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| נשלח ב-8/4/2015 07:20 |
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WOW! תודה. אני מסמיקה.
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| נשלח ב-9/4/2015 01:14 |
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גריני, סיקור סיקור!  מעניין אם גם הפעם הנבואות שלך יתגשמו, כמו הנבואות שכתבת בזמנו בסיקור של "יבוא"... עשית לי חשק לקנות את האלבום, זה בטוח! מאחר שטרם שמעתי אותו אני לא יכולה להתייחס לפרטים, אבל כמה נקודות כלליות: 1. אם שלמה גרוס נשמע טוב באולפן זה אומר שירחמיאל הפנים שהוא לא יכול לתת לו להיחנק עם טונים של רבינא-אונלי? 2. הפרידה המדוברת נעשתה להערכתי בגלל יאיר (ודייויד על הדרך, ועקיבא כבר דיברתי על זה). אפשר לראות בדוד פרלמן את הממשיך של יאיר? מבחינה מוזיקלית ומבחינת התפקיד (התורה'דיק של המקהלה). וואו, מישהו אמר תיאוריית שושלות? מישהו אמר ויקי? די! אני צריכה זמן לזה! את לא יכולה להלהיב אותי על דברים שאין לי זמן לשבת עליהם!  שכוייח!  נשלח מהאנדרואיד שלי
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| נשלח ב-9/4/2015 01:23 |
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קודם כל, תודה על התגובה. כאשר משקיעים כל כך הרבה זמן ומאמץ על הכתוב, נחמד לקבל קצת פידבק. שנית כל, אני חושבת שירחמיאל אוהב לעשות את אשר הוא רוצה לעשות, ועל מה אני מדברת? אני לא חושבת שזה ישנה מכמות הסולואים ששלמה גרוס יקבל. ע"ע ג'רמי וד"ל.
אני? נבואה?
אני לא אוהבת לעשות השוואות ושוויונות וסיווגים של ממשיכים או לאו, אני חושבת שכל אחד הוא אדם ייחודי בשל עצמו. מה שכן, ירחמיאל נוטה לבחור באותם סוגים של קולות שישירו במקהלה. כך שמן הסתם, התיאוריה שלך יכולה להתאים.
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| נשלח ב-9/4/2015 01:23 |
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אגב,גריני,אני חושבת שלשלמה גרןס יש קול מאוד טוב.והוא כן יודע לעלות.רק צריך לתת לו את הסלואים הנכונים:-)
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| נשלח ב-9/4/2015 01:27 |
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אני נוטה להסכים איתך מיאמוש. רק שימי לב, בראון אצל יואליש קר, הוא ביקש ממנו לעשות קול של אההההה בכדי להראות כמה גבוה הוא יכול לעלות. והוא עלה די גבוה, ומכאן נובעת ה"נבואה" שלי ששום דבר לא ישתנה.
הוא יכול לעלות, הוא רק לא יכול להחזיק את הטון לאחר שהגיע לשם.
בזה אידי צודקת, איך בכלל ניתן להשוות יכולות של בנימין רבינא אברמוביץ ליכולות של אחרים? למרות שמן הסתם קיימים עוד ילדים עם קולות טובים ויכולות דומים, לבינתיים, לא שמענו מהם בחמש שנים האחרונות. גם אחיו, חייא, לא הצליח לעלות לטון הזה. מי שכן הצליח במידת מה היה דוד פרלמן אך יש לו סוג קול אחר לחלוטין.
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| נשלח ב-9/4/2015 01:31 |
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כן הוא שר שם "לההההה".
זה באמת היה נשמע גובל בצרחה..
אבל,צריך לדעת לתת לו את הסולואים הנכונים.(לדוג,בסבב ההופעות בקיץ שעבר,אני ממש לא אהבתי בשיר "יבוא" שירחמיאל קרא לו לשיר שוב "משיח ה'" בטון גבוה מאוד.זה נשמע ממש כצרחה.זה לא נעים לאוזן...)
נכון בקשר לפרלמן.יש לזה שם לקול שיש לו..אין לי מושג מה הוא בדיוק:-),
אבל זה קול שיכול לעלות טונים גבוהים מאוד מבלי שזה ישמע כצרחה..
מיכאל ווינגרטן,כמו שכתבת,באמת יוכל קצת להחליף אותו בזה.
