Casino Night Zone - Sonic the Hedgehog 2 by Masato
Casino Night Zone - Sonic the Hedgehog 2 by Masato
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Chords for Casino Night Zone (Jazz Version) from Sonic
Chords for Sonic 2 - Casino Night Zone (Piano)
SONIC THE HEDGEHOG 2 - CASINO NIGHT ZONE 2-PLAYER
Misc Computer Games Chords & Tabs -- Page 73 : 10078 Total
Sonic 2 Music: Casino Night Zone Chords - Chordify
Sonic the Hedgehog 2 (Piano) "Casino Night Zone" Piano
Sonic 2 Casino Night Zone Chords - solmire.com
SONIC THE HEDGEHOG 2 - CASINO NIGHT ZONE INTERACTIVE TAB
casino night zone chords
casino night zone chords - win
Hindsight is 2020: #16 - Duke's Travels
from Duke, 1980 Listen to it here! It’s common knowledge by now among Genesis fans (and certainly among Hindsight readers), but Duke was intended at the outset to be an album where one side consisted of two solo songs from each member of the band. A kind of musical appetizer of sorts. Or I suppose the after-dinner mints, if the solo stuff ended up being the albums’s Side 2 instead. Either way, the real meat of the album was this side-long, group-composed behemoth with the working title of “Duke”, from which the album itself eventually took its name.
Phil:At one point I think we thought that we could revisit the idea of doing a long side...like “Supper’s Ready”. You know, something that was like a body of work. And I think we kind of...I mean, that’s why there’s “Duke’s Travels”, “Duke’s End”, because we still liked those titles...that’s what’s left of that idea, really.1 Tony:They would’ve gone “Behind the Lines”, “Duchess”, “Guide Vocal”, “Turn It On Again”, “Duke’s Travels”, “Duke’s End”. Which is actually how it was performed live; we tried it. One reason we didn’t do it [on the album] is we didn’t want the comparison with “Supper’s Ready”, and felt maybe it wasn’t the moment to do a totally combined thing like that. As it is, there is quite a lot of linkage between those tracks anyhow; the first three are linked.1
Tony may not have wanted the comparisons to “Supper’s Ready”, but now that he’s come out and said that, how could I do anything else? I’ll have more to say about “Supper’s Ready” later on, but for now let’s just take an overly-simplified look at its structure. At a very high level it looks like this: Intro, Powerful Section, Gentle Section, Rock Section, Epic Instrumental Section, Reprise of Intro, Reprise of Strong Section. Now let’s look at the big “Duke” piece as originally conceptualized, through that same lens. It goes something like this: Intro, Powerful Section, Gentle Section, Rock Section, Epic Instrumental Section, Reprise of Gentle Section, Reprise of Intro. Again, that’s heavily oversimplified and doesn’t account for the wide range of nuances, like how wildly different “Lover’s Leap” and “Behind the Lines” are as intro sections, or how the Gentle Section of “Supper’s Ready” comprises multiple movements and a lot of time while “Guide Vocal” is pretty brief by comparison. But in a very loose way, the skeleton of each of these things is the same. It’s not because Genesis sat there attempting to rewrite “Supper’s Ready”; it’s just that their songwriting sensibilities led them down a similar path of how to flow from quiet to loud, what and when to reprise something to tie the whole package together, and so forth. So within that framework you have “Duke’s Travels” acting as a kind of analogue of “Apocalypse in 9/8” from “Supper’s Ready”, a segment that interestingly enough was written primarily by the combination of Tony, Mike, and Phil. That “Duke’s Travels” would carry a similar amount of water for its own musical suite therefore shouldn’t come as much of a surprise. If anything, Phil was even more involved this time around.
Phil:My commitment to Genesis is much greater than it ever was before. I would fight for it more now than I would have done before because it’s more me. That’s what it comes down to. There’s more of me in it. I’ve come a long way since And Then There Were Three, I really have...Duke for me isn’t just another Genesis album. It’s a whole period of growing up. A musical maturity if you like.2
It’s fitting for the song to be called “Travels”, because this one’s a ride. It opens with these warm cymbal waves, echoing guitar chords, and an almost tentative keyboard line. This all fades into nothing as Phil’s drums take over with heavy intensity, followed by a more melodic and driving keyboard bit on top. Switch from the rapid hollow drums to some cymbals and back again. Then you get this big bit that sounds like an alternate soundtrack to Casino Night Zone; it’s Sonic the Hedgehog eleven years in advance. There are melodies, countermelodies, textures, with a masterclass in drumming underpinning the whole shebang.
Phil:There’s definitely a side to us coming out which wasn’t on the last album: the playing side.3
Uhhh, yeah. Yeah, I’d say so. And now a pounding straight rhythm with some guitakeyboard interplay, creating a whole lot of tension. Again, this is like the build in “Apocalypse in 9/8” all over again, just with a somewhat different flavor. It’s bigger, and bigger, and bigger, and then oh my goodness what IS that heavenly sound on top of these goosebump-laden chords?
Tony:The Arpeggiator was one of the things which I used on “Duke’s Travels”, and what a marvelous effect that was! And it had a bass pedal on it and you had the polyphonic synthesizer on it so I could do all those other things as well. I have got two of them and there were only about a dozen of them [made], and I think the other ten only sold because I was using it! The company went bust after that or got taken over. It was a fun instrument.4
The Arpeggiator sounds like the name of a supervillain, or at least a nickname a group of friends would bestow on one of their drinking buddies for reasons too wrapped up in a certain time and place for anyone outside the group to possibly understand. Here though? Here it’s the hero of “Duke’s Travels”, putting that sparkly shimmer in the sky above the song’s most triumphant moment, making the whole thing dazzle in radiance while Mike’s guitar finally soars out of the background and across the illuminated heavens. And to then have “Guide Vocal” come back in the midst of it all? My my my. That’s the “666 is no longer alone” shiver-down-the-spine moment of “Duke’s Travels”, no question about it.
Tony:There’s a strong emotional moment when it gets to the repeat of “Guide Vocal” done within “Duke’s Travels”, which is a very intense piece of singing. To me that’s one of the strongest...one of the very strong moments in Genesis music.1
And then the song gradually bleeds energy over the rest of the “Guide Vocal” repeat, the emotion spent and the travels making their way home. A brief respite, a striking synth flute bit reminiscent of “The Court of the Crimson King”, and then the whole thing careens back into the Intro Reprise known as “Duke’s End”. I see a lot of people say things like “If ‘Apocalypse in 9/8’ were its own song, it would still be one of my favorite Genesis tunes.” And I find that all those people also really love “Duke’s Travels” because it is, essentially, “Apocalypse in 9/8” carved out as its own track. The context of the larger piece makes it that much stronger, but it’s perfectly capable of standing up under its own power as well. The 2007 Turn It On Again Tour really brought this to light, I think. Selecting it for inclusion in the set was a bold move, replacing “The Colony of Slippermen” and “In That Quiet Earth” as the middle leg of the big “In the Cage Afterglow Medley”. Those are big shoes to fill, and it wasn’t easy for anyone involved.
