Guitar covers – F-BOD http://f-bod.com/ Fri, 24 Jun 2022 05:32:21 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://f-bod.com/wp-content/uploads/2021/09/fbod-150x150.png Guitar covers – F-BOD http://f-bod.com/ 32 32 Summer concert series kicks off with Fat Tuesday and the Grease Fire Horns | News, Sports, Jobs https://f-bod.com/summer-concert-series-kicks-off-with-fat-tuesday-and-the-grease-fire-horns-news-sports-jobs/ Fri, 24 Jun 2022 05:05:43 +0000 https://f-bod.com/summer-concert-series-kicks-off-with-fat-tuesday-and-the-grease-fire-horns-news-sports-jobs/ TR PHOTOS BY SUSANNA MEYER — Fat Tuesday and the Grease Fire Horns are a Des Moines-based band with a blues-inspired sound, and the crowd was captivated by the horn solos throughout their performance. People armed with hats and folding chairs flocked to the Leonard Grimes Amphitheater Thursday night for the free live musical performance […]]]>

TR PHOTOS BY SUSANNA MEYER — Fat Tuesday and the Grease Fire Horns are a Des Moines-based band with a blues-inspired sound, and the crowd was captivated by the horn solos throughout their performance.

People armed with hats and folding chairs flocked to the Leonard Grimes Amphitheater Thursday night for the free live musical performance of Fat Tuesday and the Grease Fire Horns.

The show – sponsored by Friends of Conservation of Marshall County and the Ann C. Keyser Trust – was the first of five concerts in this summer’s Live and Local Series held at Grimes Farm, and it was well attended despite the warm weather.

Carrie Grimes Barr, former president and current member of Friends of Conservation of Marshall County, as well as the daughter of the original owners of Grimes Farm, said this is about the fifth year the concert series has been running. and that she was delighted to get it. start again.

“It’s probably the most fun thing we do, and it’s wonderful to be able to give it away for free to anyone who wants to come,” she said. “We are excited to have people post COVID. It’s so nice to go outside in this healthy and natural place. That’s wonderful.”

Des Moines-based Fat Tuesday has a blues-inspired sound, and they play both original songs and covers. The vibrant sound of horns mingling with keyboard, drums and guitar reverberated around the amphitheater as they played, and the bright green foliage behind the stage provided a picturesque backdrop.

Fat Tuesday and the Grease Fire Horns kicked off the Live and Local 2022 concert series Thursday night at the Leonard Grimes Amphitheater. Event sponsors Friends of Marshall County Conservation and Ann C. Keyser Trust will present one concert per month for the next four months.

Grimes Barr said the organization usually tries not to splurge too much on live and local gigs since their funding goes to conservation efforts, but this year they received a grant to put on a bigger show. later in the season.

“We usually have a smaller budget that we have to stick to because people give us money to take care of nature, and so these fun stuff, we can’t spend all our money on that. So we have tried to be thrifty and do what people would want us to do with their money,” Grimes Barr said. “But this year we applied for a grant for a super big gig.”

On October 6, for the last concert of the season, Iowa artist William Elliot Whitmore will perform at Grimes Farm. Whitmore is an American blues, country and folk musician.

“Usually you pay a lot of money to see it, but we’re going to have it here for free, thanks to our sponsors,” said Marshall County Conservation Naturalist Emily Herring, who originated the series. gigs.

The amphitheater will host three more bands before October, with Kaizer Jazz on July 21, Bob Dorr and Friends with Jeff Petersen on August 18, and the Dueling Fiddles on September 15.

The day’s heat didn’t deter large audiences from heading to Grimes Farm on Thursday night to watch Fat Tuesday and the Grease Fire Horns perform as part of the 2022 Live and Local concert series.

“We were surprised by the number of people who came. Like tonight it’s really hot and people might stay home in their air conditioning, but as you can see they started coming around an hour before the show started,” Grimes Barr said. “The most wonderful thing is that they can just sit and listen to this beautiful music and watch the sun go down over the meadow.”

In addition to live music, popcorn, pastries and several food trucks were on hand to provide refreshments to the public and copies of the “Leonard & Mildred Play Hide-and-Seek at Grimes Farm” book. Leonard and Mildred stuffed animals were also on sale at the concert.

If the level of attendance at Thursday’s event was any indicator, the 2022 installment of Live and Local got off to a flying start.

——

Contact Susanna Meyer at 641-753-6611 or

smeyer@timesrepublican.com.


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Guitar and Bass Amplifiers Market Size 2022 and Analysis by Major Key Players – Key Player I, Key Player II, Key Player III, Key Player IV https://f-bod.com/guitar-and-bass-amplifiers-market-size-2022-and-analysis-by-major-key-players-key-player-i-key-player-ii-key-player-iii-key-player-iv/ Wed, 22 Jun 2022 11:13:58 +0000 https://f-bod.com/guitar-and-bass-amplifiers-market-size-2022-and-analysis-by-major-key-players-key-player-i-key-player-ii-key-player-iii-key-player-iv/ Los Angeles, USA,- The guitar and bass amplifier market The research report examines the market in detail over the predicted period. The research is divided into sections, each incorporating a market trend and change analysis. Drivers, limitations, opportunities, and barriers, as well as the impact of various aspects on the world, are all variables of […]]]>

Los Angeles, USA,- The guitar and bass amplifier market The research report examines the market in detail over the predicted period. The research is divided into sections, each incorporating a market trend and change analysis. Drivers, limitations, opportunities, and barriers, as well as the impact of various aspects on the world, are all variables of market dynamics.

