THE ROCK ROMANTICS

Rum & Coke

Quítate Tu

One thing that strikes me as funny before I begin is the similarity of the two titles of the pieces being compared.  Despite coming from different cultures the meaning gathered just from comparing the titles is quite uncannily analogous.  When translated to English, “Quitate Tu” means, in essence, “get out of here,” or “leave.”  “Move,” on the other hand, is quite self explanatory, but it could mean one of two things.  The first could be the parallel meaning to “Quítate Tu.”  However, the second meaning could imply movement as that carried out during dance.  All trivial analysis of the titles aside, these two pieces belong to two distinctly different cultures yet contain many similar elements.  Nonetheless, the very dissimilar treatment of these elements gives the two pieces tremendous differences.

Background:

The first piece, titled “Quítate Tu,” is from the salsa genre.  It was composed by Bobby Valentín and Johnny Pachecho, the bassist and director, respectively, of the group who perform this song, the Fania All-Stars.  The salsa genre comes from Latin culture and is a combination of many Latin rhythms and previously existing genres.  The salsa movement exploded in New York City in the late 60’s and early 70’s, which is the time period of this recording, which was captured live in a ballroom/dance club called The Cheetah.

The second piece is “Move,” by Miles Davis and is taken from his album Birth of the Cool. However, the composer was not Davis, but a fellow by the name of Denzil Best.  The piece was recorded in 1949 during the hey-day of the cool jazz movement, a genre which arose during the Second World War.  This album is considered one of the main representations of the genre, and achieved widespread popularity during that time.

The main elements that will be discussed are the texture of the pieces, the differences in tempo, instrumentation, musical purpose, solos and improvisation, harmony, and syncopation on both the bass line and the melody.

In salsa, the syncopation takes place in a distinct manner, much different from that of American jazz, such as in “Move.”  The bass line in salsa is the voice that carries out much of the syncopation.  This is because the rhythm section produces the background music upon which the audience dances.  Without the syncopation provided, the crowd would not be able to dance to salsa in the particular style that has been developed for this genre.  Another point to take into account is that there is an ostinato bass line.  Therefore the examples of syncopation are repeated over and over throughout the song, with only the chords and notes varying.  However, the melodic voice usually does not have much syncopation, and the accents usually fall on the beats.

In jazz, and specifically “cool” jazz, such as that which Miles Davis wrote and performed uses syncopation in a much different way.  The rhythm section, as opposed to the rhythm section in Latin ensembles, plays straight quarter notes, keeping the pulse and beat, and tying the ensemble down.  Upon this rhythmic base is the melodic theme of the song, played by the brass section.  The melodic line is the line which contains syncopation in “Move.”  Also, apart from the actual melodic theme presented in the song, there are many instances of improvisation, and during these plenty of syncopation is used, offsetting the beat of the melody and making it more interesting for the listener.

The texture of both pieces is also similar.  Both pieces feature a homophonic texture, with a rhythm section, featuring drums, bass, and piano, laying down a background, and a melodic voice presenting the main theme over the rhythm.  This texture is used widely, especially in popular music, because of its simple nature, and because it allows for a distinct melody to be presented, and hook the listener.

Both pieces, “Quítate Tu” and “Move,” feature a wide use of improvisation.  However, in the first piece, most of the improvisation is done with vocals.  In this song, the singers are on the spotlight and the rest of the band takes the back seat, letting them lead the crowd and get them riled up.  However, in the second song, “Move,” most of the improvisation is done by brass instruments such as trumpets.  The solos in “Move” are based on the pre established theme and chords that have already been presented.  In both cases the solos are used in order to add a sense of unpredictability for the listeners, and to show of the musicianship, and in the case of the singers, humor, of the performers.

The instrumentation of both ensembles also varies quite a bit, with the “Quítate Tu” featuring a typical Latin salsa ensemble, and “Move,” a classic jazz performance ensemble.  The Latin ensemble features a wide percussion body, with multiple musicians.  These musicians play instruments the clave, timbales, cowbells, conga, bongo, maracas, and güiro.  Also in the rhythm section is the bass, and the piano.  Melodically, instruments such as the trombone, trumpet, and vocals are the main players, but there is also another instrument featured, similar to the guitar, called the cuatro.

