Monday, December 7, 2009

Crazy 4 ‘K-Pop’

The Korean pop craze, popularly known as K-Pop, is now becoming a part of Filipino pop culture. With a community of more than 5,000 members and growing, a trend has indeed become a standard lifestyle wherein Filipinos express their passion for all things Korean in various ways. Some are fond of Cosplay (costume playing), some can’t get enough of Korean dance choreography, and most, if not all, just love the music ‘Hot Issue.’behind these emerging wonders.

One can’t help but wonder what caused this phenomenon to happen. It might be because of the influx of several Korean nationals who pave their way to local shores to learn English. Perhaps cable music channels also contributed to its tipping point. Yet, no matter what the reason is, K-Pop is here to stay, and fortunately, news of this has reached the hottest Korean groups, including the charming, irresistibly infectious all-girl quintet from South Korea: Ji Hyun, Ga Yoon, Ji Yoon, Hyun A, and So Hyun – collectively known as 4Minute!

Ji Hyun Nam is the group leader. She took ballet lessons at Sangmyung University’s dance program but took a leave to concentrate on her musical career.

Ga Yoon Heo has been preparing for her debut upon graduating from a girls’ high school. She is 4Minute’s lyricist.

Ji Yoon Jeon graduated from high school and has also been preparing for the debut of 4Minute. She is also fond of writing songs and cooking.

Hyun A Kim was formerly a member of Wonder Girls, before quitting in July 2007 due to health reasons. After recovering her health, Hyun A switched over from JYP to Cube Entertainment to fulfill her dreams of becoming a singer. Now she is the resident rapper of the group.

So Hyun Kwon, 14 going on 15, is the youngest in the group. She has received vocal training since childhood; even debuting in a young girls’ group called Orange at the age of 11. Despite her early debut, she is very smart and is able to maintain top grades in school, ranking first or second in her classes. Many have also accustomed her to Sandara Park due to their undeniable physical resemblance.

Here in the Philippines, they just recently released their first hit song “Hot Issue” under MCA Music Inc. which has received positive feedback and support from fans, radio stations and music channels nationwide.

The group is also set to release two of their other songs, “Muzik” – a dance craze that gives a laid back, hip-hop feel that features the rapping prowess of Hyun A and Ga Yoon. Their third single “What A Girl Wants,” on the other hand veers away from the typical fast – paced beats of the K-Pop genre. It is an infectious and adorable power pop track that features the girl’s vocals and creative choreography with their teeny bopping moves.

The group describes their music as Candy Funky which in detail means Candy (colorful and sweet) + Funky (defiant, retro and free). With their looks, talent, and adorable over-all Korean image, it is no doubt that 4Minute is bound to be one of the biggest names in the industry today – a spark among a blanket of Korean pop stars that never fail to make the Filipino K-Pop community bigger and more known to the masses.

Watch out as 4Minute visits the Philippines this Feb. 4-8 for a series of mall shows around Metro Manila. They shall also release their album in CD + DVD format in time for their scheduled promo tour.

On to OMP Acoustic Pop

In more girl group news, we swing things back to homegrown talent as the Philippines’ newest and freshest teen acoustic pop-duo Krissy & Ericka make headlines once again!

Featuring their current single “Up Up Down Down,” Krissy & Ericka recently launched their debut self-titled album in “ASAP ’09.” Joined by their fellow Cornerstone Talents Emman, Jaco and DJ & Micah, Krissy & Ericka wowed audience with their special live performance.

As young as 15 and 16, Krissy & Ericka are already excellent guitarists, singers and songwriters.

Being exposed in various shows and performing alongside big names such as Richard Poon and Sam Milby, the girls have had their share and exposure of performances which fully inspired them to really put their hearts into music. Both have also taken formal music lessons from the UP school of music for voice, classical music and flute. They are continuously honing their craft by continuing to do their own compositions and exploring unchartered territories.

Krissy & Ericka’s debut album features fresh and exciting tracks and massive hits such as “Game of Love,” “Runaway,” “Baby Now that I Found You,” and the M2M Hit “Don’t Say You Love Me,” which are all given a refreshing sound with a tinge of country feel! Talented as they are, these girls have also composed originals “He’d Look My Way,” “Hope for Humanity,” “Surf’s Up,” “Sisters” and of course their carrier single “Up Up Down Down”!

Sunday, December 6, 2009

091205 4Minute ‘Muzik’ @ Music Core


4Minute brings ‘Muzik’ back on Music Core!

Now if your wondering why they came back, they performed this for the Jeju Island Special! Woo~ And they never looked so good!

Saturday, December 5, 2009

dance floor at muzik haus




dance floor at muzik haus, originally uploaded by rafeejewell.





Amazing they said.

Colors swirling, mesmerizing.

Soft glow, mashy mashy,





and then there's

mr widget.

pied piper; we follow to Muzik Haus.




oh, i see eifachfilm

and calubious

and laslopantomik

and raintears

and mason

and taliesin


and so many others.

and, me so addicted to widget spins.

Tuesday, December 1, 2009

Rap-fueled takeover of Lotte World, Seoul


Korean Hip-hop impresario Tiger JK of Drunken Tiger will lead The Movement crew to a rap-fueled hostile take over of Lotte World next month for a pair of concerts.

Joining him will be his wife and former member of R&B group Uptown, Yoon Mi-rae (Tasha) and the rap dynamic duo of LeeSsang at the Garden Stage of the home of everyone's favorite raccoon on Dec. 19 and 20 in southern Seoul.

Titled "2009 Hip Hop in Lotte World-All Night Party" the trio's management company JUNGLE Entertainment and Ozic Entertainment teamed up for the exclusive right to use Korea's largest indoor theme park for the two shows.

According to the concert promoters, this will be the first time in Korean history that a theme park has been made available for a concert.

The pair of back-to-back performances will get things rolling at 11:30 p.m on Saturday and go on until the early hours of Sunday morning atl 5 a.m.

During the concerts, all rap heads and party people in need of a breather from bopping their heads to the tunes by some of the nation's premiere hip-hop and R&B acts can also enjoy all of the rides in the Lotte Adventure Park.

Fans of Drunken Tiger will be treated to seeing Tiger JK joined on stage with his wife Yoon Mi-rae who will attempt to take their chemistry off-stage, on stage.

The two of course tied the knot in 2007 and gave birth to their baby boy Jordan shortly after.

Both have been members of the Korean hip-hop collective called The Movement that Tiger JK founded which includes various luminaries in the field of Korean hip-hop and R&B which includes "Godfather of soul" Bobby Kim, Eun Ji-won, and Epik High.

The 35-year-old rap pioneer formed the collective as an act of non-conformist rebellion towards a pop industry that was -- in his view -- becoming increasingly commercial.

Though he struggled to gain mainstream appeal when he first debuted in 1999, he hit it big time the following year with "The Great Rebirth."

The album featured the immensely popular club banger "Good Life" which topped the charts and ushered in a new style of hip-hop in Korea.

Since then, Drunken Tiger has been able to consistently stay afloat on both the mainstream and underground radar appealing to both worlds -- a feat that not many artists have been able to do.

This year has also been a vanguard year for JK as his 8th studio album debuted at the top spot and moved nearly 100,000 copies.

The success of the album is all the more surprising as its tracks do not feature repetitive hooks, nor does it adhere to the current pop music trends.

The double album titled "Feel gHood Muzik, Feel Hood Muzik: The 8th Wonder" features DT's trademark sound of hard aggressive beats that compliment the veteran rapper's penchant for the dramatic.

As if not content with simply being the nation's greatest MC, Tiger was the recent recipient of the Best Male Artist award at this year's MNET Asian Music Awards beating out the likes of Rain, G-Dragon, Lee Seung-chul, and MC Mong.

He's also become something of a fashionista winning a host of fashion awards which included Best Dressed Male Award at the Style Icon Awards earlier this month.

According to JUNGLE Entertainment, "he's been active in various fields like music, fashion, and advertising this year and we're honored that (Tiger JK) has been embraced by everyone" and added "but more meaningful than that however, he's been able to inject some vitality in a declining rap industry even in the midst of a flood of idol groups currently saturating the music game."

(kws@heraldm.com)

Sunday, November 29, 2009

Slain rapper Dolla's mother on posthumous debut

A son's death is always unbearable. But Dolla, according to his mother, will live forever in his newest music.

Dawnee Robinson speaks out on the release of her murdered son Dolla's soon-to-be-posthumously-released album, to come out of Akon's label, Konvict Muzik. It is expected that Konvict's distributor UniversalMotown, through Steve Rifkind's SRC Records, which signed Akon, will be behind the album's release and distribution, and that Akon's label will do whatever it can to promote the LP.

Ms. Robinson said that her son was close to stardom when his life was taken away at the Atlanta-Hartsfield International Airport's food court in front of his cousin, as previously reported.

Here's the mom to hiphopwired.com:

"I've never been allowed to hear his music until a few days before release, so with that being said, from the critics around me they say it's awesome. It's gonna set him aside, it's totally different than anything he's done in the past. So we're working with Konvict and Bu (Akon's brother) and out of respect for me they've pretty much allowed me to give them the thumbs up on when they can go ahead with the project. They're always supportive. We've known Akon, Omar and Bu for many years and the sky's the limit with those guys. They're always looking out."

