The tune is a succession of fast eighth notes, with a hint of even faster rhythms underneath listen for the bursts of notes at and Moreover, the notes are not evenly played. Some are accented, but others are ghosted --played so softly that they're practically inaudible. We've encountered this phenomenon before, in the playing of Louis Armstrong. But at this speed, it becomes something entirely different. There is a constantly shifting quality of accents that may either confuse or delight.
The rhythmic shape of the melody is also affected by the rhythm section. As we've seen, a swing dance orchestra combined several instruments--piano, bass, drums, guitar--into a single highly stable and danceable beat. In bebop, the rhythm section fragments into layers. There is little by way of foundation: no rhythm guitar or steady bass drum, but instead a background halo by the drummer's ride cymbal barely audible here and the inevitable walking bass line. The rest of what the drummer plays--rhythmic interjections on the snare and bass drum--are loud and startling, interacting with the melody line in unpredictable ways " dropping bombs ".
The piano is also rhythmically unstable. By comping , the pianist adds another layer of the rhythm section, interacting both with the horns "feeding" them chords and the accents of the drummer. Everything comes together in the second act in the out-of-con- trol jitterbug "Snuff That Girl," in which the frustrated towns- people consider offing the hero- ine they have taken hostage.
They flail about her, wildly John Cullum, center, in Uhnetown. No wonder off-Broadway shows with that same sobri- quet usually take a poke at those pretensions. Like dozens of similar spoofs, both take aim at just about every highfalutin musical of the past 50 years. The difference is that these lat- est two shows aren't just smart-alecky, they're smart.
Take Vrinetown, which tells the tale of a town with such a serious water shortage that the penniless populace is forced to pay to pee think Brecht with bathroom jokes.
Like George and Ira Gershwin's groundbreaking Of Thee 1 Sing, it's a satire that's so successful that it stands on its own. Krom the first few bars of the overture a fugue, no less , it's clear that Mark Hollman's music isn't purely pastiche. While never ceasing to be amusing, Hollman has managed to write a score as inventive as any of the so-called serious musicals of the past few years.
Snapping their fingers as if they are in a high-school production of West Side Story. Bat Boy has a different tar- get in mind: message-laden rock musicals along the lines of Rent.
The plot is taken from supermarket tahloids — the dis- covery of a creature who is half-human, half-hat wreaks havoc in a small Southern town. It's a mock plea for tolerance of those who are different: "Bat Boy is just like you," they sing. While the aim of Vrinetown is unfailing, Bat Boy is more scattershot. But when the lat- ter hits, it can be hilarious. A bargain-basement parody of The Lion King in which the cast comes in riding tricycles cov- ered with stuffed rabbits is one of the funniest theatrical moments in recent memory.
Vrinetown is so suc- cessful that it's headed to Broadway in July, when its own RCA cast album is due. Perhaps this signals that the era of the overly earnest musi- cal is finally coming to an end. This may lean too young for most top 40 stations, but for fans of European teen-pop, this is one tasty aural bonbon, served here as both a crisp radio edit and a fun, extended 5-minute version.
It should be a no-brainer for programmers to quickly give this two thumbs up. This is one more example of Vassar's reliability as a hitmaker, following the heartbreaking balladry of his previous single, "Rose Bouquet," and the lilting charm of his No, L, "Just Another Day in Paradise.
Cyrus, 0. Von Tress. BMI Monument CO promo Cyrus sinks his chops deep into this sul- try ballad that's rife with images of Southern culture interwoven with memo- ries of a love that didn't last. It's a mus- cular power ballad, and Huffs production suits contemporary country radio, yet has little touches that recall classic Southern-rock ballads.
There's almost a George Strait-meets- Lynyrd Skynyrd vibe going on; it's a framework that suits Cyrus' persona as a strong but sensitive Southern male. He turns in an excellent vocal performance on this tune which he penned with Don Von Tress and Michael Joe Sagraves , with his voice balancing both gritty acceptance and heartfelt regret. Cyrus' TV show, Doc, just got picked up for a second season. Country programmers should remember that music is his first love and country radio his first home.
Onaly Music. Unrwersal- PolyGram Publishing. Green Wagon Music. Wright has always been an affecting vocalist, but on the way to developing her own musical identity, she seems to have been blinded by potential pop crossover success. So instead of a strong contemporary country record, what we have here is a big, fluffy pop con- fection lacking lyrical substance or musi- cal depth.
It's just a syrupy mess. The production has a going-for-broke kind of bombastic feel, and as Wright tries to soar vocally on the chorus, she just sounds Like she's all revved-up with nowhere to go. After all, you can't sink your teeth very far into cotton candy.
