Is Conformism Killing Music?
I look around me and the Desi music industry is full of sheep...WHY? Where is our Bob Marley, Our Beatles, Our Biggie or Tupac for gods sake!!
What do you think? When I'm in love with my roots and desi culture its the greatest feeling on earth - But other times my roots and culture make me angry - to be exact its the Conformism in desi culture that gets my creative blood boiled.
I meet producers, artists, etc all the time and they name check artists famous for being innovative, looking different, creating new ways of doing music and cite them as hero's....then when I look at their own art I am struck by how conservative it is and how sheep like they are in their own endeavors...it does my head in!!!
One only has to look at 90% of Bollywood to see that desi culture and art is mostly (not exclusively) about following and NOT bucking the trend....Damn most Bhangra producers look up to original artists then come out with an album which sounds like the other 99% of albums out that year (they even rerecord the same songs again!) and make videos without an ounce of creativity......(or worse - videos that look good but were done first in the non-desi world in the early nineties!)..
..What is it??? Is it just us? Do our roots and culture make us conformist sheep??? I am slowly coming to the conclusion that YES it is exactly that....someone help me please I'm having a periodic cynical depressive attack on the very music and people I have dedicated my life to since I was fifteen...(Boo Hoo)
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What do you think? When I'm in love with my roots and desi culture its the greatest feeling on earth - But other times my roots and culture make me angry - to be exact its the Conformism in desi culture that gets my creative blood boiled.
I meet producers, artists, etc all the time and they name check artists famous for being innovative, looking different, creating new ways of doing music and cite them as hero's....then when I look at their own art I am struck by how conservative it is and how sheep like they are in their own endeavors...it does my head in!!!
One only has to look at 90% of Bollywood to see that desi culture and art is mostly (not exclusively) about following and NOT bucking the trend....Damn most Bhangra producers look up to original artists then come out with an album which sounds like the other 99% of albums out that year (they even rerecord the same songs again!) and make videos without an ounce of creativity......(or worse - videos that look good but were done first in the non-desi world in the early nineties!)..
..What is it??? Is it just us? Do our roots and culture make us conformist sheep??? I am slowly coming to the conclusion that YES it is exactly that....someone help me please I'm having a periodic cynical depressive attack on the very music and people I have dedicated my life to since I was fifteen...(Boo Hoo)
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This Weeks Top 5....And why....
Let me explain why i consider the following tracks to be the best 5 tracks on the Friction show this week...
Friction's Top Five Tracks
1. Fusing Naked Beats - 'Elation' (Just Play Records)
Fusing Naked Beats back to doing what he does best - Four to the Floor house music with a Desi attitude. Reminds me of Zeenat Aman dancing in Qurbani - but during an episode of Skins!
2. Tigerstyle feat. Amrik Babbal – Maan Doabe Da (Soldier Sound Recordings)
Surely this is the best track Tigertsyle have ever done? Better than 'Mela Vich Vadja Dhol' maybe? (yes!) - it has power, confidence and a killer vocal. Real Desi Bhangra that somehow manages to sound like its from the Punjab first...not Scotland
3. Plantlife – Love Toy (Easy League Ent)
Of all the modern artists who have been influenced and/or sound like Prince this lot have nailed it on the head. Dirty, Sexy & Funny - Where's me high heels?
4. Ishq Bector – Aye Hip Hopper (Times Music)
NOTHING on my playlist is as addictive as this at the moment. First it sounds like a Nursery Rhyme - then after a few listens it sounds like Satire - then after more listens you realise its Genius fuelled Irony wearing the cloak of brilliant production. I can hear her singing it now ...."Aye Hip Hopper..."
5. G*FAM – G Who? (G*Fam Music)
Def 1 (part of G*Fam) was the man behind 'Hustle Everyday' - and his love of mixing classic Bollywood samples with UK Hip Hop hasnt diminished at all. This track is a bonafide single with a chorus that you can find in your white blood cells DNA...!
So whadda ya reckon - Whats your current Top 5?
Friction's Top Five Tracks
1. Fusing Naked Beats - 'Elation' (Just Play Records)
Fusing Naked Beats back to doing what he does best - Four to the Floor house music with a Desi attitude. Reminds me of Zeenat Aman dancing in Qurbani - but during an episode of Skins!
