NC Concert Previews for Spring

Spring break has ended and the second half of spring semester is underway. What more is there to live for? Summer? Yes. But why not make the most of these last weeks of the semester by enjoying a local concert or two?

Having only ever been to Cat’s Cradle and the Haw River Ballroom, it’s been a goal of mine to check out other nearby concert venues. Luckily this spring brings an awesome array of concerts and venues to choose from.

Here are a few sweet pickin’s of local concerts within a 70-mile radius:

 

APRIL

4/03 – Alt-J (Red Hat Amphitheater in Raleigh)

4/13 – Neutral Milk Hotel (The Carolina Theatre in Greensboro)

4/18 – Civil Twilight (King’s Barcade in Raleigh)

4/23 – Walk the Moon and The Griswolds (Cone Denim Entertainment Center in Greensboro)

4/24 – Smallpools (Hall River Ballroom in Saxapahaw)

 

MAY

5/02 – Tyler, the Creator and Taco (The Ritz in Raleigh)

5/04 – Jenny Lewis (Hall River Ballroom in Saxapahaw)

5/07 – Sufjan Stevens (Durham Performing Arts Center in Durham)

5/08 – Interpol (The Ritz in Raleigh)

5/09 – Kaiser Chiefs (Cat’s Cradle in Carrboro)

Connor Whitaker's Debut Album

Written by Bridget Carratu

Connor Whitaker’s debut and self-titled album compiles an exciting variety of indie-folk and rhythmic sounds with telling lyrics and great guitar chords, giving us a glimpse into his world and what he’s all about. 

The album showcases different genres with an old school meets new school mix of solid beats in "Tom’s Song" and "The Race" yet drums up a sound distinctly similar to Johnny Cash in "Heart Stealin’ Thief" with its soulful vibes and tales of love lost i.e: “You could be here but your there and honey that’s a choice.”

His album shows off Connor’s impressive vocal style and complies beautiful, meaningful and poetic lyrics with dark and deep turns in "Tom’s Song", "This Is The End" and the intriguingly titled, "Bullied by a Midget", noted specifically by "walking alone ain’t so hard to do when it’s all you’re used to.”

"Hot Like Fire", as one of the catchier, more upbeat songs, let’s us “go back in time and see what life was like before the time,” and sets a carefree tone with “no direction, blowing in the wind.” There’s a Mumford and Sons feeling about this one. 

"Little Pockets" involves an interesting story of what sounds like an older woman and brings in elevated lyrics with “I know the answer is no but the question has got hope at least,” and my favorite, “I’m way too real for the fake ID.”

Connor’s album has a before-his-time feel to it, comparable to Bob Dylan and the likes, but his music encompasses a certain originality that is all his own that I hope to hear more of. I can’t wait to see where this album takes him.

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Let's Talk About Samples

Written by Valerie Reich 

I was cleaning my room the other day while listening to the sweet sounds of Schoolboy Q’s “Hands on the Wheel” from his second album Habits & Contradictions. But something was bothering me about the song so I hit repeat and listened for the opening verse. “Crush a bit, little bit, roll it up, take a hit/ Feeling lit, feeling light, 2 a.m. summer night / Hands on the wheel nuh uh fuck that.” But where have I heard that before?

Yes ­­– that is a prime line from Kid Cudi’s “Pursuit of Happiness,” but this intro is from a female vocalist. After some investigative googling, I finally found the intro’s source: Lisse’s cover of the Kid Cudi classic.

 

This one verse, shared by three very different artists, highlights the nature of sampling. But what even is sampling? And which came first the sample or the song?

Sampling as defined by Copynot.org (a copyright Law, Treaties and Advice website) is “the use of the portions of prior recordings which are incorporated into a new composition.” We at LLMG have previously talked about remixing which more often than not uses the act of sampling.  The rule of thumb is that if an artist wants to use more than a quarter of a second of another artist’s song, the original artist must be credited and paid royalties for their work.  The price for a sample is based on a variety of factors but can methods of payment are either a one-time buy-out fee or a percentage of money made off the replication of the song.

Let’s take a look at some songs you might not know have used samples:

1.     Nuthin’ but a ‘G’ Thang by Dr. Dre (1992)
 sampled: “I Want’a Do Something Freaky to You” by Leon Haywood

2.     “California Love” by 2 Pac (1995)
sampled: “Women to Woman” by Joe Cocker, “Dance Floor” by Zapp, “West Coast Poplock” by Ronnie Hudson & The Street People



3.     “All You Need Is Love” by The Beatles (1967)
sampled: “Greensleeves” by Traditional Folk, “In The Mood” by Glenn Miller, “Two-Part Invention #8” by Johanna Sebastian Bach

4.     “Folsom Prison Blues” by Johnny Cash (1955)
sampled: “Crescent City Blues” by Gordon Jenkins

5.     “We Will Rock You” by Queen (1977)
sampled: “Fanfare for the Common Man” by Aaron Copland


6.     “Bring the Noise” by Public Enemy (1987) 
sampled: “It’s My Thing” by Marva Whitney, “Fire &Fury Grass Roots Speech” by Malcom X

7.     “Crazy” by Gnarls Barkley (2007) 
sampled: “Last Men Standing” by Gianfranco Reverberi, “Stop and Check Yourself” by Garnet Mimms
      

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