Earlier, Robinson, with a heavy and broken heart, recalled the last time she spoke with Dolla, to allhiphop.com:

"Just a few hours before the incident, I spoke to my son and he was on his way home catching a flight out. I stay close to the airport, so he used to stop by. He told me what he wanted for dinner. He wanted some yellow rice, cabbage and chicken wings. So I went to the store and made sure I had everything. So when I got the call, I was cooking his dinner."

This saddens and angers many, without question.

Akon himself spoke on Dolla's last days to Rolling Stone magazine:

"He was a great kid, he didn't deserve it. The reason he got shot was probably the most miscellaneous thing ever. It's to a point now where we're always trying to find ways to deal with our issues, deal with all these main challenges which is very hard, especially when we're surrounded by an environment that don't really have morals. [This was] a very senseless crime."

According to Rolling Stone, the album will be called A Dolla & A Dream. The record was recorded largely in Los Angeles. No release date has been announced.

I am so sick and tired of hearing about MCs involved in violent crimes. Dawnee Robinson has to be in pieces right now. The Thanksgiving celebrated yesterday had to have been the saddest one she's ever had. And why? Because of some sick, jealous, foolish people who have no souls. This woman can't be looking forward to Christmas. Her only hope is that Dolla's story is told so that the younger generation can look in their respective mirrors and ask the persons in those mirrors to change, as Michael Jackson would say. If not in memory of Dolla, Mike Bell, and Derrion Albert, they should take time off from macho behavior for their own sake at least.

Enough is enough. I have had it these motherf**king guns on these motherf**king streets.

No, seriously, I'm not trying to sound clever. This is what Sam Jackson would say about the tragedies. You should, too. and do something about it, like throw away your guns if you don't have good reasons to carry any.

Nuff damn said.

Friday, November 27, 2009

HHW Exclusive: The Mother Of Konvict Muzik's Slain MC Dolla Speaks On His Life & Celebrates His Birthday

Roderick Anthony Burton II better known as “Dolla” was not just a model for Diddy's Sean John clothing line but one of the promising young rappers of tomorrow. His mixtape Another Day Another Dolla, was given great hype as well as airplay all over the U.S. After signing with Akon's label “Konvict Muizk,” Dolla released his first big single with “Who the F*ck Is That,” which received great praises, as well as reaching the Billboard top 100.

Following with another hit single “Make A Toast,” it seemed like Dolla was on the right path to be one of Hip-Hop new promising artist. While working on his debut A Dolla And A Dream, however, the violence and ignorance that surrounds Hip-Hop had different plans for the Atlanta rapper.

On May 18th, 2009, the young rapper was shot in the back in Los Angeles, California in the valet parking lot of the Beverly Center. Dolla, who was waiting in the V.I.P parking lot with fellow rapper DJ Shabbazz was helplessly and brutally shot in the head by Aubrey Louis Berry.

The murder trial of Aubrey Louis Berry is scheduled to commence January 25th in Department 102 in Los Angeles Superior Court. We have been told by a court official that Berry's defense team has requested a speedy trial and although the prosecution could have sort the death penalty for this heinous crime, they are seeking life in prison without the possibility of parole. The case is being prosecuted by veteran attorney Bobby Grace & David Walgren. Judge David Wesley is presiding over the trial.


While no details about the murder and the trial could be discussed because of litigation procedures, Hip-Hop Wired spoke exclusively with Dolla's mother, Dawnee Robinson, as she discussed his upcoming debut which will still be released next year on Akon's label as well as celebrating what would have been his 22nd birthday today. Speaking of his birthday celebration, Mrs. Robinson stated,

“Today is his birthday and we're going to eat brunch at his favorite restaurant, Thumbs Up, in Atlanta. He loved Thumbs Up and it's a tradition that we go every Sunday and we're gonna go there and celebrate him. Then we're going to go bowling because he loved to bowl and at midnight, we're going to release 22 platinum balloons into the sky.”

Dolla's debut A Dolla And A Dream was scheduled to be released this year before the tragic incident but is being finalized for release next year. Giving some insight on the project, she added,

“I've never been allowed to hear his music until a few days before release, so with that being said, from the critics around me they say it's awesome. It's gonna set him aside, it's totally different than anything he's done in the past. So we're working with Konvict and Bu (Akon's brother) and out of respect for me they've pretty much allowed me to give them the thumbs up on when they can go ahead with the project. They're always supportative. We've known Akon, Omar and Bu for many years and the sky's the limit with those guys. They're always looking out.

Dolla was like a sponge, he watched television, he read the paper, he read every book he could get his hands on and he was aware of his surroundings. So his lyrics were the testimony of the people…just hardships, the struggles that really hit his heart and he wanted to make a difference and he wanted some awareness. He was just being real about what's going on out here.”


Mrs. Robinson also wants to keep some of Dolla's dreams outside the music industry alive and will use some of the earnings form A Dolla And A Dream to help with those causes. Letting us take a further look at her fallen angel, she revealed,

“His music spoke volumes and at the same time, my son was entering theology school in June which unfortunately he wasn't able to do. He was very interested in opening charter schools and centers in the community because just coming from a single family household…he just wanted kids and adults to have an opportunity of hope and that's part of his legacy and that's what I'm working hard to live on to make those things happen.

We just started and founded a foundation. It's called the “I Speak Life Foundation.” He spoke on what he saw and absorbed as far as the community… the struggles, the hardships and the opportunities so with that being said, we're now looking for a school, the churches and just have a community outreach resource. We [plan] to offer tutoring, nutrition programs, lunch programs, barber shops, everything to give people opportunity. You know a haircut will make a man feel like he can change the world, go out there and get that job so he can take care of his family. Just try to build the things that he wanted to do, I'm gonna do it.”


Much success to Mrs. Robinson with the foundation and Hip-Hop Wired Wishes Dolla A Happy Born Day Too Dolla and R.I.P.

Also check out a few tracks and videos from the fallen MC.

Wednesday, November 25, 2009

Gramps Morgan #1 on Jamaican Album Charts

KINGSTON, Jamaica - Gramps Morgan's 2 Sides of My Heart Vol.1 takes the #1 position for it's 2nd week on HOT 102 FM & BESS FM according to Richie B's Hot Mix Top 10 Album/CD Chart & Jammyn Muzik Top 10 Album Charts.

In the USA, 2 Sides of My Heart Vol.1 spent 6 consecutive weeks at #1 on The South Florida Top 15 Reggae Albums/CDs and The New York Top 20 Album/CD Charts recently.

The album is also currently holding the #10 spot in Italy on DJ Gusma T's "Jamaican Top 20 Album Charts".

Tracks charting this week include:

Therapy ft. India Arie
#4OK FM Naga 30 Countdown (Philippines Music Chart)

Wash The Tears
#3 Jammyn Muzik Top Ten Reggae Chart
#9 Hot Mix Top 25 Reggae Singles Chart
#10 Stampede Street Chart

Come Back To Bed
#5 Hot List, Blazing Bubblers Rising To the Top (CHRY 105.5FM, Toronto)

Previously, One In A Million peaked at #4 The New York Top 30 Reggae Chart; #6 The South Florida Top 25 Reggae Singles Chart; and #7 on Jamaican Top 20 Singles Chart (TPN Hit Energy, Italy); Time peaked at #2 on Toronto's Hot List, Blazing Bubblers Rising To the Top.

VIDEO Update

Gramps' newest video medley, One In A Million/Come Back to Bed is currently #8 on RETV's MVP Chart. In addition to its Caribbean following, the video has been receiving heavy rotation in Italy and continues to gain widespread popularity on hip hop and R&B sites alike.


Tuesday, November 24, 2009

Johan Gielen – Repeat The Music [Magik Muzik]

“ Repetition has never felt so good! ”


Magik Muzik’s storied career began in 2001, started by then named DJ Tiesto, and eventually absorbed into the Black Hole Recordings umbrella. The label is home to some of the best tracks, remixes and full CD compilations the scene has ever heard. This latest effort, from trance purist Johan Gielen, is no exception.

Unlike what you would most likely expect from Johan, he delivers a club ready progressive trance number that is dirty and destined to rock floors worldwide. This, though a departure from the old Johan sound, is perfectly in line considering his rework of the Phunk Investigation track , Shuri Shuri, on Avanti. This time around, Phunk Investigation return the favor with a slamming rework!

Read on past the break for some high quality samples and be sure to give them a listen, you won’t want to miss this infectious groove, vocal track and overall club friendly sound.

Monday, November 23, 2009

Muzik’s finest selection


THE 14 has been determined.

Now, the odds are already beginning to be laid down for each competing tune in the 24th Anugerah Juara Lagu (AJL) which will be held early next year.

Undoubtedly leading the list for the deserving of honours are the younger talents who have been responsible for the fresh sounds which have set the motion for one of the more relevant AJL finals in the history of the competition.

Aizat leads the field with his self-composed Kau Aku, and also is a favourite tune for the night’s top honours with Pete Teo and Amran Omar’s Pergi from the soundtrack of the late Yasmin Ahmad’s Talentime.

Then there are the all-too deserving singer-songwriter combos in Yuna for Dan Sebenarnya, Aku Skandal by Hujan, Situasi by Bunkface as well as Aurora by Estranged.

Dare we forget Bencinta which was co-written by original performer Faizal Tahir with Audi Mok which is another hot fave to win the competition – if it doesn’t have points taken off should Shila be performing
in his place come the night of AJL.

Then there are the run-of-the-mill pop staples like Tak Mungkin Kerna Sayang, Pakai Buang, Rindu Terhenti
and Adam Dan Hawa. While these tunes may not exactly rock the boat, there are little blessings tagged with each such as Alyah’s green but able performance; Stacy’s electrifying showmanship;

Tomok’s ability to sing without doing it through his nose anymore and Misha Omar’s diva-esque vocal powerhouse showcase.