2. Tigerstyle feat. Amrik Babbal – Maan Doabe Da (Soldier Sound Recordings)
Surely this is the best track Tigertsyle have ever done? Better than 'Mela Vich Vadja Dhol' maybe? (yes!) - it has power, confidence and a killer vocal. Real Desi Bhangra that somehow manages to sound like its from the Punjab first...not Scotland
3. Plantlife – Love Toy (Easy League Ent)
Of all the modern artists who have been influenced and/or sound like Prince this lot have nailed it on the head. Dirty, Sexy & Funny - Where's me high heels?
4. Ishq Bector – Aye Hip Hopper (Times Music)
NOTHING on my playlist is as addictive as this at the moment. First it sounds like a Nursery Rhyme - then after a few listens it sounds like Satire - then after more listens you realise its Genius fuelled Irony wearing the cloak of brilliant production. I can hear her singing it now ...."Aye Hip Hopper..."
5. G*FAM – G Who? (G*Fam Music)
Def 1 (part of G*Fam) was the man behind 'Hustle Everyday' - and his love of mixing classic Bollywood samples with UK Hip Hop hasnt diminished at all. This track is a bonafide single with a chorus that you can find in your white blood cells DNA...!
So whadda ya reckon - Whats your current Top 5?
Songwriters Resource Network
Songwriters Resource Network is a trusted news and education resource for songwriters, song lyricists and music composers.
The mission of Songwriters Resource Network is to inform and empower songwriters by providing reliable information about all aspects of songwriting, lyric writing, composition and music publishing.
Our goal is to help aspiring songwriters improve their songwriting craft, find contacts and opportunities, and succeed in the music business.
Songwriters Resource Network provides:
* Up-to-date and informative articles on the craft and business of song writing
* Educational and networking opportunities to help songwriters open doors in the music business
* Events to promote and celebrate the art of song writing, lyric writing and music composition
WHO WE ARE:
Songwriters Resource Network is composed of professional-level songwriters, recording artists, song publishers, music producers, songwriting educators and music-industry professionals. Each supports nonprofit organizations for songwriters. Each shares their songwriting expertise and experience to help talented, motivated songwriters. (SRN Mission Statement)
Songwriters Resource Network is free to songwriters, lyricists and composers. No membership is required.
WHAT YOU'LL FIND:
* Helpful tips on how to write songs and market your music. Educational articles on lyric and song writing.
* Hundreds of music-industry contacts, including song publishers seeking great songs and music
* Free ads for songwriters seeking music producers and song publishers
* Free ads for song lyricists seeking music composers and composers seeking skilled lyricists
* Tips and articles on how to get heard. Advice on how to connect with established song publishers
* How to find opportunities in film, television and advertising
* How to copyright songs and copyright music.
* How to find song writing and music publishing opportunities
* How to find song writing partners, song publishers, music producers and recording artists
* Opportunities to get your songs heard: Recommended songwriting contests, annual Lyric Writing contest and Instrumental competition for music composers
MARKETING YOUR SONGS:
Songwriters Resource Network provides educational tools to help talented, motivated songwriters find success in the music business.
The actual work of promoting your music and marketing your songs, however, is up to you.
Nobody is likely to undertake the demanding job of marketing songs for songwriters who lack basic understanding of how the music business works. Songwriters must be willing to market their own songs to be successful.
THE BOTTOM LINE:
Talent and skills are necessary to achieve success as a songwriter, a lyricist or a music composer. However, educating yourself about the music business, building a support network and learning to market your songs are equally important.
Look around this website. Study articles that relate to your specific interests in song writing. Learn about music publishing and the music business. Find opportunities to network with other songwriters, musicians, lyricists and music composers.
Reach out to people who can help you. Create opportunities to show your work. Let people know your song writing goals. Listen to suggestions and learn from feedback you receive.
To become a professional songwriter, devote as much time and energy to songwriting as you would to any other profession. After all, it's no easier to become a songwriter than it is to become a teacher, car mechanic, dental hygienist or pilot. Each requires applied study, aptitude and commitment.
Finally, whether you write songs for personal enjoyment or professional ambition, your musical voice and your songs are uniquely your own. Only you can give them life.
The mission of Songwriters Resource Network is to inform and empower songwriters by providing reliable information about all aspects of songwriting, lyric writing, composition and music publishing.
Our goal is to help aspiring songwriters improve their songwriting craft, find contacts and opportunities, and succeed in the music business.
Songwriters Resource Network provides:
* Up-to-date and informative articles on the craft and business of song writing
* Educational and networking opportunities to help songwriters open doors in the music business
* Events to promote and celebrate the art of song writing, lyric writing and music composition
WHO WE ARE:
Songwriters Resource Network is composed of professional-level songwriters, recording artists, song publishers, music producers, songwriting educators and music-industry professionals. Each supports nonprofit organizations for songwriters. Each shares their songwriting expertise and experience to help talented, motivated songwriters. (SRN Mission Statement)
Songwriters Resource Network is free to songwriters, lyricists and composers. No membership is required.