Tony:Before we did the last tour I spent quite a few months getting all the sounds together, whatever I thought I could, including some of the processes from the older ones like the Synclavier sounds and a few others, and tried to get everything as close as I could to being right. Even so, when we got out there I had to change quite a bit. I was pretty well prepared actually. Mike was well prepared. Daryl is ALWAYS well prepared! Phil was completely unprepared, so it took him about two weeks of just trying to get to play how he used to, which was tough. Especially on a piece like “Duke’s Travels”, which was always a tough one.4
And what about the audience? How would they react?
Tony:I think the set is more demanding as it combines so many instrumental bits from various eras, like the…“Duke’s Travels” bits...It’s also demanding for the audience. Some of them you will lose during the instrumental bits as they don’t know them…The other thing is, we don’t have anything to prove; we’re just doing it. We’re playing to fans who know they like us. We’re not trying to convert them. Perhaps in the past we did that.5
I love this attitude. “We’re going to play what moves us, and you’ll either check out or come with us.” That attitude, that music...it’s why in my opinion the 2007 version of the medley is the best one they did. Something about that epic moment in “Duke’s Travels” just resonates, even when the arrangement changes so that the big vocal entrance is just an extension of Daryl Stuermer’s guitar solo. You can totally see what Tony was talking about here: the crowd cheers wildly for the end of the “Cinema Show” segment and even more wildly for the start of “Afterglow” but generally stand around puzzled during “Duke’s Travels”. “Wait, what’s this one? I don’t recognize this one. Do you recognize this one?” And yet it’s still the song that guides them home. I wish we could see it again on the upcoming tour, but I don’t think that’s likely:
Tony:It’ll be kind of different. Phil used to have some very dramatic moments on stage with Genesis. He’d never have the same kind of dramatic moments or intensity we used to have...sitting on a chair. Obviously, the effects can help things out a bit. So, you just say, “He’s not going to do those the same way.” We’d just do the songs. We’ve got plenty of good songs to do and it wouldn’t be a problem. But I don’t think we could have the extended keyboard solo we did on the last tour in 2007 which had a bit of everything in it. There wouldn’t be much point, because the point of it was Mike, Phil, and I playing together, like we did on things such as “Duke’s Travels”. There would be a different intensity and a different kind of set list.6
That’s a real shame, because “Duke’s Travels” is a downright treat, especially in live form. I suppose we should be thankful we got what we did from it along the way. But hey, speaking of live performances and context, what’s the deal with these pieces anyway? The lyrics to the various songs in the “Duke” piece don’t have any immediately apparent connection, even when they’re linked together like “Behind the Lines”, “Duchess”, and “Guide Vocal”. Is there some kind of meta-narrative happening here? Something where some duke of something or other is also a singer but betrayed and then something about a TV? I’m really confused. Thankfully, we have Phil Collins in concert during the Duke Tour to sort it all out for us.
Phil:The story of a mate of ours whose name was Albert. Albert was a born loser. Nothing he did went right; he was one of life’s failures. Written off, just like that. I’ll give an example: Albert once fell in love with a lady.7
Hmm, I guess “Behind the Lines” could be about falling in love with a character in print, couldn’t it? Reading the pages, feeling closer to someone, whether that be a fictional character or a celebrity in the news? Seems our old Albert was developing an infatuation!
Phil:Beautiful lady she was, beautiful lady...a duchess. And the duchess was a very domineering lady. She was into S&M. Ah, but poor old Albert didn’t speak Spanish or Mexican, so she kicked him out! And he went home that night, and was very disappointed and dejected.7
Ah, duchess like the title of the second track! I’m following this now, I think. Albert falls in love with this celebrity singer, who he doesn’t really know except through print media. He encounters her in real life, but doesn’t speak her native language, and his advances are rebuffed on that basis (and also because he’s kind of a creep). So Albert gets upset and writes the whole thing off in a sulky bit called “Guide Vocal” - dual meaning there, since a guide vocal is what you call the rough vocal track to line up the instrumentation before the real vocal is laid down. Albert thinks he’s the reason the Duchess succeeded! This is getting good, now.
Phil:So he sat down on the chair, and he turned on the television, and suddenly his whole life changed because he was back in love again! He fell in love! He fell in love with his television set. It was a really beautiful looking television set, square with sort of a glass bit in the middle. And it was a good conversational piece for his friends, but it was a bit of a one-sided affair for Albert. And in two days he was in hospital having the glass removed from his private parts.7
Ouch! But yes yes, we’re seeing it now. “All I need is a TV show...down on my luck again…” This is Albert coping with the loss by finding a new medium for his romantic fantasies! I just hope that bit with the hospital is merely a joke...
Phil:So he went on a convalescing holiday abroad over there, where tragedy struck again. Because Albert fell in love. Again. This time, with his walking stick. We’re not too sure about Albert; seems a bit of a weirdo. And I think you’ve guessed it: in two or three days time he was back in hospital having the walking stick removed from his private parts. So he came back from his convalescing holiday abroad over there, to England over here where we live, where he entered a home for unsuccessful young louts, called Duke's. But I can see you’re getting very upset, but I don’t want you to, because every cloud has a silver lining, and every silver lining has a cloud. Every bin has a liner. And it was in this bin that Albert wrote some fantastically boring books. He wrote such literary classics as Romeo & Albert and A Midsummer Night’s Albert. Albert: A Space Odyssey. Albert Flew Over the Cuckoo’s Nest. A horror film called Albert: Prince of Darkness. The Return of Albert. The Return of the Brides of Evil of Albert. And so it goes on. And the big change for him came when he started writing sex books. We have a very, very big one called Danish Albert on the Job; a big hit for him!7
Wow, so “Duke’s Travels” is something literal! After some journeying around the world he entered a home called Duke's, so they were literally the Travels to Duke's! And saaaaay! That “Guide Vocal” reprise with all its intensity is just Albert writing his books with an “I’ll show you!” kind of attitude! This also explains the reprise of “Behind the Lines”, come to think of it! He’s gone from “It’s written in the book” to writing books himself by “Duke’s End”. It’s a strange story, yes, but I think we’ve done it! I think we’ve cracked the code of this whole thing!
Phil:And now, to the music! Which has got nothing to do with Albert; I was deliberately wasting your time. This is some music from our album called Duke, and we call it - pretty cleverly - “Music From Our Album Called Duke”. OK!7
Well s---. Let’s hear it from the band!