This is the title cut and first single from her next MCA album — and is certainly a far cry from such previous offerings as "Single White Female" and the poignant "It Wax. It's a gor- geous, lush midtempo song that pays hom- age to Scott's hometown of Philadelphia. Scott matches the warm summer groove as she reminisces blissfully about her special someone. While "Brown Skin" is not as instantly infectious and doesnt possess the same crossover appeal as breakthrough single "Video.
The daughter of Bn Halldorsson, one of her nation's most-revered pop stars. There's class written all over this one. P Brown. This is a perfect cut to slide between a song by Creed and Cold, but it could have a place at active rock stations as well.
An ideal introduction to a hand that deserves crit- ical attention. Island CO promo Now that the early '90s are becoming retro territory, it's good that U. The new album. Its title track, the leadoff single, weaves a funky bassline with some old-school ana- log synths. Rob Birch's stream-of-con- sciousness rap gets buried in the mix at times, which is appropriate, since the words here are secondary to the groove. The song doesn't have the hook of the group's early-'90s hits "Connected" or "Elevate My Mind"; in fact, it doesn't have much of a hook at all, but the fat bassline keeps the cut moving and binds every- thing together into a nice, funky package.
Before devel- oping her triple-A-ready folk-rock sound, I. M Clark. The uptem[H verses feature Mid- ler in various indiscreet scenarios with men, all of which lead to the question, "In these shoes? This slick mid- tempo track is truly a standout slice of pop pie. Nigel Dick is shooting the video for the track, further demonstrating Priority's commitment to breaking this appealing blonde.
Top 40, you'll know why with one listen. It's great to see Midler cut way loose, after the glossy demeanor of her previous efforts from cur- rent set Bette. The guys start with an abrasively funky rhythm, topping it with the smooth sounds of an early s vintage electric piano, like blue cheese on spicy buffalo wings. The lyric has a social message, com- paring the government to strippers, and uses plenty of strip-club innuendo, of course. The motif is certainly amenable for the marketing department; The video sup- ports the track with some R-rated cine- matography, and N.
The Neptunes have shown their prowess in the studio, so it's good to see them handle their own project. From her Concord Jazz debut comes this mellow, melodious track, the sole selection on which the artist per- forms a lead vocal.
With help from vocalist Lynn Mabry, Sheila E. With co-writer Renato Neto's taste- ful keyboard work dancing lightly around the vocal, Alex Al's funky-but-smooth bass, anil Sheila E. Incorporat- ing a mariachi horn sample with a dark bassline, trio members Jesse Gonzalez, Brett Buldin, and DJ Dave Jams drop typ- ical party and women-obsessed lyrics over the track's dark groove. The song, original- ly released as an independent inch in Is already catching on in the group's home state and could become a staple at mix-show radio nationwide.
Send review copies to Chuck Taylor Billboard, Broadway. It currently stands at No. Other songs, such Ms. Toi has earned respect from fans and fellow artists.
Toi toured with Dr. Dre, Ice Cube, and others on the Up in Smoke tour. The label created 75, bio cards to satisfy fan curios- ity about the tour's only female per- former, the now year-old Chicago- born Toikeon Parham.
Other guests include E, who spits on "Work a Twist," produced by Mike City and rumored to be the second sin- gle. Nelly and the St. Lunatics spar on the melodic, laid-back "Be Like Me. It was released to radio April 24 following its April 8 vinyl-only commercial release.
National release of the accompanying video kicked in April 23 with regional servicing beginning April Marc Klasfeld directed the role-reversal video. Much has changed for Ms. Toi — ini- tially signed to now-defunct Red Ant — who grew up in Los Angeles and won a trophy at a local showcase after performing her first rhyme.
Toi embarked ms toi on a solo journey, working with such acts as Sole and producers Terry Lewis and Jimmy Jam. Through- out May, street teams have distrib- uted fliers, CD samplers, bio cards, and stickers in more than 20 mar- kets. An extensive print campaign runs through June, complemented by release parties, TV advertising, and a possible club run, as well as an upcoming interview and e-card campaign via Vibe. In addition to his dad — who says, "I kind of oversee Romeo when he writes to make sure he's going in the right direction" — Lil' Romeo uses other family members as a sounding board for his music.
In , Chopmaster, Shakurs former Digital Underground mate, produced the track project, which contains the earliest-known studio recordings featuring Shakur.