Interesting ditties like Bengang and Masih Jelas should be interestingly delivered by Akim and Hafiz.

Completing the list is Aku Rindu Sayang Kamu, the inclusion of which no one can comprehend in the first place.

Whether agreeable or not BE prepared to cringe. With the recent health situation faced by ‘Superman’ Faizal Tahir (he’s down with lung infection), Muzik-Muzik followers had Shila to deal with in delivering the beautiful tune of Bencinta during the third semi-finals of the Muzik-Muzik qualifiers.

And while many may have had their ears bleed to the senseless yelping from Shila, endless applause
greeted the qualification of the song by Audi Mok with lyrics by Faizal Tahir himself.

Now the question remains. Just who will perform the song in the finals?

Well, fans of the song, as well as Faizal, should now go into overdrive in praying that the Superman
gets well in time for the 24th Anugerah Juara Lagu (AJL).

According to Primeworks Studio entertainment production manager Fadzliniza Zakaria, the option was open for Faizal to make a return to the stage to perform the song in the finals.

“As in the case of the 22nd Anugerah Juara lagu where Kaer Azami had a replacement in Sahri to perform Izinku Pergi, we are open to the option.”

According to Fadzliniza, a replacement for Faizal at the semi-finals was inevitable.

“It was a situation that we couldn’t avoid and Shila was given the duty to deliver the song.

“At the moment, we have no rules or regulations governing such a scenario but we judge such scenarios on a case-to-case basis — and Faizal is welcome to, if he is able to.”

Shila meanwhile, after the song qualified for the AJL, basked in the glory of the tune’s qualification.

That is until she was put to task for virtually destroying the tune with every imaginable foul-up possible.

“Well, I would do my best if I was given the chance to perform on the AJL stage.

“Before tonight (Friday), even Faizal himself called me saying whatever the result, there is no pressure and that he would always support me.”

And despite the brickbats, Shila insisted that she was proud of her performance as it was her “best”.

“I did my best,” she said indignantly.

“I can’t please everyone and I will do better if given the chance.

“It’s not fair to compare Faizal and I, and I can never be like him. I realise I have to do better.”

Shila said her appointment to perform the tune was a shocker, but she was thankful for the support of both her fans and Faizal’s.

IT’S a confusing time for the music industry.

While the list of finalists for the 24th Anugerah Juara Lagu (AJL) offered a mixed bag with a variety of offerings onstage – there were murmurs that production may have had a hand in the results.

Primework Studios Sdn Bhd content and industry development general manager and head jury Azhar Borhan brushed off any doubts and insisted the results were nothing but a happy coincidence.

“Every year we have a complicated task, and this year is no less simpler.

“As of previous years, it is hard to consider what is good and not, but we have good balance.”

Azhar pointed out that the points were based on the evaluation of the tunes during pre-judging.

“This is further reinforced by the live shows where we can see just how impactful the tunes are delivered live.”
Although, again, it is undeniable that the choices make for good TV, despite some ‘weaker’ tunes making the final cut for the AJL stage.

Debates are, however, expected, as the competition has rarely — if ever — been without controversy.

“You could even say, that the results have a negative impact on ethnic songs,” said Azhar.

“The truth is, there is a lack of such songs in the market, and we did the evaluation based on what is available.”
He shrugged off the judging system, which placed him, apart from four appointed judges, to decide on what is supposedly the best in terms of body of work for the music industry.

“Questions of abuse when it comes to personal interest and such – our hands are tied as the process of selecting the right people to judge disqualifies so many people.

“At the end of the day, it’s probably not the best of the lot, but it’s what’s available.”

Indeed, the judging system of non-category Muzik-Muzik qualifiers has come under fire, as some songs may have slipped through the cracks of the vetting process.

In its 24th year, Azhar insisted that the competition was still being ‘tweaked’ for the best process.

“We can take into consideration outside voices, but we want to hear suggestions for a more effective method of judging.”

Perhaps the finals will be more promising in terms of selection criteria with a panel of nine to determine the eventual winner.

Primeworks entertainment production manager Fadzliniza Zakaria said there would be no change in the judging process for AJL.

“We will have a total of nine judges. Three to evaluate composition, three for lyrics, and three for best performance and all involved will decide on best vocals.”

The slightly more comprehensive judging system won’t undo the semi-finals but hopefully, it’ll have more ‘agreeable results’ to all.

Even the local ‘Grammys’ — the Anugerah Industri Muzik — is struggling with credibility. Its revamp of the two-tiered judging system is seen as a positive step, but not the be all and end all. So it’s back to the question of the chicken or the egg.

Do the songs have to get better, or does the judging process have to be rectified to recognise the deserving tunes first?

Whatever the answer, for the sake of the music industry, it has to be a win-win situation.

The industry still needs an event like AJL and the AJL, too, has to recognise that it needs good tunes for its survival.that these are the cream of the crop in terms of quality over the past year, the production of AJL should make for an interesting watch anyway – for whatever reason.

This is the line-up for the 24th Anugerah Juara Lagu:
• Aku Skandal/Hujan/Noh/Noh
• Tak Mungkin Kerna Sayang/Alyah/Ajai/Habsah Hassan
• Aurora/Estranged/Estraged/Estranged
• Bengang/Akim/Amir/Sheikh Qalam
• Aku Rindu Sayang Kamu/Black/Yuzai/Yuzai
• Dan Sebenarnya/Yuna/Yuna/Yuna
• Rindu Terhenti/Tomok/Aubrey Suwito/Tinta
• Pakai Buang/Stacy/Edry KRU/Edry KRU
• Kau Aku/Aizat/Aizat/Aizat/Aizat
• Pergi/Aizat/Pete Teo/Amran Omar
• Situasi/Bunkface/Sam/Sam
• Bencinta/Faizal Tahir/Audi Mok/Faizal Tahir
• Adam Dan Hawa/Misha Omar/Azmeer/Loloq
• Masih Jelas/Hafiz/Aidit Alfian Ad Samad

Faizal to be replaced?


BE prepared to cringe.

With the recent health situation faced by ‘Superman’ Faizal Tahir (he’s down with lung infection), Muzik-Muzik followers had Shila to deal with in delivering the beautiful tune of Bencinta during the third semi-finals of the Muzik-Muzik qualifiers.

And while many may have had their ears bleed to the senseless yelping from Shila, endless applause greeted the qualification of the song by Audi Mok with lyrics by Faizal Tahir himself.

Now the question remains. Just who will perform the song in the finals?

Well, fans of the song, as well as Faizal, should now go into overdrive in praying that the Superman gets well in time for the 24th Anugerah Juara Lagu (AJL).

According to Primeworks Studio entertainment production manager Fadzliniza Zakaria, the option was open for Faizal to make a return to the stage to perform the song in the finals.

“As in the case of the 22nd Anugerah Juara lagu where Kaer Azami had a replacement in Sahri to perform Izinku Pergi, we are open to the option.”

According to Fadzliniza, a replacement for Faizal at the semi-finals was inevitable.

“It was a situation that we couldn’t avoid and Shila was given the duty to deliver the song.

“At the moment, we have no rules or regulations governing such a scenario but we judge such scenarios on a case-to-case basis — and Faizal is welcome to, if he is able to.”

Shila meanwhile, after the song qualified for the AJL, basked in the glory of the tune’s qualification.

That is until she was put to task for virtually destroying the tune with every imaginable foul-up possible.

“Well, I would do my best if I was given the chance to perform on the AJL stage.

“Before tonight (Friday), even Faizal himself called me saying whatever the result, there is no pressure and that he would always support me.”

And despite the brickbats, Shila insisted that she was proud of her performance as it was her “best”.

“I did my best,” she said indignantly.

“I can’t please everyone and I will do better if given the chance.

“It’s not fair to compare Faizal and I, and I can never be like him. I realise I have to do better.”

Shila said her appointment to perform the tune was a shocker, but she was thankful for the support of both her fans and Faizal’s.
Judging juggling act

IT’S a confusing time for the music industry.

While the list of finalists for the 24th Anugerah Juara Lagu (AJL) offered a mixed bag with a variety of offerings onstage – there were murmurs that production may have had a hand in the results.

Primework Studios Sdn Bhd content and industry development general manager and head jury Azhar Borhan brushed off any doubts and insisted the results were nothing but a happy coincidence.

“Every year we have a complicated task, and this year is no less simpler.

“As of previous years, it is hard to consider what is good and not, but we have good balance.”

Azhar pointed out that the points were based on the evaluation of the tunes during pre-judging.

“This is further reinforced by the live shows where we can see just how impactful the tunes are delivered live.”

Although, again, it is undeniable that the choices make for good TV, despite some ‘weaker’ tunes making the final cut for the AJL stage.

Debates are, however, expected, as the competition has rarely — if ever — been without controversy.

“You could even say, that the results have a negative impact on ethnic songs,” said Azhar.

“The truth is, there is a lack of such songs in the market, and we did the evaluation based on what is available.”

He shrugged off the judging system, which placed him, apart from four appointed judges, to decide on what is supposedly the best in terms of body of work for the music industry.

“Questions of abuse when it comes to personal interest and such – our hands are tied as the process of selecting the right people to judge disqualifies so many people.

“At the end of the day, it’s probably not the best of the lot, but it’s what’s available.”

