrakz) , @WesleyJoseph , Athian Akec & JNR Williams
Tour Director - Chris Tyler Tour Manager - Chigo Orjih Live Production Manager - Harry Duffin Lighting Design - Will Reeve
Recorded by Nick Powell FOH Mix Engineer - Jay Sylvian "Inbloom" Monitor Engineer - Mike Njuguna Audio Techs - Tania Neacsu, Isaac Cawte, Odysseus Sofianopolous Backline Technicians - Dermott Freeman, Mark Mollison
Royal Albert Hall - Jane Colenutt Production Assistant - Phelan Moeller Production Runner - Fin Wallace Director of Photography - Rhys Warren Camera Operators - Matt Thomson, Tom Clifford Camera Operators - Kyle Middleton, Paul O'Connell 1st Assistant Camera - Raul Menendez 2nd Assistant Camera - Dan Howe, Caleb Johnston Camera Trainees - Bryan Betia, Rose Ryk Playback - Ken Coppel Playback Unit Assistants - Miles Stowey, Charlie Bakewell, Max Coppel GoPro Operators - Eric Stoain, Eric Manaca Mini DV Operator -Genevieve Reeves B Cam Operator - Dani Montero Camera & Grip - Focus Canning Grip - Adrian Greenfield Edit House - Work Editorial Editor - Jamie Hodgson Edit Producer - Lola Cookman Grade House - Black Kite Grader - Thomas Mangham VFX - Bart VFX Producers - Oleh Artym & Natalie Borte Online - Harry Field Titles - Joe Page-Brown
Mastered by Matt Colton at Metropolis Mastering, London Label - @OfficialEMIRecordsUK With thanks to @royalalberthall
Mark Dobis's insight:
Benjamin Gerard Coyle-Larner (born 6 October 1994), known professionally as Loyle Carner, is an English hip hop musician.
Groupe formé en 1983 du côté de Londres. Ils aimaient pas la mère Tatcher et le faisaient savoir. Très difficile à classer, entre pop alternative, new wave et synthpop. Ils se sont séparés en 1989 après que leur album "Modernism: A New Decade" soit refusé par leur label.
Mark Dobis's insight:
"and all the people that you thought you knew are changing more and more"
The Style Council - "Shout To The Top" (12" Extended Mix) A Myleslandia Video Mix by Myles Matisse!
The Style Council is: Paul Weller - Vocals, Guitar Mick Talbot - Piano, Keyboards Dee C. Lee - Vocals Steve White - Drums
Lyrics: I was half in mind, I was half in need And as the rain came down I dropped to my knees and I prayed I said, "Oh heavenly thing, please cleanse my soul I've seen all on offer and I'm not impressed at all"
I was halfway home, I was half insane And every shop window I looked in just looked the same I said, "Now send me a sign to save my life 'Cause at this moment in time there is nothing certain in These days of mine"
You see it's a frightening thing when it dawns upon you That I know as much as the day I was born And though I wasn't asked, I might as well stay And promise myself each and every day
That when you're knocked on your back and your life's a flop And when you're down on the bottom there's nothing else But to shout to the top Well we're gonna shout to the top We're gonna shout to the top We're gonna shout to the top Hey, we're gonna shout to the top
You see it's a frightening thing when it dawns upon you That I know as much as the day I was born And though I wasn't asked, I might as well stay And promise myself each and every day
We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout)
So when you're knocked on your back and your life's a flop And when you're down on the bottom there's nothing else But to shout to the top (shout) Well, we're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout)
And when you're knocked on your back and your life's a flop And when you're down on the bottom there's nothing else But to shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout)
Hey, yeah, shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) Shout to the top (shout) Shout to the top (shout)
We're gonna shout to the top (shout) We're gonna shout to the top (shout) We're gonna shout to the top (shout) Shout to the top (shout) Shout to the top (shout)
We're gonna shout to the top (shout) Shout to the top (shout) Shout to the top (shout) Shout to the top (shout) Shout to the top (shout)
Mark Dobis's insight:
Soulful and bursting at the seams with energy, the Style Council’s infectious call-to-arms hit single (UK #7) was a non-album track in 1984, later included in Our Favourite Shop expanded edition, it has a clear Curtis Mayfield influence, an addictive driving string section, and is a clinic in effortless-cool music.
