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Nala Sinephro - Space 1.8 (Full Album) Hotney 8 المشاهدات • منذ 4 سنوات

I am excited to share ‘Space 1.8’, my debut album out now on Warp Records.
Available to buy and stream here: https://nalasinephro.ffm.to/space-1-8

Space 1 - 00:00 - 04:08
Space 2 - 04:08 - 09:02
Space 3 - 09:02 - 10:17
Space 4 - 10:17 - 16:37
Space 5 - 16:37 - 20:37
Space 6 - 20:37 - 25:06
Space 7 - 25:06 - 26:47
Space 8 - 26:47 - 44:22

Performed with Shirley Tetteh, James Mollison, Edward Wakili-Hick, Nubya Garcia, Dwayne Kilvington, Lyle Barton, Twm Dylan, Jake Long, Rudi Creswick, and Ahnansé.

https://www.nalasinephro.com/

Sign up to Nala Sinephro's mailing list: https://www.nalasinephro.com/Newsletter
Follow Nala Sinephro on Instagram: https://www.instagram.com/nalasinephro/

Space 1
Produced, Performed, Recorded by Nala Sinephro (Modular Synths, Synths, Harp)
Mixed by Nala Sinephro
Mastered by Rick David

Space 2
Performed by James Mollison (Saxophone), Lyle Barton (Piano), Shirley Tetteh (Guitar), Nala Sinephro (Synths), Jake Long (Drums), Rudi Creswick (Double Bass)
Composed by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Nala Sinephro
Mastered by Rick David

Space 3
Performed by Nala Sinephro (Modular Synths, Synths), Edward Wakili-Hick (Drums), Dwayne Kilvington (Synth Bass)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Nala Sinephro
Mastered by Rick David

Space 4
Performed by Nubya Garcia (Saxophone) , Lyle Barton (Keys), Nala Sinephro (Synths), Jake Long (Drums), Twm Dylan (Double Bass), Nubya Garcia appears courtesy of Concord Jazz
Composed by Nala Sinephro
Recorded by Ben Bell and Nala Sinephro
Mixed by Rick David and Nala Sinephro
Mastered by Rick David

Space 5
Performed by Nala Sinephro (Modular Synths, Synths, Harp), Ahnansé (Saxophone), Shirley Tetteh (Guitar)
Produced by Nala Sinephro
Recorded by Nala Sinephro and Rick David
Mixed by Nala Sinephro
Mastered by Rick David

Space 6
Performed, Composed by Nala Sinephro (Synthesizer), James Mollison (Saxophone), Jake Long (Drums)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed by Rick David and Nala Sinephro
Mastered by Rick David

Space 7
Produced, Performed, Recorded by Nala Sinephro (Modular Synths, Synths, Harp)
Mixed by Nala Sinephro
Mastered by Rick David

Space 8
Performed by Nala Sinephro (Modular Synths, Synths, Harp) and Ahnansé (Saxophone)
Produced by Nala Sinephro
Recorded by Rick David and Nala Sinephro
Mixed and Mastered by Nala Sinephro

#NalaSinephro #Space1.8 #WarpRecords

The Bernard Purdie Interview: Steely Dan, Aretha Franklin & "The Purdie Shuffle" Hotney 15 المشاهدات • منذ 4 سنوات

Bernard Lee "Pretty" Purdie (born June 11, 1941) is an American drummer, and an influential R&B, soul and funk musician. He is known for his precise musical time keeping and his signature use of triplets against a half-time backbeat: the "Purdie Shuffle." Purdie is known as a groove drummer with immaculate timing who makes use of precision half note, backbeats, and grooves. He often employs a straight eight groove sometimes fusing several influences such as swing, blues and funk. He created the now well-known drum pattern Purdie Half-Time Shuffle that is a blues shuffle variation with the addition of syncopated ghost notes on the snare drum. Variations on this shuffle can be heard on songs such as Led Zeppelin's "Fool in the Rain" and Toto's "Rosanna" (Rosanna shuffle). Purdie plays the shuffle on Steely Dan's "Babylon Sisters" and "Home At Last".