Indeed, the judging system of non-category Muzik-Muzik qualifiers has come under fire, as some songs may have slipped through the cracks of the vetting process.

In its 24th year, Azhar insisted that the competition was still being ‘tweaked’ for the best process.

“We can take into consideration outside voices, but we want to hear suggestions for a more effective method of judging.”

Perhaps the finals will be more promising in terms of selection criteria with a panel of nine to determine the eventual winner.

Primeworks entertainment production manager Fadzliniza Zakaria said there would be no change in the judging process for AJL.

“We will have a total of nine judges. Three to evaluate composition, three for lyrics, and three for best performance and all involved will decide on best vocals.” The slightly more comprehensive
judging system won’t undo the semi-finals but hopefully, it’ll have more ‘agreeable results’ to all. Even the local ‘Grammys’ — the Anugerah Industri Muzik — is struggling with credibility. Its revamp of the two-tiered judging
system is seen as a positive step, but not the be all and end all. So it’s back to the question of the chicken or the egg.

Do the songs have to get better, or does the judging process have to be rectified to recognise the deserving tunes first?

Whatever the answer, for the sake of the music industry, it has to be a win-win situation.
The industry still needs an event like AJL and the AJL, too, has to recognise that it needs good tunes for its survival.

Sunday, November 22, 2009

Fetz Da Vibe releases 14-track album

Ofentse Owen Mangope, otherwise known in music circles as Fetz a.k.a Fetz Da Vibe, has released a new 14- track album titled Lyrical Sign.

There is often a common feeling that there is little quality music in the country with many insinuating that many of our musicians don't take time to work on their music before recording their music, but Fetz's new album, is one of the few, which can challenge hip-hip lovers or rather music lovers to own a copy. The upcoming Hip-hop star, who hails from Mahalapye, is an independent artist.

While many often dismiss hip-hop as a music genre which is often filled with obscene lyrics, Fetz's latest offing has a number of meaningful lyrics. Track 10, tilted, Mama, is simply Fetz's dedication to all the mothers. The album has one number titled Natural Disaster, which he says he wrote with the aim of keeping people abreast of events around the globe. Different people have different taste in music, but Fetz decided to go out of his way to have one track titled One Love, which is dedicated to everyone regardless of the of music genre they follow, adding that the track is also meant to show appreciation to all artists mainly in Botswana.

Other songs in the album include You Are Mine, which the young man says is dedicated to all lovers, and Voice of Tha Ghetto which, according to the muso, goes out to all hip-hop heads'with a great message behind it'.

The rest of the songs include the title track, Lyrical Sign, Rock On, Courage, MIC Session, Street College, Keeping It Raw, and Thugz Confessions. The album was recorded, mixed and mastered at Chankieland Muzik and Arts in Gaborone.

Fetz only started releasing his own music recently but he has been involved with music since the age of 16.

"I started rapping back when I was 16 years of age back in senior secondary school at Naledi Senior Secondary School, where my friends and I formed a rap group called Insane Rap Maniacs. I then became a solo underground M.C battling and competing on Talent Shows on which I became the best over all, and later on got featured by one of Botswana hip-hop artists Snass who released his album in 2002.

I followed hip-hop music until recently when I felt that it is time for my own exposure, to Botswana,"

In April Fetz released a single album titled You are Mine, which has two tracks, Strai8 Down and You Are Mine featuring Charity Pego going by the Miz-Chaa and Percy V. The single, according to Fetz, did quite well with considerable airplay on various radio stations.

Saturday, November 21, 2009

Fontana Partners With Element 9 Muzik

LOS ANGELES and CLEVELAND, Nov. 20 /PRNewswire/ -- Fontana Distribution, the independent distribution arm of Universal Music Group, the world's leading music company has partnered with Cleveland-based Element 9 Muzik LLC to release upcoming titles from the label. The announcement was made today by Ron Spaulding, Executive Vice President and General Manager of Fontana, and Element 9 President Tony "X" Franklin. The label's release schedule is currently being finalized with plans to make the label's first release through the new partnership available during the second quarter of 2010.

Franklin brings close to 20 years of experience working in the music industry. He previously served as the President of NuBlud Management, a Cleveland based Management Company specializing in the promotion and marketing of various urban acts. Franklin also served as the Head of Street and Lifestyle/ Midwest Radio Promotion for Asylum Records/ Warner Bros. Records and previously helped broker the Swisha House major distribution deal with Asylum Records

Joining Franklin will be Stu "DJ Xplosive" Pflaum, who founded the Element 9 Company in 2005 and has partnered with Franklin in the past on various music ventures. Pflaum will act as the label's Vice President, bringing his expertise in internet marketing and new media strategies and will manage the label's digital presence.

Also joining the team will be Douglas "Fresh" Jones, who previously worked with Franklin's NuBlud Management team and will oversee Lifestyle Promotion of the label's acts. Marlowe "Mauly T" Taylor will serve as the studio engineer for all the label's projects, including the mixing and mastering of all recordings. Mauly T has mastered several Fontana projects (Capone & Noreage, Killer Mike, Beeda Weeda etc). Doc Taylor looks to continue in this capacity. Studio 76, is a renowned studio that has hosted the likes of Bone Thugs N Harmony, Snoop Dogg, Young Joc, Killer Mike, Ice Cube, Trae & Public Enemy to name a few.

"We are excited to welcome Element 9 Muzik to the Fontana family of labels," stated Spaulding. "Tony and his team are true entrepreneurs and innovators, and we look forward to working with them to maximize opportunities on all fronts for their artists."

Franklin commented that he was "proud to bring together a group of talented individuals from the Cleveland area to form a team capable of delivering professional results for our artists" and looks forward to using the Element 9 label to demonstrate the ability of a record label to prosper during this new era in the music industry without having to be based in big cities like New York or Los Angeles.

About Fontana

Fontana Distribution, the independent arm of Universal Music Group Distribution (UMGD), provides unparalleled sales and marketing support, as well as back office services, for a diverse roster of labels and their artists. Fontana distributes more than 100 labels including Vagrant Records, Telarc, Eagle Rock, VP Records, American Gramaphone, Downtown, Six Degrees, Nitro, SMC, Trustkill, Delicious Vinyl, ESL, Modular, Ministry of Sound, Ipecac, Strange Music, Music World, VH1 Classic Records, MySpace Records and many others. In addition, Fontana distributes select projects from Universal Music Group labels worldwide.

SOURCE Universal Music Group

Friday, November 20, 2009




Chamillionaire - Chamillitary


1. Intro
2. Freestyle (Shyne On)
3. Freestyle (I'm A Hustler
4. Freestyle (You'll Know)
5. Phone (Skit)
6. Still In Love Wit' My Doe
7. Freestyle (You Ain't Herd 'Bout)
8. Freestyle (Amazing)
9. Phone (Skit) 2
10. Freestyle (Victory)
11. Freestyle (Let's Go)
12. Freestyle (Hoggin' Da Game)
13. Freestyle (Roll Wit' Me)
14. Freestyle (Don't Luv Dis Game)
15. Freestyle (Put You On The Game)
16. Freestyle (I Wish)
17. Interlude
18. Freestyle (Get Outta Here)
19. Phone (Skit) 3

Thursday, November 19, 2009

John Mayer Set For No.1 Chart Debut


The music industry can breathe as it's fourth quarter as finally arrived so it can pick up it continuing slump. The first slew of major releases that have hit stores this week and it seems like Columbia's singer/songwriter John Mayer will bow will take the crown at the top of the chart as he is set to sell 275-300k in sales, according to one day reports. This places him well ahead of Norah Jones new set The Fall which is set to move 150-160k in it's first week debut and slide in the No. 2 slot. Although she will be in a four way tie with 50 Cent new album Before I Self Destruct, Christian act Casting Crows and Decca's Andrea Bocelli all in the 140-150k range. Teen sensation, Justin Bieber's debut album My World could shift 100,000 copies that could beat out both American Idol winner Kris Allen debut effort to move 90,000 and X-Factor winner Leona Lewis sophomore effort Echo may sell 50-60k. This is not good for Kris Allen as with these numbers he will be the lowest first week sales by an American Idol winner, taking the crown away from Jordin Sparks who sold 119k in her first week. Look for the chart battles to get even tougher when new albums from pop princess Rihanna and American Idol glam-rocker Adam Lambert hit stores next week.

Monday, November 16, 2009

Judging out of tune?

Contenders and performers at Muzik Muzik: (Front row from left) Akim and Nubhan; (Back row from left) Black, Stacy and Estranged


THE cracks have begun to show.

Beneath the gold and gild of the prestigious composition competition that is Muzik Muzik, questions have now been raised on whether the judging process for the new system is adequate to fairly determine which songs actually deserve to face-off at the final of Anugerah Juara Lagu.

With 30 per cent of the decisive score for live performance determined on the night of competition, added on to the 70 per cent of the pre-judged composition value, the results are now open to question, more so now since it has been revealed that both processes involve the same handful of judges.

Does this mean that few are well-qualified enough to single-handedly determine the best worthy compositions in the country?

After all, with all due respect to the esteemed names which include the likes of Azlan Abu Hassan, Helen Yap, Mohariz Yaakup and Ahadiat Akashah, even the Anugerah Industri Muzik has two levels of evaluation with numerous judges involved to avoid abuse of the system.

In the previous format of Muzik Muzik, when it was broken into three categories of Pop Rock, Ballad and Ethnic Creative, judges were rotated with each leg of the semifinal.