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| נשלח ב-9/4/2015 01:35 |
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| מיאמוש כתבה: |  |
לדוג,בסבב ההופעות בקיץ שעבר,אני ממש לא אהבתי בשיר "יבוא" שירחמיאל קרא לו לשיר שוב "משיח ה'" בטון גבוה מאוד.זה נשמע ממש כצרחה.זה לא נעים לאוזן... |
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| נשלח ב-9/4/2015 01:47 |
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לא רק שהוא קרא לו לעלות לטון גבוה, הוא מתפאר בזה. יש לי תיאוריה לגבי הסיבה, אך עדיף שאשתוק. כל המתפוצץ מסקרנות יודיע איך ליצור עמי קשר.
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| נשלח ב-13/4/2015 22:50 |
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קישור
Very few Jewish artists are active for long enough to release thirty different albums. Fewer can take credit for composing virtually every song on all thirty of those albums. However, Yerachmiel Begun has done it. In the thirty-eight years since the release of Victory Entebbe featuring the Miami Choir Boys (who were actually based in Miami at the time), Yerachmiel Begun…and the Miami…Boys…Choir!!!! (shout that repeatedly in your best Nachum Segal voice—trust me on this one), have been a constant presence in Jewish Music. The choir has served as a launching pad for multiple Jewish solo artists, including Yaakov Shwekey, Shloime Dachs, Nochum Stark, Yitzy Spinner, and Ari Goldwag. As I have written before, I grew up idolizing the members of the choir, and MBC albums were a constant part of the soundtrack of my youth. One By One, published in 1995, was the first CD (as opposed to cassette) I ever owned, and the stretch of eleven albums 1984 (B'Siyata D'Shmaya) to 1995 (Miami Experience V) remain the longest streak of quality albums released by any Jewish artist—ever. It's been four years since the release of Miami's last full original album, Mi LaHashem Eilai, and Yerachmiel has finally released a new studio recording, Ut Ut. I can't emphasize enough how impressed I am–Yerachmiel's still got it. It's amazing that nearly four decades can go by and basically the only things that change are the outfits in the cover picture (candy-cane-striped hats are out, white blazers are in) and the fact that s are exchanged for synths (a process that started in the '90s). All twelve (not a typo!) songs on the album are recognizably Begun compositions, but they don't sound recycled. The soloists are all incredible, and AutoTune in the studio (if any is used at all) is tastefully hidden and not noticeable. One change the MBC of the '90s is the adult choir. Instead of the ''Miami Voice Symphony'' backup choir (which hit its peak in the ''Hagaddah'' sequence at Miami Experience IV in 1994), the adult choir is the Miami Alumni—15 former members of the choir who come in for backup duty, as well as getting a song of their own. Of course, given that this is the Miami Boys Choir we're talking about here, there is one adult whose presence is a constant: you will hear Yerachmiel's voice in the second half of almost every song of the album—but you already knew that, right? All songs composed, arranged, and conducted by Yerachmiel Begun. Track 1, ''Ut Ut'': The title track starts us off, and it's pretty much what you would expect. An orchestrated synth- intro, the choir coming in gently accompanied by the bass drum, escalating into a disco which you can imagine ing every MBC concert for the foreseeable future. An interesting note—the Yiddish lyrics in the bridge (''Kumt shoin shell arain, freilach zol men zain…'') will sound instantly familiar to any long-time Miami fan, as they were featured in the ing track of the 1993 album It's Min Hashamayim. Track 2, ''Leibedik'': Leibedik is definitely the word. A pumping techno/rock wedding-themed song, this song will get the kids dancing quickly, especially when the Yiddish chorus kicks in. Lomir alle tantzin indeed. Track 3, ''Boi Kallah'': Keep count of the wedding songs on this album, there will be a quiz when we're done. Our first slow song, this one has it all. Think ''Nekadeish'' combined with ''Meheirah'' and you have the right idea. Track 4, ''B'Simcha Rabbah'': An old-school-style Miami hora (think ''L'maranan V'Rabanan'' or ''D'vei Haseir'') with a 21st-century disco beat for the chorus. Maybe it's just me, but it seems like the kids were being told to sing differently for this song, especially for the second verse (''noyrah, noyrah sehillos…'')—I don't know, maybe more yeshivish? Maybe it's just me. Track 5, ''Tzur'': This is a medium ballad which slowly builds in intensity as it s as a full-blown disco. It's very nicely arranged and features three soloists who obviously know what they are doing Track 6, ''V'shum'': We're only going to deduct a half-point for reusing lyrics twice on the same album (''v'shum na'avadcha b'yirah…'' is also a line in Track 1) because I am assuming, based on no information whatsoever, that Track 1 and Track 6 were recorded several years apart each other and were arranged indepently of each other. In any case, this is a rock song which ls itself to some very creative arrangements at concerts. Track 