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SUBSCRIBE HERE → http://bit.ly/2eEs9gX
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My Links to Follow:

YouTube - https://www.youtube.com/c/RickBeato

Follow my Instagram - https://www.instagram.com/rickbeato1/

——————————————————————————————

Special Thanks to My Supporters:
Catherine Sundvall
Clark Griswold
Ryan Twigg
LAWRENCE WANG
Martin Small
Kevin Wu
Robert Zapolis
Jeremy Kreamer
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comboy
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Will Elrics
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Mike Voloshen
Peter Pillitteri
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Travis Ahrenholtz

Lizzo: NPR Music Tiny Desk Concert Hotney 4 المشاهدات • منذ 4 سنوات

Watch Lizzo play "Cuz I Love You", "Truth Hurts" and "Juice" at the Tiny Desk.

Follow Lizzo
https://facebook.com/LizzoMusic
https://twitter.com/lizzo
https://instagram.com/lizzobeeating
https://soundcloud.com/lizzomusic
http://lizzomusic.com

More from NPR Music:
Tiny Desk Concerts: https://www.npr.org/tinydesk
Twitter: https://twitter.com/nprmusic
Instagram: https://www.instagram.com/nprmusic

July 29, 2019 | Stephen Thompson -- Lots of musicians cut corners during sound check. It's a time to make sure everyone's in tune and in balance, everyone's blocked properly for the cameras, and every piece of recording equipment is doing its job the way it's supposed to, but it's not as if anyone's rolling tape for posterity. Sometimes, Tiny Desk artists do their sound check in shabby street clothes before ducking into the green room to don their fancy performance wear. It's standard procedure, and no big deal at all.

But from the second Lizzo entered the room, fresh off a long interview with Fresh Air's Terry Gross, she was on: all charm, vibrant and gracious, dressed to the nines and ready to sing her face off. In rehearsal, Lizzo belted out "Cuz I Love You," the title track from her wonderful new album, with nothing off her fastball; if you were standing six feet away at the time, you'd swear the gale force of her voice was blowing your hair back. She was the star and the mayor rolled into one, at once ingratiating and commanding, as an audience of maybe 25 milled around and prepared to let in the crowd.

Once we opened the room, there were as many people as we've ever had at a Tiny Desk concert, hanging on Lizzo's every word as she held court and waited for the cameras to roll. She literally needed no introduction; one of us usually says a few words and gets the crowd to applaud for the start of the performance, but Lizzo was master of ceremonies from the second she walked in. Naturally, she needed all of two seconds to blow everyone's hair back once more.

Everything around the singer must have felt alien to her, starting with "this tiny-ass desk" and continuing through the crowd — perched mere feet away, with only a bit of office furniture and a few cameras as a barrier — and a backing band assembled, at Bob Boilen's request, just for the occasion. Lizzo usually performs with dancers and a backing track; the former, though much-missed here, stood in the crowd and bobbed along, while the latter got mothballed in favor of slyly funky arrangements. Together, Lizzo and that brand-new band preside over three songs from Cuz I Love You: the aforementioned title track, "Truth Hurts" (so winning, in spite of its repeated references to the Minnesota Vikings) and the literal and figurative show-stopper, "Juice," which gave her the opportunity to pick up the flute she'd been waiting the whole set to bust out.

SET LIST
"Cuz I Love You"
"Truth Hurts"
"Juice"

MUSICIANS
Lizzo: vocals, flute; Devin Johnson: keyboard; Dana Hawkins: drums; Vernon Prout: bass; Walter Williams: guitar

CREDITS
Producers: Bob Boilen, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Beck Harlan, Bronson Arcuri; Associate Producer: Bobby Carter; Photo: Claire Harbage/NPR

Mercyful Fate Live in 4K FULL CONCERT 2022 Los Angeles PLUS Concert Review Hotney 4 المشاهدات • منذ 4 سنوات

Mercyful Fate Live in 4K FULL CONCERT 2022 Los Angeles PLUS Concert Review, filmed from the front row of the balcony with excellent audio quality (the bass is a little boomy).