While this was claimed to be due to the genre specialisation, now that the competition is open without defining categories, perhaps a more comprehensive judging process is all the more necessary.

After all, being in the industry, everyone has their favourites or people they’ve worked with. Dare we even mention the question of personal preference?

After the positive start — despite the laughable inclusion of Raja Gelek as performed by One Nation Emcees,
the second installment of the show was a downer for the same reasons that provided a nagging ‘sensation’ as to the judges’ previous top picks.

There was definitely nothing much to fault from the quality of performances, or even strength of songs competing — as much as how doubts now creep in over just how fair the competition is.

With seven performers out of eleven competing with their songs championed from the Akademi Fantasia alumni, it was definitely not too far from the fan billing of the show as ‘the best Akademi Fantasia concert’ in a long time — even better than the recent attempts by Astro, which produces the popular reality TV program.

And in the midst of it all, came speculation that Aku Rindu Sayang Kamu that was performed by Black would be a shoo-in just like Raja Gelek to top the challengers for the night.

After all, just like One Nation Emcees, the song’s performer fell into the supposed quota of ‘Media Prima in-house talent’.

And while the rumour has been disputed repeatedly, it was a confirmation of sorts, when after four former Akademi Fantasia talents were announced to be in the top five, Black was included to no real shock.

It was not so much about the song making it, as it had more merits to be deserving of the high score to enable it to be in the top five — as opposed to Raja Gelek.

Just maybe, the insinuation that it may have gotten in on other merits sat uneasily with many.

Aurora, wholly the work of Estranged, was definitely deserved. Displaying a sense of newfound maturity in their performance, their showmanship was laid-back, and they didn’t seem to even bother to try, despite sounding as tight as ever, with frontman Rich delivering well in the vocals department.

Though it must be said that true, he did muff up the lyrics of the tune in the heat of the moment.

Sharon Paul and Azalea’s Seadanya Aku was also well-delivered by Nubhan and earned its spot in the top five.

His breathy, almost nasal tone may get on your nerves. If it doesn’t, you’ll be among the screaming fans.

Credit to him however, as the boy has shown a marked improvement in his ability to deliver, though you can’t help but feel that the reverb was thrown up to a maximum to aid him just a little bit.

Edry KRU’s Pakai Buang may be reminiscent of any KRU-composed pop ditty.

However, Stacy is known more for her showmanship, and she did blow the audience away with her performance.

It was a blisteringly energetic show by 6ixth Sense, and Stacy stamped her mark as one of the best overall entertainers, not only among newcomers, but even with more seasoned campaigners in the business.

Amir and Sheikh Qalam’s Bengang was obviously the hit of the night, with the crowd going wild, as Akim closed the show with his explosive delivery.

Somewhere in the mix was a ho-hum epitome to mediocrity in Yuzai’s Aku Rindu Sayang Kamu which was done, just okay, by Black.

Forget Jinbara’s laughable Tahu Tak Tau Joget or more dated catalogue Ajai with Ku Pinjam Satu Bintang as performed by Alyah and Riz.

Dismiss the eyebrow-raising sham that was Cinta Gila by Sharnizad and Hafizal which was performed by Grey Sky Morning and the extremely lame Edry KRU-penned Benar-Benar which had Adam taking pop music back by 20 years.

Anas’ Fikirlah, performed by younger brother Aizat was a nice tune, though it paled in comparison to the latter’s Kau Aku which was at the top of the heap the previous week.

The big win for the night — which ended up losing, at least for now, was 6ixth Sense’s self-penned Khatimah
Cinta.

Like last year, the boys, who were responsible for some of the most fresh sounds, are now facing the very real possibility that they have missed the ride to the finals through no fault of theirs.

While many felt Khatimah Cinta deserved a spot, it seems doubtful that the song — a fresh take of a Malay rock ballad - will make the cut. A shame, as apart from Khatimah Cinta, the likes of Dan Sebenarnya, Aku Skandal dan Kau Aku is a handful of tunes which have gotten Malaysian music fans excited for the right reasons.

For now at least, with a lame judging system, it will be interesting to see how TV3 tweaks the mechanism this far into the competition to ensure the right thing is done.

After all, they keep repeating that the top five for each semifinal leg is no guarantee of a final berth. Then again, when a good song is placed lowly — what chance does it have against cr*p placed much higher?

Friday, November 13, 2009

Hoods Muzik Spot: Trap-A-Holics & OJ Da Juiceman - 6 Ringz


1. 6 Ringz: The Michael Jordan Edition Intro
2. 6 Ringz (Prod By Lex Luger)
3. Ohh No Ft. Jody Breeze & C Bone (Prod By Hamsquad)
4. All My Life (Prod By Hamsquad)
5. Watch Da Dope Lock Ft. Bro-Dash (Prod By Jody Beats)
6. I Got Ringz (Prod By Lex Luger)
7. Own My Own Team Ft. D.R.E. (Prod By Lex Luger)
8. I Remember (Prod By Lex Luger)
9. I'm Get It (Prod By Hamsquad)
10. Halftime- On That Gas Interlude
11. Kickin It Ft. Young Chris & G.K. (Prod By Drumma Boy)
12. Long Time Coming (Prod By L Crum)
13. My Fist (Prod By Nitty)
14. Bags Ft. Young Dro (Prod By Beat Billionaire)
15. Sausage Ft. D.R.E. & Tony B (Prod By Lex Luger)
16. Freestyle (Prod By Nitty)
17. Susie (Prod By Nitty)
18. I Talk To My Car (Prod By M-16)
19. Million Bucks (Prod By Nard B)
20. Bread N Da Kitchen (Prod By Bj Beats)
21. Bong (Prod By Bj Beats)
22. 6 Ringz Outro

Thursday, November 12, 2009

Waxys On The River Goes Reggae Wednesdays with Kulcha Shok Muzik


Every bar/restaurant that's into getting green should throw a good reggae night. What better for the kitchen than a high-life crowd of hungry people smoked out on the river?

Waxy's On The River (690 SW 1st Court) is taking a piece of the action with their new Reggae Wednesdays. $3 Budweisers, $4 Red Stripes, and $5 imperial pints of Guinness are the drink specials, and the kitchen rocks til 5 a.m. with signature Irish fare, bar style food, and casual upscales.

The restaurant has teamed with bashment kings Kulcha Shok Muzik to make Wednesdays on the river a reggae party. Short Order called everyday-hustling reggae promoter Lance O. to see how the deal was struck and get some info. Here's what he had to say:

"Each week it's gonna be Don Sha. Don Sha is a Latin American guy, solo artist, with a very good backing band, keys, a lady doing backing vocals, originals and covers. He's somewhat unknown but he actually is quite good.

"His standards is a little higher than most in my opinion. He'll do not-just the Bob Marley songs, but also Garnett Silk, and he'll do Luciano. Some people that don't know reggae that deep might think they're his own songs.

"Waxy's, I went there, it's very nice, very European feel with the wooden walls, great location, little hard to find, but right on the Miami River."

Short Order: What do you think about Irish food?

Lance: I'm actually Irish, but I don't particularly care for it.

SO: Did Waxy's approach you about doing the night?

L: Actually I went to them to interest them about reggae. Anytime I hear about a new venue I'm always trying to interest them in reggae. It just happened to be the right time, right place.

SO: What do you think about the food aspect of it?

L: Food always is an added experience, people love to eat, especially here in America. Mash and bangers, I don't know if they're doing anything like that, but I think it only adds to the experience.

Monday, October 26, 2009

50 Cent wanted to play MR. T. in A-Team movie remake

LONDON - Rapper 50 Cent had auditioned for the role of ’80s icon MR. T. in the upcoming A-Team movie remake.

The hip-hop star is a big fan of the hit TV show. And after hearing about the plans to revive the classic series on the big screen, he vowed to land the role of Sergeant Bosco ‘B.A.’ Baracus. But had to pull out of because the shoot would have clashed with his music schedule.

“I went for the B.A. Baracus role in The A-Team a few weeks ago but they’d already started shooting, so it would have kinda jammed things up at my end, because I’ve got my new album coming out,” the Daily Express quoted him as telling ‘Total Film’ magazine.

Meanwhile, film bosses have hired mixed martial arts tough guy Quinton ‘Rampage’ Jackson to take on the iconic role.

The cast also includes Bradley Cooper as Faceman Peck and Liam Neeson as A-Team leader Hannibal Smith. (ANI)

Saturday, October 24, 2009

The music of James Bond

Monty Norman: Dr. No soundtrack CD cover The "Bond Music Style" is so familiar to people, that it sometimes seems as though it was always there. But if fact it took a lot of effort to establish all the recognisable facets of this style. Monty Norman had scored most of the first movie "Dr. No" but neither he nor the film-makers were completely satisfied that they had captured the essence of Bond. John Barry was brought in and orchestrated one of Norman's songs on electric guitar, and the unmistakeable Bond Theme had arrived. Barry was asked to score the next film "From Russia with Love" which had a theme tune and incidental music incorporating elements of the Bond theme and its style. The theme song for the next film "Goldfinger" was written to be larger than life and Shirley Bassey was asked to sing it in her powerful voice.

David Arnold: Casion Royale soundtrack CD cover By now all the elements of the Bond Style were fully established and that format continued throughout the series, with John Barry staying on as composer for many years. A few other composers did one-off stints with Bond films, and there were several attempts to update the format and introduce pop songs and artists. It wasn't until the late 90s that David Arnold successfully updated the mix by introducing techno beats into the high-octane chase sequences, and Arnold has remained as the resident Bond composer every since. The recent Daniel Craig movies have reinvented the series and the music has also gone "Back to Basics". The latest film "Quantum of Solace" is in theatres now.

