Wagner was Genius and considered by many to be the Originator of Modern Music. Thus the photo I have of Jimi playing an Accordian !!!!!! Strauss was the Waltz King and also did Polkas. Psychedelic is what he meant.īoth Strauss ll and Wagner are Very Different from each other. He also said that he wanted to come out with a New Music that was influenced by Johann Strauss II and Richard Wagner. I read that he wanted to learn to Read and be able Write out Piano Music. This is where I believe Jimi was headed as far as Experimental. But its hard on the switch and I imagine it aint the greatest for tubes either.ĪLso if you listen really carefully you can also hear Single Shot Fire in certain parts of the song. Then you can hear JIMI TURN UP the TREBLE and it gets a BUZZING BEE SOUND and Then and the Machine Gun Fire comes out sounding more like an M16 Small Arms Fire and then a Ricchot the fades into a Plane Flying Off into the distance.īut I read years ago that he said he would bang the guitar against the amp and click the stand by switch on and off as fast as possible. Listen toalmost the very end of the song Im going to post at the endĪt first you will hear HEAVY Machine Gun Fire. I also believe he was hitting the guitar against the amp. Hendrix did it by switching the Stand By Switch on and off Rapidly. To illustrate the importance of space or reverb, here is a sound of a balloon being popped in an anechoic chamber: When you play a short, sharp sound, the reverb in the room gives it the sense of impact. Those were treasured times for us.Īs for a gunshot, I think reverb is critical. We are still in close contact with each other, mostly via email, but try to get together once or twice a year. In the immediately ensuing silence, a woman sitting at a table near us, practically jumped out of her chair and screamed, "YEOW!" With my foot poised on the switch for our stage lights, I whispered, "1, 2, 3, 4," then BAM!. We stood there, facing different directions. Then the chord again, and more silence, after which the song takes off. The song starts with a big, loud, short chord. We stood in the dark, idly, and trying not to play any sounds. We decided to use "Cottage Cheese," by Crow, for our first song of the set: We worked up a version of You Deserve a Break Today, then played it at a gig at Reed College, in Portland.Īt the ski bar, we came back after a break, decided to scare the patrons, who were all chatting away. For example, we had got our hands on some cardboard McDonald's pirate hats. We were still at a stage where we liked to fake people out. When I was 18, my band had a regular gig at a bar in Government Camp, Oregon. Shaka is survived by his five children, including son Young Warrior, who runs his own sound system, a representative confirmed.A story. Formative years, divine sounds, THE master.” Had a lot of wild club experiences in my time but nothing could beat stumbling into the Rocket hazy headed & bleary eyed becoming overwhelmed by the power of bass. A heroic figure who kept Dub alive, when few cared … I spent many all nighters being transfixed by his passion and selections.”Īrtist Trevor Jackson added: “RIP Jah Shaka. After years of maintenance work, he began playing records on the system and started to build his own.īy the late 1970s, Shaka’s sound system had developed a cult following he starred as himself with his system in the 1980 film Babylon.Īfter the news was announced on Wednesday, musicians shared tributes on social media.ĭubstep producer the Bug wrote: “So sad to read Jah Shaka has departed this planet … Rest in peace. It helped families know other families, which was important at that time because the people were so forced to be segregated.”Īround this time, Shaka began working with local speaker builder Freddie Cloudburst and was responsible for keeping his sound system in good condition. “In the 1950s and 1960s in London, there were house parties – 50, 60 people with only record players. So, over the years, this is all that people had to keep them together,” he said in a 2014 Red Bull Music Academy lecture. “When people left Africa for the Caribbean, all they could bring with them was their music, their songs and their memories from home. For him and his contemporaries, music was an important tool in navigating the hostile environment they found themselves in. Shaka moved to London from Jamaica as a child in the late 1950s as part of the Windrush generation. He continued to perform and tour his system up to his death. With his spiritual messages and deep, rattling sounds, Shaka was revered by musicians and dancers across a range of genres and cultures, from the next generation of dub legends such as Iration Steppas and Jah Warrior to post-punk musicians including the Slits and Public Image Ltd.
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