Spotlight on 

      

     Kirk Guitar Thompson New Single Release "An Acoustic Jam" is at the Pulse of R & B And Jazz Contemporary

        Not since Johnny Guitar Watson has there been a Guitarist with that kind of funk groove style until Now! Kirk Guitar Thompson is Pushing the limit of Jazz contemporary music on acoustic guitar.

Kirk Guitar Thompson is a singer/songwriter and Guitarist and is bringing back the sound of the guitar

in R & B and Jazz. Noted for his productions of Kirk's the R & B Zone, as writer/Producer got him a recent entry in last year's Grammys for best R & B Album "You Got That Feelin" and Best Jazz contemporary album "The Jazz Mix", Kirk Guitar Thompson is at the cutting edge of music greatness. An Acoustic Jam is a peek of the fantastic acoustic guitar work of a great musician. It is nice to hear new talent emerge. You will find Kirk's The R & B Zone/Kirk Guitar Thompson at these Online Stores Amazon, iTunes, Napster and Rhapsody. Music MP3 Download. 

                                                                                                                                                                  

Keep in step was written by Kirk Guitar Thompson

Arrangement by Kirk Guitar Thompson on Guitar Synthesizer

 this arrangement consist of

Lead voice

Guitar lead voicing

Horn voicing

Intro synth.

Background Vocal

Kirk Guitar Thompson and Kayla Dixon

Violin voicing

Steel Drums

And lead trumpet solo

With a motivating chorus about staying together

Feel Free to download this song. It's Free!

 Produced by a Master Musician Guitarist Kirk Thompson.

Kirk spent his

           WORLD - WIDE CORPORATE EVENTS

                       Kirk Guitar Thompson

Kirk Guitar Thompson is Guitarist/singer/songwriter and not since Johnny guitar watson has there been a Guitarist with that kind of funk groove until now! Kirk Guitar Thompson is pushing the limit of jazz contemporary and R & B on acoustic guitar. With three released albums and two noted entrys in the grammys and Two new album on the way! He is Hot!

                             


                                        The Amen Break
 This fascinating, brilliant 20-minute video narrates the history of the "Amen Break," a six-second drum sample from the b-side of a chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass and jungle music -- a six-second clip that spawned several entire subcultures. Nate Harrison's 2004 video is a meditation on the ownership of culture, the nature of art and creativity, and the history of a remarkable music clip.

There is a time for everything….

Beginning in 1996 in the basement of Carlos Scott, a minister hailing from Louisiana, and four other ordinary, yet gifted men from God created a melody of gospel sounds to perform for their local congregation. They were simplistic and harmonious sounds accompanied by dulcet piano chords.

Carlos and Herschel McLemore, a native of Florida, knew what they wanted to see, but reality seemed distant. Prayers were answered cultivating shades of
hope, light, and vision. Affectionately, known as "The Brothers" with original member Carlos Scott and Dijon Anderson, Atlanta Georgia continued to be crusaders for the Lord. Since then, they have relocated, marriages have formed, children born, and God has brought in and molded a new breed of men.  read more...

                         What is a music Producer

A music producer organizes the recording studio, makes sure people get paid, makes sure the record company is happy and acts as a liaison between the band and the record company. The producer is also responsible for making sure the music being recorded sounds good and has the right tempo. Learn more about the job of a music producer with information from a recording studio engineer in this free video on music producing.

     New R&B/Soul Releases on iTunes

                                          
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                           The Music Industry Reacts To Steve Jobs' Resignation as Apple CEO

   

              Kirk Guitar Thompson New CD/Albums Coming Soon

Grammy Nominations: Why Adele Only Got Six, Other Shockers Explained

                          By Chuck Arnold

                          Thursday December 01, 2011 08:45 AM EST

                         

                          From left" Adele, Kanye West and Beyoncé

                          Mike Marsland/WireImage, Amanda Schwab/Startraks, Rob Kim/FilmMagic

                                                       News - Jennifer Hudson

What's the Future of the Music Industry?

Before I was in the writing industry, I was in the music industry.

While the economics of journalism have changed a lot over the past 20 years — witness the demise of Times Select and the potential demise of the Wall Street Journal‘s pay site — many other aspects of the writing industry haven’t changed much at all. If you are a non-fiction writer who writes books, for instance, the economic setup is pretty much the same as it was, in large part because book publishers still primarily offer hard copies of books to people who pay money for them.

But the music industry of today looks almost nothing like the music industry of 20 years ago. There are a ton of reasons, most of them having to do with digital technology. If you are a young journalist starting out today, you may still aspire to get a big publisher to give you an advance and widely publish your book; but if you are a young musician starting out today, do you want to get a big record advance or do you want to sell the music yourself, like these folks do, and like Jane Siberry does? If you are a record label, what do you do about illegal downloads, and do you keep putting out “albums” that nobody buys or do you instead try to release only individual songs, as many people seem to prefer?

