From the time of the famous Jackson 5, who were the biggest names in Motown in their early teens, Michael was something special. I remember the first time I saw his video when he was about 8 years old: in complete control of the stage, and more importantly, of his voice, and the crowd as well. Such energy, and the voice too powerful to ignore. A voice that overpowers the wonderful accompanying instruments and voices of his brothers. He was the star, clearly.

Quincy Jones and ‘Off the Wall’ happened, followed by ‘Thriller‘. My oh my. What an album. Multi-platinum, multi million selling, multi-Grammy winning and whatnot. Every song is a fricking lesson in song arrangement, voice modulation, instrumentation, bass lines and clarity. And then the ‘Motown 25: Yesterday, Today, Forever‘ TV special happened where he first performed his Moonwalk. And the rest was not just history; it was Michael fever everywhere. And then, to follow it up with Bad, Dangerous and HIStory. How much great music one has to have within himself to come up with albums like that.

I have a lot of personal favorites: Lyrics arrangement and Van Halen’s guitar in Beat it; the rhythm pattern in Jam (the first English song I ever heard); powerful chorus in the live version of The Way You Make Me Feel; beatboxing in Stranger in Moscow; Liberian Girl, Invincible, Bad, Billie Jean, Earth Song, They don’t really care about us; and I’m not even talking about any of the videos. Just the bleddy songs. Unbelieveable!

Almost all his songs are genius material; hence no point listing all of them. He is a true legend, in the sense that he has been the material of public paranoia many times over; has been inducted in the Rock and Roll Hall of Fame (twice); 13 Grammy awards, 13 number one singles, 750 million albums sold worldwide; the Moonwalk, the Crotch Grab all becoming parts of the repertoire of many budding dancers world over.

Sheer Musical Genius.

But there’s one thing I would like to say to Michael.

Stop whatever the fuck you are doing. Sleeping with children, dangling your baby from your balcony, painting your face, drafting skin from your ass onto your chin; Stop all that for fuck’s sake.

And get back to making your music. That’s your only emancipation. That’ll save you from yourself.

[Pic courtesy: Yahoo.]

Update: And he dies before he hits 51. What a shame! What a loss to music! How I wished he would re-discover himself. He was almost on his way back to stardom, with his new tour. And then, history loses the true superstar. Sigh. I am really pissed at fate for once. He deserved another chance.

Discover Tommy Emmanuel. I present two videos here. Angelina, recorded from a Korean TV station, and Somewhere over the rainbow, again a live recording.

Angelina: Notice just one thing. How much he is in love with the instrument, how he caresses it, how he enjoys his song. The mix of melody, chords and harmonics are second to none.

Somewhere over the rainbow: Beautiful harmonics, speed and incredible life in a song played on just one instrument.

Yes, there are many fingerstyle guitarists who are really good. Many classical guitarists who are also brilliant. But this is the first of the geniuses that I discovered, so the first I will write about. Read more about him here. And yes, go listen to the rest of his videos on Youtube.

More of all that later. Just recalled the musical events that I was fortunate enough to catch in the past year:

Kailash Kher: Live in Concert. What a voice, and what an attitude. “People ask me why I do not have extras and dancers in my concerts. I’m here for my music, I just want my music to do the talking. And that will get me my fans and admirers.” Touche!

Dream Theatre: The doyens of Progressive Metal. With the best drummer in the world (No one handles double bass better than Portnoy) and one of the best guitarist (Petrucci) and bassist (Myung), this band that has its genesis in Berklee College of Music is an experience, live. (I hate the lead singer though. Sounds like the bastard child of a tom-cat and a banshee. Anyhew.)

Mandolin U Srinivas: Boy oh boy! The god of Carnatic Mandolin was here. And he was divine. Period. The ragams are a part of him now, they run in his veins. And his fingers do more than his bidding, to say the least. Never heard Carnatic ragams jump out and tease my ears as I did that evening.

Shubha Mudgal: Whatay voice! And this wasn’t even her belting out raags. Just plain old Surdas and Meera Bhajans. But splendidly delectable, every one of her songs.

Harini: A regular concert, nothing too impressive. But good, nevertheless.

Hyderabad Brothers: Enna tavam (Kapi) still gives me goosebumps.

We Will Rock You: Have already written about this mother of all concerts here. ‘Nuf said :)

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Composed 2 weeks ago. Comments welcome.

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Tranquility

Made with a piano base and a flute overlay, this song plays on the soft moods of a tranquil seashore and more piano layers before moving into a bit of classical flute towards the end.

Listen

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Vaishnava Janato

Something I recorded a long time ago, when I was at L. Tanpura and Pad recorded on FL, voice arranged and noise-filtered on Adobe Audition. A simple rendition (not a great one, I admit) of the lovely Vaishnava Janato.

Listen

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Then we moved on to turn-tables, virtual mp3 turntables, loop machines, Studio emulators and personal sound factories. All this was a gradual progression, organic steps in music composition technology.

Until now.

The interface of generating music is moving from notes, layers, loops, samples and channels to something much more complex, intuitive and interactive. What if music was made visual, and the pattern of composition, itself as beautiful visually as aurally?

Here I present two of such next-gen devices that I have come across. Watch and be amazed. The first, and the more recent one, is called Tenori-on. This is, according to the makers Yamaha Inc,

“a unique 16 x 16 LED button matrix performance instrument with a stunning visual display. The TENORI-ON 16 x 16 LED button matrix is simultaneously a performance input controller and display. By operating and interacting with the LED buttons and the light they produce you gain access to the TENORI-ON’s numerous performance capabilities.”

The next one is a more colorful, more glamorous, and more rich sounding contraption called the Reactable.

Positioned as the “Musical Instrument with a tangible musical interface”, it provides a musical universe that is limited only by one’s creativity.

The Tenori-on, to make a simple observation, is much more user friendly, compact and musically inclined. What I mean by that is, since it is based on patterns and set to a 16 beat grid, it naturally aligns to a 4-beat rhythm and hence, sounds musical more easily. My money is on Yamaha making a lot more dough than the geek-dudes playing with the Reactable. Time will tell.

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