7, ''Invei Hagefen'', feat. The Miami Alumni Choir: The grown-ups get a track to themselves! Composed in honor of the wedding of Chananya Begun last fall, ''Invei'' is a song I can actually see becoming popular at weddings in the near future. The alumni featured in the song are all very talented, and their voices bl nicely, whether they are singing as a choir, in duets, or as solos. Track 8, ''Sameach'' (Also arranged by Chananya Begun): This song is one that I can see becoming a fun dance number at concerts, but that's around it. Also, were we supposed to hear Yerachmiel counting out the beat (3 minutes in)? I did enjoy the funky bass arrangements and key change at around the 2:20 mark in the song. Track 9, ''He Will Answer Us'' (Lyrics by Tzippi Shaked): I do not use the following sentence lightly: This song is the best English Miami song since ''Sunshine''. Instead of the entire choir, this song features only three soloists: Orie Shaked (imported Miami Mizrach), Dovid Pearlman, and Tzvi Simchon. I predict that in five years, after all these kids have aged out the choir, the solos for this song will become the most hotly contested parts for future concerts. A simply amazing song, and by far the best song on the album. Track 10, ''Lo Bashamayim He'': I think I found the spiritual successor to ''Lo Yisa Goy''. This rock song is that good, especially the impeccably arranged bridge at 2:42. If that can pull it off live (and I have no doubt they can) that will be even more impressive. Track 11, ''Pitchu Li'' (Lyrics also by Chaya Adler): Another unfortunate side effect of a Jewish album taking four years to make is the possibility that someone else will come out with a song that has a similar title and a similar sequence of notes as a crucial place in one of your songs. So, please, do me a favor everyone, and donot compare this song to Simcha Leiner's ''Pischi Li''. The similarities are there, but I wouldn't make much of them, as the rest of the song is totally unique and totally amazing. I love the words, the arrangements, the jazzy accompaniment at the 5:20 mark, the soloists, everything. One minor gripe I do have is me being a grammar nerd: The lyrics in the second line of the low part should be ''banai yakirai'', not ''b'ni yakiri'', as the midrash being quoted is Hashem talking to the Jewish people in the plural. Whatever. Track 12, ''Kol Kol Kol—The Day Will Come'': And the answer is…five wedding songs! For those of you who guessed correctly, please come to the bandstand to pick up your winnings. This song is a great valedictory to a very well-done album, summing up the themes of simcha and geulah in a great orchestral rock arrangement. In summary, some albums are worth the wait. I'm glad that Yerachmiel was able to tide us over with some material since the release of Mi LaHashem Eilai, but neither When the Siyum Calls nor Miami Mizrach was a full original album. Ut Ut has been a long time coming, but with any luck it will be the catalyst that helps keep the Miami Boys Choir in the first tier of Jewish performing groups for years to come.
תוקן על ידי netson ב- 13/04/2015 22:50:44
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| נשלח ב-13/4/2015 23:22 |
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יישר כח!! בעז"ה שיהיה לי אפשרות,אתרגם את זה באופן חלקי או מלא..באופן כללי זה נראה סיקור אוהד מיאמי מאוד:-) נשלח מהאנדרואיד שלי
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| נשלח ב-16/4/2015 16:57 |
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עוד סיקור על הדיסק 'אט אט'...
מקור
Over the last 10 years I sensed that Miami has been leaning toward a ''newer'' style. Looks like they were trying to get into today's style. Yerachmiel Begun as we all know is one of JM's most talented and successful people and he's known for his completely original style.
His music is different than all others, and so is his choir. In the past we've heard a very unique sound that we all loved in his music. Although the last 2-3 albums were amazing, they didn't have that ''old feel'' to it that we all would have liked to hear. I think he understood what the people want, and he decided to do the good old Miami style again! He has done an amazing job on this album as well as all the previous albums, but this one is special since I would call it a ''comeback!''
So lets all give a huge welcome back to The Miami Boys Choir!!!!
(After an hour of applause…..) Lets take a look into the title track…. Track #1 Ut Ut:
Starting off as most Miami albums do, the music has some loud s as the drums and electric guitars play the intro Along with a few short blasts of brass.
The song starts!! Choir sings the low part ''Sheyiboneh'' in what feels like forever, but it's a good thing, Yerachmiel likes to build up the excitement in his songs, so he starts off like that sometimes. But then as soon as the chorus s and the choir sings ''Ut Ut'', you get that dance tingle in you!
Soloist did great! The bridge is very Miami style, very Geshmakeh bridge.
And then….. Singing the tune of the chords, they sing ''Kumt Shoin Shnel Arain'' -Yiddish lyrics borrowed an old MBC song!