It strikes me as ironic that a new technology (digital music) may have accidentally forced record labels to abandon the status quo (releasing albums) and return to the past (selling singles). I sometimes think that the biggest mistake the record industry ever made was abandoning the pop single in the first place. Customers were forced to buy albums to get the one or two songs they loved; how many albums can you say that you truly love, or love even 50% of the songs — 10? 20? But now the people have spoken: they want one song at a time, digitally please, maybe even free (yikes: big can of worms, which is addressed ably below).

So what really happened to the music industry, and what will it look like in five or ten years?

That’s the question we put to five smart people in our latest Freakonomics Quorum. I found their answers to be incredibly interesting, full of real information and clear-eyed thinking. (If you haven’t already done so, you should also read Lynn Hirschberg‘s really good recent profile of Rick Rubin in the Times Magazine.) Huge thanks to all our participants.

Koleman Strumpf, professor of business economics at the University of Kansas Business School whose papers include “The Effect of File Sharing on Record Sales”:

Many dire assessments have been made about the record business. Unfortunately, these claims are rarely supported with data. As such, I will provide specific numbers about the industry’s health, put those numbers in perspective, and discuss several factors that might explain recent trends.

Let me begin by discussing the current state of the U.S. record industry. As has been widely reported, sales are down. According to Nielsen SoundScan, album sales fell 18 percent between 2000 and 2006, after accounting for paid digital downloads from online stores like iTunes. While these numbers are not good, other industries have experienced similar downturns. For example, new car sales are down 22 percent for U.S. automakers.

It is important to remember that sales downturns are not atypical in the music business, and that investors remain interested in selling records. The current situation closely mirrors the post-disco bust in the early 1980s. Specifically, real revenues fell by the same percentage during the years 1979 to 1985 and 1999 to 2006. The record industry also continues to generate profits and attract interest from investors. For example, a private equity firm just last month completed a £3 billion takeover of EMI, and an investment group purchased the Warner Music Group in 2004 for $2.6 billion.

Investors seek out high returns, and these large investments suggest that many believe that they can make money in the record business. It also implies that the industry is still profitable. While profit data can be hard to come by, we get a small window from Warner, the only publicly traded standalone record company in the U.S., which enjoyed operating margins of 7 percent and 10 percent from its recorded music segments in 2005 and 2006.

Putting profitability aside for now, what is the explanation for the sales reduction that has occurred? The most obvious culprit is illicit file-sharing on networks such as Napster, KaZaA, eDonkey, and BitTorrent. While linking the two seems tantalizing — file sharing rose to prominence at roughly the same time that record sales started to fall — there is surprisingly little evidence to support the claim that file sharing has significantly hurt record sales. I co-authored a paper with Felix Oberholzer-Gee of the Harvard Business School in which we studied this link using download data from file-sharing networks. If file sharing hurts record sales, then albums that are more heavily downloaded should experience lower sales than comparable albums that are less downloaded. But, after controlling for the role of popularity, we found that downloads had little effect on album sales.

There are several other factors that might explain recent sales trends. First, recall the industry’s similar problems in the early 1980s. Then, as now, sales were down as consumers stopped purchasing albums from a previously popular genre (in the ’80s it was disco; now it’s teen-pop). So one explanation is that the industry has failed to find genres that capture the interests of consumers.

Second, much of the reduction in sales is the direct result of industry cost-cutting. The major record labels have cut large numbers of staff and severed ties with many artists. Such moves are not necessarily bad business choices, but they suggest that less attention should be given to revenues and more to profits.

Third, recorded music has had trouble competing against other products that vie for consumers’ entertainment spending. Consider home video products like the DVD. It does not seem implausible that a good chunk of the $11 billion rise in spending on home video products since 1999 represents foregone CD sales. (Music industry revenues only fell $2 billion over this period.) Entertainment spending was also likely channeled into cell phones and video games, both of which experienced large sales growth and have been particularly popular with the key teen demographic.

A fourth and final factor to consider is the rise of paid digital downloads made popular by iTunes. While this model is often described as a competitor of illicit downloading, there is little evidence that file-sharing users also use iTunes (plus genres like classical music, which are largely ignored on file-sharing networks, are very popular on iTunes). More problematic is the likelihood that music consumers who used to purchase whole albums now download only one or two songs, so rather than getting $15 for an album sale, the industry gets two downloads at $2. While there is no direct evidence that cannibalization is occurring, the growing size of paid downloads makes this factor an important one to consider.

As for the future, I am dubious about making forecasts. Much will depend on the choices the major labels make on key issues (will they run experiments to determine the optimal pricing of digital downloads?) and the arrival of still-unforeseen technologies (which could allow labels to more cheaply distribute music, or lead to new forms of piracy). At the same time, I reject the argument that recorded music is close to death, simply because the financial incentives to create music have never been particularly high. In 2005, less than one in five albums were released on a major label, and even among those releases, fewer than one in fifteen went gold (the usual measure of record success). With such daunting odds, recording an album may have seemed like a pointless task. But in that year, nearly 44,000 albums were released — enough to provide almost three consecutive years of listening. Regardless of what happens to companies that produce and distribute music, I am sure that recorded music will continue to be made.