WHAT YOU'LL FIND:
* Helpful tips on how to write songs and market your music. Educational articles on lyric and song writing.
* Hundreds of music-industry contacts, including song publishers seeking great songs and music
* Free ads for songwriters seeking music producers and song publishers
* Free ads for song lyricists seeking music composers and composers seeking skilled lyricists
* Tips and articles on how to get heard. Advice on how to connect with established song publishers
* How to find opportunities in film, television and advertising
* How to copyright songs and copyright music.
* How to find song writing and music publishing opportunities
* How to find song writing partners, song publishers, music producers and recording artists
* Opportunities to get your songs heard: Recommended songwriting contests, annual Lyric Writing contest and Instrumental competition for music composers
MARKETING YOUR SONGS:
Songwriters Resource Network provides educational tools to help talented, motivated songwriters find success in the music business.
The actual work of promoting your music and marketing your songs, however, is up to you.
Nobody is likely to undertake the demanding job of marketing songs for songwriters who lack basic understanding of how the music business works. Songwriters must be willing to market their own songs to be successful.
THE BOTTOM LINE:
Talent and skills are necessary to achieve success as a songwriter, a lyricist or a music composer. However, educating yourself about the music business, building a support network and learning to market your songs are equally important.
Look around this website. Study articles that relate to your specific interests in song writing. Learn about music publishing and the music business. Find opportunities to network with other songwriters, musicians, lyricists and music composers.
Reach out to people who can help you. Create opportunities to show your work. Let people know your song writing goals. Listen to suggestions and learn from feedback you receive.
To become a professional songwriter, devote as much time and energy to songwriting as you would to any other profession. After all, it's no easier to become a songwriter than it is to become a teacher, car mechanic, dental hygienist or pilot. Each requires applied study, aptitude and commitment.
Finally, whether you write songs for personal enjoyment or professional ambition, your musical voice and your songs are uniquely your own. Only you can give them life.
Mr. Big
Mr. Big combined two popular musical trends of the rock scene in the 1980s: a particular brand of hard rock, often referred to as cock-rock, focused on melodies and listener-friendly choruses, and impressive technical proficiency, then called shredding. The seeds for the group were sown when bass player Billy Sheehan (bass guitarist for guitarist Steve Vai) left David Lee Roth's solo band (also with Vai) in 1988. Almost immediately after his exit, Sheehan began piecing together a new outfit, with the help of Mike Varney from Shrapnel Records, a label specialized in the shredding genre. However, what Sheehan did not know was that he was about to form one of the most revered "supergroups" to come out of America.
The band, now managed by former Journey and Santana manager Herbie Herbert, was composed of Shrapnel artist and former Racer X guitarist Paul Gilbert, Pat Torpey on drums, and singer Eric Martin, who had a number of album releases throughout the 1980s with his Eric Martin Band. By 1989, the newly formed quartet had already inked a recording contract with Atlantic, resulting in the release of a self-titled debut the same year. Despite causing a buzz amongst musicians, the album failed to cross over to a mainstream rock audience stateside; however, Mr. Big was an immediate smash success overseas in Japan.
The band's breakthrough came with their second album, Lean Into It, in 1991. It featured two ballads that established the band as a commercial success: "To Be With You" and "Just Take My Heart", as well as rock songs that remained as staples of their live set for years to come, such as "Green-Tinted Sixties Mind". Other releases followed, Bump Ahead in 1993 and Hey Man in 1996, but the band never replicated its earlier success in the US market. The song "Take Cover" was included on the soundtrack to the cartoon series Mega Man released in 1995, which is based on the best selling video game franchise of the same name by Capcom, and was played during the end credits of the episodes "Bad Day At Peril Park" and "Mega X". In Japan, on the other hand, they continued to sell out tours, resulting in a number of live releases for the Japanese market throughout their career (from Raw Like Sushi in 1990 to Mr. Big In Japan in 2002).
Paul Gilbert left the band in 1997 to pursue a solo career and eventually reform Racer X. Richie Kotzen, another Shrapnel artist and former guitarist for Poison, was brought in to take on guitar duties, also contributing occasional vocals. Two studio albums were released by this lineup: Get Over It in 2000 and Actual Size in 2001, which featured the single "Shine", used as the ending theme in the animation series of Hellsing.
