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The Vial/Weber chordal space depicts two different sorts of relationships: shared common tones and efficient voice leading. For example, the proximity of the C major and e minor chords reflects the fact that the two chords share two common tones, E and G.
"All the Madmen" is a song written by the English singer-songwriter David Bowie in 1970 for his album The Man Who Sold the World, released later that year in the US and in April 1971 in the UK. One of several tracks on the album about insanity, it has been described as depicting "a world so bereft of reason that the last sane men are th
Bowie subsequently re-recorded the song later that year with his backing band the Spiders from Mars—Mick Ronson, Trevor Bolder and Mick Woodmansey—for release on his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. The re-recording was co-produced by Ken Scott and recorded at Trident Studios in London in November 1971.
Co-produced by Ken Scott, Bowie recorded it with his backing band the Spiders from Mars – comprising Mick Ronson, Trevor Bolder and Mick Woodmansey. It detailed Ziggy's final collapse like an old, washed-up rock star and, as such, was also the closing number of the Ziggy Stardust live show. In April 1974 RCA issued it as a single.
Spiders is the debut album by English band Space, released on 16 September 1996. [6] After signing to independent label Gut Records, the band recorded Spiders between 1995 and 1996 in Liverpool. The album combines a great wealth of styles and genres, including rock, hip hop, techno and funk. It was the result of the various musical tastes of ...
Labyrinth is a soundtrack album by David Bowie and composer Trevor Jones, released in 1986 for the film Labyrinth.It was the second of three soundtrack releases in which Bowie had a major role, following Christiane F. (1981) and preceding The Buddha of Suburbia (1993).
What they look like: With over 200 species of wolf spiders crawling around, it’s no wonder that they range in size and appearance. “The largest species can be up to an inch and a half long ...
O'Leary notes that Ronson's guitars clash throughout the track: the left-mixed guitar is raw, playing random tones rather than chords, while the right-mixed guitar "imposes itself on the acoustic" and doubles the bass part in the bars before the refrains. Bolder's bassline jumps octaves and goes up and down the G scale in the verses. [8]