Production company: @bullionproductions Rep: @OBmanagement Commissioner: @greymarco / @jeremyncole - @yout.work Producer: @jspenc_r Production manager: @bykevincheung Location manager: @j_a_m_i_e_s_o_n 1st ad: @alcopland Production splitter: @sceneitall. Co Runner: Teddy Spencer Runner: @alfie. Newman Runner: @pegmcmillan
DOP: @fraserrigg 1st ac: @ondrej. London 2nd ac: @christopher_j_orr Camera trainee: pola garczynska DIT: @davisdaviskristin BTS: @danrubin Camera prep: @not. Ernesttu Camera prep: @josefinecamera
Gaffer: @thatguyriaz Spark: @baskeyvison2
Key grip: @blakesgrips Grip: Jonny Smith Crane tech: Jon Crawford Crane tech: Tim Dean
Production designer: @jamesmid Art assistant: @karen. Hettey Art assistant: @yousif_ghoul Art assistant: @reubenmartindale Rigger: Mike Lee Frost
Shot entirely in one take, Nobody Knows (Ladas Road) employs infrared to mirror the themes present in the track, in particular, feelings of alienation. Visually speaking, this meant subverting how audiences typically might see the musician. “Infrared interested us as it sort of tonally turns everything on its head,” Uncanny recalls. “We liked the idea of illuminating Loyle with this invisible force that’s not concerned with conforming to our expectations of what ‘lightness’ or ‘darkness’ is. It renders skin, landscapes and especially foliage in this surreal indescribable way making the world look almost alien.”
Director – Joshua Osborne Commissioner – Duncan Murray Executive Producer – Ben Schneider Producer – Johnny Griffith Producer – Tom O’Driscoll Production Company - Radical Media Production Assistant - Ester Viana 1st AD – Chris Malin Runner – Gabriel Brown Runner – Lewis Osborne
Cast
Tom Misch Pos - De La Soul Yussef Dayes - Drums Isobella Burnham - Bass Jamie Leeming - Guitar Sam Wills - Keys Pippa Melody Kaidi Akkinibi Fergie - Engineer
DOP – Diana Olifirova 1st AC – Kate Molins 2nd AC – James Wicks Steadicam – Josh Brooks Gaffer – Ben Ransley Spark – Mark Stewart Spark – Chris Barber
Art Director – Bon Walsh Art Assistant – Kerfi Sakari Art Assistant - James Middleton
Still Photographer - Ryan O'Toole Collett
Stylist – Luci Ellis Stylist Assistant – Mh’ya Mclean Make up Artist – Emma Regan
Editor – Hasani Franke @ Work Editorial Post Producer – Julian Marshall @ Work Editorial
Colourist – Joseph Bicknell @ CHEAT Online – Doug Haynes @ CHEAT Post Producer – Franky Chadwick @CHEAT
Sound Designer – Simon Epstein
Studio engineer – Jamie McEvoy
Thanks to: Take 2, Jason Heritage, Panalux, Kelly Amunsen, CHEAT, Work Editorial, Miloco Studios, Sam Langford, Jamie McEvoy, Cyril Mendel
I love the way it flows, I love the way it grows There’s something in this sound that takes me far It’s like a special song, can move my mood along But I cannot say your here through my guitar
She told me add the bassline, and everything will be alright She told me that the groove is mine, it will take us through the night And where I’ll go, can’t explain I’ll never know But it’s beautiful
CHORUS:
You can’t take this away from me, the way I hear the melody The waves bring clarity, running through me You can’t take this away from me, the way I hear the melody The waves bring clarity, running through me
I love the way it sings, all the joy that it brings Remember skating down the road towards the park I can never say no, you with that summer glow The music gives me sun when winter starts
She told me add the bassline, and everything will be alright She told me that the beat is mine, it will rock us through the night And where I’ll go, can’t explain I’ll never know But it’s beautiful
CHORUS X 2
DE LA SOUL:
Yo, I wear notes like coats, blues like do’s Warmth and the rhythm, soul that glues The bounce in my bones, the jazz in my spine The hop is my home, rap is my grind
I’m grinding on the back side of life, we dance She threw me a chance, her hands in my pants Actually my pockets, holding me tight Whispering a dream I could hold in the night
Blood tight, a rhythm that’s throbbing my vein Wake up and write it on the pad, the pains Like church the organ will invite my tears Like birth, the crying let you know I’m here
Held by the song that gave me a name Dressed by the verse that gave me a claim It’s just bass in the line, safe to inhale And if you live well…
Belong for years in this day you will be A time is octave to play for the tree Is rooted in every single nerve in me The nerve of he, with noise the key
In music that opens the mind to be free Whenever you’re hot headed ?? you a breeze Beneath the clouds you allowed to see in clarity through harmony Someone harming me – that won’t be done I stand protected by the laws of fun And am perfected through the rhymes of run Walk it this way and leave the party stunned This music, it launched me With no aim, I’ve landed On some plain Where I am I can’t explain, I never know but it’s beautiful so
CHORUS
Mark Dobis's insight:
TomMisch the internet born producer phenom releases new single "It Runs Through Me" featuring De La Soul ahead of the release of Tom Misch's much anticipated and upcoming debut album.
Carner employs a "languid" style of rapping.[8] His sound has been described as "confessional hip-hop", "introspective", "jazz-infused", as well as "sensitive and eloquent".[7][15][14] He cites American hip hop and grime music as musical influences.[30][31] He also regards American poet Langston Hughes and British writer Benjamin Zephaniah as inspirations
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