Dj roland clark presents urban soul until we meet again in hawaiian

Allan Thomas | ALLAN THOMAS

Stonebridge (DJ) remixes of "Make The World Go Round" were also released. She also released a single "Back Together" in on King Street Sounds. .. music studio project assembled by producer, songwriter and vocalist Roland Clark. [1]" Other Urban Soul tracks featured vocals by Sandy B, Ceybil Jeffries and. KOOLA. GOOD LIFE PRESENTS YES, IT'S THAT TIME AGAIN — the Top DJs poll on Wednesday 5th July, and runs right up until When I finally tried out a Roland Space Echo myself, “This was the song that got me into soul and funk and made Later in the week we meet at another of their. Rob Swire | Jordan | Mak & Pasteman | Terr | Dynarec | Vin Sol | Back For we asked legend Alan Oldham aka UR's Minister of Information aka DJ Ep Presents Different Facets Of One Of The Classic Detroit Ghettotek Producers. team up with BBC Radio 1 hall of famer, Roland Clark to bring you 'This Ain't Freedom'.

But I see an opportunity to put the two together in a manner that has never been attempted before. Some of the proposed educational segments include: Because Hawaiian music is about memories. I am eager to forge an on-going relationship with my listeners and hear the stories of that romance that was sparked when you first heard a song, the venues where you used to spend Saturday nights where these artists performed but which have since seen the fate of the wrecking ball, or that lucky day when you had the rare opportunity to meet your Hawaiian music hero.

I love all kinds of Hawaiian music. But the history of Hawaiian music radio — which over the last three decades has largely been a corporate endeavor — dictates that stations play only music from a specific era or only the current hits. For these corporate stations, vintage Hawaiian music merits only an hour per week or less of airtime. I published more than pages of information on Hawaiian music artists and composers, and readers responded by clicking on the links that appealed to them. This served as an important form of market research.

The more clicks an artist received, the clearer it became that the Hawaiian music-loving world longed to hear those artists again. Interestingly, many of the artists with the widest appeal on my blog also happen to be artists for whom few or no recordings have been made available in the digital era. Because I sit here amidst these vast archives of Hawaiian music greatness, usually whenever I want to enjoy Hawaiian music, I just turn in any direction and trip over a fantastic recording.

I was presented with two links: So I moved along to my second favorite station only to discover the same thing: Not being bashful, I inquired with one of the stations as to these fees, and the explanation is most reasonable: The royalties that traditional radio stations pay only cover listeners within their local listening area. Because of this, some stations have shut down their Internet stream altogether. Those that have kept their stream must charge listeners to keep that stream viable.

I, for one, do not think it appropriate to profit from a culture that does not belong to me. Conversely it is often assumed that anything that remains out of print must be from eons ago and the master tapes cannot be found.

Both of these assumptions are false. Some of the most historically and culturally important recordings in the history of Hawaiian music remain out of print. But, for many, the importance of these recordings in the evolution of Hawaiian music is secondary to the reality that they are simply beautiful examples of Hawaiian music — many possibly lost forever except for those few copies in private collections.

But not all out of print recordings are quite so old. There are fabulous recordings from the digital era — as recently as the 80s and 90s — no longer available. This is not because the master tapes are missing. The reason is largely financial.

Amazing Hawaii Sunset - A Hui Hou - Until We Meet Again

Many musicians do not own their own master tapes. This is why you have not seen re-releases of important recordings by Sam Bernard or Tony Conjugacion. And the owners of the masters have little or nothing to gain financially by remastering and re-releasing them. Remastering is easier if you have the master tape.

I will be working largely from recordings that have seen the ravages of time and the carelessness of their previous owners. For starters, the biggest offender in record noise is dirt. Records need to be cleaned, and this is a painstaking and time-consuming process.

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If the previous owner of a record wore it down with a conical stylus, then an elliptical stylus might track the groove better. If it was worn down with an elliptical stylus, a hyperelliptical stylus might be in order. Did you know that the grooves on a 45rpm record are wider than on an LP record — necessitating a different kind of stylus altogether? And did you know that records pre-dating the stereo era before require a different kind of stylus than later stereo records?

Matching the record with the appropriate stylus is also time-consuming and is a process of trial and error. Then the record must be transferred to computer and any remaining noise painstakingly removed — one click or pop at a time — using digital tools. But as a Hawaiian language teacher and a gentle spirit, he suffered me gladly and gave me an important lesson in directionals iho, akuand he proceeded to structure and edit until I had a song suitable for a gift.