The report provides participants with essential information as well as specific recommendations for gaining a competitive advantage in the global business world. It studies how different players compete in the global market and shows how they compete differently. The market size for the Guitar and Bass Amplifiers market is calculated using a projected period included in the research study. Current market status and trends, along with business growth drivers, industry share, sales volume, interesting BI dashboards, and economic process are all explored.

Get Sample Full PDF Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketreports.com/download-sample/?rid=515514

The regional division of the overall Guitar and Bass Amplifiers market and sub-segments is based on the percentage adoption or usage of a given product in your region or country. Major market players are identified through secondary research and market revenue is determined through primary and secondary research.

The main study includes a study of the annual and financial reports of the main manufacturers; in contrast, the main study includes in-depth interviews with key opinion leaders and industry experts, including experienced frontline employees, directors, CEOs, and marketing executives. The percentage split, market share, growth rate, and product market split are determined using secondary sources and confirmed with primary sources.

All possible factors affecting the market included in this research study have been described through primary research, extensively detailed and identified, and analyzed to obtain final quantitative and qualitative data. The market size of the top-tier market and subsector is normalized, and the impact of inflation, recession, and regulatory and policy changes or other factors is not explained in the market forecast . This data is combined and added with detailed input and analysis. The following figure shows a description of the overall market sizing process used in this study.

Major Players Covered in Guitar and Bass Amplifiers Markets Are:

  • Key Player I
  • Key Player II
  • Key Player III
  • Key Player IV
  • Key Player V

Global Guitar and Bass Amplifiers Market Segmentation:

Guitar and Bass Amplifiers Market Split By Type:

  • Type I
  • Type II
  • Type III
  • Type IV

Guitar and Bass Amplifiers Market Split By Application:

  • ask i
  • Application II
  • Application III
  • Application IV

Regional Analysis of Guitar and Bass Amplifiers Market can be represented as follows:

This part of the report assesses key regional and country-level markets on the basis of market size by type and application, key players, and market forecast.

Based on geography, the global guitar and bass amplifier market has been segmented as follows:

    • North America includes the United States, Canada and Mexico
    • Europe includes Germany, France, UK, Italy, Spain
    • South America includes Colombia, Argentina, Nigeria and Chile
    • Asia Pacific includes Japan, China, Korea, India, Saudi Arabia and Southeast Asia

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Scope of the Guitar and Bass Amplifiers Market Report

ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
REPORT COVER Revenue Forecast, Business Ranking, Competitive Landscape, Growth Factors and Trends
BY REGION North America, Europe, Asia-Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE Free report customization (equivalent to up to 4 analyst business days) with purchase. Added or changed country, region and segment scope.


Regional scope
North America, Europe, Asia-Pacific, Latin America, Middle East and Africa Scope of customization Free report customization (equivalent to up to 8 analyst business days) with purchase. Added or changed country, region and segment scope. Pricing and purchase options Take advantage of personalized purchasing options to meet your exact research needs. Explore purchase options

Industry Overview: The first section of the research study covers an overview of the global Guitar and Bass Amplifiers market, market status and outlook, and product scope. Additionally, it provides highlights of major segments of the global Guitar and Bass Amplifiers market i.e., region, type, and application segments.

Competitive analysis:This report sheds light on significant mergers and acquisitions, business expansion, product or service differences, market concentration, global Guitar and Bass Amplifiers Market competitive status and market size by player.

Company profiles and key data:This section covers the companies featuring leading players of the global Guitar and Bass Amplifiers market based on revenue, products, activities, and other factors mentioned above.

Market Size by Type and Application:Besides providing an in-depth analysis of the global Guitar and Bass Amplifiers market size by type and application, this section provides research on key end-users or consumers and potential applications.

North American market: This report depicts the changing size of the North America market by application and player.

European market: This section of the report shows how the size of the European market will evolve over the next few years.

Chinese market: It provides analysis of the Chinese market and its size for all years of the forecast period.

Rest of the Asia-Pacific market: The rest of the Asia-Pacific market is here analyzed in quite detail on the basis of applications and players.

Central and South America Market: The report illustrates changes in Central and South America market size by players and applications.

Mea Market: This section shows how the Mea market size changes over the forecast period.

Market dynamics: This report covers the drivers, restraints, challenges, trends, and opportunities of the global Guitar and Bass Amplifiers market. This section also includes Porter’s analysis of the five forces.

Findings and Conclusions:It provides strong recommendations for new and established players to secure a position of strength in the global Guitar and Bass Amplifiers market.

Methodology and data sources:This section includes author lists, disclaimers, research approaches, and data sources.

The main questions answered

What will be the size and average annual size of the global guitar and bass amplifier market in the next five years?

Which sectors will take the lead in the global guitar and bass amplifier market?

What is the average manufacturing cost?

What are the key business tactics adopted by the key players of the global Guitar and Bass Amplifiers Market?

Which region will gain the lion’s share in the global guitar and bass amplifier market?

Which companies will dominate the global guitar and bass amplifier market?

Research Methodology

Quality research uses reliable primary and secondary research sources to compile the reports. It also relies on the latest research techniques to prepare very detailed and precise research studies like this one. Use data triangulation, top-down and bottom-up approaches, and advanced research processes to deliver comprehensive, industry-leading market research reports.