Go see them live! - https://mercyfulfatecoven.com/tour

Setlist:

00:00 - Scott's Opening
09:50 - The Oath
16:10 - A Corpse Without a Soul
23:08 - The Jackal of Salzburg (new song)
32:40 - Curse of the Pharaohs
37:17 - A Dangerous Meeting
42:54 - King introducing the band
44:40 -Doomed by the Living Dead
50:39 - Melissa
57:30 -Black Funeral
01:01:05 - Evil
01:06:21 - Come to the Sabbath
01:15:14 - Satan's Fall

The moment the curtain dropped on the intro to “The Oath” was the moment for which the crowd had reserved all its energy. The curtain dropping and the stage coming awash in light revealed a set not unlike the one King Diamond has used on recent solo tours: a balcony perched above drummer Bjarne T. Holm's kit adorned by an enormous goat-crowned pentagram acted as a sinister keystone to the almost Byzantine archways that capped the steps upon which guitarists Hank Shermann & Mike Wead, stand-in bassist Becky Baldwin (go Becky!), and the Mighty King himself lurked. The set, festooned by the lighted outline of an imposing inverted cross, felt like the evil twin of the Hagia Sophia, and was possibly inspired by the photographs on the rear cover of Don't Break The Oath. If the crowd came to celebrate black masses, they'd arrived at the right place. The King's voice is in remarkably good shape.

The breaks near the end of “The Oath” allowed Ms Baldwin (Hands Off Gretel, Fury) a brief chance to both show off and to honor original bassist Timi Hansen, who was battling cancer at the time Mercyful Fate reformed; lamentably, he died shortly thereafter. Presumably because Arch Enemy has taken off in the intervening years, Sharlee D'Angelo's role has been filled by none other than the inimitable Joey Vera of Armored Saint and Fates Warning, though commitments with the former have kept him from joining the Danes on this trek. The Birmingham-bred Baldwin handled the bass duties admirably, nailing each and every part every time and prowling the stage during this performance with Mercyful Fate, as if she'd been touring with them for years. Fitting, considering she's literally from the very city where heavy metal itself was born.

Mercyful then tore into another classic, the oft-overlooked “A Corpse Without Soul,” before performing their new song, “The Jackal Of Salzburg,” which went over nearly as well as all those well-loved heretical serenades of decades past. In fact, this was the only song in Mercyful Fate's set that didn't predate their early ‘90s reunion. As essential as those first two albums and that debut EP were to the evolution of metal, ‘90s Mercyful made some damn fine records that we love to this day, and my only complaint was too damn short to include such classics as “Witch's Dance,” “Holy Water,” or more from Don't Break the Oath.

As fond as I am of bands who rearrange or improvise over their classics , we absolutely acknowledge that playing songs by the book is usually the appropriate thing to do. You know what we could do without though? Backing tracks. And you know how heavily Mercyful Fate relied on backing tracks during this set? Apart from that eerie intro to the opening song, not one bit! Even the bells heard during the interlude to “A Dangerous Meeting” were deliberately not piped in, and their absence reminded us that this is what metal was meant to be: unforgiving, complex, and 100% live.

The set concluded with another lengthy composition: “Satan's Fall.” And the crowd didn't exactly disperse when that exhausting number ended. King Diamond clearly feels most at home on that brilliantly designed set, and all these decades into his career, he remains one of the most charismatic performers ever to wave the metal flag. His and his bandmates' ardor and theatrics took what could have been a mere rock concert and turned it into a nefarious nocturne, an immersive experience that clearly left fans yearning for more. Disappointment was only felt when the house lights went up and there were no signs of the magic returning with an eagerly anticipated encore. And that merch line still stretched into the auditorium.

King Diamond has returned. Long live the King.

#live #mercyfulfate #music #livemusic #heavymetal #concert #losangeles #youtube #theater #kingdiamond

Thanks for watching Mercyful Fate Live in 4K FULL CONCERT 2022 Los Angeles PLUS Concert Review