Phil:The group compositions are the strongest. A lot of that is down to the rhythms...But the group compositions are definitely breaking new ground...I wanted to do a long song with some substance...So basically we put a lot of things together between us…“Duke’s Travels” and “Duke’s End” were riffs that we wrote as we went along. We intended it to be one 25 minute piece but when we came to the practicalities of the album, the solo songs on the second side wouldn’t have run so well, so we had to split it all up.2 Tony:This album, I have to be honest...this is my favorite Genesis album really. It has such a sort of positive quality about it. I love the way it starts; I love “Duchess”, I think it works fantastically; and I love all the instrumental stuff towards the end, too, although I think [the album’s conclusion] starts a little weak. But it just gets really good.1
Come join JENNY LEWIS in Las Vegas and LA to hear tales of childhood fame, dysfunctional parents and a 20-year singersongwriter career full of audio riches and heartbreaking wrenches. “You wanna blaze a doob outside, then I’ll shower?” she asks EVE BARLOW. With arms outstretched: Jenny Lewis jumps for joy, Los Angeles, 8 May, 2019. Photography Rachael wright Watch this!” says Jenny Lewis, sipping on a Modelo. “Take a visual of this for a second.” It’s midnight in Mandalay Bay’s casino, Las Vegas, and Lewis is exiting the House Of Blues where she’s just played the debut show of her tour for fourth solo album, On The Line. In the bar next door a band plays; a group of long-haired men whose bodies look beaten by decades of strife, yet their faces exude a purposeful passion. “Big wheels keep on turning…” chews the lead vocalist. “Carry me home to see my kin.” They holler the chorus of Lynyrd Skynyrd’s Sweet Home Alabama and Lewis marvels. “Oh my God. This! These are my people!” Lewis isn’t coming home to Vegas, though she was born here, sharing a birthday with Bowie and Elvis. Los Angeles has been her home throughout a 20-year singer-songwriter career, her second. Her first career was as a child actor. She met her agent aged two-and-a-half, bought a house at five and quit by 20. Highlights include starring in 1989’s The Wizard opposite Fred Savage and playing Lucille Ball’s granddaughter in Life With Lucy. Tonight, she’s an extra in a different scene. “These are lounge musicians”, she says of Vegas’s Lynyrd Skynyrd. “A covers band. This is like my whole family: my parents, my sister, my brother.” Unlike the tale of Sweet Home Alabama, Lewis doesn’t have much kin left. “Just my sister. And a shit ton of half-siblings.” Sister Leslie isn’t here, but will be at tomorrow’s LA show. Her dad died in 2010. Eddie Gordon was a virtuoso harmonica player and absent. “He played Brahms on the harmonica – a prodigy”, she says. Her mother Linda sang in a ‘70s duo with Gordon, called Love’s Lounge. Eddie and Linda played at the Tropicana and the Sands, which has since been bulldozed. “Beautiful footage”, she says – of the bulldozing, not her parents. Lewis grew up watching things fall apart. It made her a great raconteur. Brother Steve lives in Minnesota. His 30-year-old covers band is called The Rockin’ Hollywoods. One night The Rockin’ Hollywoods played local bar Mancini’s. “In the middle of the set the drums stopped”, she says. The band looked back to find their drummer slumped over the kit. He’d died. It’s part of Minnesotan lore: Prince, The Replacements and this. What song did he die playing? “Footloose”, she laughs. “He died on his throne. His drum throne. God, I hope I don’t die on the fucking throne”, she says, meaning the toilet. “What a terrible place to die.” Her parents divorced and Lewis moved to LA’s San Fernando Valley where she still lives. Her first memory is in Vegas – of her babysitter Lisa holding her by the pool. “Lisa was a female Elvis impersonator – called Ellis.” She chortles. “I’m not making this up. That’s the fucked-up part, I don’t make shit up.” Throughout her four albums with indie band Rilo Kiley, four solo albums, plus numerous side-projects, Lewis has never made shit up. She seems destined to outclass her family’s talents. “None of my peeps were writers”, she says. “They were song interpreters.” That fate changed when one of Linda’s boyfriends taught seven-year-old Lewis piano. “The moment he taught me Phantom Of The Opera I took the chords and wrote about my dad.” For her 15th birthday she wanted an acoustic guitar but Linda bought her a red Stratocaster. “I was so bummed.” She studied her Beatles songbook, and another one of Linda’s boyfriends taught her Desperado by the Eagles. “I wrote five songs over Desperado’s chords. One was about my friend Camille. A dark tale. I played her it. She goes, ‘Ugh, I hate this song.’ I was like, ‘Sorry!’” Turns out, Lewis’s catalogue contains many such harsh facts, but for years fans assumed some of it was fantasy. When she sings, “Where my ma is now, I don’t know/ She was living in her car, I was living on the road/And I hear she’s putting that stuff up her nose” on Rabbit Fur Coat (2006), she’s singing about their estrangement. Linda used to spend Lewis’s earnings on heroin. “When you’re a child of an addict there’s a dynamic”, she says of her premature adulthood. “But I rebelled at 15, smoked cigarettes, ran away, did acid at the mall.” From the age of 12 she was in Alateen meetings – AA for teenage relatives of addicts. “My mom was in and out of jail and rehab. I was dropped off at an Alateen dance thinking, ‘Maybe I’ll meet a cute guy!’ GETTY Riding high: (clockwise from right) Lewis goes for a spin in her back garden, LA, 2019; acting alongside Fred Savage in 1989’s The Wizard; with Rilo Kiley, 2004. “When you’re a child of an addict there’s a dynamic. But I rebelled at 15, smoked cigarettes, ran away, did acid at the mall.” I didn’t.” She beat a kid up at school when word got out that Linda was using. “You defend your family’s honour”, she says. “So I fucking clocked them.” Linda died from liver cancer in October 2017: Friday 13th. Lewis was by her side for eight weeks after two decades of silent treatment. Since then, she’s been sharing more than ever about her parents. Why? “Well they’re dead, so…” she says, cuttingly. “Sorry. I mean that’s the rule. I’m spitting on their graves. I didn’t wanna hurt them. Now they’re gone it’s my story. The truth as I see it.” Before she was terrified of what she saw. “I was repressing. I was writing about it but didn’t talk about it. I let very few people in. I was afraid they’d leave.” She pauses. “And I am my mother, so…” The inner child in Lewis is contagious. Before the interview, she’s smoking a joint in a parking lot with LA restaurateur Roy Choi – a can of La Croix in one hand, a copy of Eminent Hipsters by Steely Dan’s Donald Fagen in the other. She’s 43 going on 13: boy crazy, talks like a character in Clueless, wears a weed-shaped pendant close to her heart. Later we’ll pass a Titanic exhibit. She’ll sigh, “Oh Leo.” Lewis would hang out with DiCaprio when they were teens. What did they get up to? “Well…” she giggles. A mensch never tells. “We played video games at the arcade. Street Fighter.” She played as the character Dhalsim. “The long-legged guy. Never Ken. Ken’s too normal and definitely not Jewish.” Jenny Lewis: “I feel in control of my craft right now…” As Lewis lets the night guide her, gliding past slot machines lined up like dominoes, she seems unfazed by losing her way or missing her 1am bus call. “This is where I feel most at home. With dirty carpets and a faraway smoke smell. It’s truly formative. I feel like myself.” Even in moments of joy, her face has a way of falling. It reminds me of her lyric from 2006: “I was born secular and inconsolable.” Like a child, she becomes hopeless when there’s nothing to say. She tuts, hums, shakes her head. On The Line is a grief album mourning her mother, but began as a grief album mourning a break-up. Lewis and Scottish- American songwriter Johnathan Rice were not married, but together for 12 years and made one album as Jenny And Johnny. Rice’s new LP came out today. Titled The Long Game, it’s about that dissolution. It includes two songs they co-wrote. Has she listened to it? Her head shakes. “I uh…” Another silence. She takes her time and whispers quietly, “Not today.” One co-write – Another Cold One – reads like a post break-up song (“It’s bittersweet in the long run/We’re both lost, nobody won”). Again her head shakes. “Often you don’t understand a song till later.” Her break-up was “pretty fresh” when Linda was hospitalised. “Johnathan was there for me”, she says. “I never want to hurt him.” She doesn’t believe in editing herself, though. “I’ve said before: don’t hang around cannibals if you don’t wanna get eaten. I did not listen to his record today. But his record is fair game. It’s like Fight Club. The number one rule of dating another songwriter is: you can’t say anything about their songs.” After all, her album contains songs about Rice (“after all we been through, don’t you wanna kiss me?”). After the split, Lewis fled to New York, the first time she’d lived outside LA. Her friend Annie Clark, aka St. Vincent, gave her her apartment. When she was younger she’d dream of NYU (“I never took my SATs”). “I’ve been trying to get out of the Valley since I was 16.” In New York, she realised that wherever you go, there you are. “Kind of a bummer”, she says. By way of circumstance the songs were the first she’s written alone since Rabbit Fur Coat. She writes “almost every day”. “I feel in control of my craft right now in a way I hadn’t fully felt before”, she says. It contains all of Lewis’s nuances: her ‘60s classicism (Heads Gonna Roll), her blues-y rockers (Red Bull & Hennessy), her balladry (Dogwood). Little White Dove is its centrepiece. An olive branch to her mother on her hospital bed, and a reclamation. “In the middle of love, I’m the little white dove/ I’m the heroine”, she sings. She performs it onstage with a victory strut and a pout. She recorded the LP with a showstopping group of legends, including Rolling Stones producer Don Was, Beck, and Ringo Starr in Capitol’s Studio A. “He’s so cool”, she says of the Beatle. “Way more relaxed than I was. I’d say, ‘Hello Ringo’, but between my teeth I was like, ‘Oh Jesus Christ!’ I love the fucking Stones. But I’m a Beatles stan. It’s all I listen to.” The other day she was at AutoZone getting a new car battery. The clerk, an old man from India, was playing The Beatles. They bonded. “He said something so beautiful: ‘Babies love The Beatles.’ It’s true.” She sighs. “The Beatles transcend everything.” WE’RE NO SPRING CHICKENS BUT WE’VE STILL GOT IT. Says Lewis about her new which includes highlights…
HAPPY
From solo LP Rabbit Fur Coat (2006) Lewis performs this sad ballad banging two wooden claves. It’s slow and sleepy, like a train pulling into its station, while she waits for contentment to return.
SILVER LINING
From Rilo Kiley’s Under The Blacklight (2007) Rilo Kiley’s final LP was a go-hard-or-gohome effort for the band; a synth-y crossover into mainstream rock. Lewis carries its legacy effortlessly. “Hooray hooray, I’m your silver lining/Hooray hooray, but now I’m gold,” she sings.
JUST ONE OF THE GUYS
From solo LP The Voyager (2014) One of Lewis’s finest: an ode to curating your own rules in a man’s world but eventually hitting a wall.“There’s only one difference between you and me,” she sings.“When I look at myself all I can see/ I’m just another lady without a baby.”
RED BULL & HENNESSY
From solo LP On The Line (2019) There’s a moment in the bridge where Lewis goes full-on Kate Bush. Contains all the drama of Fleetwood Mac, and similarly she’s lived it.
WITH ARMS OUTSTRETCHED
From Rilo Kiley’s The Execution Of All Things (2002) One of Lewis’s most beloved anthems on unrequited love. She cuts the house lights for this, invites a sea of iPhone torches and lets the crowd carry the verses.“And if you want me, you better speak up/ I won’t wait, so you better move fast.”