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Day 3 brings freshness https://f-bod.com/day-3-brings-freshness/ Mon, 20 Jun 2022 17:12:04 +0000 https://f-bod.com/day-3-brings-freshness/ The Brighton Hill School Jazz Band presented solos by graduating seniors. (Photo by Tim Fuss/All photos courtesy of Rochester International Jazz Festival) The third day of Jazz Fest was held in a relaxed atmosphere, as things seemed to calm down after the more chaotic first two days. I started the day revisiting old memories watching […]]]>
The Brighton Hill School Jazz Band presented solos by graduating seniors. (Photo by Tim Fuss/All photos courtesy of Rochester International Jazz Festival)

The third day of Jazz Fest was held in a relaxed atmosphere, as things seemed to calm down after the more chaotic first two days.

I started the day revisiting old memories watching the Brighton High School Jazz Band. Although I have never been part of the High School Jazz Band, not too long ago I performed with the Brighton Middle School Jazz Band at Jazz Fest in 2016.

Now, I may be biased (I am), but I think the BHS Jazz Band is one of the best high school jazz bands in Monroe County. The highlight of their set was the closing song, “Hip Hop Bop Shop”, which was a fun jam that featured solos from many senior grads, including a lot of people I know, so it was great to have them see play.

Sunday was full of solo acoustic guitar performances; I came across three of them while walking around. The one I focused on was the virtuoso Andy McKee. A lead guitarist who always sounds like he’s playing three instruments at once, McKee’s guitar playing abilities go beyond what a normal human should be able to. The frequent percussive sounds he makes when hitting the body of the guitar make his hands look like industrial machinery. He’s able to squeeze so much power out of a single guitar, it’s unsettling. It was fun to marvel at McKee’s abilities, but I wish we heard more of his original work – half his set was covers. Despite this, he did covers of both Tears for Fears’ “Everybody Wants To Rule The World” and Toto’s “Africa”.

Andy McKee (photo by Jamie Mohr)

Champian Fulton was next on my list, a singer-songwriter pianist whose classical sound ushered in the sounds of jazz and blues legends like Cole Porter and Billie Holiday. I missed the set she did the day before with her trio, but I was able to attend her solo show at the Hatch Recital Hall.

Champian Fulton (photo by Peter Parts)

Fulton is a gifted vocalist and pianist, capturing the personality-filled timbres of the eras she borrows throughout the set, while accompanying herself with dexterity. From the way she talks about the musicians who inspire her, it’s very clear that Fulton has a deep and serious dedication to music. My favorite quirk about Fulton as a performer is how she reacts to her own improvisations, often laughing as if surprised at what she’s playing. It really elevates the sense of joy and discovery you get when you hear someone experimenting on their instrument.

Next came Under The Surface, an intriguing Dutch folk group that had everyone in the Glory House glued to their seats in awe. Under The Surface has built its live sets around improvisation. Each set is completely improvised, so no performance from them will be the same. The band has a unique sound which is mainly based on Dutch folk music, but also borrows from jazz, ambient, rock etc. They skillfully craft an aesthetic and guide the audience through their poetic presentations. The startling new sounds, inventive vocal techniques and impeccable use of space make for an otherworldly meditative journey.

Beneath the surface (Photo by Garry Geer)

The band consists of drummer Joost Lijbaart, guitarist Bram Stadhouders and vocalist Sanne Rambags, but they are not just a drummer, guitarist and singer, they are all multi-instrumentalists in their own way. Lijbaart is seated at a drum set, and next to him is a table stacked with countless auxiliary percussion instruments, many of which I don’t recognize. He plays with these tools throughout the show, often finding creative ways to combine them or use them in unexpected ways.

Stadhouders sits with his guitar, in front of him is a pedalboard that bends his guitar sound to his liking, and next to him is a laptop with an open session of a DAW, where he creates delay effects and reverberation. Rambags is an expressive singer, constantly implementing physical movement in her performance. At certain points during the show, she used a curious instrument which I had to ask her about afterwards. It’s called a “waterphone” and it creates one of the most beautifully unnerving sounds I’ve ever heard from an instrument. A shrill crystalline sound that made me impulsively consider buying a waterphone for myself.

Three less, another six days! There have already been so many unforgettable performances, and we’re just getting started!

-Jess Williams

Guitar and Coltrane masters

Ravi Coltrane’s Freedom Trio (photo by Mark Druziak)

Ravi Coltrane played with silk-covered bricks that intentionally landed on the floor from the audience’s feet. It made you feel smart if you settled into that joy. I dug what I dug. Being in the presence of the bloodline was also a powerful hip. Coltrane, understood?

Then I needed to walk around and get some random stimulation and I came across RTs, who struck a pop chord with a new bang a la various sounds in bands like Squeeze, but this time with a version dandy from “You” by Lou Rawls. ‘Re Gonna Miss My Lovin.’ “Man, that was five-piece fun from the band that call themselves ‘the bands’ pizza. I was gonna have to keep my ears from now on. I mean, have you ever seen me eat some pizza ?

