Thursday, November 15, 2012

Blues Scales Outcome With Heavy Metal Sound

By []Chad Thorsen

"Metal is devil music". "Metal is demon praise music." Or even most awful "Heavy Metal is definitely the satanic force". Very often, these are the words that you'd get to hear coming from people relating to heavy metal.

And yet not a single person can really justify exactly what makes heavy metal the devil's music. What is the reasonable understanding of this kind of music that almost all folk marked this like the satanic music? For us to grasp that, we will need to go back on the background of rock metal.

A number of metal fans enthusiastically acknowledge that rock metal starts off with the United kingdom band Black Sabbath. Even so, you can find some people who thought the fact that it is established from Deep Purple and Led Zeppelin. Even so, Black Sabbath is victorious in the greater part on the vote.

The Evil and Metal

A very important stage of the metal history is when Tony Iommi the guitarist from Black Sabbath began to take advantage of the devil's note to his song compositions. Down the line their creative technique on the tritone is going to make it as the group's trademark music. The tritone may also referred to as the devil's interval and the flatted Fifth.

The Catholic Church contemplated the tritone being satanic music so in fact it has been covered up with the christian church through the entire middle ages. From the United States, the tritone in the blues scales was actually regularly used by the Africans to express an individual's suffering due to being a slave.

And so the answer precisely why rock metal is regarded to be evil is because of the flatted 5th note also know as the devil's note.

Where the hick the phrase "rock metal" came from?

During Black Sabbath's very early career, these people were a blues jazz rock band and employed the blues scales tab. However due to the tritone these people were able to put together a completely new type of rock music. During that time, not a single person knows what kind of rock music Sabbath were playing. Till one day, somebody termed their rock music as Metal. Most believed the concept originated in the large manufacturers in the UK processing heavy metal ore.

The metal sooner progressed and was separated in a number of categories. It advanced from merely musically satanic to both musically also lyrically evil. The evil element is the best common subject to a lot of death metal and black metal bands during the 80's era up to present. But the truth is, quite a lot of metal music bands in these days don't use any demon's note and do not have evil verses yet still are regarded as a satanic. So why? Merely because their particular music is extremely loud, they've got lengthy hair, their wearing out black t-shirts (having skulls on them), and most of all, their skin is wrapped with tattoo designs! Crazy! Isn't it?

In my own perspective, there isn't such type of thing as satanic music. The flatted Fifth is actually a component of the blues scales and I simply appreciate the way it sounds. In my opinion the point that makes a song wicked would be the lyrics and not the note itself. Any kind of music might be demonic. It's possible to worship Satan by setting up satanic verses in a pop song, hip hop, orchestra, or perhaps even state anthem.

The writer is an devoted aficionado of heavy metal and rock and blues. Please check out his webpage at to get a lot more updates regarding rock and roll music plus tips and hints on where you can get free six string lesson on []blues scales and metal.

Article Source: [] Blues Scales Outcome With Heavy Metal Sound

Monday, December 12, 2011

Overlooked and Over Simplified; Why The Stooges are Rock and Roll Cultural Icons

By []Dave Nuzzo 

 In the late 1960s there was a change in rock music occurring that would alter the course for the next 40 years.  With the dawn of punk music, the face of rock and roll and the artistic community would be forever changed.  The Stooges, appearing in the late 1960s, represent the pinnacle of this change.  Often overlooked and over simplified their work represents not only the epitome of the budding punk genre of its time, but also its driving force and it remains the driving force behind much of rock and roll to this day.

 The Stooges debuted in the late 60s following the trend of  rock and roll artists at the time.  Harder rock sounds being developed at the same time by Led Zeppelin, the Who, Cream and Jimi Hendrix, were becoming popular as were fuzzed out guitars, and outrageous stage antics.  The Stooges took these elements and combined them for the first time with raw aggression and avant-guard ideas.  Similar artists of the time included The Velvet Underground, the MC5 and The Doors but none match what the Stooges possess.  "The Velvets" are more intellectual, philosophical and rooted in the east cost drug scene while the Doors present the same emotions as the Stooges at times but had a more typical rock and roll exterior to wrap it up in.  The MC5 are the closest relative of the Stooges musically and in fact both bands were signed at the same time when the Stooges opened for the MC5.  The MC5 though, has a distinct political slant that would separate them.  The Stooges are a unique act that for their brief stint and little popular success would change rock and roll's future.

