Smalltown Poets (album)
Smalltown Poets is the debut album of the Christian rock band of the same name. It was produced by Jon Hampton; the album had six Top 20 singles, among them two number-one singles. "Prophet and King" - 3:36 "If You'll Let Me Love You" - 3:03 "Everything I Hate" - 3:09 "I'll Give" - 4:00 "Anymore" - 3:22 "Who You Are" - 3:17 "Scenario" - 3:31 "There's a Day" - 3:55 "Monkey's Paw" - 3:05 "Trust" - 3:31 "Inside the Bubble" - 4:05"Inside the Bubble" ends at 4:05 and starting at 4:38, there is a studio outtake of "Trust". Nominated for a Best Rock Gospel Album Grammy Won a Best Rock Album Dove Award Michael Johnston - vocals, guitars Danny Stephens - keyboards Byron Goggin - drums Kevin Breuner - guitars Miguel DeJesús - bass guitar Smalltown Poets in Geneva
In electroacoustic music, a loop is a repeating section of sound material. Short sections of material can be repeated to create ostinato patterns. A loop can be created using a wide range of music technologies including turntables, digital samplers, sequencers, drum machines, tape machines, delay units, or they can be programmed using computer music software. "Loops are short sections of tracks, which you believe might work being repeated." A loop is not "any sample, but...specifically a small section of sound that's repeated continuously." Contrast with a one-shot sample. "A loop is a sample of a performance, edited to repeat seamlessly when the audio file is played end to end". "A drum loop is technically a short recording of multiple drum materials, edited to loop seamlessly, a drum loop repeats until an exact duration is satisfied, for example, to break a single loop to another, you might want to use a drum fill which could be a seamless loop". While repetition is used in the musics of all cultures, the first musicians to use loops were electroacoustic music pioneers such as Pierre Schaeffer, Halim El-Dabh, Pierre Henry, Edgard Varèse and Karlheinz Stockhausen.
In turn, El-Dabh's music influenced Frank Zappa's use of tape loops in the mid-1960s. An influential use of tape loops was Jamaican dub music in the 1960s. Dub producer King Tubby used tape loops in his productions, while improvising with homemade delay units. Another dub producer, Sylvan Morris, developed a slapback echo effect by using both mechanical and handmade tape loops; these techniques were adopted by hip hop musicians in the 1970s. Grandmaster Flash's turntablism is an early example in hip hop; the use of pre-recorded, digitally-sampled loops in popular music dates back to Japanese electronic music band Yellow Magic Orchestra, who released one of the first albums to feature samples and loops, 1981's Technodelic. Their approach to sampling was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology; the album was produced using Toshiba-EMI's LMD-649 digital PCM sampler, which engineer Kenji Murata custom-built for YMO.
Today, many musicians use digital hardware and software devices to create and modify loops in conjunction with various electronic musical effects. A loop can be achieved by a looper pedal, it is a device which records the signal from a guitar and plays it over and over again. In the early 1990s, dedicated digital devices were invented for use in live looping, i.e. loops that are recorded in front of a live audience. Many hardware loopers exist, some in rack unit form, but as effect pedals; the discontinued Lexicon JamMan, Gibson Echoplex Digital Pro and Looperlative LP1 are 19" rack units. The Boomerang "Rang III" Phrase Sampler, DigiTech JamMan, Boss RC-300 and the Electro-Harmonix 2880 are examples of popular pedals; as of December 2015, the following pedals are in production: TC Ditto, TC Ditto X2, TC Ditto Mic, TC Ditto Stereo, Boss RC-1, Boss RC-3, Boss RC-30, Boss RC-300 and Boss RC-505. The musical loop is one of the most important features of video game music, it is the guiding principle behind devices like the several Chinese Buddhist music boxes that loop chanting of mantras, which in turn was the inspiration of the Buddha machine, an ambient-music generating device.
The Jan Linton album "Buddha Machine Music" used these loops along with others created by manually scrolling through C. D.s on a CDJ player. Music software to create music using loops range in features, user friendliness, price; some of the most used are AVID's Pro Tools, M-Audio's Ignite Sony's ACID and Sound Forge, Steinberg's Cubase Cakewalk Sonar, Apple inc.'s GarageBand and Logic Pro, Image-Line's FL Studio, Propellerhead's Reason and ReCycle, Ableton Live, Cockos's REAPER. Break, break beats are drum loops Phasing Anon.. "Looper Pedal: Reviews and Performances". LooperMusic.com. Anon.. "月刊ロッキンf 1982年3月号 LMD-649の記事 1982". Tokyosky Webmaster's Blog. Rockin'f: 140–41. Carter, Monica. "It's Easy When You're Big in Japan: Yellow Magic Orchestra at the Hollywood Bowl". The Vinyl District. Condry, Ian. Hip-hop Japan: Rap and the Paths of Cultural Globalization. Duke University Press. ISBN 0-8223-3892-0. Retrieved 12 June 2011. Decroupet and Elena Ungeheuer. "Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge", translated by Jerome Kohl.