Tommy Emmanuel (Photo by Thom Bell)

The headliner tonight at Parcel 5 was Australian guitarist Tommy Emmanuel. Now there are guitar masters out there. And geniuses and kings are not lacking. But this cat leaves them all in the dust while choking. He’s a guitar wizard who beats on his guitar with what appeared to be wooden spoons and bare fingers between the spanks of the board. He was playing totally out of the blue, switching his mind between the jazzy attacks of Lightnin’ Hopkins, new age jazz and Hank Williams I. Loops too. And despite my concerns with the sound, although huge and intense, it was beautiful. I think Emmanuel has 12 fingers…on each hand.

And, speaking of a flow of conscious connection with their instrument, there was Bill Frisell and his trio who played me in a perfect good night at the Temple Theater with a delicately creepy, rendered piece that looked like the music box disjointed in a horror movie, the kind that features little kids dragging you to hell. Although I think this guitar master had infinitely more divine intentions, going in the opposite direction. Amen.

-Franck De Blase

Jess Williams is an intern at Rochester Beacon and a student at Ithaca College. Frank De Blase is the music writer for Rochester Beacon. All articles from the Rochester Beacon Jazz Fest are collected here.

The Beacon welcomes feedback from readers who adhere to our comments policy including the use of their full real name.

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LIVE: Sue Foley @ The Linda, 6/17/2022 https://f-bod.com/live-sue-foley-the-linda-6-17-2022/ Sat, 18 Jun 2022 15:21:00 +0000 https://f-bod.com/live-sue-foley-the-linda-6-17-2022/ Sue Foley is a Canadian blues artist who earned her chops at Antone’s in Austin, idolizes the old Mississippi Delta Blues legacies and covers artists as varied as Chicago’s Jr. Wells, Memphis Minnie and Lavelle White who recorded for Duke. Records in Texas. She’s as precise on guitar as California’s Rod Piazza, a quality not […]]]>

Sue Foley is a Canadian blues artist who earned her chops at Antone’s in Austin, idolizes the old Mississippi Delta Blues legacies and covers artists as varied as Chicago’s Jr. Wells, Memphis Minnie and Lavelle White who recorded for Duke. Records in Texas.

She’s as precise on guitar as California’s Rod Piazza, a quality not usually associated with a repertoire that includes numbers with titles like Frankie Lee Sims’ “Boogie Real Low” or her own “Hurricane Girl.” but her entry into the blues came from listening to the Rolling Stones at age 13 and she recently hung out with ZZ Top’s Billy Gibbons. So she’s got this devilish attitude of a rocker, but her repertoire is traditional and hard-core, which won her two Blues Foundation Blues Music Awards a month ago for traditional blues album of the year and the female traditional blues artist – Koko Taylor Award, the second of which she also won home in 2020. She played 10 of the 12 tracks on this award-winning album Pinky’s blues Friday night at Linda.

Photo by Peter Hughes

Like Californian Rob Piazza, Sue plays guitar with near-perfect perfection and predictability. I generally find that quality in the blues antithetical to what the genre, in general, does for me, and that is bring out my ya ya. You know, that feeling that you’re in a 4X4 doing 95 on a road with dangerous curves inches from disaster. Sue respects the speed limits, but she pays homage to the material she covers so nicely that I don’t care. I’ve been listening to it for 30 years, and I’ve never seen or heard it stray from perfection. In Piazza, I find this quality boring. With Sue, I love it.

Bassist Jon Penner was buttoned up for all but the hour and a half of ‘Mediterranean Breakfast’, a Foley original that took audiences to the Spanish Riviera and received the most excited response from a crowd that was obviously delighted to see it live. in Albany for the first time. Backstage Penner recalled playing Saratoga at the Metro with Sue over 30 years ago when she was starting her career and I featured her on my WSPN show in Skidmore.

Photo by Peter Hughes

With her perfectly styled hair, white Rufus Thomas boots and sequined top, she looks like a suburban matron waiting for a night on the town. She plays a pink paisley Fender Telecaster guitar and has a deep respect for “black bluesmen”, but she covered two Memphis Minnie songs “My Girlish Ways” and “Me and My Chauffeur”. In other words, she’s her own person, a perpetually young petite Canadian with an Austin blues bite and an abiding sense of authenticity that makes her originals fit comfortably into a hill blues milieu.

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Local band Rain on the Rocks will perform at People’s Park on June 23 https://f-bod.com/local-band-rain-on-the-rocks-will-perform-at-peoples-park-on-june-23/ Fri, 17 Jun 2022 00:10:00 +0000 https://f-bod.com/local-band-rain-on-the-rocks-will-perform-at-peoples-park-on-june-23/ Local band Rain on the Rocks will perform a set of original music at 4:30 p.m. on June 23 at People’s Park. The show will be free and open to the public as part of the People’s Park Concert Series. The trio consists of members Makenzie Snooks, Annie Stephens and Sydney Piercy. The group is […]]]>

Local band Rain on the Rocks will perform a set of original music at 4:30 p.m. on June 23 at People’s Park. The show will be free and open to the public as part of the People’s Park Concert Series.

The trio consists of members Makenzie Snooks, Annie Stephens and Sydney Piercy. The group is new to the show scene, having formed in March 2022, although its members have played together occasionally in recent years.

Piercy, a recent Purdue University graduate, said she played solo gigs in high school, where she would invite Snooks to sit down for a few songs. The two continued to play together in high school, incorporating Stephens into the band through a church connection.

