Felix Hanemann is an American singer and musician. He attended the University of New Orleans and Loyola, his joined The Salt & Pepper Conspiracy, when he was 14 yrs old. In 1972 he put together band Shepherd’s Bush with Randy Jackson as the lead guitarist. Hanemann formed the band Zebra in February 1975 with guitarist and singer Randy Jackson and drummer Guy Gelso, with Felix playing bass and backing vocals. Atlantic Records signed Zebra in 1982 and their self-titled debut record was released in March 1983; the album stayed on the Billboard charts for eight months, peaking at number 29. Zebra has continued to record and perform, going into their third decade with six albums to their credit. In 2000 Hanemann released his first solo album, entitled “Rock Candy” and in 2006 he became a member of the band Harry Slash & The Slashtones. Felix is currently the keyboardist/bassist for the popular metro New York area Led Zeppelin tribute band Hindenberg, which features fellow Slashtoner Steve "Budgie" Werner and Karl Cochran, both veterans of the Ace Frehley band amongst other endeavors.
Hindenberg's singer is Michael McEwan of A Perfect Tool
An electronic keyboard or digital keyboard is an electronic musical instrument, an electronic or digital derivative of keyboard instruments. Broadly speaking, the term electronic keyboard or just a keyboard can refer to any type of digital or electronic keyboard instrument; these include synthesizers, digital pianos, stage pianos, electronic organs and digital audio workstations. However, an electronic keyboard is more a synthesizer with a built-in low-wattage power amplifier and small loudspeakers. Electronic keyboards are capable of recreating a wide range of instrument sounds and synthesizer tones with less complex sound synthesis. Electronic keyboards are designed for home users and other non-professional users, they have unweighted keys. The least expensive models mid - to high-priced models do. Home keyboards have little, if any, digital sound editing capacity; the user selects from a range of preset "voices" or sounds, which include imitations of many instruments and some electronic synthesizer sounds.
Home keyboards have a much lower cost than professional synthesizers. Casio and Yamaha are among the leading manufacturers of home keyboards. An electronic keyboard may be called a digital keyboard, portable keyboard, or home keyboard referring to their digital-based sound generation, light-weight and portable build. In China, Japan and Southeast Asia, electronic keyboards were mistakenly referred to as an organ, due to popularity of home electronic organs in those countries and keyboards/synthesizers being considered a similar instrument. In Russia, most kinds of keyboards were often referred to as a synthesizer with no other term to distinguish them from actual digital synthesizers; the term electronic keyboard may be used to refer to a synthesizer or digital piano on colloquial usage. The major components of a typical modern electronic keyboard are: Musical keyboard: The white and black piano-style keys which the player presses, thus connecting the switches, which trigger the electronic circuits to generate sound.
Most keyboards use a keyboard matrix circuit to reduce the amount of wiring necessary. Electronic keyboards use unweighted synthesizer-style keys to save costs and reduce the weight of the instrument. In contrast, stage piano and digital pianos have weighted or semi-weighted keys, which replicate the feel of an acoustic piano. User interface system: A program which handles user interaction with controllers such as the musical keyboard and buttons; these controllers enable the user to select different instrument sounds, digital effects, other features. The user interface system includes an LCD screen that gives the user information about the synthesized sound she has selected and on tempo, effects that are activated and other features. Computerized musical arranger: A software program which produces rhythms and chords by the means of computerized commands MIDI. Electronic hardware can do this. Most computerized arrangers can play a selection of rhythms. Sound generator: A digital sound module contained within an integrated Read-only memory, capable of accepting MIDI commands and producing electronic sounds.
Electronic keyboards incorporate sample-based synthesis, but more advanced keyboards might sometimes feature physical modeling synthesis. Amplifier and speakers: an internal audio power amplifier a few watts, connected to the sound generator chip; the amplifier is connected to small, low-powered speakers that reproduce the synthesized sounds so that the listener can hear them. Less expensive instruments may have a single mono speaker. More expensive models may have two speakers producing stereo sound. Power supply: Keyboards may or may not have an internal power supply system built to the main circuit board, but most modern keyboards are equipped with an included AC adapter. MIDI terminals: Most keyboards incorporate 5-pin MIDI connections for data communication so the keyboard can be connected with either a computer or another electronic musical instrument, such as a synthesizer, a drum machine or a sound module, allowing it to be used as a MIDI controller. Not all keyboards have conventional MIDI terminals and connector.
The least expensive models may have no MIDI connections. Post-2000s keyboards may have a USB instead, which serve as both input and output in a single connection. In the 2010s, conventional MIDI in/out terminals are only available in professional-grade keyboards, stage pianos and high-end synthesizers, while low-cost home keyboards, digital pianos, budget synthesizers use USB as the only connection available. Flash memory: Some electronic keyboards have a small amount of onboard memory for storing MIDI data and/or recorded songs. External storage device: Usually available on professional-grade keyboards and synthesizers, this allows the user to store data in externally connected storage media such as ROM cartridges, floppy disks, memory cards and USB flash drives. Floppy disks and cartridges were obsolete by the early 2000s, with memory cards starting to replace them shortly afterwards. USB storage was less common at the time, but was popularized by Yamaha's lineup of workstation keyboards in 2005 and has become a standard feature since.
