Dive In
Synthetic, synth generated hard rock, 'industrial', fusion, jazz, assorted. There are fourteen songs in all. The hard rock numbers benefit from volume, and from whatever 'bass boost' is available, except if you use equipment that adds it automatically like some small headphone sets. Even the quieter numbers benefit from the louder volume and bass, if your 'EQ' settins are normally to the softer side. Do overdo. The 'safety glasses' line is - your hearing is darned important. In addition, there is an EXTRA DATA TRACK of about 250 megabytes. This was added in a multi-session burn typically referred to as an - Enhanced CD.
As mentioned on the cover insert, older versions of these are available at midisite.com, as MP3, a couple as an old Real Audio. Some might prefer one or two of those 'mixes' to these. But I'd be surprised. Some of these songs have been bouncing around in various stages of completion for over a decade. As for the sound, the 'type', I do think the rock numbers are basically blues-based, with fuzz-growling leads that as a audiomatic, as I've called it, could suggest the mellow/even pace of Clapton but more often those frenetic outburts of Young of AC/DC to Metallica, SRV, and so louder blues acts like Bo Diddley, Elmore and T-Bone Walker, and then obviously back to the drum based, solo horn based bands from Ellington to Goodman. They all 'rocked'. Same for bluegrass and any folk or country guitar 'picker'. Instrumental guitar rock has tended to follow that, to amplify, grind, distort, dirty up, and except for bluegrass, speed up. They all built on the other. What eventually happened is that the bass got deeper on the recordings.
Even with these here, it's a different sound with a 'mellow' EQ and low volume when compared with a louder bass and more volume.
Opening with a 'finger slide' (the 'opposing direction' was a studio phase effect), this fuzz guitar low chord 'blues riff' (because that's really what it is) gets into a rhythm and stays there as the other guitar growls and 'claws away' before again retreating. The basic pattern takes on even more punch after the return from the bridge played by the bass. It suggested a kitty out for the evening. Because you don't turn you back on a cat, big or little. And the 'scratch' can be also heard throughout, which further suggested the title. [description last edited 16 JAN 2008]
Begins with a faux-full-choir winding close to chant, but drops into power chords and riffs over a deep walking bass, broken by strumming. The conclusion is the resampled slow-track, that suggests the villain has had enough. [description last edited 16 JAN 2008]
Originally called, Scar, at midisite, but renamed to the more general, Tribe, because what is suggested is what used to be called the beat-one, 'red indian' beat; this instead of the sycopated, reggae, and much improv that goes on the 2nd or 3rd beat; the 'unsettling' foundation. It wasn't intended to feature a drum solo. But some of the first combinations seemed so interesting, I just couldn't 'drown' it. Maybe it will suggest a bit of 'air-drumming' as the later solo might suggest it for the guitar. [description last edited 16 JAN 2008]
Originally at midisite the word, Storm, was added to suggest the earthquake of such a large herd running ahead of a storm, and sounding like thunder itself. But Buffalo was just easier. Outstanding critters, by the way. And from small remnant herds, and due largely to their value as cattle, their numbers are now huge; just perhaps not like they were, and certainly not wild.
Stumming lead 'empties' immediately into power chords, but with a western sort of feel, not metal. The stroke on the strings is very evident in this, perhaps more than other numbers here. And it's a first beat strike, again like that of Tribe. [description last edited 16 JAN 2008]
The name follows from what seems a 'surf' sound to begin with, though it pretty much falls into a hard blues-rock, Texas electric blues sort of sound. The lead maintains a little of bright sound, weaving in an out. So the 'theme' is somewhat maintained. The salt being shaken is the seawater. And the thing shaking it is an off-shore high-horsepowere racing boat, the old scarabs, and whatever else. [description last edited 16 JAN 2008]
As long described at midisite, this was inspired by a call for computer game MIDIs at the time, before actual audio began to be used in such games. I imagined being on a shooting range or obstacle course, the slow creep, and then rapid action - wait, then hurry up. So the bass establishes a melody, and the power guitars finish it. But when they get into the 'action', it's just thrashing. [description last edited 16 JAN 2008]
I had been playing around with odd and Monk-like progrssions in jazz, and this came over with different patches. I took it from there. The drummer is called upon to maintain an insane pace. I could imagine the musicians collapsing for a moment on stage after the final chord (which in a way is part of what 'rock' is about, and for the crescendo build in most numbers).