It was at one of those solo gigs that Piercy first heard about the People’s Park concert series, she said. An event planner saw her perform in 2021 at Butler Winery and then invited her to star on the show.

The band usually plays more covers than originals, but for the People’s Park gig, Piercy said he would introduce more original material.

“Normally we’re probably about 80 percent covers and 20 percent originals, but I think for this show we’re going to try to be about fifty-fifty,” Piercy said.

Rain on the Rocks currently has no recorded music available, but they do plan to record and release their original music. Piercy said the band had a smooth, stripped-down sound partly because of their size and instrumentation.

“Our music definitely has a very folk and indie rock feel to it,” Piercy said. “We’re an acoustic band with just drums, guitar and violin, so everything sounds a bit folksy. I would compare him a bit to the Lumineers, maybe a bit to Phoebe Bridgers.

Piercy said their inspiration came from a wide range of sounds, but that doesn’t hamper the band’s creative flow. She said Taylor Swift, dodie and Lucy Dacus were among the group’s influences, and their Instagram also cites Hozier, Radical Face and Jon Bellion.

Even with this long list of role models, Piercy said the band’s closeness as friends and skill as musicians allow the songwriting process to go smoothly.

“It really helps that I know them very well as people and have known them for a while,” Piercy said. “It takes a lot of the awkwardness out of making decisions.”

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Covers and more: who owns a song? https://f-bod.com/covers-and-more-who-owns-a-song/ Wed, 15 Jun 2022 08:00:00 +0000 https://f-bod.com/covers-and-more-who-owns-a-song/ The Scissor Sisters in concert in 2011Flickr / The Zender Diary (https://flic.kr/p/9mWUSX) One of the permanent fixtures in the CD player in my mother’s car throughout my childhood was the self-titled 2004 album by the Scissor Sisters. Although my brother and I were too young to understand the sexual overtones of most songs (I don’t […]]]>


The Scissor Sisters in concert in 2011Flickr / The Zender Diary (https://flic.kr/p/9mWUSX)

One of the permanent fixtures in the CD player in my mother’s car throughout my childhood was the self-titled 2004 album by the Scissor Sisters. Although my brother and I were too young to understand the sexual overtones of most songs (I don’t know how we missed the real meaning of “Tits on the Radio”), we loved the catchy beats and electric guitar. . The third track was “Comfortably Numb,” furnished with an echoing falsetto and bouncy synth. On my way to elementary school, I imagined him playing at the adult parties I would one day attend.

Many years later, I accompanied my brother to a hardware store to buy a remote control car. As I walked the aisles of balsa wood and superglue, I recognized a few words over the shop’s speakers. It was “Comfortably Numb”, but not as I knew it. This version was painfully slow and, compared to the energetic Scissor Sisters version, remarkably boring. A quick google shot shocked me: it was the original version?! But it was so much worse!

“It almost seems disrespectful, then, for the Scissor Sisters to make a catchy disco track out of it”

Hindsight has revealed that Pink Floyd isn’t necessarily “worse” than the Scissor Sisters, but my teenage reaction to my discovery raises questions about value and ownership. The Scissor Sisters’ recording is almost impossible to identify as the original Pink Floyd: its melody, instrumentation and tempo are all different. Even some words have changed: Pink Floyd’s “smoke from a distant ship on the horizon” becomes “a distant ship floats on the horizon”. They are almost entirely different songs. The Scissor Sisters meet the cover’s denotative definition – “a new performance or recording by a musician other than the original performer or composer” – but their “Comfortably Numb” sounds more like an original track than a performance. by Pink Floyd.

Before the mid-20th century, there was really no conception of a “cover version”: the music was meant to be experienced live, so it didn’t matter who wrote it, only who performed it. Folk songs were passed down from generation to generation, and when sheet music began to be published, as many artists as possible were encouraged to perform the song. More performances meant more music sold. Folksongs were also used to show artists’ technical expertise and stylistic range, with jazz standards being the most prominent example. There was little notion of ownership over the songs.

“The covers show that art is about giving experience”

Today, artists have little legal ownership over their tracks. Since 1909, US copyright law has protected artists’ rights to record and publish a cover version of someone else’s song, even if they don’t have permission from the original composer. . All they need is to pay a standard fee. If I was a recording musician, I think I would find that hard to digest. What if I wrote a really personal song and someone completely butchered it in a cover?

‘Comfortably Numb’ is part of Pink Floyd’s concept album The wall, which follows a fictional rock star, but the lyrics are taken from real-life bassist Roger Waters. He wrote the track about injecting a muscle relaxant for stomach cramps before performing in 1977. He called the performance “the longest two hours of [his] life”. The song is therefore taken directly from his personal experience, an artistic expression of a struggle he faced. It seems almost disrespectful, then, for the Scissor Sisters to turn it into a catchy disco track. The lyrics “I hear you’re feeling down / Well I can ease your pain and get you back on your feet” are menacing coming from Pink Floyd’s narrating doctor but energizing in the context of the dance culture of the Scissor Sisters. Pink Floyd doesn’t seem to care, though: David Gilmour, who wrote the music, has publicly expressed his admiration for the cover featuring Waters.