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Live (Zebra album)
Hard rock band Zebra, known for their legendary live shows, released the album Live in 1990. The recordings are taken from various shows they performed on Long Island in November 1989, it features six songs from their debut album, two songs from No Tellin' Lies, three from 3. V, a single Led Zeppelin cover. All songs written except where indicated. "As I Said Before"† - 3:32 "She's Waiting For You" - 4:25 "Last Time" - 4:59 "Wait Until The Summer's Gone" - 3:42 "One More Chance" - 3:38 "Take Your Fingers From My Hair" - 8:25 "Bears" - 4:40 "Better Not Call" - 5:33 "The La La Song" - 10:19 "Time" - 2:23 "Who's Behind The Door?" - 6:16 "He's Making You The Fool"†† - 3:52 "Tell Me What You Want" - 4:22 "The Ocean" - 5:00 †Title listed as "Said Before" on CD. ††Title listed as "Making You The Fool" on CD. Randy Jackson - guitar, lead vocals Felix Hanemann - bass, backing vocals, keyboards Guy Gelso - drums, backing vocals, percussion
Progressive rock is a broad genre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Termed "progressive pop", the style was an outgrowth of psychedelic bands who abandoned standard pop traditions in favour of instrumentation and compositional techniques more associated with jazz, folk, or classical music. Additional elements contributed to its "progressive" label: lyrics were more poetic, technology was harnessed for new sounds, music approached the condition of "art", the studio, rather than the stage, became the focus of musical activity, which involved creating music for listening, not dancing. Prog is based on fusions of styles and genres, involving a continuous move between formalism and eclecticism. Due to its historical reception, prog's scope is sometimes limited to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While the genre is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
The genre coincided with the mid 1960s economic boom that allowed record labels to allocate more creative control to their artists, as well as the new journalistic division between "pop" and "rock" that lent generic significance to both terms. Prog faded soon after. Conventional wisdom holds that the rise of punk rock caused this, but several more factors contributed to the decline. Music critics, who labelled the concepts as "pretentious" and the sounds as "pompous" and "overblown", tended to be hostile towards the genre or to ignore it. After the late 1970s, progressive rock fragmented in numerous forms; some bands achieved commercial success well into the 1980s or crossed into symphonic pop, arena rock, or new wave. Early groups who exhibited progressive features are retroactively described as "proto-prog"; the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, when combined with the Canterbury style, created avant-prog.
In the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in popular music and the avant-garde since the mid 1970s; the term "progressive rock" is synonymous with "art rock", "classical rock" and "symphonic rock". "art rock" has been used to describe at least two related, but distinct, types of rock music. The first is progressive rock as it is understood, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favour of a modernist, avant-garde approach. Similarities between the two terms are that they both describe a British attempt to elevate rock music to new levels of artistic credibility. However, art rock is more to have experimental or avant-garde influences. "Prog" was devised in the 1990s as a shorthand term, but became a transferable adjective suggesting a wider palette than that drawn on by the most popular 1970s bands.
Progressive rock is varied and is based on fusions of styles and genres, tapping into broader cultural resonances that connect to avant-garde art, classical music and folk music and the moving image. Although a unidirectional English "progressive" style emerged in the late 1960s, by 1967, progressive rock had come to constitute a diversity of loosely associated style codes; when the "progressive" label arrived, the music was dubbed "progressive pop" before it was called "progressive rock", with the term "progressive" referring to the wide range of attempts to break with standard pop music formula. A number of additional factors contributed to the acquired "progressive" label: lyrics were more poetic. Critics of the genre limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, an obsessive dedication to technical skill. While progressive rock is cited for its merging of high culture and low culture, few artists incorporated literal classical themes in their work to any great degree, only a handful of groups purposely emulated or referenced classical music.
Writer Emily Robinson says that the narrowed definition of "progressive rock" was a measure against the term's loose application in the late 1960s, when it was "applied to everyone from Bob Dylan to the Rolling Stones". Debate over the genre's criterion continued to the 2010s on Internet forums dedicated to prog. According to musicologists Paul Hegarty and Martin Halliwell, Bill Martin and Edward Macan authored major books about prog rock while "effectively accept the characterization of progressive rock offered by its critics.... They each do so unconsciously." Academic John S. Cotner contests Macan's view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Author Kevin Holm-Hudson ag
No Tellin' Lies
No Tellin' Lies is the second album by New Orleans-based hard rock trio Zebra, released in 1984 by Atlantic Records. The album was a commercial disappointment, peaking at #84. However, "Bears" did get some radio airplay on hard rock stations; the original compact disc version was made in West Germany for the US market in 1984 and is rare. It was reissued in 2007 as a 2-on-1 CD along with the third Zebra album 3. V, deleted as well. Long out-of-print in single disc form for decades, No Tellin' Lies became available again as a stand-alone CD in 2013, with separate reissues from the UK-based Rock Candy Records and as part of a reissue of the first three Zebra albums in Japan. Randy Jackson - guitars, lead vocals, keyboards Felix Hanemann - bass and lead vocals, keyboards Guy Gelso - drums, backing vocals, percussion Stan Bronstein: Saxophone, Synthesizers Michael Finlayson: Programming George Small: Piano Bob Rosa: Programming Produced By Jack Douglas Engineers: Ron Cote, Bill Dooley, Michael Finlayson, Bob Rosa Assistant Engineers: Eddie Garcia, Roey Shamir Mixing: Bill Dooley
Zebra IV is the fourth, last to date, album by American hard rock trio Zebra. It was released on 8 July 2003, some 20 years after their 1983 debut album, 17 years after their last studio effort, 3. V from 1986. Randy Jackson – guitar, lead vocals, keyboards Felix Hanemann – bass, backing vocals, keyboards Guy Gelso – drums, backing vocals, percussion Chillie Willie – Saxophone Randy Jackson – Producer, Engineer Joel Singer – Technical adviser Mark Hitt – Composer Wendy Baner – Graphic design Charles Demar – Artwork, Design Robert Geiger – Photography