He would do anything to make that happen — including making himself the butt of the joke literally and figuratively. At Christmas especially, I always ask why God always seems to take the best and brightest from us too soon, and I pray for our collective loss. Most of the Hawaiian music-loving world knows the Makaha Sons of the stage — aiming to please, quick with a joke, but deadly serious about their music, their harmonies, and the use of the Hawaiian language.

Those were their hallmarks. But off stage, it was a slightly different version of the boys — the music coming second, life and love coming first, waxing philosophical and spiritual on the topics nearest and dearest to their hearts, always leaving you thinking about your own life, your own direction, your own purpose. And this is why Moon retired from the Makaha Sons in July of this year — to help other young creative people discover their direction and purpose. The group did not merely exist to make music.

Together, Moon, John, and Jerome had a mission, and they continue to evolve to fulfill it and will not rest until they do. While the album is filled with joyous moments, for me there is a hint of melancholy — bringing thoughts of life the way it could have been. And, at the same time, as I listen, I hear the hope that I can right the wrongs I have done and change my direction.

After all, this is what the holidays are about. But judged on a far more personal rubric, the album ranks 1 in my heart. You can hear the entire beautiful album on such streaming services as Spotify or Rhapsody or download it to your iPhone or iPod from iTunes or Amazon. If you cannot describe any of these, then you cannot describe the speeding, flaming tornado that is Willie K.

Willie can mimic seemingly any style, moving easily between screaming Stratocaster, sweet slack key and jazzy, almost baroque acoustic string.

We mean between one track and the next on the same album. He is the ultimate crowd-pleaser.

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But in Willie released a second holiday album which is arguably better than the first. If you have the opportunity, I strongly encourage you to check out Willie Wonderland as well. Willie Kalikimaka is one of my personal favorites — possessing from beginning to end the rare ability to warm my often cold heart and put me a more holiday frame of mind when I find myself suffering from the melancholia that often sets in at this time of year.

You can hear the entire beautiful album on Rhapsody or download it to your iPhone or iPod from iTunes or Amazon. In short, Amy is her own woman and a true artist. It, too, was like nothing that came before. You can hear the entire beautiful album on such major music streaming services as Spotify and Rhapsody or take a copy home or gift it to family and friends by downloading it in MP3 format from iTunes and Amazon.

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In the decades that followed, however, you could count on your hands and feet the number of recordings that strictly featured the slack key guitar as a solo instrument.

Many slack key guitarists were featured members of larger bands, and slack key guitar was often used in its primary service as accompaniment for the vocalist. But recordings of solo slack key guitar were rare for the first nearly 50 years after its first appearance on record. Enter George Winston, a Montana haole and pianist who came to prominence first in the 70s but then catapulted to fame in the 80s — the era which spawned the New Age music movement, solo instrumental music perfect for nights sipping wine, smoking anything that was not tobacco, and gazing at the stars from you hot tub perched high on the hills of Santa Monica.

Winston released a series of seasonally-themed LPs of his dream-like solo piano on Windham Hill — the New Age record label of that period — some of which are perfect for this season.

But it is little known that when Winston auditioned for Windham Hill head honcho guitarist Will Ackerman, it was with solo guitar pieces. You should chat with him.

Winston and I struck up what was at first a virtual friendship but then a more personal one — getting together every time he did a concert anywhere near my then home of Philadelphia. And all of our time together was spent discussing our mutual love of what we felt was the grossly underappreciated slack key guitar.

But what I will always remember is that despite becoming renowned for his brand of piano playing, Winston always said that slack key guitar was the instrument and the playing style that spoke to his soul — that he could communicate better through slack key guitar than through the piano.

He started with the elder statesmen of the instrument — some of them in ill health — knowing that the opportunities to do so — regrettably — would be limited. Winston went on to record some of the younger legends — Keola Beamer, Cyril Pahinui, and Ledward Kaapana were among the first — as well as the first and only acoustic steel guitar recordings of steel guitarist Barney Isaacs accompanied by slack key guitarist George Kuo.

The CDs were a resounding critical success but, alas, not a commercial one. And so there would be only about 20 Dancing Cat releases in the decade that followed before the releases would begin to slow to a trickle and eventually no more. We can only hope they see the light of day someday soon.

Winston also had the foresight to record one or two holiday songs every time he had one of these legends in front of the microphone. There was an almost equally beautiful follow-up from Dancing Cat just a few years later, Hawaiian Slack Key Christmas.

This is the way the song was meant to be performed and heard — in its most sentimental form. The album is not available from the music streaming services such as Spotify and Rhapsody, but you can download it in MP3 format to your iPhone or iPod at iTunes and Amazon. Slack Key Guitar -- posted at: I am not a fan of Hapa.