The example of these blankets shows that art is about giving experience. The Scissor Sisters dramatically reinterpret Waters’ words, taking them out of their original context, but so do Pink Floyd listeners every time they hear the song. Producing art from personal experience does not and cannot guarantee perpetual ownership. Covers are a case study for the world of music, but so are literature, visual arts, dramatic performances, and other artistic expressions. In his article on Suzan-Lori Parks’ play In the bloodRena Fraden says the play is about when “the thing you wrote, the child you bore [isn’t] more to you”. Art, like children, may come from you, but it is unmistakably independent, acting of its own volition in the outside world. With the greatest respect for Pink Floyd, I think my teenage value judgment is valid. If I like the upbeat dance beats of the Scissor Sisters better, then that’s okay, no matter what Waters was planning on doing. I will continue to boogie without guilt.

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Mick Jagger has COVID, the Rolling Stones postpone the show https://f-bod.com/mick-jagger-has-covid-the-rolling-stones-postpone-the-show/ Mon, 13 Jun 2022 17:11:13 +0000 https://f-bod.com/mick-jagger-has-covid-the-rolling-stones-postpone-the-show/ Mick Jagger has tested positive for COVID, causing the Rolling Stones to postpone their show tonight (June 13) in Amsterdam. According to a statement from the band, “The Rolling Stones have been forced to cancel tonight’s concert in Amsterdam at the Johan Cruijff ArenA, following Mick Jagger’s positive test after experiencing COVID symptoms upon arrival […]]]>

Mick Jagger has tested positive for COVID, causing the Rolling Stones to postpone their show tonight (June 13) in Amsterdam.

According to a statement from the band, “The Rolling Stones have been forced to cancel tonight’s concert in Amsterdam at the Johan Cruijff ArenA, following Mick Jagger’s positive test after experiencing COVID symptoms upon arrival at the stadium. “

The statement continued: “The Rolling Stones are deeply sorry for tonight’s postponement, but the safety of the audience, fellow musicians and the touring crew must take priority. The show will be postponed to a later date. Tickets for tonight’s show will be honored for the rescheduled date. Awaiting details.

Jagger released his own personal statement saying, “I’m so sorry that we had to postpone the Amsterdam show on such short notice tonight. Unfortunately, I have just tested positive for COVID. We aim to reschedule this date as soon as possible and return as soon as possible. Thank you all for your patience and understanding.”

The Stones’ next European tour date is in Bern, Switzerland on June 17. At the time of publication, this show is currently running as planned.

We send our best wishes to Jagger for a full and speedy recovery.

Rolling Stones: their 50 best songs ranked

Erica Banas is a rock/classic rock news blogger who knows the label well and is extraordinarily nice.

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Goose Opens Legend Valley Weekend With Two Debuts And An Explosive “All I Need” Jam [Photos/Videos] https://f-bod.com/goose-opens-legend-valley-weekend-with-two-debuts-and-an-explosive-all-i-need-jam-photos-videos/ Sat, 11 Jun 2022 18:10:47 +0000 https://f-bod.com/goose-opens-legend-valley-weekend-with-two-debuts-and-an-explosive-all-i-need-jam-photos-videos/ Goose Opens Legend Valley Weekend With Two Debuts And An Explosive “All I Need” Jam [Photos/Videos]Valley of Legendsa 230-acre concert hall and campground in Thornville, OH, is quickly becoming a home away from home for goose, the indie-groove quintet-that-is-not-a-jam-band-that-is-definitely-a-jam-band from Wilton, CT. While the Internet is busy trying to rank one of America’s most popular musical groups and one of the most captivating success stories, Goose is being Goose: a […]]]> Goose Opens Legend Valley Weekend With Two Debuts And An Explosive “All I Need” Jam [Photos/Videos]

Valley of Legendsa 230-acre concert hall and campground in Thornville, OH, is quickly becoming a home away from home for goose, the indie-groove quintet-that-is-not-a-jam-band-that-is-definitely-a-jam-band from Wilton, CT. While the Internet is busy trying to rank one of America’s most popular musical groups and one of the most captivating success stories, Goose is being Goose: a band that is going full throttle and that pushes the boundaries of creativity on all fronts, from the studio to the live stage. , with a new album, drip fieldscheduled in just two weeks and its self-titled tour is in full swing.

As Pierre Anspach shared in an April interview with live for live music“Legend Valley brings out the ultimate Goose-iness [laughs]. I don’t know what it is exactly, but that’s the best way to describe it. It looks like a very big playground and the atmosphere there is like a summer camp. It’s just a big open field that’s taken off the road. There’s a backstage pool and big dinosaurs. There’s just a serious vibe and I feel like every time we’ve played there in the past there’s always some kind of crazy special energy going on so I’d be careful to that one.

Following the advice of the multi-instrumentalist, fans from all over the country settled into the room formerly known as Buckeye Lake Music Centerwhere the avian quintet builds a story from a historic late night in Resonance Music and Arts Festival in 2018. Goose — visiting for his sixth and seventh shows during five separate visits to the legendary venue — calls Legend Valley home, and with on-site camping next to the stage, it’s no surprise that fans also feel very comfortable here. You couldn’t help but feel that vibe as you walked through the doors, walking in the shadow of both tangible and perceived dinosaurs.

Giving the herd a chance to settle in and make camp, Goose took to the stage well after dark, upgrading the Midwestern vibe with a bit of “California Magic” as the early days of the Winter 2022 made their first appearance in a show opening slot. The group then offered the first of the evening’s two debuts, “Butterflies,” written and sung by Anspach, with a brilliant vocal that matched the lighting director. Andrew GoddeThe lavender color palette but the bassist denies it Trevor Weekthe haunting bass line. The song recently had its release party with the re-emergence of high school band Anspach, Big Bluelast April between Goose tours.