Kelly and Ste- vie Wonder," she says. I mean, I was gassed up when I got the chance to meet Johnnie Cochran. But the no-holds-barred artist hasn't exactly been twiddling her thumbs since signing with the label in Together since , the pair first made a joyful noise through their w 7 ork with such gospel singers as Hezeki- ah Walker and Karen Clark-Sherard — earning 10 Stellar Awards along the way.
I don't want to be a write-off. II," featuring rapper Fabolous — it sounds as though there's not much chance of that happening. Asked about the recent debuts of fellow- soul sistahs Sunshine Anderson and Syleena Johnson, Mo says, "I'm not knocking anyone else's hustle.
I'm just dealing with me: still paying my dues, writing songs about real situations where women are holding it down. But I also try to have fun. Also slated to perform is Dupri protege Lil' Bow Wow. The artist's next project is to be released at the end of September.
There's also Dupri's new solo album, Instructions, coming mid-September. C d: fifj. Neil Levine, VP of urban marketing and artist development, says the two are working on a new Naughty by Na- ture record that will be released early in the fourth quarter. The group's third member, KayGee Keir Gist , will be producing some tracks for the group, says Levine, though he is no longer officially a member of the group. They still really have it," says Levine. The long-awaited sophomore album by tha Dogg Pound is set for a July 31 release on Death Row Records — some six years after the duo's debut, the multi-platinum Dogg Food.
C Cassette single available. Ml Cas- sette maxi-single available. TJ Vinyl man-single available V Vinyl single avaiiabe. Since BDS merges remixes of titles, they may affect posi- tioning and account for some chart fluctuation. More than half of the titles in the top 10 have been remixed, including the No.
Kelly, which was origi- nally a solo track and features Jay-Z on the remix. Lil' Mo's "Superwoman Pt. Independent women also call for help sometimes, as Destiny's Child did with Da Brat for an edition of "Survivor" Columbia. This issue's Hot Shot Debut track at No.
As stated last week, a remix can often resuscitate a record, as is the case with "Behind the Walls" Avatar , which jumps An album cut on the Oz soundtrack, "Behind the Walls" by Kurupt Featuring Nate Dogg spent 15 weeks on the chart before experi- encing a renaissance, partly due to the release of a vinyl maxi remix featuring Shyne. It also features an unre- leased track by the late Tupac Shakur. Dre-produced "Just Doggin'," with Nate Dogg.
Distribution North Amer- ica will distribute the album. The film, which is about the Los Angeles riots, is slated for release next spring. Co-exec- utive-produeed by Sean "P. Diddy" Combs, the Rev. Kee, and Fred Hammond. Black Knight is the label's first West Coast signing. To that end, it has launched a project to identify, acquire, and preserve mate- rials that will help document that legacy.
The center's Hip-Hop Project wants to create a comprehensive col- lection of manuscripts including lyric books and fliei's , photographs, art, and audio- and videotapes.
DIDDY 8. Fl ii. K KiNGi. S B SSu. DV oi '" 26 www. JUNE 9, Ho! A AAA. Urn, 'ilM,. Tnst ',-i. T, T Loci Sarrror. Wi v i-. Ini-A:: aa. AMi '-'A. VI T- LH-L'. Vi A' JAR. INKS- : J-. Vh Bla:. M RMl I'-,1. ASCAP l:iiiliiiu-,. A[ i :'l'.. Yuiu i :. PAIN 8. This is an album parents can feel good about buying for their kids. Being pressed into service this fall iu-e Lil' Romeo backpacks, book cov- ers, and pencils. In addition to doing some spot dates on the current 'N Sync tour, as well as some shows with teen singer Aaron Carter in June, Lil' Romeo will be featured in a half- hour special on Nickelodeon's Teen Mick concert series.
It bows July 1, with repeat broadcasts throughout the summer. It's been in our top five ever since. Intertwining live instrumentation and savvy electron- ics, the lively and spirited track becomes one with the wonderfully sweet vocals of. Tajianoso newcomer bird. Depending on your mood, there's the soulful Main mix, jumpin' M. If so, and if you seriously need some of that off-kilter sparkle, go Urectly to "Space Station. In the process, "Masquerade" becomes "Maskeradc. Prior to meeting face to face, the two swapped music and lyrics.
It was all a ray interesting process, especially since I had this hardcore way of thinking. But when I heard Carol's vocals, my music began taking on a different life, full of twists and turns.
Her voice offered me and my music a whole new perspective. By feeding off each other musi- cally, both of our minds opened. We both discovered that we weren't afraid to try new things. I'd placed her things inside the tin box and buried it out there late one night by flashlight, too scared to leave them hanging around in my room, even in the back of a draw.
