The 10th Anniversary of Eric Roberson's album Music Fan First is a celebration of the ultimate partnership between music and its fans. His seventh album contains over an hour and 15 minutes of nonstop music presented in 17 new songs. The CD artwork is a 28-page tribute to music and its faithful followers, including over 700 pictures of music fans from all over the world, who submitted photos. With features by musical friends such as Lalah Hathaway, T3 of Slum Village, Wayna and several others, the award-winning singer/songwriter/producer held nothing back in creating the musical portrait he had in his head. Eric's approach to Music Fan First had less to do with rules and business than incorporating the elements of music he has been a fan of all his life. "You can call this album Soul Music, but really it has no genre," he says. "Those lines are blurred and colored over with melodies, rhythms, harmonies and discoveries inspired by the music I grew up listening to." Songs such as Borrow You, The Newness, A Tale of Two and Break It Down give the fans that familiar energy they've grown to love, while successfully pushing the envelope further. He says, "I don't care for assembly line music, so I set out to give the fans something relatable but at the same time something new they can fall in love with. With Music Fan First, I feel we accomplished that."
After the Academy of Music shows, the Band again retreated from performing live. They returned to the stage on July 28, 1973,[52] to play the Summer Jam at Watkins Glen alongside the Allman Brothers Band and the Grateful Dead. A recording of the Band's performance was released by Capitol Records as the album Live at Watkins Glen in 1995.[63] With over 600,000 people in attendance,[64] the festival set a record for "Pop Festival Attendance" in the Guinness Book of World Records. The record was first published in the 1976 edition of the book.[65]
Eric Roberson-Music Fan First Full Album Zip
The Last Waltz concert event took place on Thanksgiving Day, November 25, 1976. Approximately five thousand people were in attendance.[86] The event began at 5 pm, beginning with the audience members being served a full traditional Thanksgiving meal at candlelit tables, with a vegetarian table serving an alternate menu as an option. The Berkeley Promenade Orchestra played waltz music for dancing afterwards. The tables were cleared and moved at 8 pm. At 9 pm, the Band played songs for an hour, beginning with "Up On Cripple Creek". Just after 10 pm, Robertson introduced Ronnie Hawkins, the first onstage guest, with a succession of guest stars appearing with the group until just after midnight.
Contact from the Underworld of Redboy (1998):On Contact from the Underworld of Redboy, Robertson departed from his typical production style and delved deep into a mix of rock, native, and electronic music. He employed the services of Howie B, DJ Premier, and producer Marius de Vries (Björk, Massive Attack). Through the songs on the album, he takes a close look at native traditions like Peyote Healing. The album's opening track, "The Sound Is Fading", samples a recording of a young Native American singer from the 1940s that Robertson got from the Library Of Congress, and the song "Sacrifice" includes parts of an interview from prison with Leonard Peltier set to a soundscape produced by Robertson and de Vries. The racial epithet in the album's title comes from an experience Robertson had where some bullies referred to him as "Red Boy" while he was playing with his cousins.[citation needed] Rolling Stone gave the album 4 out of 5 stars,[145] and Robertson received a Juno Award for Best Music of Aboriginal Canada Recording.[125]
A New World plays up to the dreamy quality of the trilogy with airy, relaxing vibes that are interesting and inviting. The set doesn't just sit there lounging, though, as it mirrors the laid-back feel of Lights In The Sky and mixes in the urgency of Never Stand Still. The unlikely pairing of sounds results in rich soundscapes that allow your mind to wander in them. This starts from the album's opener, the set's title track, which pairs a bubbly synth bass with atmospheric synths that seems calm at first. Soon, though, the drums pick up and we're transported to a head-nodding groove that bleeds into the next track, "Dream Sequence."
Described as a dedication to house music heads, we knew we were in for something different from Lights In The Sky, the series' first EP, about halfway through the first track. Just as we settled into the spirited "You Break It, You Buy It," our maestro seamlessly transitions to an equally intricate and intoxicating space before taking off completely on "First In Flight." Fan favorite "Nimbus" is up next with its deep, billowy essence, followed by the gleaming cadence of "Cristalix." The final track "Luna" feels more like an awakening with its vibrancy. Towards its ending, we hear a familiar melody and later find that the track was originally created back in the days of The Foreign Exchange's 2013 Love In Flying Colors album. While Nic shared the details of combining elements from the album interlude with the full-length instrumental, the result polishes off the EP with that signature +FE Music finish that places everything the camp touches a cut above the rest.
Nicolay, who we last heard from alongside The Hot At Nights on 2018's Glaciers, offers a brief snapshot into where he is musically over the EP's four songs. The electronic cool of "Starting Point" is the first thing to greet us when we press play, immediately enveloping us in atmospheric synth and digitized notes that seem to expand and contract as the song plays. That's followed by "Sooner Or Later," a collaboration with Creative Theory that melds the frenetic pace of drum and bass with jazz, crafting a brilliant soundscape for the vocalist to play around with while still keeping things surprisingly tranquil.
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