The ensembles in “Move” uses a drum set, bass, and piano to provide the rhythmic base, while the trumpets, trombone, French horn, tuba, alto and tenor saxophone provide the harmony and melody.  All in all, a classic jazz ensemble.

Both pieces, “Quítate Tu” and “Move,” use many of the same musical elements, however, the way in which these elements are applied differs tremendously, and the cultural differences make the pieces even more distinct.  These are two pieces, highly typical of each respective genre, that work as models for other songs of the same style.

posted by enrique in Uncategorized and have No Comments

Best tracks of 2009

1. Joy Orbison – Hyph Mngo (Original Mix)


2. Girls – Lust for Life


3. Bon Iver – Blood Bank


4. Delorean – Deli


5. The Drums – Let’s Go Surfing


6. Sebastien Tellier – Kilometer (Original Radio Edit)


7. Moby – Shot in the Back of the Head


8. Calvin Harris – I’m Not Alone (Radio Edit)


9. Cicada – One Beat Away (Arno Cost Remix)


10. MSTRKRFT – Heartbreaker Ft. John Legend (Original Mix)


posted by enrique in Uncategorized and have No Comments

Best albums of 2009

We are, as always, terribly late with these next few posts. Due to logistical problems I will post my lists first, and then everyone else will post theirs…and whatever.
So here it goes, the best albums of 2009.

1. Girls – Album

2. La Roux – La Roux

3. Boy Crisis – Boy Crisis (Tulipomania)

4. Phoenix – Wolfgang Amadeus Phoenix

5. Arctic Monkeys – Humbug

6. Pomplamoose – Videosongs

7. Sabor y Control – Alta Peligrosidad

8. Pete Doherty – Grace/Wastelands

9. Kero One – Early Believers

10. Noisettes – Wild Young Hearts

posted by enrique in Uncategorized and have No Comments

Merry Christmas from the southern hemisphere!

A lot of you might be taking cover due to the severe weather and blizzards in the US. However, we are enjoying the warm summer. So without further ado, Merry Christmas from the southern hemisphere!

posted by enrique in Announcements and have Comments (2)

Happy Holidays!

Happy Holidays Everyone~!!

Sorry that we haven’t been updating the site…

We’re sorry that 2009 has to end like this, but expect much more from us in 2010!

We’re not DEAD!!

- RR Team :]

posted by Kristy in Announcements and have No Comments

HTRK: “Marry Me Tonight”

Album Title: Marry Me Tonight
Artist: HTRK
Genre: Ambience, Grunge, Psych-Goth
For Fans of: Salem, The Birds, Pocahaunted

Three friends from Melbourne watched their city’s music scene become boring by crappy garage rock. They decided to take matters into their own hands… HTRK, is a 3 piece psych-goth band based in Melbourne. If you are a fan of noise and by noise I mean holy shit noise then you are in for a treat. With a clean electronic beat in the background, primitive bass lines and post-rock guitar riffs. These 3 fellas create a wonderful product in just seven tracks, offering the listener  an auditory trip which tickles the ears from excitement. Before listening to Marry Me Tonight I didn’t know that music could be erogenous… Each riff sustains the listener in this magical trance with the droning noises from  Nigel Yang’s guitar while Jonnie Standish’s voice drifts us back n’ forth in a robotic fashion. Each wave of noises from each instrument compliment each other unlike many other noise bands. Working together, these melodies stamp in a very cool sound that makes you agree with their band name. (HATE ROCK) The lyrics are mostly simple but one does not mind when there is a river of noise flowing back and forth the listener’s ears. Sit back one day, lock your doors and play this baby. You are in for a personal auditory orgasm.

Rating: ★★★★☆

Standout tracks: Ha , Panties and… Disco

posted by yc in HTRK, Reviews and have No Comments
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Brand New’s 4th album

After a three year wait, the new album, Daisy, will be released through Interscope Records on September 22, 2009.

During a recent concert, Brand New front man Jesse Lacey said that this will most likely be the last physical release of the band’s material.