I was afraid T. Ray might go up to the attic and discover her things were missing, and turn my room upside down searching for them. I hated to think what he'd do to me if he found them hidden among my stuff. Reader Reviews. An unforgettable epic shortlisted for the Booker Prize, and named a best book of the year by the New York Times.
BookBrowse seeks out and recommends the best in contemporary fiction and nonfiction—books that not only engage and entertain but also deepen our understanding of ourselves and the world around us. Subscribe to receive some of our best reviews, "beyond the book" articles, book club info, and giveaways by email. Debut Author. Write a Review. Very high on Ranglin's agenda was to seriously study the guitar; something not on the school's priorities.
His lessons came from guitar books and late-night sessions watching the Jamaican dance bands of the time: he was particularly influenced by Cecil Houdini, an unrecorded local musician. By the time he was sixteen years old, Ranglin was acknowledged as the rising young talent in the city.
In he joined his first group, the Val Bennett Orchestra, playing in the local hotels. Such was Ranglin's burgeoning reputation that he soon came to the attention of rival dance bands and, by the early-Fifties, he was a member of Jamaica's best-known group, the Eric Deans Orchestra, touring around the Caribbean and as far north as the Bahamas. The big bands gave Ranglin the hugely beneficial experience of learning how to orchestrate and arrange.
The constant tours also gave Ranglin a wider vision, meeting musicians from other traditions. Once, for instance, when he was working In Nassau his performance was heard by Les Paul, who gave Ranglin a guitar In admiration of his talents. For a complete listing of songs used in this show movie, see IBDB song list.
House of Flowers , the musical, is based on Capote's story of the same title which was a success for the young author having won an O'Henry award for it in The story had its origins in Capote's travels to Haiti and his visits to the bordellos of its capital Port-au-Prince. Somewhat later he turned it into a play and sent it to the producer Arnold Saint Subber later known only as Saint Subber.
Even though Saint Subber had been charmed by "House of flowers" and had long been interested in Capote's writing, the play remained unproduced. Eventually, in , the producer got the idea of making what had been intended as a straight drama into a musical and sent an early draft to Harold Arlen for his consideration. Arlen, however, was familiar with Capote's name as well as his work and initially felt, although he admired Capote, he was not the one to write the music for House of Flowers. Only after he reread the play several times was he drawn more and more into the Haitian ambience and folk culture until he couldn't resist giving it a try.
Perhaps the most intriguing part of the collaboration between the members of this rather odd couple mischievous, imp like writer and blues oriented composer was the fact that for the first few months they remained thousands of miles apart. Arlen was living in California, Capote in Rome. The novitiate lyricist would mail a line here and there to Arlen who would respond by sending him "homemade phonograph records" on which Arlen could be heard playing passages that might fit this or that line, or even with Arlen singing and playing words and music together.
Arlen would also include on the recording new ideas for Capote to consider. Arlen's source for the melody was an unused song he had written earlier for a film. The lyric he sings to Capote on the recording on which he introduces himself to Capote, he calls " a dummy lyric " one that is supposed to be a stand-in for the final version turns out to be very close to what is used in the final version of the song.
Arlen Sings to Capote;. When a bee lies sleepin' In the palm of your hand, And true love comes a-creepin' And your heart understand. Jablonski, p. Speaking on the recording Arlen says to the writer, "Introducing little ol' me, Harold" and goes on to explain that he feels what he has sung would be good for the scene with Ottilie and the Houngan witch doctor. He continues, "I am sure the tune has enough quality and captures the mood" and will "set quite a charming key for Miss Ottilie.
Guitar — Calvin Newborn. Only 1, copies pressed! Bass — Jamil S. Gleason; released A very excellent album. Netherlands and US and France. Piano — Ahmad Jamal. Smith Piano — Ahmad Jamal. I was delighted to learn that the father of a childhood friend from Cincinnati was once a professional musician, whose chosen instrument was the saxophone.
WeirdWildRealm serves up a little history about Snader films, in general, and this one, in particular:. Tony was a top sax man shown wearing black in the opening scene, sharing a sax duet with a bandmember.
Very nice. The Census thanks to Ancestory. Milton served a stint in the Army and The U.-late 60s: miles begins to take more interest in rock, soul & funk music as sound changes again he replaces his quintet and new musicians that will allow it to develop -John Coltrane in the s -pre hard bop, prior to wiles was gifted hard bop tenor saxophonist, had a gift for thematic development taking one idea and wringing.