ACID TONGUE
From solo LP Acid Tongue (2008) A folkier acoustic ballad and one of Lewis’s best stories. She sings about taking solace in sex, drugs and rock’n’roll. “To be lonely is a habit like smoking or taking drugs/And I’ve quit them both but, man, was it rough.” Performing These Days with Jackson Browne at the Hollywood Palladium; “No popping, guys!” Lewis is a band freak. Before Rice, before her solo career, came Blake Sennett and Rilo Kiley. Sennett and Lewis wrote songs, played them to room-mates and formed a foursome. They took off in 2001. “It took over my entire life. I was in a relationship with my bandmate, just like my parents. The cycle continued. I had no idea.” The band survived long after their split. “It sucked!” she says. “It was so hard. You break up, then you see the person the next day and spy on them outside the club like, ‘Are they making out with someone else?’ But I don’t know how to be with someone unless we play music together. I’m away for so long. I wanna hang with my babe.” You wonder if it’s tough for a prolific, successful female to be with a male songwriter of lesser success. One of Rice’s new lyrics goes: “I always pictured you and me growing old disgracefully/Now I see the club’s sold out and there’s no room for me.” She makes a pained face. “Yeah, probably not a good idea”, she says, of the question, seeking to keep things sweet. “Johnathan is amazing, and was supportive. It takes a very special person to be able to support a strong woman. It shouldn’t but it does.” Lewis gravitated towards special men, who lent her their platform. In the 2000s, she was a queen amid a sea of male anti-heroes including Bright Eyes, Modest Mouse and Death Cab For Cutie. She was a “superfan” who studied the back of Death Cab’s Something About Airplanes LP and sent Rilo Kiley’s demos to their label Barsuk. She discovered Bright Eyes from a friend’s mixtape, bought Fevers And Mirrors and listened in the car “crying my fucking eyes out”. She wanted to know Conor Oberst. “Who was this? My soulmate? And he’s super cute? It was fucking Christmas!” Oberst was the reason she made debut Rabbit Fur Coat, which was the catalyst for Rilo Kiley’s demise. He asked her to make a solo album for then new label Team Love. “I go, ‘That’s so controversial, I’m in a fucking band. I’m not a solo artist. I’m a band person!’” He insisted. The resulting album – confessional, spooky and gospel-tinged – was a cut above. Soon she was invited to be on Death Cab frontman Ben Gibbard’s side-project The Postal Service, too. “What a lovely gift to pluck me out of a dysfunctional [band]. Without Conor, without Ben… They believed in me and gave me a chance to learn, to step up and just fucking do it.” Not all have been princes, though. The unmentionable of On The Line’s players is Ryan Adams, who produced briefly. Weeks after the LP was announced, the New York Times ran a story containing allegations of sexual misconduct against Adams employing the voices of ex-wife Mandy Moore, exfiancée Megan Butterworth, artist Phoebe Bridgers and a woman named Ava who was 14 years old at the time of Adams’s alleged abuse. He worked with Lewis in early 2017. “I was in a relationship with my bandmate, just like my parents. It was so hard. You break up, then you see the person the next day outside the club like, ‘Are they making out with someone else?’ But I don’t know how to be with someone unless we play music together.” “I was born secular and inconsolable…”: Lewis relaxes at home; this year’s On The Line album. Lewis looks glum when Adams’s name is mentioned. After the allegations, she tweeted, “I am deeply troubled by Ryan Adams’ alleged behavior [sic]. Although he and I had a working professional relationship, I stand in solidarity with the women who have come forward.” She told Pitchfork she “hates” that he’s on the album. It’s not Lewis who should have to justify her actions. She doesn’t resent having these conversations. “I get scared when I’m asked about Ryan. Ryan is an important part of the bigger story of my career. We have a deep musical connection. I really appreciate his contributions. Unfortunately I sometimes feel like I can’t say it. However! Bad behaviour is bad behaviour and if you’re fucked up people are gonna find out about it. You have to treat people well. To bring it back to The Beatles, we need to project peace and love. We also need yin and yang. But we can’t accept abusive behaviour.” The next night at LA’s Palladium, the room brims with Hollywood starriness. The set is the best she’s ever designed. In a moment only a Jenny Lewis can pull off, a perspex phone rings upon a heart-shaped platform onstage. “Oh shit”, she says. She takes the call. “Jackson Browne?” She asks. “I’m in the middle of a show right now…” Browne appears. They perform These Days. “Don’t confront me with my failures, I had not forgotten them”, they sing. It’s an interpretation, sure, but Lewis could have written it. Her band ran through it at soundcheck in Vegas yesterday afternoon. Who called Jackson? “I mean I actually dated his son way back”, she said backstage. Despite her family traumas, Lewis’s inheritance – music – is her greatest ally. “It was the family business. It wasn’t a choice. But music as a job? What a fucking snooze. It’s such a gift to have success in music. Playing in a Vegas lounge is better than jail, or another boring ass job. It’s like Cass McCombs sang [The Executioner’s Song] – you gotta love your fucking job.” As she moves into a new independent life, she’s trying to take stock more. “I’m so short. I’m five-foot-three-anda- half. I have to remind myself: Look up!” In 2019, she’s greeted by a new generation as an icon. Her lyrics have become mantras like Buddhism for millennials. “It’s crazy to do something for 20 years, let alone do an OK job”, she says. Bus call looms once more and she sparks up. “You wanna blaze a doob outside, then I’ll shower? There’s an order for things.” Spoken like a true professional.
Hi makingvaporwave. I'm Jack, I make art under Lucid Sound Driver, バーチャルSound Terminal , and a few other hidden aliases I prefer to keep anonymous (at least until a further point in time). I’ve been involved in music most of my life…. not master musician in any art, but I’ve had some minor training in a few fields, I’ve played different instruments throughout my life (piano, bass, and percussion to name a few), and music has always been something largely supported in my family. My uncle is a bassist, my grandma a pianist, and bassist as well; my mother before she passed was an amazing vocalist. It’s been something I’ve been lucky enough to grow up around and have support with growing up because I know a lot of fellow producers, artists, and musicians have not or don’t receive support from their family. I’ve been a heavy music advocate all my life, and I listen to just about everything from Noise to Rap to Thrash Metal to J-Pop….really I listen to just about everything (I know people say “that’s a copout excuse”, but in all honesty it would take too long to name genres I’ve found interest in because it’s something I dedicate lot of time to). I feel listening to different music is one of the best things you can do for yourself. Everything I have listened to, regardless of my preference to it, has opened my mind in some way. There are multiple titles I have come across that at first take didn’t ahhh me or I flat out didn’t like, but I try to go back to them and take in the work fully. I try to relate with the artist to some degree, and find what it was that they were going for. In some cases I am still not “fond” and I wouldn’t call it my type of music, but I try to always keep open to the subjectivity of art and regardless of intention respect artist for what they do (this could be applied to how I feel about all forms of art really, I respect anyone bold enough to do their thing whatever it may be). I’ve been interested in electronic music heavily since about eighth grade. I was really fond of house, minimal tech, and dubstep when I was younger. Some artist I listened to once before I still admire to this day, but when I view some of the music I thought was siiiiiick I kind of laugh at myself….. Its fine and it holds its place in time, but you won’t find listening to a lot of music I once did (no offense unmentioned artists). It wasn’t until like 12th grade that I started getting into experimental electronic music. It was when I moved out to Northern California out around Placerville (those are the mountains if unfamiliar) Real interesting area to say the least. Met some friends that were into the arts more and supported passions I had like poetry and literature so it was a really life opening experience being in that atmosphere. I think the solidifying moment for me was listening to Black Moth Super Rainbow’s “Doppelganger” on DMT. Though ingested poorly (a decent sized amount crudely spread on some herb) the effects of the