The Bond Composers

Here are the score composers for all the Bond films to date, including the original "Casino Royale" and "Never Say Never Again" though these films were made by different groups outside of the main franchise.

    John Barry: Diamonds are Forever soundtrack CD cover
  • Dr. No (1962) - Monty Norman
  • From Russia with Love (1963) - John Barry
  • Goldfinger (1964) - John Barry
  • Thunderball (1965) - John Barry
  • Casino Royale (1967) - Burt Bacharach
  • You Only Live Twice (1967) - John Barry
  • On Her Majesty's Secret Service (1969) - John Barry
  • Diamonds Are Forever (1971) - John Barry
  • Live and Let Die (1973) - George Martin
  • The Man with the Golden Gun 1974) - John Barry
  • The Spy Who Loved Me 1977) - Marvin Hamlisch
  • Moonraker (1979) - John Barry
  • For Your Eyes Only (1981) - Bill Conti
  • Never Say Never Again (1983) - Michel Legrand
  • Octopussy (1983) - John Barry
  • A View To a Kill (1985) - John Barry
  • The Living Daylights (1987) - John Barry
  • Licence to Kill (1989) - Michael Kamen
  • GoldenEye (1995) - Eric Serra
  • Tomorrow Never Dies (1997) - David Arnold
  • The World Is Not Enough (1999) - David Arnold
  • Die Another Day (2002) - David Arnold
  • Casino Royale (2006) - David Arnold
  • Quantum of Solace (2008) - David Arnold

The Bond Songs

Bill Conti: For Your Eyes Only soundtrack CD cover The Bond Song is a key part of the overall package, and more often than not the Song has the same Title as the films or include's the film's title within its lyrics. We have listed the title or main songs of all the Bond films below, with composers, lyricists and performers, but several films have other secondary songs used in to accompany the End Titles or as source music in the middle of the film. Notable additional songs include "Underneath the Mango Tree" from "Dr. No", "Mr. Kiss Kiss Bang Bang" from "Thunderball", and "Do You Know How Christmas Trees are Grown" from "On Her Majesty's Secret Service". Many Bond Songs have done very well in the music charts, but others have failed to hit the mark.

    John Barry: On Her Majesty's Secret Service soundtrack CD cover
  • Dr. No: "Kingston Calypso" by Monty Norman - performed by John Barry Orchestra
  • "From Russia with Love" by Lionel Bart - sung by Matt Monro
  • "Goldfinger" by John Barry, Leslie Bricusse & Anthony Newley - sung by Shirley Bassey
  • "Thunderball" by John Barry & Don Black - sung by Tom Jones
  • "Casino Royale" by Burt Bacharach - performed by Herb Alpert and the Tijuana Brass
  • "You Only Live Twice" by John Barry and Leslie Bricusse - sung by Nancy Sinatra
  • On Her Majesty's Secret Service: "We Have All the Time In The World" by John Barry - sung by Louis Armstrong
  • "Diamonds Are Forever" by John Barry & Don Black - sung by Shirley Bassey
  • "Live and Let Die" by Paul & Linda McCartney - performed by Paul McCartney and Wings
  • "The Man with the Golden Gun" by John Barry and Don Black - sung by Lulu
  • The Spy Who Loved Me: "Nobody Does It Better" by Marvin Hamlisch and Carole Bayer Sager - sung by Carly Simon
  • "Moonraker" by John Barry and Hal David - sung by Shirley Bassey
  • "For Your Eyes Only" by Bill Conti and Michael Leeson - sung by Sheena Easton
  • "Never Say Never Again" by Michel Legrand, Alan & Marilyn Bergman - sung by Lani Hall
  • Octopussy: "All Time High" by John Barry, Tim Rice & Stephen Short - sung by Rita Coolidge
  • "A View To a Kill" by John Barry and John Taylor - performed by Duran Duran
  • "The Living Daylights" by John Barry and Pal Waaktaar - performed by a-ha
  • "Licence to Kill" by N. Michael Walden, Jeffrey Cohen & Walter Afanasieff - sung by Gladys Knight
  • "GoldenEye" by Bono and The Edge - sung by Tina Turner
  • "Tomorrow Never Dies" by Sheryl Crow and Mitchell Froom - sung by Sheryl Crow
  • "The World Is Not Enough" by David Arnold and Don Black - performed by Garbage
  • "Die Another Day" by Madonna and Mirwais Ahmadzai - sung by Madonna
  • Casino Royale: "You Know my Name" by David Arnold and Chris Cornell - sung by Chris Cornell
  • Quantum of Solace: "Another Way to Die" by Jack White - sung by Jack White and Alicia Keys

Further information and recommendations

Here are various links associated with James Bond music on the mfiles web-site, including score composer biographies and soundtracks reviews.

Here are a selection of external links to sites associated with the music of the James Bond films.

    David Arnold: Shaken and Stirred album CD cover
  • James Bond 007 Collection - a great Sheet Music Book, available for piano and other instruments
  • Monty Norman - the website of the "Dr No" composer lets you listen to the original song "Bad Sign, Good Sign" which became the James Bond Theme
  • John Barry - website of the man who crafted the "James Bond Music Style"
  • David Arnold - website of the current established Bond composer
  • James Bond - official film website now focussing on "Quantum of Solace"

Music Theory

So what exactly is music? We constantly hear music so we almost take it for granted. For a little demonstration, play some random notes we put together. Yuck, if you're anything like us, you're probably cringing right now because of all those awful notes. Close it, quickly! Now, click here to play the second movement from Rachmaninoff's Piano Concerto #2. Ah, that sounds much better than those random notes, doesn't it? You don't need to close THIS file!

So how did Rachmaninoff and all other composers decide how their music was going to sound? You can definitely tell that they did not just put random notes on paper and hope it sounded good... there was a general set of rules they followed. This set of rules is what we today call music theory. It would be wrong, however, to say that composers had a nice little "music theory handbook" that they referred to as they were writing their music. Actually, it is just the other way around... our study of music theory is based on what composers wrote many years ago.

This section will deal mostly with the music written from about 1700-1900 (also called the common practice period). We will not really go into the study of modern music here, mostly because much of the music of the 20th century has been designed to completely redefine music theory. If you want to learn about some of the theory behind 20th century music, you can visit the Modern Period section of our site.


If you already feel confident in your knowledge about music theory, feel free to skip a few of the lessons below... If you don't have a solid base in music, however, we recommend that you follow the silver links at the bottom of each page in order to gain a foundation that will be used in the upcoming sections. Well, let's get started!

  • Lesson 1: What is Sound?
  • Lesson 2: What is Pitch?
  • Lesson 3: The Scale
  • Lesson 4: What is Rhythm?
  • Lesson 5: Learn to Read Music
  • Lesson 6: What are Intervals?
  • Lesson 7: The Major Scale Revisited
  • Lesson 8: Basic Harmony

    What is Sound?

    So what exactly is sound? Well, let's look at the properties of sound. We can hear it, but we can't see, taste, smell, or feel it, right? Now, wait a minute, we CAN feel sound. Have you ever stood next to a large speaker? Or maybe you've felt the rumbling of heavy bass music through a table or a floor. These effects prove that sound is some kind of physical phenomenon. Sound must somehow be "hitting" you, letting you "feel the beat". But how can that be happening? We don't see anything when we "feel" sound...nothing but air! So we must be feeling the air when we feel sound!

    OK, so how exactly are we "feeling" the air? Well, to answer this question, we need you to complete a little demonstration. Ready? Gently, take one of your hands and find your windpipe (at the base of your neck). The windpipe is the tube through which air passes when we breathe or talk. Now, keep your fingers touching your windpipe and sing a note (any note!) for a few seconds. If you're not the singing type, you can also hum or talk instead of singing. So, what did you notice? Your windpipe probably vibrated; if not, you may need to try again while singing a little louder.

    Hmm, now we have the results of an experiment on sound, but what do these results mean? Let's think about this logically. Your windpipe vibrated when you made a sound. So, this means your windpipe caused the air to vibrate. Great, now we've figured out that sound is just vibrating air. But that still doesn't explain the rich variety of sounds that we can hear.

    Well, the answer to this one is simple. We've established that sound is simply vibrations in the air. In fact, the reason we can hear sounds is that these vibrations trigger tiny sensors in our ears that send the messages to our brains. Back to the question: why is there such a wide variety of sound? Well the answer is that there is an almost infinitely wide variety of vibrations in the air. For example, the air can vibrate at different speeds and intensities. Each of these slight variations can produce a different sound. Everyone has experienced a wide variety of sound, from the lyrical singing of a violin to the chirping of a bird.



    Instruments and Sound

    Another question: how do all the musical instruments produce sound? Well, in all cases, the instruments produce a vibration (usually through the vibration of a string). This vibration is in turn transferred to the air, and eventually reaches our ears. Again, a wide variety of vibration is possible from the many different instruments. Of course, one violin may sound drastically different from another violin due to a slightly different type of vibration produced. This applies to any instrument, not just violins.

    Yet another point to think about is acoustics. You've probably realized that an instrument sounds different in a small room than in a huge concert hall. At least, you've experienced an echo, which is just the vibration of the air being reflected by something so that it is heard multiple times. The acoustics of a room work the same way: the various surfaces can slightly alter the type of vibration and change the sound slightly. The surfaces can also direct the sound to travel in a certain direction. For example, in a concert hall, the sounds made on the stage travel out towards the audience because of the design and shaping of the hall. In some places, the concert hall is so well designed that a musician cannot even clearly hear the musician sitting next to him/her because all the sound is being directed outwards!