Tensions in the band led to their demise—contractual obligations for yet another Japanese tour were fulfilled in the form of a "farewell tour". The multi-million record-selling band broke up in 2002, many years since their last US hit, but while still enjoying great popularity in Japan. All of the former members have gone on to other projects in the music industry.
The band also contributed the soundtrack to the 1993 Sega Mega CD release of The Amazing Spider-Man vs. The Kingpin.
On May 7, 2008, a Mr. Big "almost-reunion" took place at guitarist Paul Gilbert's solo show at the House of Blues in West Hollywood, California. Paul invited his former MR. BIG bandmates Billy Sheehan and Pat Torpey, along with fellow ex-Mr. Big guitarist Richie Kotzen (he joined the band as Paul's replacement) to his stage and they played two songs: "30 Days in the Hole" (Humble Pie song with Kotzen on vocals), and "Daddy, Brother, Lover, Little Boy" (with Gilbert and Mike Szuter from Paul's band on vocals).
The band, now managed by former Journey and Santana manager Herbie Herbert, was composed of Shrapnel artist and former Racer X guitarist Paul Gilbert, Pat Torpey on drums, and singer Eric Martin, who had a number of album releases throughout the 1980s with his Eric Martin Band. By 1989, the newly formed quartet had already inked a recording contract with Atlantic, resulting in the release of a self-titled debut the same year. Despite causing a buzz amongst musicians, the album failed to cross over to a mainstream rock audience stateside; however, Mr. Big was an immediate smash success overseas in Japan.
The band's breakthrough came with their second album, Lean Into It, in 1991. It featured two ballads that established the band as a commercial success: "To Be With You" and "Just Take My Heart", as well as rock songs that remained as staples of their live set for years to come, such as "Green-Tinted Sixties Mind". Other releases followed, Bump Ahead in 1993 and Hey Man in 1996, but the band never replicated its earlier success in the US market. The song "Take Cover" was included on the soundtrack to the cartoon series Mega Man released in 1995, which is based on the best selling video game franchise of the same name by Capcom, and was played during the end credits of the episodes "Bad Day At Peril Park" and "Mega X". In Japan, on the other hand, they continued to sell out tours, resulting in a number of live releases for the Japanese market throughout their career (from Raw Like Sushi in 1990 to Mr. Big In Japan in 2002).
Paul Gilbert left the band in 1997 to pursue a solo career and eventually reform Racer X. Richie Kotzen, another Shrapnel artist and former guitarist for Poison, was brought in to take on guitar duties, also contributing occasional vocals. Two studio albums were released by this lineup: Get Over It in 2000 and Actual Size in 2001, which featured the single "Shine", used as the ending theme in the animation series of Hellsing.
Tensions in the band led to their demise—contractual obligations for yet another Japanese tour were fulfilled in the form of a "farewell tour". The multi-million record-selling band broke up in 2002, many years since their last US hit, but while still enjoying great popularity in Japan. All of the former members have gone on to other projects in the music industry.
The band also contributed the soundtrack to the 1993 Sega Mega CD release of The Amazing Spider-Man vs. The Kingpin.
On May 7, 2008, a Mr. Big "almost-reunion" took place at guitarist Paul Gilbert's solo show at the House of Blues in West Hollywood, California. Paul invited his former MR. BIG bandmates Billy Sheehan and Pat Torpey, along with fellow ex-Mr. Big guitarist Richie Kotzen (he joined the band as Paul's replacement) to his stage and they played two songs: "30 Days in the Hole" (Humble Pie song with Kotzen on vocals), and "Daddy, Brother, Lover, Little Boy" (with Gilbert and Mike Szuter from Paul's band on vocals).
Metallica
No doubt if the name band Metallica, labeled as one of the legendary band and sandstone. So, if Metallica is sepatutnyalah receive the award, which is the world.
Now, the name of the band dipunggawai James Hetfield (vocal and guitar), Kirk Hammet (guitar), Robert Trujillo (bass) and Lars Ulrich (drums) are nominated to enter Rock and Roll Hall of Fame 2009 future.
In addition to Metallica, there are other legendary bands, such as hip-hop dedengkot Run DMC, old punk band bergenre The Stooges, Chic, and guitarist Jeff Beck.
Owner hits' Nothing else Matter 'will compete with other musicians compete for five places. Previously some time ago, Metallica was also eligible to receive the award at the prestigious place.
For musicians and bands that want to diabadikan it, most do not have to be perfect during the 25 years since the release of their first single.
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