Perspectives of New Music 36, no. 1: pp. 97–142. Doi:10.2307/833578. Equipboard Staff. 2018. "5 Best Looper Pedals for Guitar". Equipboard website.. Duffell, Daniel. Making Music with Samples: Tips, 600+ Ready-to-Use Samples. San Francisco: Backbeat. ISBN 0-87930-839-7. Entropy Records. "Jan Linton: Buddha Machine Music". Entropy Records. Hawkins, Erik; the Complete Guide to Remixing: Produce Professional Dance-Floor Hits on Your Home Computer. Boston: Berklee Press. ISBN 0-87639-044-0. Holmes, Thom. "Early Synthesizers and Experimenters". Electronic and Experimental Music: Technology and Culture. Taylor & Francis. ISBN 0-415-95781-8. Retrieved 2014-06-10. Horla
Christian rock is a form of rock music that features lyrics focusing on matters of Christian faith with an emphasis on Jesus performed by self-proclaimed Christian individuals. The extent to which their lyrics are explicitly Christian varies between bands. Many bands who perform Christian rock have ties to the contemporary Christian music labels, media outlets, festivals, while other bands are independent. Rock music was not viewed favorably by most traditional and fundamentalist Christians when it became popular with young people from the 1950s, although early rock music was influenced by country and gospel music. In 1952 Archibald Davison, a Harvard professor, summed up the sound of traditional Christian music and why its supporters may not like Rock music when he said: "... a rhythm that avoids strong pulses. Based upon Archibald Davison's statement it is easy to see how different these two genres of music are. Christians in many regions of the United States did not want their children exposed to music with unruly, impassioned vocals, loud guitar riffs and jarring, hypnotic rhythms.
Rock and roll differed from the norm, thus it was seen as a threat. The music was overtly sexual in nature, as in the case of Elvis Presley, who became controversial and massively popular for his suggestive stage antics and dancing. However, Elvis was a religious person who released a gospel album: Peace in the Valley. Individual Christians may have listened to or performed rock music in many cases, but it was seen as anathema to conservative church establishments in the American South, he Touched Me was a 1972 gospel music album by Elvis Presley which sold over 1 million copies in the US alone and earned Presley his second of three Grammy Awards. Not counting compilations, it was his third and final album devoted to gospel music; the song "He Touched Me" was written in 1963 by Bill Gaither, an American singer and songwriter of southern gospel and Contemporary Christian music. In the 1960s, rock music developed artistically, attained worldwide popularity and became associated with the radical counterculture alienating many Christians.
In 1966 The Beatles, regarded as one of the most popular and influential rock bands of their era, ran into trouble with many of their American fans when John Lennon jokingly offered his opinion that Christianity was dying and that the Beatles were "more popular than Jesus now". The romantic, melodic rock songs of the band's early career had been viewed as inoffensive, but after the remark, churches nationwide organized Beatles record burnings and Lennon was forced to apologize. Subsequently, the Beatles and most rock musicians experimented with a more complex, psychedelic style of music, that used anti-establishment, drug related, or sexual lyrics, while The Rolling Stones sang "Sympathy for the Devil", a song written from the point of view of Satan. Allegations of Satanic intent arose from the Beatles' et al. use of the controversial backmasking recording technique. This further increased Christian opposition to rock music; as the decade continued, the Vietnam War, the Civil Rights Movement, the Paris student riots and other events served as catalysts for youth activism and political withdrawal or protest, which became associated with rock bands, whether or not they were political.
Moreover, many saw the music as promoting a lifestyle of promiscuous "sex and rock and roll" reflected in the behavior of many rock stars. However, there was growing ideological potential of rock. Countless new bands sprang up in the mid-to-late 1960s, as rock displaced older, smoother pop styles to become the dominant form of pop music, a position it would enjoy continuously until the end of the 20th century, when hip-hop eclipsed it in sales. Among the first bands that played Christian rock was The Crusaders, a Southern Californian garage rock band, whose November 1966 Tower Records album Make a Joyful Noise with Drums and Guitars is considered one of the first gospel rock releases, or "the first record of Christian rock", Mind Garage, "arguably the first band of its kind", whose 1967 Electric Liturgy was recorded in 1969 at RCA's "Nashville Sound" studio. Both of these recordings were preceded by the rockabilly praise LP I Like God's Style and performed by one 16-year-old Isabel Baker and released on the private Wichita, Kansas Romco label in 1965, which slipped into obscurity before being rediscovered around 2007.