    Conclusion

    Well, hopefully we've provided you with some basis on how sound works. This knowledge will be important in the upcoming pages where we go into more detail about sound and specifically music.

    What are Pitches?

    Now we know how much a wide variety of pitches can help the sound of music. But what exactly is pitch? We know that musicians can produce both high and low notes, but how exactly does it work? Well, remember what we discussed in Lesson 1? Sound is simply vibrations of air. We've established that there is an infinite variety of vibration possible, creating an infinite variety of sound. But that still doesn't answer our question of "What are Pitches?".

    Well, consider this: the main chamber music instruments all have strings, right? Well, a string instrument player can raise the pitch of his/her instrument by moving his/her fingers to shorten the string! A pianist can raise the pitch of his/her instrument by playing a key connected to a shorter string! So, a shorter string must cause a higher pitch, and a longer string must cause a lower pitch! Maybe you've tried this with a rubber band before: if you pinch off the rubber band and pluck it, it will vibrate; causing a high pitch to occur. If you don't pinch the rubber band and just pluck the entire band, it will vibrate and cause a lower pitch to occur. This works in the same principle as the chamber music instruments

    Great! Now we know how to create a higher or lower pitch. But what exactly is happening? Well, every time a musician plays a note, his or her string is vibrated very rapidly. In other words, the string moves back and forth almost inconceivably fast (the violin's A string vibrates at 440,000 times per second!). A longer string will vibrate more slowly than a shorter string. Perhaps you've experienced this with a jump rope. A single person jumping rope can get his/her rope to go very quickly. This is similar to the vibration of a short string. A jump rope held by two people standing far away will not travel nearly as quickly as the single person's jump rope. This is similar to the vibration of a long string. So, fast vibrations must correspond to higher pitches, and slow vibrations must correspond to lower pitches.


    Note Names

    OK, so we have some idea of what pitches are. It gets a little more complicated, though... In music, only a select number of pitches are ever played. Why? Well, music has just evolved over thousands of years to only incorporate a select number of pitches. You can bet that it has evolved the right way, too, if you've ever heard an out-of-tune viola. An out-of-tune instrument plays pitches that are slightly off from what they should be. For example, if an instrument was supposed to play a pitch vibrating at 440,000 times per second, it might vibrate at 441,000 times per second. This creates an awful sound, almost as bad as those random notes from Lesson 1.

    So how exactly did musicians decide to use only a certain number of notes? Well, that brings us to a funny story involving the great composer Johann Sebastian Bach. After the end of the Renaissance, there was some debate over the best notes to be used in music. For example, Indian music uses 22 notes per octave. Well, J.S. Bach was a strong supporter of using 12 notes per octave, which is the system still used today in Western music. To prove that his system was the best, Bach wrote a prelude and fugue in 24 keys: two on every note (both major and minor). Evidently, Bach made his point and so his system of 12 notes per octave is still used today.

    An example of several accidentals
    Anyway, since there are a fixed number of pitches, they actually have names! These names include: A, B, C, D, E, F, and G. Of course, these note names repeat, but we'll get more into that later. Note names are vital to musicians because they represent each pitch. You can see how confusing it would get if someone told you to play a note vibrating at 500,000 times per second. It would be much easier if they just told you the note name.

    In addition to these 7 pitches, there are 5 more pitches that can be represented by adding a '#' or a 'b' symbol to each note (e.g. A#, Bb). These symbols are referred to by a group as "accidentals". An accidental can be cancelled out by using the "natural" symbol, which is unfortunately not a member of ascii text. We have put together a little display of the most common accidentals used in music. There are more complex symbols (such as the double flat or double sharp) but these are rarely used.

    The Major Scale

    Let's move on to one of the basic building blocks of music: the scale. First, play a simple major scale starting on C. Perhaps you've heard this before, perhaps not, but this is what a basic major scale sounds like. What is a scale exactly? Well, it's a series of notes like the one you just heard. Of course, it doesn't have to start on C. For example, we have another simple major scale starting on C#. This sounds slightly different, but you can tell that the scales are really the same thing. Hopefully, you've noticed that the note that the scales start and end on sound the same. This is an important point because a scale spans an octave, which is just two notes that are 12 notes apart.

    What exactly is a major scale? Well, we've heard two of them, but that might not necessarily make it clear. Let's come up with an official definition: a major scale is a set of notes that defines the key of a piece. Wow, there are a lot of new terms in that. Rather than attempt to explain that, we'll give you an audio demonstration. Notice how all the notes in this demo are also notes in the C major scale? Well, that's a technique used by composers to create music. This makes the major scale extremely useful in composing pieces. The scale that composers take their notes from is called the key of the piece. Of course composers are not limited by any means to using only certain tones. Composers are free to write whatever notes they wish to make their pieces sound good. For example, composers often quickly change from key to key, utilizing different scales.

    Now, we've neglected to mention some important aspects of the major scale. Not only does the scale define the key of the piece, but the notes in the scale are not variable. In other words, a composer cannot make up anything he or she wants and call it a scale. Instead, all major scales sound very similar and are all based on the same scale. For example, if you took the basic C major scale and bumped it up a few steps, you'd still have a major scale.



    The Minor Scale

    Hopefully, you now have some understanding on what a major scale is. Later on, we will go into more depth onto what the notes are that make up the major scale. First, though, we'd like to look into another type of scale: the minor scale. Again, don't worry too much about what the notes in this scale are; just play our simple harmonic minor scale starting (and ending) on C. What's a harmonic minor scale, you ask? Well, there are three different types of minor scales: natural, melodic, and harmonic. They all sound very similar but are slightly different.

    Well, hopefully you were able to hear the harmonic minor scale. Notice anything different between it and the major scale? That's right; the minor scale sounded much "sadder". Like the major scale, the minor scale can be utilized by composers to create music. We've put together another little demonstration in the key of C minor. This means that the notes used in this demonstration were in that C minor scale. By the way, when a key is in a minor key, the general practice is to write the key of the piece in lower case. So, the key of this demonstration is c whereas the key of the demonstration before was C.



    Now we know a little bit about how scales and keys work. There's still a whole lot more that we need to learn about music, though. Remember that music is more than just notes put together, there are also many different other components of music, including complex rhythms. Speaking of rhythms, continue to the next page for a lesson on rhythm.

    What is Rhythm?

    So what exactly is rhythm? We know that it's the timing of the notes, but how do the composers write down these timings into a simple format? Well, if you can read music, then you know exactly how this is done. Otherwise, we'll have to teach you about notation. Basically, all musical notes are arranged notes that last for different amounts of time. For example, a quarter note is a common note that is used by composers. Usually, a quarter note will last for a quarter of a measure.

    What is a measure? Well, it's just a section of one full beat. Are you confused? Don't worry! Here's an example: four quarter notes make up one full beat. This makes sense because four quarters added together is one. So, a quarter note lasts for a certain amount of time. Now, for example, composers can also use half notes, eighth notes, sixteenth notes, or any other fraction. This allows them to use an almost limitless array of note lengths.

    Now, you may have noticed that a major part of music is also silence. What we mean by this is that the short or long silences in between notes are often very important. So how do composers write these silences? Well, the silences are called "rests", and they work the same way as notes do. For example, a quarter rest is silence that lasts as long as a quarter note and an eighth note is silence that lasts as long as an eighth rest.

    By now you may be wondering how a musician knows how long to hold a note. Well, composers often write down a tempo marking. Tempo markings, such as moderato or allegro, give the musicians some idea about how long to hold each note. Of course, the final speed and style of the piece is up to the musicians themselves. On the next page, we will show you some actual notes and rests and you will able to see how composers are able to quickly symbolize to musicians how long to hold a note.

    What are Clefs?

    An example of several clefs
    Well, the first thing that you will see at the beginning of every line of music is a clef. There are three main clefs that are used by musicians: treble, alto, and bass. In the little example in the upper left corner, you can see a treble clef and a bass clef. These two clefs are often used to write piano music.

    So what is a clef? Well, a clef basically tells the musician what note each line in the staff corresponds to. Sound complicated? Well, it's actually pretty simple. Let's look again at that example in the upper left corner. The top line of music is in treble clef while the bottom line is in bass clef. So, the notes in each line are different because there are two different clefs. For example, the middle line in treble clef corresponds to a G while the middle line in bass clef corresponds to a D. To further complicate things, the middle line in alto clef corresponds to a C.

    OK, so why did composers invent all these crazy clefs anyway? Well, good question. Clefs were introduced many centuries ago mainly for singers to use. This is because treble clef corresponds generally to the range of a soprano singer, alto clef corresponds generally to the range of an alto singer, and bass clef corresponds generally to the range of a bass singer. As composers grew skilled at writing music for singing groups, they translated their skills to writing for instruments. Of course, they did not want to learn a whole new system of writing music, so they just used the same clefs that they had always used before.

    Clefs also translate well to string instruments. This is because the violin is higher pitched like a soprano and can use the treble clef. The viola is a little bit lower pitched than the violin and can use the alto clef. Also, the cello is well suited to playing in bass clef due to its lower range. Of course, the lower instruments (viola and cello) can use the higher clefs to play when they are playing high passages. The piano uses a variety of treble and bass clefs often rapidly switching and using combinations of the two.


