Rock Vocals Sample

Rock Goes to College by drummer Bill Bruford's late-1970s band Bruford, was greeted with considerable excitement. Featuring Hatfield and the North/National Health keyboardist Dave Stewart and über-bassist Jeff Berlin, the group only played a couple of live dates with original guitarist Allan Holdsworth, who left shortly afterwards and was replaced by "The Unknown John Clarke. One of those performances was recorded by the BBC for television broadcast and, while it's a scant 42-minutes long, it represents a high water mark for the British progressive/fusion scene of that time—or, for that matter, any other.

The best parties are never planned. When friends spontaneously drop by with other people in tow, that you don ́t even know, but will have learned to love by the end of the evening. And everyone contributes to the buffet: a popular classic dish, an unfamiliar delicacy, or a surprising specialty that makes you gasp: `What on earth is that?` with delight. The mood of De-Phazz ́s 17th studio album, with which the band is celebrating it ́s 25th anniversary, is similarly relaxed and joyful. Host and sample scientist Pit Baumgartnern shares Quincy Jones ́ attitude: “When you bring together what does not go together, you can only win.” He combines gritty rock vocals with a church choir, an alphorn (traditional alpine horn) with Ethno-Jazz, enhances new tunes with fragments of retro-sound- elements, thus enabling the exceptional voices to shine even brighter. “Pure moments of joy” are those when the various musical elements intertwine, and Baumgartner realizes: This works!

Most rock & roll bands are a tightly wound unit that developed their music through years of playing in garages and clubs around their hometown. Steely Dan never subscribed to that aesthetic. As the vehicle for the songwriting of Walter Becker and Donald Fagen, Steely Dan defied all rock & roll conventions…

The act with the first arena-sized sound in the electronica movement, the Chemical Brothers united such varying influences as Public Enemy, Cabaret Voltaire, and My Bloody Valentine to create a dance-rock-rap fusion which rivaled the best old-school DJs on their own terms – keeping a crowd of people on the floor by working through any number of groove-oriented styles featuring unmissable samples, from familiar guitar riffs to vocal tags to various sound effects. And when the duo (Tom Rowlands and Ed Simons) decided to supplement their DJ careers by turning their bedrooms into recording studios, they pioneered a style of music (later termed big beat) remarkable for its lack of energy loss from the dancefloor to the radio. Chemical Brothers albums were less collections of songs and more hour-long journeys, chock-full of deep bomb-studded beats, percussive breakdowns, and effects borrowed from a host of sources. All in all, the duo proved one of the few exceptions to the rule that intelligent dance music could never be bombastic or truly satisfying to the seasoned rock fan; it's hardly surprising that they were one of the few dance acts to enjoy simultaneous success in the British/American mainstream and in critical quarters.

After Neil Young left the California folk-rock band Buffalo Springfield in 1968, he slowly established himself as one of the most influential and idiosyncratic singer/songwriters of his generation. Young's body of work ranks second only to Bob Dylan in terms of depth, and he was able to sustain his critical reputation, as well as record sales, for a longer period of time than Dylan, partially because of his willfully perverse work ethic…

Former Pink Floyd guitarist David Gilmour is not prolific. Rattle That Lock is only his fourth solo studio album (though it follows his late band's final album, The Endless River, by only ten months). Gilmour recorded some 35 songs for this set, some dating back 18 years. Trimming them to ten couldn't have been easy. Titled for John Milton's second book in Paradise Lost, Rattle That Lock is structured as an informal song cycle to reflect the sometimes random, sometimes weightier thought processes of a typical person in a single day. It begins, appropriately, with the instrumental "5 A.M.." Orchestrated by Zbigniew Preisner, Gilmour's signature slow, bluesy, Stratocaster sting enters just 30 seconds in, followed by fingerpicked acoustic guitars, gentle synths, and electric piano amid chamber strings to announce the title-track single.

Former Pink Floyd guitarist David Gilmour is not prolific. Rattle That Lock is only his fourth solo studio album (though it follows his late band's final album, The Endless River, by only ten months). Gilmour recorded some 35 songs for this set, some dating back 18 years. Trimming them to ten couldn't have been easy. Titled for John Milton's second book in Paradise Lost, Rattle That Lock is structured as an informal song cycle to reflect the sometimes random, sometimes weightier thought processes of a typical person in a single day. It begins, appropriately, with the instrumental "5 A.M.." Orchestrated by Zbigniew Preisner, Gilmour's signature slow, bluesy, Stratocaster sting enters just 30 seconds in, followed by fingerpicked acoustic guitars, gentle synths, and electric piano amid chamber strings to announce the title-track single.