lo fidelity sound emitting from the speakers in waves took over my body in a way I can’t explain. Please do not take this as me trying to advocate drug use of any kind. This is simply what was a turning point for my view towards music … (I would be lying however if I said I haven’t found some inspiration in certain plants/chemicals). From that point on I started really stepping away from what I was so fond of at the time. I owe a lot of my credit due to YouTube honestly….I would listen to artist I was finding that I enjoyed and if I saw a track title or alias name that caught my attention I’d open the link and see what lies ahead. If fond of the artist I would search their name, and again this process would continue on and on (upset because I have lost HDD with years of music on there I’ve collected I will likely never see again). Got really into Adult Swim beats, and started listening to Trip Hop’ish artists like Negrosaki, Ethereal Universe, and Flying Lotus. Loved the chill aspects of electronic type vibes which where amazing for skating. Somewhere in all that I found Casino Versus Japan who branched me off into ambient (what most would classify IDM) artists like B.O.C., AM-Boy, Freescha, and Milieu (these are still some of my most influential musicians to date without sounding rude to the countless numbers of other people who have inspired me, but if it weren’t for these artists I wouldn’t be where I am today. I got into Synthwave quite heavily a short while after that and really got into Com Truise (loved the name and was drawn to it). Somehow through that I found “Floral Shoppe”, which I know is an “Oh of course” moment, but I’ve always been a big Asia nerd and I was so fascinated by how weird this album looked. I clicked it and was immediately blown away. It was almost in a sense the type of realm I had been searching for at that point in my life. It solidified with me and I can still remember that moment to this day. It’s funny because I didn’t realize Mac+ wasn’t Japanese for awhile. When I first found vaporwave it was still a lot more anonymous than it is now (which I miss to a degree. It is amazing talking to artists I admire and even more so when artists I admire contact me, but I do miss the type of feeling it once possessed). I was honestly baffled once I became a part of the vapor community more intensely and saw how big it was, how big it was continuing to get. Very proud to be a part of it, and I am honored to be able and speak to you now. Now for what you have been waiting for……Production tips. First off let me just say to anyone out there considering getting into music production of any sort just do it!!! Seriously just do it I’m not kidding you. I have wanted to produce music since I was 15 years old, but always hesitated and stopped myself. I saw prices of equipment and software and I got so nervous because I didn’t want to spend money on something that was “wrong”. I have purchased equipment I have later gotten rid of and though it may not have been what I wanted in the end it’s no big deal like I imagined it to be. I think my first real piece of gear that gave me a taste of production (and some of you may laugh at this) was the Kaossilator Pro…..I purchased it back in 2012 or 2013 I believe. If you don’t know it’s a little touch pad synthesizer with like 200 built in sounds and 4 loop banks (very limiting though. You can only record 16bar loops, but in order to do that tempo needs to stay above 110, if it drops even to 109 the loops switch to 8 bar though I did learn techniques to work around that). I spent a lot of time just making and deleting mixes……basically starting up a bass or drum line and then working 3 layers on top of that. It was a matter of delete and replace to keep music going…..when transitioning songs I would erase one loop and drop 3 volume channels as I brought in a transitioning sound effect then take out then erase those loops and fade in new pieces I would create. The simplicity of the device and its limitations really helped me get a genuine understanding of improv music production which is a key element of mine today. I started working in Ableton back in December 2014. Had this younger cat invite me over to see his production setup and I was stoked because I had always wanted to see a setup (looking back it was nothing marvelous but it was still cool). He showed me a few things in ableton and let me play around with it a bit. When I realized its functions where the same as the kaossilator (the matter of hitting record playing a loop and hitting stop to loop it) I was hooked, and even more so because I could record any length I want. I was limited to 16 bars before and it was working but now the sky seemed endless (its funny I have a project somewhere with like a 356 bar loop or something like that). I downloaded a 30 day trial version of Ableton and produced my first little album in that 30 day period (its awful xD but it was more or less an art project for me) titled trial error because I made it on a trial version of ableton and it was incomplete. I laugh, I still get compliments on certain tracks in that album (some people pushing me to finish it, but it was a piece in time that’s over and I feel it’s appropriate to leave things as they were). It at least garnered enough attention from some local producers who took some interest in what I was doing and helped give me a type of support base with production (although they work in completely different DAWs they still supported and helped me out). I released my first official album on Illuminated Paths in 2015 as my all original alias Lucid Sound Driver titled “Among the Thrift Shop Floor”. It was a concept album based around someone going about their day to day lives and in the most absurd and unexpected place having transcendental moment, the idea that life holds beauty around us at all points, but we are sometimes caught up in the world around us and miss that pure bliss of living. It was all done on a 5 dollar toy keyboard from the D.I. (Mormon thrift shop) and field recordings I got from all over. I had recently purchased a handheld Tascam DR-22WL and started recording everything I could (I still do, currently have close to 800 or so personal audio recordings ranging from kids laughing/crying, airplanes overhead since I luckily live by an airport, cars, skating, stores, bathroom trips you name it. I feel capturing sounds around you is important. You never know what inspiration might come). It was my first time ever recording anything and my very first time using audio files in ableton but I wanted to make a project of it. Again not endorsing it but for this project I ingested a reasonable amount of psychedelics went to work on this piece. I had prior to this experience set up audio files in appropriate columns (keyboard, human sound, nature sound) and prepared for the work. I made the entire album in one sitting with no idea what would come forth (aside from some light cleaning up after words for the finished album). I actually went into this state where I had these almost tremor like movements throughout my body, almost convulsive, but still coherent and semi functional, as if I induced a sensory overload and had to recover. Second release was via Beer Wizard as Virtual Sound Terminal which was my first step at plunderphincs. (I want to let people know since I’m here that the separation from LSD, and VST, my two main aliases that are publicly known, is due to LSD being all original material from sound design to recordings mastering and composition, and VST dabbling or fully diving into pluderphonic works). That album I really just wanted to get weird with audio files. I started experimenting heavily with audio effects in that album and it came out weird AF . . . . I still don’t know how I feel on it, but it sold out and I’ve had some people genuinely interested in the art project, some of which have helped me out tons in the vapor scene. For my third official and most current release I made my first full ambient project titled “Serenading The Indigo Child” which was made similar to my first album in means of toy keyboard recordings, field recordings, etc. I did dive into some virtual instruments with this album and spent a good deal of time on sound design for pads etc. Basically it was all a matter of improve trial and error to achieve what I got. This was an album where concept was devised first (a lot of the time a work is created and I develop a concept around it, however the work makes me feel…..it’s why I have hours of unreleased material) and I designed a musical backdrop to provoke the emotion I was trying to bring forth I feel it’s very important diving out of your comfort zones in production…..don’t get stuck in one field of sound or one genre of music. Diversify and do things that are new to you. I strive to change things I am doing in my musical work constantly, some people aren’t fond because of this it