Stefanos Prinos - Drum Clock

!±8± Stefanos Prinos - Drum Clock

Πρόγραμμα για Μαθήματα Ντραμς/Θεωρητικών(Θεωρίας - Αρμονίας)/Μουσικής Τεχνολογίας -(mathimata Drums)- Drum/Theoretical(Theory - Harmony)/Music Technology Lessons Schedule : blogs.myspace.com Become a Fan on Stefanos Prinos' Supporters Webpage : www.facebook.com Become a Follower on Stefanos Prinos' News Webpage : www.twitter.com - Music piece Drum Clock named like this, because in the beginning and the end of it, Drum Set sounds like a mechanic clock. Drum Clock parts include drum techniques such as Hi Hat Openings, Double Strokes, Cross Sticking, Double Bass Drum Pedal, Rim Playing and many more. - Το μουσικό κομμάτι Drum Clock ονομάστηκε έτσι, λόγω της μίμησης του ήχου μηχανικού ρολογιού από το Σετ Τυμπάνων, την οποία συναντάμε στην αρχή και στο τέλος του κομματιού. Τα διάφορα τμήματα του Drum Clock περιλαμβάνουν τεχνικές των Ντραμς όπως Άνοιγμα Hi Hat, Διπλά Κτυπήματα, Διασταυρούμενες Μπακέτες, Διπλό Πετάλι Μπότας, Παίξιμο στα Στεφάνια και πολλές άλλες. Drum Clock : All music by Stefanos Prinos. Produced by Stefanos Prinos.

Stefanos Prinos - Drum Clock

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!±8± High Powered Rocket Boots

Thrown forward as one of the greatest self made singer/songwriters of the twentieth century, Elton John was, to most, that geeky, yet overly flamboyant looking guy in 'larger than life' sized spectacles jumping wildly at a piano. Forever set in ebony and ivory along side the likes of Billy Joel and Stevie Wonder, these men were the innovators of the legendary MOR, or as we lesser mortals know it, 'middle-of-the-road' music.

After tripping over the writer, Bernie Taupin in 1967, the two were soon to become almost as household as the Lennon and McCartney machine. Shelling out bluesy rock, to prog, to slow, wrist slashing ballads was easy for the song writing duo and the uncontrollable mixture of the 1973 album, 'Goodbye Yellow Brick Road,' was no exception.

By the time of it's release in October that year, Elton John had already enjoyed the splendour of having achieved one previous number one album, the undisputedly exceptional 'Don't Shoot Me I'm Only The Piano Player,' in February 1973 and five top ten singles. 'Goodbye Yellow Brick Road,' was just another number one album it would have seemed, both over her and 'over there,' where, in the U.S, it held the number one slot for an impressive eight weeks.

Presenting to us a Lowry tinged illustration on the front cover, Ian Beck provides, in my mind, the perfect setting for the musical content within. Showing us young 'Elt' stepping through a torn poster to another world, not unlike Dick Van Dyke in 'Mary Poppins,' it features a dazzling pair or red platform boots and a small wind up piano. Faded, deliberately, this album showed, even on first release, all the makings of what a classic album should look like. It is, a known thing that all the greatest albums ever recorded had such uniquely presented album covers. I can't think of an album where this has not been the case.

This colourful album, in more ways than one, certainly can justify it's proud place as being one of those great albums of all time. Lavish in it's content, it glides through every possible genre worth trying. It proves to us that his music, only actually found in those early years, could be just as outrageous as his growing wardrobe. Mismatched and inconsistent it may be to the expertly trained ear, yet these little epics of genius observations over ride this potentially disastrous point and allow the album to stand a distinguished place in any diverse record collection.

However, on the flat side, it is dated and this is always a tough concept for a classic album to shake off. Many a listener under the age of thirty will happily dismiss this perfectly formed album as one of those records best left to Dad's reflective moments, but even still, there is a lot to be learned from this dangerously arrogant legend in his young, free spirited youth. Let us not forget either, that this was Elton in his expressive, 'couldn't-give-a-monkeys' era and long, long before the dreaded cartoon sound tracks.... Anything pre that first fateful collaboration with Sir Tim Rice, is worth listening to.

The first double album to have been produced by the artist, and agonisingly, not the last opens with the depressingly titled, 'Funeral For A Friend.' Introducing us to the very depressing bells, wind noises and organs that one would expect at a truly sad occasion, what we eventually hear is something, somewhat along the lines of Rick 'The Rock Wizard' Wakeman. It is Elton's attempt at prog rock, 'Yes' style. Entwining swirls of screeching synths and whining guitars, it is a classic example of prog rock at it's probable worst. Not everyone's cup of tea, yet if The Alan Parsons Project lurks unintentionally within your record collection, then you should be pleasantly surprised.

'Love Lies Bleeding,' opens up the show which we will familiarise as the glam rock' spirit of John in the glitter boot seventies. Other tracks on this same tinsel wrapped theme will present themselves as 'Grey Seal,' the tongue in cheek lesbian themed, 'All The Young Girls Love Alice,' the uncomfortably fast 'Your Sister Can't Twist,' and the ever impressive, 'Saturday's Alright For Fighting.' Yes, but not in those platforms, you don't....