Goose – “California Magic” [Pro-Shot] – 06/10/22

The group recognized the metaphorical dinosaurs on the ground where Jerry Garcia once stood with a cover of The Grateful Dead’s “Mississippi Half-Step Uptown Toodeloo,” a song that up until that point had been at the top of my most-played-but-never seen show stats. Goose made the well-known track his own around the eighth minute as Peter pounded his Vintage Vibe keyboard and the band took to their feet behind him. Ten minutes later, hardly anyone would be able to remember that this improvisational masterpiece was still “Half-Step” as bright neon bars popped up behind the band and guitarist. Rich Mitarotonda found peak after peak of improvisation in this easy jam of the year contender.

The seductive low end and multi-part compound structure of “The Old Man’s Boat” came next before moving on to “Creatures”. When a band’s catalog lends itself to live performance, there is a natural tendency – a desire, even – to compare live performances and crown one as the “best of all time”. Is every “Creatures” the best ever? Of course not. But it sure does look like that at the time, and this one got me the blue ribbon.

Oh this moment, it’s the only thing you know.

More than twenty minutes later, Goose found another seamless transition, this one locating the second start of the evening as Rick sang “Turbulence & The Night Rays”, a Vasudo song that was last performed by Goose’s predecessor in 2012. Undoubtedly driven by the palpable love and mutual respect connecting the Goose to his herd, the band both had the guts to debut this song from a transition and the ability to deliver it with end-of-set ferocity, a fact that was not at all lost on one of the participants.

After a well-deserved rest during which many recharged in the comfort of their camps, Goose returned with a 35-minute opener “All I Need” which again begged for the “greatest argument ever”. sound technician Sam Bardani had the sound composed from the opening notes, but the teeth-chattering bass that fell on Legend Valley became emblematic of what was to be a much darker second set as Weekz and the drummer Ben Atkind asserted themselves in the mix and Anspach got weird on the synth. As “All I Need” passed twenty minutes and settled into its third (and fourth) jam section, Goose seemed to return “jam band?” unnecessary question – rank them however you want, but be sure to call these prodigious young improvisers one of the hottest young bands in America.

The moody blues“Nights In White Satin” followed for the sixth time since its debut in Brooklyn, NY on 01/25/20, the anthemic rock and roll powerhouse managing as always to both encapsulate the empathetic spirit in the air and to surround Rick’s extraordinary voice and guitar tone in red pen.

“Red Bird” was next, Goedde’s color wheel fittingly aligning as Weekz and Bardani continued to assault fans’ molecular structures with perfectly dialed bass bombs. Without stopping, the “Spirit Of The Dark Horse” emerged from the shadows. Driven by Ben’s beats, the song’s telltale title tempered lighter play on Anspach’s keys. The instrumental flight “Dragonfly”, from Goose’s 2021 Ted Strips collection, concluded a flawless show as Mitarotonda’s fingers deftly flew around his shaft.

“We really like this place. We love you guys,” Anspach said as the band returned for a “Jive II” encore, completing the missing piece of the “Jive” trio that had started two days earlier in Buffalo.

All in all, Goose delivered on Anspach’s promise, giving Legend Valley a nearly three-hour show with a setlist that included two debuts, choice covers, and an instant 35-minute classic “All I Need.” Without a doubt, this was Goose’s best show from the last show until the next show.

Goose returns for more “ultimate Goose-iness” at Legend Valley tonight, Sunday, June 11. For a full list of Dripfield tour dates, including next stops at bonnaroo, Radio City Music Hall, The Peach Music Festivaland Red Rocks AmphitheaterClick here.

Check out a photo gallery from the show below via Daniel Ojeda.

Setlist: Goose | Legend Valley | Thornville, OH | 06/10/22

Set One: California Magic, Butterflies {1}, Mississippi Half-Step Uptown Toodeloo {2}, The Old Man’s Boat > Creatures > Turbulence & The Night Rays {3}

Set 2: All I Need > White Satin Nights {4}, Red Bird > Spirit Of The Dark Horse > Dragonfly

Again: Jive II

{1} FTP, new track written by Peter
{2} The Grateful Dead
{3} FTP like Goose, LTP like Vasudo 2012
{4} The Moody Blues

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Reviews of BITE Funky Booster | guitar world https://f-bod.com/reviews-of-bite-funky-booster-guitar-world/ Wed, 08 Jun 2022 08:55:40 +0000 https://f-bod.com/reviews-of-bite-funky-booster-guitar-world/ If you’re the kind of bass player who likes to ponder various permutations and design aspects of any new bass guitar, then Bite might just be for you. Their levels of customization are extensive and impressive, although with so many options available it will be useful to know exactly what you want to create. Allow […]]]>
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Sitting on Stacy is getting ready to bring beach rock vibes to Chicago’s Riot Fest this fall https://f-bod.com/sitting-on-stacy-is-getting-ready-to-bring-beach-rock-vibes-to-chicagos-riot-fest-this-fall/ Mon, 06 Jun 2022 04:30:24 +0000 https://f-bod.com/sitting-on-stacy-is-getting-ready-to-bring-beach-rock-vibes-to-chicagos-riot-fest-this-fall/ In an interview with the DePaul Music Business Organization, indie classic rock band Sitting On Stacy gave some insight into their early days and progress ahead of their Chicago gig at The Beat Kitchen. Now under the leadership of their label and partners 1824, Republic Records and Let’s Get It! Records, the group rose rapidly […]]]>

In an interview with the DePaul Music Business Organization, indie classic rock band Sitting On Stacy gave some insight into their early days and progress ahead of their Chicago gig at The Beat Kitchen. Now under the leadership of their label and partners 1824, Republic Records and Let’s Get It! Records, the group rose rapidly within the industry and reflected on their performance experiences. festival that includes Chicago’s own Riot Fest.