The album’s first single, “At the Bottom”, will be released digitally on August 11.

On November 28, the band will play a hometown show in support of their new album at Nassau Coliseum with Glassjaw and other special guests. This will be their biggest headlining show to date. Tickets can be purchased here.

posted by chaska in Announcements, Celeb News and have No Comments

Neon Indian – Terminally Chill

A few months ago I talked about RCRDLBL, a great service for finding new, interesting music.  Today, while on Facebook I stumbled upon this song by Neon Indian, kindly published by RCRD LBL on my main feed.  I can’t describe it better than they did over there. “This squirrley synth nugget that we wish had soundtracked this dream we had one time where we were surfing on a waterbed through a field of brightly colored fungi. Yea, it was like that.”

Here it is:

Neon Indian on RCRD LBL

posted by enrique in Announcements, Misc and have No Comments

Phoenix: Wolfgang Amadeus Phoenix

Album Title:  Wolfgang Amadeus Phoenix
Artist
: Phoenix
Genre: Pop, Electronica, indie, dance
For Fans of: MGMT, Daft Punk

Let me start off by just saying the following: what a nice album. Honestly, if you are looking for a fun, slickly produced, pop album, look no further.  Full of interesting melodies and colors and rhythms, Wolfgang Amadeus Phoenix does not disappoint.   Combining electro with disco, dance, rock, and a little new-wave, this album is full of surprises.

Every element of the album has been carefully planned and laid out, and the hard work the band has put into their work shines through.  It will most likely find itself near the top, if not, on plenty of best-of-the-year lists, maybe even on my own.  However, I cannot help to think that in the grand scheme of things, this is nothing more than a really nice record.

I do not know if it is the legendary work that some seem to label it as.  Thetalent of the band, and the quality of the songs is evident, but I cannot find that element that causes an album to stop being merely a bunch of songs, but something completely different.  For now, I will just listen to the music and enjoy it.

Rating: ★★★★☆

posted by enrique in Phoenix, Reviews and have No Comments

JOKER + FLYING LOTUS: Tectonic Plate 2.3

Album Title: Tectonic Plate 2.3
Artist: JOKER + FLYING LOTUS
Genre: Dubstep, Grime
For Fans of: DUB effin STEP

I hate enjoy Dubstep  to an extent and would not call myself an avid fan or follower of this genre… However, Tectonic Plate is without a doubt a crucial album for any Dubstep fan. With a recollection of  bombing beats, mind f–ing distortions and other unexpected beats… Joker and Flying Lotus show us what Dubstep really is.

Starting with Flying Lotus’ Glendale Galleria . Flying Lotus uses his usual combination of uptempo beats with calming synths carrying the beat till the end. He adds a bit of  tension to each beat as well, combing this into a super orgasmic ripe for the illest ’step’. He often sticks to touching high end noises but in this track, Flying Lotus uses more of a reserved silent sound, using the beats repeatedly with no sign of increase. (in a good way).  The track evolves from the point it changes the beat progression and continues on and on until it reaches the end. Even though what I say might scare you away in fear of boredom. Trust me and listen to this track in a calm environment, and it will just blow your socks off.

Now the genius thing of Tectonic Plate 2.3 is the follow up track by my favorite “black-man”: Joker. The second track, Untitled_RSN uses everything Joker has been using until this point. Bombing noises, electronic distortion, synths and transitional phasing. Seems like a lot of clutter for one track but Joker uses these to his advantage and creates a far ‘louder’ counterpart to Flying Lotus’ banging, yet calming track. (contradicting.. I know but you will know what I mean after you listen to it)

If we had personal robots like that Will Smith movie iRobot, and those personal robots also listened to music… Untitled_RSN would be on repeat for them. This is an electronical monster in the likes you cannot image. It does not have any patience with the listener and will start directly with the sick synths and strafes which will leave the listener crying for more. Robots,cyborgs or even humans like me and you will find this pleasing and what the hell are you guys still reading this for. Get the track and dance till your legs bleed and rot.

Rating: ★★★★½

posted by yc in Joker + Flying Lotus, Reviews and have Comments (2)
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