Great combo! Love when Yerachmiel (YB) does the Oh Oh Oh! In middle! :)
And then my favorite part of the song, drums stop, and u hear some s and then a blast of guitar and drums again!
And then the choir goes up a key!
Here's YB does harmony in an Eli Gerstner style! (Believe it or not) Whooa Whoa! :)
Lets move on to track #2 Track #2 Lebedik!
VERY old Miami feel to this song!
BUT with some heavy techno electronic music to go along with it!
Song is all about Dancing and singing at a wedding Lebedik and singing Hartzig while saying Asher Bara Sasson Vesimcha, etc.
YB sings in the background Almost the whole time in this song.
Then a soloist shouts ''Everybody!'' and the choir goes up a key to the peak of the song! Song s when another soloist shouts it again and the whole choir shouts ''Lebedik!''
Great song! Track #3 Boi Kallah
Intro is very soothing, mostly piano & trumpets, (this is a Chuppa song) choir starts singing the words of Eishes Chayil, Harmony kicks in right away, beautiful harmony.
High part ''Boi Kallah'' is just beautiful!! Just to note, this song has some tiny Parts that are slightly off pitch, it bothers me, dunno why.
Solos were recorded well (though could have been recorded cleaner) But don't get me wrong! It's an extremely beautiful song!
Love when the music stops and just s play and the choir sings!
All the soloists in the choir now besides 1 (Dovid Pearlman), are new members (in this album)
YB s off the song with a very ''YB'' style. Next!! Track #4 Besimcha Rabah!
Favorite fast song on this album!!!
The Miami Alumni joins the choir in this ''Nodeh/Kevodo'' style song! Arrangements are very up to date; music is what we would hear in a Naftali Schnitzler arrangement! This song sounds like he put it in for-
1: The Chasidish/Heimish crowd.
2: To have a song on the wedding 2nd dance floor
And 3: For those that want the newer style.
Starts off with a Bum Bum Bum melody, going right into the low part, ''Mi Chamocha''
And then 2nd part ''Norah Sehilos''
And then Bum Bum once more and wham into the chorus! ''Besimcha Rabah!''
Great! Love the next time around when it does the (forgive me if I don't use the right Wording because my music terminology isn't too good.)
Start/stop thing!
Awesome song!
YB does a solo, man! He's losing his voice! :) Still good! YB's lower (now) voice gives the songs a certain feeling.
It's still the voice it needs! Song s off almost like Revach did, in a classic Miami ing!!!
What a song!!! Love it!
Let us move on to track #5 Tzur Yisrael! Track #5 Tzur Yisrael
Slow(ish) song, very easygoing song, you can enjoy when u wake up and drink your coffee, ahhhh! Soloists are GREAT in this song!
Love the sound of the choir!
They did an astounding job in this song!
Soloist Dovid Pearlman has a beautiful solo in this song!
He really has a great voice!
Music is exceptionally good here, and the song s off with a ''Hey!'' :) Track #6 V'Shum
Light rock here! Miami trademark rhythm! :)
Sounds like the tune could be a YBC song, music doesn't though. The song probably won't go any far, sounds like it was filler.
Its nice, but not a MBC hit!
Choir is nice in this song.
Lets move on! Track #7 Invei Hagefen
Serious slow song sung (wow, 4 words starting with ''S'') by the Miami Alumni.
Composed by YB for his son Chananya's wedding.
Sings about a Bayis Ne'eman mixed with some beautiful Yiddish lyrics, high part is Invei Hagefen.
Sung beautifully! I must say, the Alumni are a real professional bunch!
They sound great together! The harmonies are super! Just noting, the solo vocals sounds very auto tuned. Not sure if it is, but it sounds so.
Very shaky and patched up.
Still nice though! It's a really nice song! Once again, it has that old Miami feel to it!
Music is really nice here too!
Moving on to track #8 Track #8 Sameach
This song is a song about being happy while dancing in front the Chosson and Kallah.
YB explained that this song is a happy song with happy lyrics, but most of the chords are in minor key, which makes it sound sad.
He explained that as happy as we all are, we're still sad about the Beis Hamikdash not built.
So we wont be fully happy till Moshiach comes, so even when singing a happy song, we are still sad.
He made this song with that in mind, not to forget that we are still in Golus and we cannot be truly happy. Song still has a certain happy feel to it though, it's another one of the many ''Be Happy'' songs on this album!
So many of them! Solos are great here!
Harmonies are so sad sounding it can make u cry! Unbelievable! :') With Yiddish and Hebrew lyrics, this song goes far! Funny thing in this song, YB randomly counts to 12 in the background followed by a digedigedige! :D
Music is great!!!!
