AJFOne’s Customs 6/3 – Broken links????
- This topic has 1,986 replies, 163 voices, and was last updated 7 months ago by
.
-
Posts
-
What a great week of new stuff, thanks man!
Keeping the content Canadian since 2017!
SomeOldGuys: https://db.c3universe.com/songs/all/__user/someoldguys
MrPrezident: https://db.c3universe.com/songs/all/__user/MrPrezidentLATEST UPDATE 7/17 – Frank Friday’s – He Used To Cut the Grass UPGRADE
GUITAR: nsw1-6/SteveHasAMustache
UPDATED 7/17/2020: So once upon a time in early 2016 I was a Zappa newbie diving headfirst in the catalog. I started charting drums on a lot of songs never thinking they would become full band. My charting skills were not up to par for the intense difficulty on some songs so I edited them heavily. Over 4 years later I decided the time was now to restore this and 3 other Joe’s Garage tracks to their full glory. First up is the return of over 2 minutes from the outro of “He Used to Cut the Grass”. Thanks to my pals for helping me get this done. Not only has the song been extended but every part has been fixed for accuracy.
LATEST UPDATE 7/20 – Curtis Mayfield – Move On Up
GUITAR/BASS/STANDARD KEYS: bsbloom
Jumping off the start line on the back of an exultant fanfare of horns and given constant motion by hand-dappled drums that act as an anchor to this memorable song. Like the spinning wheels on a gleaming Chevy, the relentless, undeniable perpetual rhythm provided by ex-Rotary Connection drummer Donald Simmons and conga paddler Henry Gibson is threaded by dancing strings and Mayfield’s silky falsetto that’s meditative and comforting, less preacher more gentle fatherly philosopher offering guidance in the midst of a turbulent storm in an era dominated by racial tensions, social shifts and civil rights uprising. Mayfield was part of a growing group of black artists that stirred elements of soul, funk, jazz and blues into a stew with themes concerned with social consciousness of the issues of not just black struggle but those faced by the every day and women in American society.Marvin Gaye, Stevie Wonder and Isaac Hayes these artists connected, reflected and sought to document and speak to a tumultuous era of social change and emancipation.‘Hush now child’ he offers at once calming and reassuring presence then expands upon this lyric that fixes its gaze firmly ‘ahead’ despite life’s ‘wet roads’ pitfalls and knockbacks along the way. Wonderfully dextrous baselines and Mayfield’s glistening guitar lines(that he trademarked with his group The Impressions) are the glue that holds the insistent percussion, warm dabbing keys and wind section together gliding into glorious uplifting key changes that circle back to the horn-led opening. Mayfield would perhaps never sing with such soaring hope again, darkness and was never far away in his work but ‘Move on Up’ isn’t just a great soul song it’s a great pop song because its message is timeless, keep on pushing, keep on going despite the odds this is a perennial mantra during the trials of the human condition. This coupled to its relentless looping earworm qualities makes this an enduring single something witnessed when the likes of Kanye West sampled it, its also brief glimpse at the wealth of Mayfield’s supreme, effortless, musical talent that we lost 18 years ago this week, that brimmed with sincerity and humanity for his fellow man.Heeeeeelllll yeah
We need way more funk in the database and this is a big big big one. Thank you so much!
Do Barry White next!
LATEST UPDATE 7/24 – Frank Zappa – I Come From Nowhere
GUITAR: SteveHasAMustache
“I Come From Nowhere” (one of the craziest track ever recorded by Frank) was entirely devised in the studio. It stemmed from a rock guitar riff Frank Zappa stumbled upon. From track to track it grew into a weird kind of arena rock. It was released on the 1982 LP Ship Arriving Too Late to Save a Drowning Witch and never performed on-stage. I’ve never heard a so much complex bass: it is rhythmic & dissonant at the same time! It definitely takes many many listens to REALLY understand it! Like if it was not enough, the lead vocals via original mother Roy Estrada are completely deranged! Finally, this track ends with an impossible guitar solo featuring Steve Vai.
LATEST UPDATE 7/28 – Vanessa Carlton – Ordinary Day + update
GUITAR: EchoOfMystery
STANDARD KEYS: MrPrezident
GUITAR: yabarnian
STANDARD KEYS: MrBurpler
UPDATE 7/28/2020: drums fixed and video preview added
LATEST UPDATE 7/31 – Frank Friday’s – Catholic Girls
GUITAR: MrPrezident/rubydanger
DRUMS: MrBurpler
Part of the 1979 concept album Joe’s Garage, “Catholic Girls” is a cynical song on the hypocrisy of some parishioners. You meet Mary, the main female character in the story. Joe and her meet at the CYO (Catholic Youth Organization) for trivial social activities. But catholic girls are no angels and while their parents think they’re sending them to a sexually repressive environment, “they’re learning to blow/All the Catholic Boys!”“Catholic Girls” is one of Frank Zappa’s best-known songs, along with “Dancin’ Fool.” It features all of his tricks: the religion vs. sex topic, the multiple voices and characterizations, sped-up voices, and bass vocal accompaniment, the silliness of the music emphasizing the plot’s, an irresistible lightness, and a snippet of complexity in the 9/8 and 7/8 introductory riff. It’s irreverent fun.LATEST UPDATE 7/31 – Frank Friday’s – Catholic Girls
GUITAR: MrPrezident/rubydanger
DRUMS: MrBurpler
Part of the 1979 concept album Joe’s Garage, “Catholic Girls” is a cynical song on the hypocrisy of some parishioners. You meet Mary, the main female character in the story. Joe and her meet at the CYO (Catholic Youth Organization) for trivial social activities. But catholic girls are no angels and while their parents think they’re sending them to a sexually repressive environment, “they’re learning to blow/All the Catholic Boys!”“Catholic Girls” is one of Frank Zappa’s best-known songs, along with “Dancin’ Fool.” It features all of his tricks: the religion vs. sex topic, the multiple voices and characterizations, sped-up voices, and bass vocal accompaniment, the silliness of the music emphasizing the plot’s, an irresistible lightness, and a snippet of complexity in the 9/8 and 7/8 introductory riff. It’s irreverent fun.The song is fantastic, but it’s not “FF” rating
” src=”/wp-content/uploads/invision_emoticons/default_SA_biggrin.gif” />
- You must be logged in to reply to this topic.