The Music:

 The music of the Stooges is hard to describe as they are one of those bands that has to be heard to be understood.  It's raw, aggressive, honest and artistic.  Unlike the psychedelic scene of the west coast where drug references were more often covered with imagery and subtly, the Stooges were honest and raw.  Lyrics are realism based like The Velvet Underground but where the "Velvets" tend to be more journalistic, the Stooges tend to be more direct.  The guitar work is rough and raunchy in both sound and playing style and lacks the subtly of the hard rock blues artists like Cream, Led Zeppelin and Hendrix.  The focus of any given song is on immediacy and the particular emotion of that song.  Its an aggressive style that can be grating if you're used to the more polished sounds of modern music, or even typical 60s and 70s records.  The music does have a lasting impact though.  The first Stooges song I ever heard was off their second album: 1970s "Fun House".  "Down on the Street", a slow starting rocker that has a simple but effective riff that builds into a fuzzed out, pounding chorus, only to pull back and build again before fizzling out. A great song that immediately sparked my interest for this band. 

 This song seemed to represent them in a nut shell; loud, aggressive, emotional, and on the edge at all times.  Although having the same sound and song style, the Stooges first album seems to lack some of the intensity made them an amazing live act.  Still, both give good representations.  I think that the only band of that time to come close to what the Stooges were doing emotionally is the Doors.  The Doors, however, had a more mainstream and psychedelic sound and so received significantly more recognition.  They relate to some of the Door's more artistic ventures as well but not the psychedelic movement. 

 With songs on "Fun House" that border on progressive rock (the title track especially) and the noise rock of "L.A. Blues" the Stooges took art rock in new directions but still remaining firmly rooted in reality.  This art rock is not the psychedelic movement of the west coast at all.  Instead its more rooted in the east coast drug scene of bands like the Velvet Underground but without the high intellect and with a far more primal feel.  A kind of hybrid of art scenes that coincides with new movements in performance art, and shock art.  Its also a perfect picture of a band living on the edge.  Plagued by hard drug problems and internal strife for their short career their music is an accurate and honest portrayal of a band on the brink of self destruction on any given day.  This is part of what makes the music great.  Its almost like listening to a machine shake itself to pieces and collapse as its parts give way.

The Impact on Music:

 Back when I first heard "Down on the Street" just a year ago at most, I knew immediately what impact that song and album had made on rock and roll.  It is a song that could easily have been written by the late 70s early 80s punk movement, or the garage rock revival bands of the 2000s.  One of the first rock and roll songs to strip away nearly all elements of the blues and leave only the stomping hard rock that would become the staple of punk and heavy metal for years to come.  For a song that was written and recorded in 1970 it surely was ahead of its time.  Black Sabbath would debut the same year but their pinnacle "Paranoid" album wouldn't arrive until 1971 further laying the groundwork for heavy metal although they still retains some blues elements.  Considered to be the first completely metal band, Judas Priest would not arrive until 1974.  The punk movement would begin primarily with the Ramones but they would not arrive until 1976.  Although the album doesn't reflect the same intensity, the first Stooges album released in 1969 really pioneered this sound.  Through the 1960s rock and roll always retained elements of blues even through its psychedelic phase, with blues beats, back beats and blues shuffles.  The Stooges let loose and eliminated a lot of the blues feel.  Whether this was because minimalistic viewpoints, lack of technical playing skills, or lack of being able to play while on drugs is debatable but the results were staggering.  This beat and this style is the beginnings of multiple rock and roll movements to come including heavy metal, punk, grunge, garage rock, thrash, hardcore and more.  More recent garage rock movements have spawned bands that are closer to the Stooges than ever.  The White Stripes certainly draw on the Stooges for their sound and bands like the Kills capture their raw intensity nearly perfectly.

The Impact on Performance:

 Although musically the Stooges should be receiving far more credit than they receive, their most visible impact is on the performance of rock and roll.  Taking some of the performance art elements that were occurring at the time the Stooges produced more of an experience than a stage show.  Although the psychedelic scene was doing interesting things with lights and color, and the Velvet Underground was pioneering the multimedia show earlier with Andy Warhol and the "Exploding Plastic Inevitable", the Stooges were doing something entirely different.  These shows were the forerunners of the modern mosh pit and Iggy Pop (lead singer of the Stooges) is often credited as inventing the stage dive.  Rock and roll shows were changing with harder rock coming around and Led Zeppelin was certainly pioneering the hard rock show, but they didn't offer the same aggression as the Stooges did in a live setting.  Having never seen the Stooges live its hard for me to say exactly what a show would be like but I imagine it was like an animal let loose to run wild to attack and pounce, or pause and recline at will.  