The reflective bug, that not just waves over Father's across the world, also gave Elton John a quick slap on the back when we hear a strong throw back to the mellow, melodic 1972 album 'Honky Chateau,' in the tracks titled 'Harmony,' 'Social Disease,' and the biographical Monroe theme, 'Candle In The Wind.' These tunes, laced heavily with piano backing and lazy lyrics are probably the best of Elton John's ballad work. Somehow, in those early years, he could create a soothing, yet dangerously meaningful song with very little around him. The only difference here, in the album as opposed to 'Honky Chateau,' is the featured element of strings. Given to these ballads in 'Goodbye Yellow Brick Road,' they result in a fullness and polished sound, thus pounding out the future path for famous John ballads and we came to love and hate. I personally enjoyed the slightly raw approach to the songs from 'Honky Chateau,' but it is, down to personal preference.

Reggae (I can see you cringing!) also makes a guest appearance on this eclectic album, although we are relieved when Elton decided not to take up the calypso way of life permanently. Strangled beyond recognition, the reggae, as we would know it, is trying it's best to break out of the John piano mould.
Intended as a pun about a certain incident whilst recording the album from a Jamaican studio refusing to co operate, the track doesn't work for me. Having said that, we must appreciate that this was as experimental that this songwriter was ever going to get after this moment, so we forgive him, just this once. 'Jamaican Jerk Off,' being the title, perhaps says it all about the general feeling of hardship being stuck in a hotel room writing, instead of being in a studio that simply would not play ball.

We can enjoy this musical roller coaster ride with great enthusiasm when noting it's time and it's artist. Surprisingly un commercial, it was complete breathing space for the artist at the most creative time of his life. Swamped in his later years by too much money and a regimental industry, artists over a certain age are simply not allowed to be free thinkers, well, not today anyway. Perhaps what we have here in this album is a big, oozing slice of music history. When we also remember who was around at the time with exceptional albums; Mike Oldfield, Genesis and the irrepressible Pink Floyd, it is then that we can slot 'Goodbye Yellow Brick Road' with placid ease.

It marks a certain point in experimental time. It's just a shame that the music world today cowers at the sight of such expressiveness for there is no room for it anymore. Money and the proven fast making of the green stuff has pushed out the talent once and for all.

For this album, don a Caftan, light a joss stick and if you are a certain age, enjoy the trip back to a time when music was actually....well... music.

Music by Elton John and words by Bernie Taupin.

Elton John - piano

Davey Jonstone - Electric guitar/acoustic and backing vocals

Dee Murray - Bass and backing vocals

Nigel Olsen - drums and congas

DJM records 1973.

Recorded (eventually) at Strawberry Studios somewhere in France.

Bought on vinyl for four pounds, record collectors fair, South Coast.

©Michelle Duffy 'sam1942' 2006.

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A Brief History Of The Guitar

!±8± A Brief History Of The Guitar

Guitarists know a lot about their instruments--techniques, chords, songs etc. But what many guitarists don't know is the history of the guitar. It's understandable, because many people don't feel this helps at all in actually playing the guitar. Still, it is helpful to know everything about the instrument--including the history.

The history of guitar is a debatable topic, as there are no concrete facts about the guitar and when exactly it first appeared. What is known, though, is that guitars or similar instruments have been around for over 5,000 years. Entire books could be written about the history of guitar, so in this article, we'll just go over a timeline of how it is thought the guitar evolved.

o 1400 B.C: The Hittites play a four-string, guitar-like instrument. This four string instrument had soft, curved sides, which were somewhat similar to the current guitar. Also around this time, the Greeks produced a similar instrument which was modified by the Romans and became known as the cithara.

o By 1200 A.D.: There were two types of guitars. One type was known as the Moorish guitar (guitarra morisca). This guitar had a wide fingerboard, rounded back, and several sound holes. The type of guitar was the Latin guitar (guitarra Latina). The Latin guitar looked more like our current guitar with a narrower neck and just one sound hole.

o The late 1400's: A new guitar, called the vihuela, evolved from the two types of guitar mentioned. The vihuela was a large instrument with double the strings of the Latin and Moorish guitars, a longer neck and ten or eleven frets. The Portuguese and Spanish courts preferred the vihuela over any other instrument for roughly 200 years.

o Until the late 1600's: The vihuela, and another instrument called the lute, were more popular than the guitar. This changed when the popularity of the lute declined because it had too many strings and was too hard to play and tune. The vihuela was replaced by four and five course guitars of that time. Four course guitars had seven strings--a single high string and three pairs of other strings--while five course guitars had nine strings--a single high string and four pairs of other strings. Some feel that the addition of the fifth course during the 16th century, which gave the guitar greater flexibility, was the reason why the guitar became popular.

o By the beginning of the 1800's: Some guitars used fan struts under the soundboard and featured six strings (like the modern guitar). Also changed during this time was the neck (which was raised), the fingerboard (which used ebony or rosewood), and the tuning pegs (which were replaced with machine tuners). Guitars like these are most similar to early classical guitars.

o By the late 1800s: A man named Antonio Torres Jurado changed the guitar dramatically by refining the strutting of the guitar. This allowed for as many as seven struts to be spread out like a fan under the soundboard. Additionally, the size of the body and the width of the neck were greatly increased. As a result of Jurado's improvements, the guitar had greater bass response and volume. Jurado's work made it possible for the guitar to meet the demands of both the solo performer and the concert stage.

o The Present: Our modern guitar is practically the same as the one made by Jurado.

As was previously said, this is but a brief introduction to the fascinating history of guitars. If you wish to find out more on certain types of guitars, such as the history of Acoustic, Electric or Bass guitars, you can check out our articles titled "The Acoustic Guitar", "The Electric Guitar", and "The Bass Guitar".

A Brief History Of The Guitar

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