seems, but it’s something essential in my eyes, once you create your formula you should change the pie. If you lump yourself in one category forever it just becomes nothing more than mere finger exercises with no real mental stimulation. I am real excited for some of my coming releases so you can see what I truly mean in regards, but realistically I try to make every piece I do different. I like to leave the listener a bit unsure of what to expect. Don’t get me wrong there is nothing wrong with working in fields you admire often but challenge yourself to do things that are new to you. Experimenting in different musical stylings has actually brought insight to my works with genres completely separate from one another, in ways I never imagined. I feel conceptual purpose to your work is important to and realistically in some cases I find concept equally if not more superior to content. It is what solidifies your work and give it life, gives it meaning. It feels almost meaningless for me to throw tracks together and say “here’s my album”. I feel it is a disservice to my listener and my art itself as silly as that may sound…..it seems like it didn’t mean enough to me to put earnest emotions to. If I can’t create a fitting concept with working compositions I won’t release it. I have hours of material that may never see public release. Some are works that I have been unable to adapt a proper conceptual work around though sometimes I revisit them and ideas come forth. Others are works that were made simply for myself almost as a self healing process and are not really intended for public eye……maybe one day when the time is right, but it’s just not now. The pieces haven’t aligned to create an appropriate presentation. I find it’s important though to give meaning to your art though no matter what it is. Don’t let other people influence what you do with your art either. You can find inspiration in others but don’t try and mold yourself to be someone or something else. You are you, and you should respect that. If everyone hated every musical and artistic piece I had put out it wouldn’t matter to me…… If I never made a dime and it was what people referred to as a “hopeless passion” and “lost cause” it wouldn’t matter to me. I do it because it’s what I do; it’s what I love to do. I don’t create music or art in hopes of praise from others, I do it for myself, and if people like what I have done that is honestly just a plus. It still really trips me out when people admire what I am doing and even more so when they like it enough to reach out or buy a copy. I could have never imagined the support I would receive and some of the people who have reached out and told me how I have helped them in some aspect of their life have honestly changed my life. I have and still receive some negative criticism for works of mine (“It’s too boring” “It should be faster” “Does it have a beat?” “Where’s the lyrics?” “What is this aquarium music?”), and sometimes the hate people give hurts I won’t lie, but who cares? At the end of the day you have to accept the criticism and stay true to yourself. Don’t get caught up trying to please others or you’ll forever be lost. Now for actual track talk (my apologies) I rarely go into a project with an idea at mind. The only time this usually happens is during moments of insomnia. I suffer from very severe musical insomnia in which I hear a musical composition being performed in my head and literally can’t shut it off. It’s impossible to sleep and usually carries on for a few hours. It was a big issue for me until I started making music. Now if I hit those states I hop on and record one or two lines that are playing in my head so I can remember it and shut my computer, and brain down for the night (sometimes it doesn’t work though and I stay up all night). I try not to force creative work. I have found its best to wait for it to come to you. Sometimes a small break to reflect really opens some doors when you come back to your keyboard and DAW. I don’t know if its common but for me I continually find myself getting inspiration at about 12:00-2:00AM at the time I refer to as “producers witching hour”. Like I said I usually don’t go into a project with any general framework. I find it is best to experiment. If working on all original music I will generally write a generic kick snare pattern to use as a more natural tempo than the god awful beeping. I perform all my compositional work. I am unable to click and draw music well, it comes off almost synthetic. I usually will start with either a bass line or a light chord progression. From their it’s all a matter of improv experimentation. I play at random for awhile changing variations until I find something that catches me. From there it’s a matter of continual trial and error. Sometimes I will be working on a project for hours and create a new line I like so much that I save the current project erase all the aspects besides the characteristics that work with my new line and save it under a new name. (So making 2 projects from 1 project idea if that was confusing). I then always rework the other pieces I kept on the project that appear on both so they differentiate from one another on the final work, but it helps as base support for a short time while creating a new project out of the existing one. I can write a handful of songs in a short amount of time, but mixing and mastering is something that has been totally new since learning production. I have always played in music so composition is something that comes naturally for me but production and music making are totally different. I am still not amazing at mastering but I do have some techniques I have learned over time that can really help you out if you’re up and coming or simply unaware of their usage (surprisingly have been able to advise some artists who have been producing far longer than myself). Panning is one that is very important. I know it sounds unimportant but don’t keep all your audio tracks centered (even individual drum sounds). If you pay close attention to almost any professional mixing of music (in any genre) the panning for different sounds and instruments varies. If you don’t already experiment a bit because the slightest tweaks make a huge difference and help greatly on your master mix down. Layering as well. Seriously layer everything I can’t stress that enough. It adds so much dynamic to your sound. I used to use single layers for like bass and lead, drums, etc. and it was just so piddly. It sounds very weak. It wasn’t until experimentation in ambient droning work that I truly learned this. Now I apply it to everything. I usually have about 3-4 layers at least on each track I am using (some projects waaaay more than that). What I do for instance (on leads) is I take my most clear sounding track that I want to be the main focus on and I usually keep that fairly clean (light reverb, little to no delay) and increase the track volume then I’ll duplicate that 2-3 times and drop the volumes fairly low. I usually take one of those tracks and increase the reverb fairly high and add an auto panning effect and an accompanying phaser (need to get the phaser JUST RIGHT). The other I bring reverb up about half way to the first duplicated track and again add an auto panning feature (different timing is essential) and add a small amount of delay, usually on an 8-4, 6-3, or 4-2 timing. For the third I usually bring the volume real low and start playing heavily with filters, flangers, and phasers, to create a good background distortion and sometimes I will accompany that some delay as well. The same rules mentioned prior for lead lines apply as well to certain pluderphonic works I do as well. It’s always a matter of experimentation and of course I don’t ALWAYS do that and it doesn’t ALWAYS work, but it is something I’ve noticed myself doing time to time and I feel it adds a cool dynamic to your sound. Layers are essential to your work but it’s all about subtlety. If you hear my layers by themselves some are almost impossible to decipher and some sound just awful but when you combine them all together at the proper volumes it sounds superb. Big thing I want to point out if you’re layering drums onto a sample of some sort (relation to VST’s upcoming album) and they sound to separate from the audio and unnatural drop the frequency on your drum racks. I tend to keep it just a bit below 10k on my frequency (though it is different on my Kick, and a few accompanying drum sounds so I keep those in separate audio tracks). Also I almost always separate my Kick from Snare in audio tracks. Helps a lot when linking things like Side chaining your bassline to your kick drum (at least for Ableton). One of my best tips I can give you is test your music on anything you can (headphones, cars, good speakers, bad speakers). I have learned one technique as weird as it sounds and that’s if you can get your audio to sound good on a