As others here are fuzzed up amplified blues, this is the same according to bluegrass toward the end, as I hear it. Toward the middle, as it builds, and before the 'fuzztone' background over the 'bluegrass', you can barely make out an organ being played as percussion to highlight the beat. I think the progessions are interesting, and stand up with repeated listening (which is a tough test). And, of course, it's one of the loudest rock numbers here. [description last edited 16 JAN 2008]
Jazz-rock, jazz-fusion. Originally, the beat wasn't syncopated, and isn't in midisite downloads. But it was thought to be slightly more interesting. Sometimes the syncopation had to be dropped for this bar or that. But it's mostly there when the ear is listening for it. You have 'fuzz' organ to match the guitar, a dirty, gritty sound as are most all on this CD. And the organ and guitar trade back and forth, with an accoustic guitar adding something to the beat, almost unheard. [description last edited 16 JAN 2008]
Another relabeled song, more like a repetitive 'club' number, which one might perhaps suggest for the next, DE Kill, and maybe for, Gladiator. The string 'cut' seems almost angry, at times. But it's a 'groove' number, otherwise, with some different sort of chords, and scales, as had with Rapidfire, previously, and Delia, below. It's a song that can stay in your head, that you might not expect. [description last edited 16 JAN 2008]
Called, Sub Hunter, originally. But DE Kill seemed more on point, as it's the destroyer escort that 'kills' the sub. The 'nautical' echo for the lead was later added. But the ping, the throw and explosion were synth generated. The drum/bass is a sort of reduced volume because it otherwise intrudes. It can be heard, but is very de-emphasized here. The guitar play is what is emphasized, the laying into the notes, the bends and 'trills'. [description last edited 16 JAN 2008]
There was a web project called, DTF, Dare to Fail. And a computer, aleatoric generator was used to lay down certain tracks. People were invited to do whatever they wanted with these, but send them back so that everyone could hear. People added whatever, took away, voiced them and so on. This was my entry, and if I recall - it didn't fare to well. But it was fun. And they did like what was tried with the guitars, that no one else was doing. The project is long gone. But the song is still here. It's called, Miami, because the sustained synth pads call to mind the Peter Gabriel or Genesis type of song that sometimes served as score for the old Miami Vice tv show. [description last edited 16 JAN 2008]
This was another where different progressions and scales were tried out, but the jazz voicing and instruments were retained. It makes for a clean and deceptively simple number. The brief drum solo is true understatement. And every bar seems to lead very neatly into the next. It certainly could weather any further improv treatement. But many of the riffs seem very definitive. There was even more attention paid to the bass part in this than in many others here, which hopefully is evident. [description last edited 16 JAN 2008]
This was my second and last effort at the DTF project, just noted above for, Miami. This time, it lent itself well to a steel drum sound. But the guitar had to be there somewhere. I think it helps that verse/response with the 'steel drum'. [description last edited 16 JAN 2008]
Very simple foundation of full bar synth pads, but then with a free-form vibe or similar that flies around, finally stepping down for the next chorus. It's the mellowist of the songs, here. Quiet. I'd called it, 'new age', whatever that means anymore. It's calming, relaxing, particularly if not played at quite the same level at the others. But because of that lead almost seeming to lose the beat at moments and then quickly finding it again, is interesting.
It's called, Lights Out, for all of that, and because it was a fitting conclusion to the CD. For some reason, it is also far and away the most popular download on midisite, and has been for years. Thousands have downloaded it. [description last edited 16 JAN 2008]