Larry Norman described as the "father of Christian rock music", in his years "the Grandfather of Christian rock", who, in 1969 recorded and released Upon This Rock, "the first commercially released Jesus rock album", challenged a view held by some conservative Christians that rock music was anti-Christian. One of his songs, "Why Should the Devil Have All the Good Music?" Summarized his attitude and his quest to pioneer Christian rock music. A cover version of Larry Norman's Rapture-themed "I Wish We'd All Been Ready" appears in the Evangelical Christian feature film A Thief in the Night and appeared on Cliff Richard's Christian album Small Corners along with "Why Should the Devil Have All the Good Music?". Another Christian rock pioneer, Randy Stonehill, released his first album in 1971, the Larry Norman-produced Born Twice. In the most common pressing of th
It's Later Than It's Ever Been
It's Later Than It's Ever Been is the fourth album of Christian rock band Smalltown Poets. It was released in 2004. All the songs written by Goldman and Peterson, except where noted: "The Truth Is Out" - 3:42 "Show Me Who You Are" - 4:07 "Upside Down" - 4:06 "There on the Sun" - 3:44 "Lay It Down" - 4:21 "Here" - 3:37 "A New Beginning" - 4:29 "New to Me" - 3:28 "We Will Continue" - 3:31 "Love So Divine" - 9:52 Michael Johnston - vocals, guitars Troy Stains - guitars Alex Peterson - bass guitar Matt Goldman - drums
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
Listen Closely is the second album of Christian rock band Smalltown Poets. It was released in 1998. "Call Me Christian" – 3:36 "Anything Genuine" – 3:05 "There Is Only You" – 3:47 "Gloria" – 3:10 "48 States" – 3:46 "Long Long Way" – 4:04 "The Gospel Is Peace" – 4:29 "Hold It up to the Light" – 4:15 "New Man" – 4:58 "Quasar" – 3:19 "Garland of Grace" – 3:49 "One of These Days" – 2:16 Michael Johnston – vocals, guitars Miguel DeJesús – bass guitar Kevin Breuner – lead guitar Danny Stephens – keyboards, vocals Byron Goggin – drums, percussion
A percussion instrument is a musical instrument, sounded by being struck or scraped by a beater. The percussion family is believed to include the oldest musical instruments, following the human voice; the percussion section of an orchestra most contains instruments such as timpani, snare drum, bass drum, cymbals and tambourine. However, the section can contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. Percussive techniques can be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone are included. Percussion instruments are most divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, unpitched percussion instruments, which produce notes or sounds without an identifiable pitch. Percussion instruments may play not only rhythm, but melody and harmony.
Percussion is referred to as "the backbone" or "the heartbeat" of a musical ensemble working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings and brass; however at least one pair of timpani is included, though they play continuously. Rather, they serve to provide additional accents. In the 18th and 19th centuries, other percussion instruments have been used, again sparingly; the use of percussion instruments became more frequent in the 20th century classical music. In every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, it is the snare that provides that crisp, decisive air to the tune of a regiment.
In classic jazz, one immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is impossible to name three or four rock, hip-hop, funk or soul charts or songs that do not have some sort of percussive beat keeping the tune in time; because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed of percussion. Rhythm and harmony are all represented in these ensembles. Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef. Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge; the word "percussion" derives from Latin the terms: "percussio", "percussus".
As a noun in contemporary English, Wiktionary describes it as "the collision of two bodies to produce a sound." The term has application in medicine and weaponry, as in percussion cap. However, all known uses of percussion appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context the percussion instruments may have been coined to describe a family of musical instruments including drums, metal plates, or blocks that musicians beat or struck to produce sound. Hornbostel–Sachs has no high-level section for percussion. Most percussion instruments are classified as membranophones; however the term percussion is instead used at lower-levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck with either a non-sonorous object or against a non-sonorous object. This is opposed to concussion, which refers to instruments with two or more complementary sonorous parts that strike against each other and other meanings. For example: 111.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks.
111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a percussion mallet, such as the hang and the xylophone, but not drums and only some cymbals. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, tom-tom. (Included in most drum sets or 412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense There are many instruments that have some claim to being percussion, but are classified otherwise: Keyboard instruments such as the celesta and piano. Stringed instruments played with beaters such as the hammered dulcimer. Unpitched whistles and similar instruments, such as the pea whistle and Acme siren. Percussion instruments are sometimes classified as "pitched" or "unpitched". While valid, this classification is seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physica