Love YB's vocals! As the song fades out, I look forward to this next masterpiece of a song…. Track #9 He Will Answer Us
Wow! Wow! Wow! Wow! Wow!!!!
Wanna hear a song that is professional, beautiful, soothing while in the same time energizing, very diverse & well recorded? Listen to this! The song is an English song that talks about freedom & prayer that one day, all our prayers will be answered & all will see it was worth it! This song isn't sung by the whole choir. It's a soloist song, sort of like ''When The Siyum Calls'' was. Solos and duets, etc. Crazy!! The music & tune sounds like it could have been taken right off a Broadway show! That's how good it is! Music is very cool! Can't describe it! In order to understand what I'm talking about, you must listen to the song. No other way to describe it. Lyrics were written by Soloist Orie Shaked's mother. One of the greatest songs Miami ever had in my opinion! Track #10 Lo Bashamayim He
Wanna have a very nostalgic moment? Listen to this song!!
It's probably the most old style Miami on the album! Low part is regular, nothing sticks out. But the high part is awesome!!! Looooo Bashamayim He! Lo Lo Lo Bashamayim He!!! Full of energy! Music is a typical MBC style. No changes in that.
Solos were done very well! Song sounds like it might have been filler, but turned out to be one of the best songs on the album! One thing is funny though, an accordion is played in middle, and it's a bit slow.
Another part is cool! Cool part is the one it sounds like a soloist starts sing the chorus and the choir does something else, sounds like an argument!!! Another cool thing is the mock ing like 10 seconds before the real ing.
Sounds like its over, & a second later it continues! :) Track #11 Pitchu Li
Slow song, with beautiful Hebrew words halfway a Chazal sung in a Sephardi Havarah. This song is a very new style. Not new as in todays style, new as in new for Miami. It has a fresh flavor to it, somewhat spooky, feels like you're begging Hashem to up the small ing u made and make the ing much bigger!
Pitchu Li! it up for me! Help me! It really sounds like the song is begging Hashem. The chorus is a key up, like Nekadeish a bit. Chilling when the choir sings ''B'ni B'ni B'ni'' Hashem says up a door the size of a needle, and I will it up to the size of a warehouse! That's what this song is about! Beautiful! Music is classic Miami slow song style, lots of piano not much drums. This song gets you thinking. Let us move on to the last song!! Track #12 Kol Kol Kol-The Day Will Come
Great energy here! Ready? I am!!!
This song puts a new twist in the words we all use ''Od Yishoma'' When in middle of the song a beautiful bridge with amazing vocals is sung in English singing the part we forget about these words That the day will come, we sing it at weddings & we think this is what its talking about!
Its not! It's in reference to when Moshiach comes! But don't worry, MBC assures us that ''The day will come'' and ''He will come soon''
To top it all off, the song has a great chorus Being that the words are Kol Kol Kol, you can add this to the list of such songs in JM! (Ma Ma Ma, Dai Dai Dai, Li Li Li, Nu Nu, Mi Mi, etc.) It's a great song with great vocals and soloists!
YB sings with alot of energy too here. Music is a great bl of electronic & live. And this song is the greatest way to off this very special ''comeback'' album!!
After all, it's all about the ''Kol'' :)
YB, great job!!! And now that it's over…. Oh wait a minute, its not over, I hear Ut Ut again, I guess we're on repea
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| נשלח ב-17/4/2015 12:36 |
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| נשלח ב-17/4/2015 13:23 |
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משפט שתפס אותי בקריאת התרגום- בשיר 'אט א'ט בסוף הוא כותב " כאן עושה ירחמיאל את הסגנון של אלי גרסטנר . ."תאמינו או לא... (שהם עולים בטון בסוף "אווווו אט אט אט אט"...) בשיר 'בשמחה רב'ה הוא כותב שבסולו של ירחמיאל הוא איבד את הקול שלו...אבל עדיין טוב. בשיר 'צור ישראל' הוא כותב שלפרלמן יש קול מעולה בסולו שלו!!! הוא כותב בשיר 'ושם' שזה לא הסגנון של מיאמי ויכל להיות שיר של ybc בשיר 'קול קול' הם אומרים he will come soon ולא we will come soon... נשלח מהאנדרואיד שלי
תוקן על ידי netson ב- 19/04/2015 15:18:15
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| נשלח ב-19/4/2015 15:17 |
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יישר כח מיאמוש!
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| נשלח ב-25/4/2015 00:30 |
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אני רואה שאני לא בדעת יחיד לגבי הרבה מהאלבום הזה :)
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