Sitting On Stacy is made up of Hoyt Yeatman (vocals/guitar), Kyle Hart (bass/vocals) and Trevor Smith (drums). Hailing from San Diego, Calif., the band stopped in Chicago on their first national tour, showcasing songs from their two released albums, 2019’s ‘Perfectly Sane’ and 2017’s ‘Obsessed’, as well than their new singles. .

Meeting at Rock Nation studios as young boys, they began playing classic rock songs for family and friends at local bars. Yeatman explained their early beginnings as performers.

“We were all about 10, they would put the kids in bands, and they’d have us cover three songs, like Guns N’ Roses, rock dad songs, and we’d perform at local bars and stuff,” he said. said Yeatman. .

In high school, the members broke up, forming individual bands, but eventually came together to start writing and performing music. But this time at the University of San Diego, where Yeatman and Hart were enrolled.

“We kind of had different bands in high school, and over the course of everything, we blended together,” Yeatman said. “College is where we took off, played house shows and all the craziness of San Diego.”

Right after the start of the Covid-19 pandemic, Sitting On Stacy posted their first video on TikTok on March 24, 2020; an indie-esque mini-clip and a cover of The Cure’s “Boys Don’t Cry” that amassed over 150,000 views.

“I remember our first cover…and we were like, ‘Oh, well, let’s just post something, it’s cringe,’ and then there were so many views and we were blown away,” a said Hart.

“We became addicted to it,” Yeatman added.

Shots went from boys playing in a grassy mountain scene to crying on a bathroom floor with an ever-appropriate black and white filter to add drama. Seeing the success of this video, the members focused on more classic rock covers paired with fun music mini-videos, connecting them to new audiences that wouldn’t have been reached without TikTok.

TikTok has been a valuable resource for a wide variety of musicians, and Sitting On Stacy understands what that can mean for upcoming artists. Having access to high-quality video production gives them an edge over smaller indie artists, as their visual style is very clean, dynamic and immediately catches your eye as a casual scroller on the app constantly throwing contents. “It kind of helps you get a lot of exposure to the remote fans, you wouldn’t get that post on Instagram,” Hart said.

Sitting On Stacy continued to find success on TikTok, with actor John Stamos dueting a TikTok cover they did of The Beach Boys’ “Wouldn’t It Be Nice,” coincidentally with the former member of the Beach Boys Mike Love. Other celebrities include Joe Jonas and Mark McGrath. TikTok has allowed many artists to better connect with their fans on a more personal level, something Stamos has exempted by reaching out to the boys to possibly even attend their show in Los Angeles.

Yeatman recalls the moment he discovered the “Full House” actor was interacting with their content.

“I was walking up the stairs and saw the notification that John Stamos was dueting [our video],” he said. “He reached out and followed us, and he’s really nice. We’d be DMing like all the time, and when we posted the tour [announcement] he was like, ‘When do I get the invite?’ so we invited him to the Roxy [Theatre] show in Los Angeles”

Posting covers seemed to be key to their viral success for a while. Most of Sitting On Stacy’s TikTok videos of 2021 consist of classic rock covers and hundreds of supportive comments asking for their favorite rock hits. However, they used that momentum and audience to promote their own music, with singles such as “This Summer’s Day” and “Some Kind of Way” adding to their feed with equally dynamic and engaging videos.

Sitting On Stacy’s music spans a range of indie and alternative sounds, from more grunge rock tracks like “Apple Pie and “Bleed Mentally” with gritty electric guitar riffs and vocals, guitar solos and raw lyrics, to their new singles “Chest Hair” and “This Summer’s Day” with lighter brassy tones in the electric guitar that give off a beach rock, teen summer vibe paired with lyrics about summer love, freedom of spirit and fun that so many of their fans adore.

Speaking about their already wrapped tour dates, including stops in Atlanta, New York and Dallas, the band shared that they were blown away by the support. The band was visibly excited as they reminisced about signing Sitting On Stacy shirts, boots and merchandise on their completed tour dates.

“Fan interactions have been wild everywhere we go,” Yeatman said. “So many people across the country have been really nice, and everywhere we’ve been, they’ve been singing the words, smiling, moshing, dancing – it’s crazy. Especially the new songs, and everyone’s singing them back , and we’re like, ‘What the fuck?’ Go to all those places we’ve never been.

“We don’t know if the fans will show up, but they showed up, and it was awesome,” Smith said.

As for their plans after their month-long tour, Sitting On Stacy are already excited about the future, hoping to release new singles and return to the studio.

“Festivals, hopefully,” Hart said, “And a few other summer shows.”

“Also rest,” Smith said with a smile.

Sitting On Stacy will be back in Chicago for Riot Fest on Friday, September 16.

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