 A pure primal release of aggression and emotion to music.  This combined with their performance art and shock tactics (Iggy Pop was known to smear himself with peanut butter and blood as well as cut himself on stage, release primal screams and play a vacuum cleaner as an instrument) they developed the modern aggressive stage show and performance atmosphere.  After listening to the Stooges I find it hard to not relate modern rock concerts directly to this period.  The music lends itself perfectly to a high energy highly aggressive show that, although I don't know for sure if it ever happened, would be capped off perfectly with instrument smashing, hardcore mosh pits, and rioting.  This might sound like a bad thing, but it paved the way for heavier artists and new concert ideas with far more interaction between the audience members and between the band and the audience.  It also allowed the audience and the band an outlet for emotions that may be bottled up.  A kind of primal scream therapy set to music.

 The impact of these shows can be seen in the hard rock and metal shows of today that have huge mosh pits, stage diving and primal scream vocals.  These shows represent the same outlet for emotion that was pioneered in 1969-1970 by the Stooges.  

 There was also a budding primal trend in the art community.  Whether the idea was developed in the art community and the Stooges translated it to music or was taken from the increased aggression in music and translated to art is debatable.  Either way both sides certainly impacted the other and helped bring these new ideas to the mainstream or at least a wider audience (the Stooges were never considered mainstream).

Unfortunately the shows also related themselves to the hard drug scene and hard drugs would eventually spell the downfall for the Stooges.  This is a problem that exists to this day with hard rock, metal and aggressive music often having a relation to the hard drug scene.

Remembering the Stooges:

 Whether you listen to their music or not it is important to acknowledge this band for their work in only a few short years.  Serving as one of the starting points for so many rock and roll movements and for the aggressive, primal stage shows of modern metal, hard rock and punk, the Stooges have spread their influence everywhere in rock history.  A band should not only be measured by their commercial or popular success but by their influence on future musicians and artists.  The Beatles and Led Zeppelin made great music, but their work is timeless because of how many people they have influenced.  The Stooges work has the same timeless quality and if you know rock and roll you can hear that influence from the very first listen.

 If you're interested in the Stooges check out   rel=nofollow as well as their second album "Fun House" as it is my favorite.  

 References include   rel=nofollow for dates and timelines and my personal music collection.

 D.A.N. (Dave Nuzzo) is the owner, editor and primary writer for an online magazine called   The Sights and Sounds from the Fifth Column, a new publication dedicated to new ideas in all facets of society.  It deals with topics ranging from music and art to politics and world events all while upholding ideas of freedom of speech, free thinking, creativity and human rights.  This site is also dedicated to serving as a public forum for artist, musicians, writers or regular people to showcase their creative work ranging from traditional artwork, through writing and music to more recent digital media.  It is the hope that the larger audience of this publication will help some of these lesser known artists or ideas reach the public.

Sights and Sounds of the Fifth Column, found at

Article Source: [;-Why-The-Stooges-are-Rock-and-Roll-Cultural-Icons&id=400979] Overlooked and Over Simplified; Why The Stooges are Rock and Roll Cultural Icons

Saturday, December 10, 2011

The Next Freddie Mercury?!

 Earlier this year, the members of Queen got fed up with the glut of unauthorized Queen cover bands out there sullying Freddie Mercury's legacy. And so they decided to host a talent search to create a sanctioned cover band for the 2012 "Queen Extravaganza Tour," a Cirque de Soleil-style royal road show, overseen by Queen drummer Roger Taylor, celebrating the music of one of the best stadium rock bands EVER. This week, Queen's nearly three-month talent search culminated at the Foo Fighters' Studio 606 in Los Angeles, and now Queen have finally announced the winning lineup. Unsuprisingly, the official Queen Extravaganza band will be fronted by YouTube sensation Marc Martel, who also lends his mind-blowingly Mercury-like vocals to the Canadian band Downhere.

Thursday, December 8, 2011

Top 3 Greatest Progressive Rock Songs

By []Jared MacTavish 

In the early part of the 19th Century, near the end of the Romantic era of classical music, composers were stretching the limits of our musical minds, using more, and more varied sounds in their works. The mantra was to 'break all boundaries' and they certainly succeeded. As the Fifties waned and the Sixties, Seventies, and Eighties took us all on a magnificent aural ride, the advent of bands such as Miles Davis, The Beatles, Gentle Giant, Frank Zappa, and other groups too numerous to mention showed the listeners that here, in very normal garages across the country, were musicians as brave as their predecessors. Through the amalgamation of rock, jazz and blues, folk, classical, and experimental structures, they created some of the greatest progressive rock songs of all time. My favorites - what I consider my top 3 (for the moment), follow.