    What are Key Signatures?

    Let's look at that example in the upper left corner again. See those three flats (they look like the letter 'b')? That's an example of a key signature. We talked a little bit about keys in Lesson 3: The Scale. To refresh your memory, the key of a piece is just the scale from which the notes of the piece are taken.

    OK, so how do these flats translate to the key of the piece? Well, the flats are strategically placed on certain lines. When musicians see notes on these lines, they know to automatically play them flat. Using this technique of having a key signature saves the composer time because he or she does not need to continually draw the same flats over and over again. Of course, music could be written without a key signature, but that would just be confusing for the musicians and the composers.



    What are Notes?

    An example of several notes
    So what are notes? Most of us can probably recognize these famous musical components, but what do they really mean? Well, each musical note conveys quite a bit of information. Let's start with the placement of the note. The placement of the note on the staff is important because it tells the musician which pitch to play (for more information on pitches, see Lesson 2: What is Pitch?). As we mentioned before, the note values in each staff depend on the clef. Let's not get too involved with this now, though. We will talk more about these note values in Lesson 6: What are Intervals?.

    OK, so let's take a look at some real notes. See that picture to the right of this text? Well, that's an example of a few notes. The main differences in these notes are just in their stems, which is everything but the circular part of the note. Every time one of those "tails" is added, the note's duration gets halved. It's not really important for you to remember each note value at this point because it is much easier to understand note durations when you are actually playing an instrument. Also, remember that we already discussed a little bit about note durations in Lesson 4: What is Rhythm?.



    What are Rests?

    An example of several rests
    Remember our discussion of rests from Lesson 4: What is Rhythm?? Well, here are some examples of what rests might actually look like in music. These rests work in a very similar way to the notes. As little "tails" are added to the rests, the rest durations are halved.

    By now, you may be wondering why the whole, half, and quarter notes/rests are different from the eighth, sixteenth, and 32nd notes/rests. Well, we're not really sure why this happened as music evolved over the centuries. One theory to why these notes and rests are different is that composers wanted to let musicians easily see and recognize notes that were commonly used. So, musicians can quickly see whether a note is a half note or a quarter note without counting the stems. This is just one of the countless tiny timesavers that composers have built into music.

    How Does This Apply to Music?

    Good question! How does this apply to music? Well, if you recall, in Lesson 2: What is Pitch? we talked about various pitches. We mentioned how only 12 distinct pitches are used in music. We also mentioned how these 12 pitches continue repeating infinitely in both the higher and the lower direction. Well, let's take for example any two pitches. The distance between these two pitches is called an interval.

    So an interval is just the distance between any two notes. But it's a little more complicated than that. A musician needs to be able to say something and have other musicians understand exactly what interval he or she is talking about.



    Half Steps and Whole Steps

    No, we're not going to teach you to dance in this section, but we are going to teach you a little bit about musical steps. So let's start with the most basic step: a half step. A half step is simply the distance between two notes that are as close as possible to each other. So if you have one note and another one that is just a tiny bit (on a piano, the next key) above or below it, these two notes are separated by a half step.

    That seems pretty straighforward... So what's a whole step, then? Well, a whole step is just one half step wider than a half step. In other words a whole step is two half steps put together. On a piano keyboard, a whole step would just be two keys apart. OK, that's pretty simple, too. So what's the big deal about half steps and whole steps then? Well, these small little steps make up everything in music. Any notes you can play on any instrument (provided that they are actual notes!) are separated by a certain number of whole steps and half steps.

    The real beauty of having these steps is that a musician can say "that note is a half step too low" or something like that, and someone else will immediately know how to fix the problem. If a musician said "that note is 50 cents too low", no one would know what he or she was talking about (and we wouldn't either!).



    Intervals

    Still, there's more to intervals than just half steps and whole steps. It's OK to talk half steps and whole steps when a musician is just talking about a small interval. But what if the notes are 13 half steps apart? It would get a little bit cumbersome trying to calculate and figure out what interval the musician meant. For this reason, a slightly more complicated, yet easier to use method of intervals was developed.

    Remember the major scale we discussed in Lesson 3: The Scale? Well, this major scale actually plays a big role in this slightly more complex system of intervals. Basically, if a musician says some number as an interval, this interval will be the distance between the first note of the scale and whichever note the musician's number corresponds to. For example, if someone says, "play a 4th", that means to play the first note of the scale and then the fourth note of the scale. Since there are 8 notes in the major scale, these intervals including 2nds up to 8ths.

    Now that you know a little bit about intervals, we can see what these intervals truly are. Like any pairs of notes, the intervals are still made up of whole and half steps. Let's take a look at the major scale in more depth on the following page.

    The Major Scale Revisited

    So what exactly is a major scale? In Lesson 3, we talked about some of the uses of major scales, but we didn't really go into too much depth on what exactly a major scale is. Let's look again at the C Major Scale. Now, in Lesson 6: What are Intervals?, we discussed how any two notes in music are separated by a certain number of whole steps and half steps. Major scales also follow this rule.

    C Major Scale

    Let's take a look at this 'C' Major Scale graphic. Here, we've shown you where all the half steps and whole steps are by putting the letter 'H' where the notes are a half step apart and the letter 'W' where the notes are a whole step apart.

    No matter what note the scale starts on, this set of whole steps and half steps remains constant. So, as we said in Lesson 6, musicians can easily describe intervals by just saying the number of notes in the major scale that it would take to fill that interval. For example a whole step would just be a "second" because the first two notes in the major scale are equal to a whole step. A "third" would be two whole steps because the distance between the first note in the major scale and the third note is two whole steps. A "fourth" would be two whole steps and a half step since the distance between the first note in the major scale and the fourth note is two whole steps and one half step.

    OK, this seems pretty simple now. But what happens if a musician wants one whole step and one half step? Suddenly, our system fails because there is no note in the major scale that is one and a half whole steps away from the first note. This note is in between the second and third notes in the major scale.

    Again, musicians have devised a solution to this problem. When a note fits perfectly on the major scale, musicians call the note a major interval. For example, two whole steps would be a major third. However, if the interval is a 4th or a 5th, the interval is called a perfect interval. For example, two and a half whole steps would be called a perfect fourth.

    So, back to the problem of the note that is one and a half whole steps away from the first note in the scale. Well, musicians can lower the width of the interval by a half step by saying the word minor. So, a note that is one whole step and one half step away is a minor third.

    Well, that's pretty much all you need to know about intervals! Congratulations on having passed through this difficult section! Just one more page to go in the theory section!

    What is Harmony?

    So what exactly is harmony? Well, basically, harmony is anything that accompanies the melody. Often, the harmony can occur as chords, which are simply a few notes played simultaneously. Harmony can also occur as broken chords, which are the same notes in the chord, only they are played one after another. Often, listeners do not even know they are hearing harmony because the composer hides it so well from them. In almost all cases, though, the harmony that is being played can be converted into a chord.



    Triads

    The major triad is one of the most basic harmonies in music. It is formed by taking the first, third, and fifth note of the major scale and playing them simultaneously. This triad has a "happy" sound to it and is often used as the basic chord in a major piece. Another common triad is the minor triad. It is formed by taking the first, third, and fifth note of the minor scale. As you can tell, this triad has a "sadder" sound to it and is often used as the basic chord in a minor piece.

    So what's the big deal with triads? Well, they are a very common form of harmony. By themselves, though, they don't mean too much. This is because music uses a wide variety of chords that have complex relationships to each other. Let's make up an example so that we understand this section better. Let's say we have a piece in the key of C Major. This means that many of the melodic notes are taken from the C Major scale. The basic harmonic chord also starts on the key of C (the notes would then be C, E, and G). Now this doesn't prohibit the composer from using other triads starting on other notes in the scale. For example, the composer can use a triad starting on G (the notes would then be G, B, and D).

    By the way, there's a form of musical shorthand for quickly identifying the proper triad. Musicians use roman numerals corresponding to the starting note for identifying triads. For example, if we're in the key of C Major, I would be a triad starting on C. V would then be a triad starting on G.



    Harmonic Progressions and Cadences

    Still, chords are meaningless unless they add something to the music. Well, that's where harmonic progressions come in. As composers switch from chord to chord, they can create the impression that the music is moving somewhere. A lot of harmonic progressions have been established and commonly used, but composers such as Rachmaninoff are still able to invent new and exciting harmonic progressions.

    So, let's talk about some actual harmonic progressions. Cadences are one type of harmonic progression that are often used at the end of sections to settle the thought. Two common cadences are plagal (IV to I) and authentic (V to I). These progressions are quite simple and only consist of two triads. Composers have realized, though, that they give the impression of completion to a section of music. As a result, these cadences are also commonly used at the end of an entire piece.



    Inversions

    Inversions are our last topic, and they really are quite simple. Let's take a C Major triad for example. The notes in this triad are C, E, and G. The first inversion is simply E, G, and then C. The second inversion is simply G, C, and then E. We simply took the bottom note and put it on the top. Inversions are not important in harmonic progressions because they do not change the triads. Inversions can become important, though, when composers want certain notes to stand out. For example, the top note in a triad played on the piano will always stand out just because the highest note is more audible. For this reason, composers often place a melody note on the top of the triad so that it can be heard more easily.



    End of Music Theory

    Congratulations! You have passed through the most difficult and challenging portion of The Music Chamber. You may now continue following the silver links at the bottom each page into the Historical Periods section or you may use the navigation bar on your left to jump to any section of The Music Chamber!
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