television (end mix down) it will usually transfer over well to other output sources. Basically being that television speakers are so generic it really lowers the bar for things. If it sounds good on some nice headphones as well as a television you’re hitting a wide array of sound output (also being television is a huge commercial product it is good to know your audio sounds good on it if you decided to use it commercially in any way). One of the things that has intrigued me the most in production is audio manipulation (be it your own recordings or samples you have currated). There’s really no way to explain it. I find new techniques daily and I will let you know that the sky is truly the limit. I know people who have been producing since 93 (my birth year) who are still learning new techniques. It is truly an into the rabbit hole scenario and its ever expanding. I don’t want to go too far into my techniques or else it wouldn’t hold a personal unique trait, but I’ll share two fun techniques of mine you can play with. One very fun thing to do is offsetting your samples. So basically you make two tracks that have the same sample as one another. Take your samples and offset them about ½ (line up one of the samples to start halfway through the other), sometimes this works well as is, but one addition I usually add is dropping the transposition of one of your samples, -12 always works, but I like experimenting around -6 to -8 to get more differentiating notes so it’s not just an octave difference. It will completely switch up the sample at hand. I have actually released one or two songs that are full of continuously changing variations but are in all reality just one loop. Another fun technique of mine is making pulsing beats (I’m not quite sure how to explain this but it’s a low frequency pulse rhythm that is used heavily in astral projection work). Take a vocal sample (I usually prefer something with some sort of background sound accompanying the voice to add more fullness). Open a project at 160tempo in Ableton and drop your sample in an audio track. Now seriously I zoom in on my file and create the smallest loop I can. I would say it’s like 1/128th of a note or less if I had to make a guess. Seriously it’s shorter than a vocal chop. The sound produced is one of the most unpleasant sounds imaginable. It was so loud and shrill when I first made this it almost blew out my ear drum so keep aware of your track volume. The trick comes when you export that audio to a new audio track and create an audio file of that shrill high pitch. Drop your transition to about -36 and bring your tempo down anywhere from 50-20 on the tempo. 9 times out of 10 if done properly you get this amazing pulsating rhythm. I then export that audio entirely and use it in a new project (that way I’m not trying to make a song at 20 BPM on my tempo). When it boils down to it production is all a matter of trial and error. No one can teach you how to produce music. Myself and others can lend techniques we use in our work, but you have to find your own path. Everyone has their own techniques they use. Even when we are achieving a similar effect in our sound we are almost always doing things differently than one another. That’s what’s amazing about production. It truly is art and open entirely to whatever you can imagine, and it’s almost an independent activity. On a side note to that don’t get wrapped up in what software you should get. For me I personally prefer Ableton to other DAW’s I’ve worked simply due its keen ability to allow improv performance which is my forte, but I am not against DAW’s like FL, Cubase, Logic, etc. , etc. In the end it’s not the software or tools you have, but how you use it. A lot of people blame their software or hardware but it’s a cop out. I’ve seen people push gold out of an iPhone so it just goes to show you can make truly amazing art from any medium. Personally I want to get more into hardware with production myself. Not because I feel it is better for production, but I appreciate the naturalistic feel of hardware and actually using a device dedicated as an instrument. The only thing holding me back in that aspect is the cost. It’s always ever changing and new ideas come forth every day. I guess that’s about all I really have to say right now, and I’m sure I’ve bored you already, but if you remained here until the end key points are: *Creativity is above all else, don’t tarnish that to “fit in” *Respect your art no matter what other say of it (this is why concept is important to me) *listen to and take in as much art as you can muster *Step outside of your comfort zones and try to work in areas you are unfamiliar with. Diversify and Grow *Just go out and do it, don’t second guess yourself any longer *Layer, layer, layer, *Keep eye of panning levels on your instruments (this helps in multiple genres) *Audio Manipulation is too amazing for words *Software and Hardware are not what make an artist great it’s all based on you <3 You all mean the world to me and I appreciate you taking the time to stop by. If you have any questions feel free to reach out to me here or on FB, Gmail, wherever ‘s clever. I might add a few things on here as the month progresses, if you want me to talk about anything in particular let me know in the comments or something . I will proofread this more tomorrow, and try to clean it up a bit because I'm sure it could use it anyways take it easy -Lucid_SD *Unrelated** Just had my work from my latest album out on No Problema Tapes titled "Serenading The Indigo Child" just got reviewed in Music Connection Magazine and received some very nice review. The references they related my sound to were more than flattering. Thought you might enjoy it; Very short, but sweet http://www.musicconnection.com/new-music-critiques-lucid-sound-drive
[C E Am Cm Ab F] Chords for Casino Night Zone (Jazz Version) from Sonic Generations 3DS (HD 1080p) with capo transposer, play along with guitar, piano, ukulele & mandolin. Casino Night Zone - Sonic the Hedgehog 2 is written in the key of C Major. According to the Theorytab database, it is the most common key in all of popular music. See the C Major Cheat Sheet for popular chords, chord progressions, downloadable midi files and more! Learn & play tab for bass, percussion and others with free online tab player, speed control and loop. Download original Guitar Pro tab. [F Cm G C E Am D Ab A Bm] Chords for Sonic 2 - Casino Night Zone (Piano) with capo transposer, play along with guitar, piano, ukulele & mandolin. Misc Computer Games tabs, chords, guitar, bass, ukulele chords, power tabs and guitar pro tabs including sonic the hedgehog - green hill zone, sonic the hedgehog - star light zone, sonic the Chords for Sonic 2 Music: Casino Night Zone.: C, E, Am, G#. Play along with guitar, ukulele, or piano with interactive chords and diagrams. Includes transpose, capo hints, changing speed and much more. High quality Piano sheet music for "Casino Night Zone" by Sonic the Hedgehog 2 (Piano). Download the PDF, print it and use our learning tools to master it. Sonic The Hedgehog 2 - Casino Night Zone guitar pro tab by Misc Computer Games. 5,409 views, added to favorites 67 times. Tuning: E A D G B E. File format: gp5. Filesize: 37.5 kb. Instruments: lead guitars, bass, percussion and other. Author deathx88 [a] 9,040. Last edit on Feb 18, 2014. Tonebridge . 100%. 50% 60% 70% 80% 90% 100% 110% 120% 130% 140% 150% 160% 170% 180% 190% 200%. Instr. You Misc Computer Games tabs, chords, guitar, bass, ukulele chords, power tabs and guitar pro tabs including sonic the hedgehog - green hill zone, sonic the hedgehog - marble zone, sonic the hedgehog No chords automatically detected in Sonic_2_-_Casino_Night_Zone.mid for the Electric Piano 2 instrument.
Sonic 2 - Casino Night Zone Extended (10 Hours) - YouTube
Sonic 2 Casino Night Zone music extended to play for 10 hoursGame: Sonic the Hedgehog 2Composer(s): Masato NakamuraDeveloper(s): Sonic TeamPublisher(s): Sega... My first video in over a year! I have practiced this song a TON for a while now. While still not perfect, I just had to get a recording up and let you guys k... This is the music for the 1-player stage of Casino Night zone in Sonic 2. I've had this song stuck in my head the entire week, so I've made some lyrics up in the style of Brentalfloss (here if you're not aware of who he is: http://... Playthrough coming within a few hours - btw, this DLC was a 56MB download. Free downloads, backtracks & more: https://www.patreon.com/gabocarina96 Get this song on: Loudr: https://loudr.fm/release/video-games-vol-2/krqXr iTunes: htt... Arranged and performed by Mr Bonus Stage.Music by Masato NakamuraThis jazzy number from Sonic 2 always makes me think of gambling for rings in the giant frui... This was soooo fun to play. It's hard to tell but I was head-bopping the whole time. I did my own thing with the bass because it was just fun to do, so its n...