1. "2112" Rush 

Not only is the lyrical premise (penned by drummer Neil Peart) of 2112 massive in its scope, so is the accompanying music. Of course this piece is actually a series of movements, but for our purposes, I'm considering side one of Rush's "2112" album as a single piece of music; that's how it was intended, and I happen to agree with the authors/composers. This work is bombastic, sometimes terrifying, gentle, passionate, and has some of the best rock guitar solos ever recorded, thanks to Alex Lifeson's tasteful playing. Backed up by one of rocks most outstanding rhythm sections (Geddy Lee, Neil Peart), the musical journey to recover humanity's long lost musical ways contains a plethora of interesting parallels with our fight for the arts in society today

2. "Heart of the Sunrise" Yes 

From the album "Fragile" (which arguably contains more than one great progressive rock song on it), this track is incorrigibly driven by Chris Squires bass groove, offset perfectly by Bill Bruford (on drums) throughout. The 3:40 intro is enough to set any music lovers stereo on fire. Yet when Jon Anderson's vocal line finally enters, Steve Howe's perfectly orchestrated electric guitar contrasts it beautifully against the previous sections. No stranger to odd time signatures, Yes continued to explore the dynamic crossovers of classical, rock, and folk with this exquisitely written and produced track. With Rick Wakeman on keys and no fear on ballot, Yes are truly one of the most outstanding progressive rock bands to emerge from the post-60's musical blaze.

3. "Cosmik Debris" Frank Zappa

No list of progressive music is complete without an entry by the premiere experimentation specialist, Frank Zappa. With solid grounding in jazz, classical, rock (of course) and any other format one might care to mention, Zappa blew away all boundaries with his creative harmonic structures and arrangements; no one ever came close to the achievements in his extensive catalog. Cosmik is a vocal track (the lead by Frank himself) with some excellent contrasting lines, both in range and phrasing. Additionally much of the track bounces between straight and swing feel and of course contains a signature Zappa guitar solo.

With so much amazing music out there, each listener should make his or her own choice about the greatest progressive rock songs. For me, these three songs set much of the standard for edgy progressive tracking.

If you dig this music you may also like []Brent Magstadt. He's released a wonderfully dynamic disc that encompasses a number of edgy progressive grooves. 

To download a free copy of his track Samba De Los Rockos, []Click Here!

Article Source: [] Top 3 Greatest Progressive Rock Songs

Friday, December 2, 2011

The Development of Rock Music

By []Stewart B Johnston 

 Rock music is a kind of music (music genres) that began to be popular in the mid 50s. Its root was derived from rhythm and blues, country music from the 40s and 50s as well as the other various influences. Furthermore, It also took a variety of other musical styles, including folk music (folk music), jazz and classic music.

 The distinctive sound of this music often revolved around the electric guitar or acoustic guitar, and the use of a very subtle back beat in the rhythm section on electric bass guitar and drums, and keyboards like organ, piano or synthesizers since the 70s. Besides the guitar or keyboard, saxophone and blues-style harmonica were sometimes used as a solo instrument. In its pure form, the rock music had three chords, a consistent and striking back-beat, and attractive melody. 

 In the late 60s and early 70s, it evolved into several types. Rock music that mixed with the folk music (local music in the U.S.) became folk rock, the music that mixed with blues became blues-rock and the one that mixed with jazz became a jazz-rock fusion. 

 In the 70s, rock combined the influence of soul, funk, and Latin music. Also in 70s, rock evolved into various sub-genres (sub-categories), such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. The sub-categories of rock that were popular in the 80s were the New Wave, a hardcore punk, and alternative rock. In the 90s, there was grunge, Britpop, indie rock and nu metal.

 A group of musicians who specialize in playing this music is called rock band or rock group. Many rock groups consist of guitar player, lead singer, bass guitar player, and drummer. In this case, they form a quartet. 

 Some rock groups take one or two positions above or use the main singer as a music player in addition to singing. In this case, they form a duo or trio. Another group has additional musicians like two rhythm guitars or a keyboardist. Somewhat less frequently, the rock group uses stringed musical instruments such as violin, cello or blower, such as saxophones, trumpet or trombones. []Cheap surround sound is the right and affordable equipment to improve your experience in listening rock music. Check it out at for further information.

Article Source: [] The Development of Rock Music

Monday, November 28, 2011

Five Best Music Logo Designs - How These Bands Have Made History?

How have all the famous pop and rock bands come up with their monograms?

 A band can simply not survive without a symbol to represent them, a symbol that represents their faith, musical genre and distinctness.
 Let’s have a look how some of the famous music logo pictures and see what sets them apart from the crowd.

