The Madcap Laughs

The Madcap Laughs is the debut solo album by the English singer-songwriter Syd Barrett. It was recorded after Barrett had left Pink Floyd in April 1968. The album had a chequered recording history, with work beginning in mid-1968, but the bulk of the sessions taking place between April and July 1969, for which five different producers were credited − including Barrett, Peter Jenner (1968 sessions), Malcolm Jones (early-to-mid-1969 sessions), and fellow Pink Floyd members David Gilmour and Roger Waters (mid-1969 sessions). Among the guest musicians are Willie Wilson from (Gilmour's old band) Jokers Wild and Robert Wyatt of the band Soft Machine.

The Madcap Laughs, released in January 1970 on Harvest in the UK, and on Capitol Records in the US, enjoyed minimal commercial success on release, reaching number 40 on the UK's official albums chart, while failing to hit the US charts. It was re-released in 1974 as part of Syd Barrett (which contained The Madcap Laughs and Barrett). The album was remastered and reissued in 1993, along with Barrett's other albums, Barrett (1970) and Opel (1988), independently and as part of the Crazy Diamond box set. A newly remastered version was released in 2010.

Feel (Feel album)

Feel is first album released by a Polish pop rock band Feel. The album has earned Diamond certification in Poland.

Track listing

References

Feel (Kumi Koda song)

"Feel" (stylized as feel) is a smooth R&B song by Japanese singer and songwriter Kumi Koda. For the song, she worked closely with composer Hitoshi Shimono, who had composed the instrumental. The single is Kumi's sixth single in her 12 Singles Collection and charted at #1 on Oricon with 39,110 copies sold within the first week. As with some of the other singles released in the collection, feel was limited to 50,000 copies.

The song also became Koda Kumi's second song to have a chorus completely in English (first being 24, which was also written and composed by Hitoshi Shimono).

The music video for the single tied into the four others in the storyline: Candy feat. Mr. Blistah, you, Lies and Someday/Boys♥Girls.

The love interest in the music video was played by Shugo Oshinari. Shugo Oshinari is best known for his portrayals of Teru Mikami in the Death Note TV series and Takuma Aoi in Battle Royale II: Requiem.

Cover

As with the other 11 singles in this collection, this single cover represents a stylized version of a traditional dress from a culture; this time it draws its inspiration from Spain and the costume of matadors.

Pinoy Big Brother (season 2)

The second season and fourth series overall of Pinoy Big Brother aired on ABS-CBN. As with the show's previous full and special seasons, it also aired a companion program on Studio 23. It began with a live party on February 25, 2007. It ran for 126 days until June 30, 2007, which was the longest stay of housemates inside the house until Double Up. The season was won by Beatriz Saw, who garnered over 1.5 million votes, or about 30.29% of total votes cast during the open voting, which started on June 17, 2007. This is also the record-breaking highest total of actual votes in the history of Pinoy Big Brother and other all text-based votes reality programs in the Philippines as of now.

Toni Gonzaga and Mariel Rodriguez reprised their roles as primetime and UpLate hosts respectively, while Celebrity Edition housemate Bianca Gonzalez hosted the Update reports. First season housemate Jason Gainza joined the hosts as the Man-of-the-Street reporter.

Meanwhile, Asia Agcaoili again took hosting chores for the show's companion program on Studio 23, along with the puppet Pining. They shared hosting chores with new host Sitti Navarro.

Bass

Bass or Basses may refer to:

Fish

Music

Bass (sound)

Bass (/ˈbeɪs/ BAYSS; Italian: basso, deep, low) describes tones of low frequency or range from 16-256 Hz (C0 to middle C4). In musical compositions, these are the lowest parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. In an orchestra, the bass lines are played by the double bass and cellos, bassoon and/or contrabassoon, low brass such as the tuba and bass trombone and the timpani (kettledrums). In many styles of traditional music such as Bluegrass, folk, and in styles such as Rockabilly and jazz, the bass role is filled by the upright bass. In most rock and pop bands and in jazz fusion groups, the bass role is filled by the electric bass. In some 20th and 21st century pop genres, such as 1980s pop and Electronic Dance Music, the bass role may be filled with a bass synthesizer.

Musical role

Played in a musical ensemble such an orchestra, such notes are frequently used to provide a counterpoint or counter-melody, in a harmonic context either to outline or juxtapose the progression of the chords, or with percussion to underline the rhythm. In popular music the bass part most often provides harmonic and rhythmic support, usually playing the root or fifth of the chord and stressing the strong beats. "The bass differs from other voices because of the particular role it plays in supporting and defining harmonic motion. It does so at levels ranging from immediate, chord-by-chord events to the larger harmonic organization of a entire work."

Miami bass

Miami bass (booty music or booty bass) is a subgenre of hip hop music that became popular in the 1980s and 1990s. Its roots are directly linked to the electro-funk sound of the early 1980s.

The use of the Roland TR-808 sustained kick drum, raised dance tempos, and frequently sexually explicit lyrical content differentiate it from other hip hop subgenres. Music author Richie Unterberger has characterized Miami bass as using rhythms with a "stop start flavor" and "hissy" cymbals with lyrics that "reflected the language of the streets, particularly Miami's historically black neighborhoods such as Liberty City and Overtown".

Miami bass has never found consistent mainstream acceptance, though it has had a profound impact on the development of Baltimore club, West Coast hip hop, funk carioca, and other genres.

History

1980s

During the 1980s, the focus of Miami bass tended to be on DJs and record producers, rather than individual performers. Record labels such as Pandisc, HOT Records, 4-Sight Records and Skyywalker Records released much material of the genre. Unterberger has referred to James (Maggotron) McCauley (also known as DXJ, Maggozulu 2, Planet Detroit and Bass Master Khan) as the "father of Miami bass", a distinction McCauley himself denies, choosing rather to confer that status on producer Amos Larkins.