1. Guns And Roses: Their monogram consists of a yellow plate with two antique guns interlocked and two bright red roses on each side. The weeds from the roses are wrapped around the guns and flowers uniting the image. This is one of the smartest emblems of all time. The fact that the guns, which is a sign for aggression and violence and roses that are a sign for love, are placed in one platter makes the image more exciting. But our story doesn’t end there. If you look carefully, you will notice that the two barrels of the gun can be shaped into a pair of pants and a loop of weed on the upper part of the image make a shape like a human head. It looks as if a man is holding those two weapons.

2. Jamiroquai: Is there a feature that sets your group apart from the rest? Then why not use that in your group emblem like this one has? The lead singer of this musical crew is known to be a little eccentric and is infamous for wearing weird buffalo hats in the concerts. The pictogram is a silhouette of a man wearing a buffalo hat that symbolizes the lead singer.

3. Black Flag: If your band is named black flag, then why not create one? This is exactly what this crew did for their symbol. But instead of creating any ordinary black flag, they used four vertical bars placed at disarray. The purpose of the band and its emblem is easy. If the white flag signifies surrender, then the black flag means anarchism.

4. Scissor Sisters: If you’re trying to design your own music crew logo, then what can be easier than using the obvious band name images in the emblem as this band has done. But of course, it’s not always that simple. The image has to be simple enough to be memorable and should have a single image in focus which is what they have done. Their symbol consists of a pair of scissors with legs adorned with heels. The design is smart and easy to remember.

5. A Perfect Circle: Another great way to create music logo designs is to take what your troop name says and do the contrary. What can be more ironic that naming a band a perfect circle and then creating an image with anything but? Their group symbol consists of two crescents of different sizes facing each other making it a shape that is not a circle. The cleverness of the design sparks interest.

Hence, it is important to make good music that speaks to the world but it is even more important that your logo speaks the same language.

Author: Tammy Becker

Thursday, November 24, 2011

Jim Morrison's Rise And Failures As An American Singer

By []Seth Frank

 During the 1960s, the Southern California community was taken by storm by a rock-and-roll band referring to themselves as The Doors, who combined a mixture of blues rock, hard rock and acid rock. Despite their prosperity, the band received much criticism by the media because of Jim Morrison's often strange behavior both on and off the stage. However, despite Morrison's behavior, the band managed to witness worldwide success, releasing nine vinyl records during their eight-year existence. Even after Morrison's tragic death in 1971, the band managed to live on, but the success of the band was short lived because Morrison was such an important member to the band's success.

Early History

 The first individuals of The Doors were Morrison and Ray Manzarek, who would meet while at UCLA. Before the band got its start, Morrison found the inspiration to form a band when Manzarek was shooting a video for a project (which planted the idea in Morrison's head to start a rock band). As the band became larger, Manzarek knew of a drummer who would be the best person for their band in John Densmore, and later, The Doors would hire Robby Krieger as their guitarist. Upon the start of the band, the title "The Doors" had yet to appear; it was not till the members saw inspiration from Aldous Huxley's book The Door of Perception that the title "The Doors" came into existence. The band would create a name for itself while singing at the famous London Fog and soon after at the Whiskey a Go Go concert in Southern California. After experiencing success as a rock band performing around Southern California, the band would score a record deal and begin recording their first self-titled album.

Early Morrison Issues

 During a show in New Haven, Connecticut, Morrison was arrested on stage after an officer had seen Morrison kissing a fan backstage. The event led the police officer to take Morrison into custody while on stage, making Morrison the first singer to ever be arrested while on stage. In spite of their early success, Morrison would also become reliant on drugs and alcohol, leading to more issues with the band. His reliance on the two vices created tension among the band because it was difficult to record with a drunk or high Morrison. Despite Morrison's drug and alcohol issues, the band released their third   rel=nofollow []Doors vinyl record and would continue their triumph as a group.

Death and End of an Era

 Despite all the prosperity as a rock and roll band, Morrison was found dead in his Paris apartment with the cause of death considered as heart failure; however, this fact has yet to be proven. After Morrison's death, speculation started to form that there were other causes that may have led to his death, such as a drug overdose. Despite what the cause of death was, the group would no longer retain the success they experienced while Morrison was alive. Without Morrison, the group lost the iconic voice he provided, and without him, the group only survived for two more years.

 SoundStage Direct, LLC is an online independent store based in Doylestown, Pennsylvania. SSD has the largest selection of []vinyl records online. And you don't want to miss amazing closeout deals available at our LP outlet! We have record albums in every genre and in a variety of formats available ready to be shipped at your doorstep.

Article Source: [] Jim Morrison's Rise And Failures As An American Singer
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