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Found 34 results

  1. Hi. May I post it here?? I have some nice collages with PMT and DJ

    From the album MIAMI VICE FOREVER


    © Miami Vice Forever

  3. WOW Look at this:

    THE BEST OF MIAMI VICE MVF EXIT (y) - Miami Vice Forever(360p).mp4
  5. Tears in Heaven

    Would you know my name if I saw you in Heaven?..
  6. So I stumbled upon this today. It looks like the part where Crockett and Tubbs pull up to stop Calderone and they have their gun battle. It's from the Pilot episode, Brother's Keeper. Cool stuff.
  7. Beautiful

    Unrealistic beautiful photos, thanks Getty images!(mostly). And I can`t imagine another music here:)
  8. Ricardo Tubbs Theme!

    I didn`t even know about this composition
  9. Ricardo Tubbs Theme!

    I didn`t even knew about this composition
  10. As a crazy Tubbs`s fan, I should share this:)
  11. Found on U-Tube Very beautifull and tragic video For although we may not be together in the way we used to be, We are still connected by a cord no eye can see. So whenever you need to find me, we're never far apart If you look beyond the Rainbow and listen with your heart (c)
  12. Season 3 trailer

    I think, this music is better here(I try to cancel the first posted topic, but I can`t for unknown reason)
  13. On a set

    If you don`t mind-I`ve made a clip with photos, taken here in a scrapbook. I really enjoy them!!!
  14. "Poison"-by Rico Tubbs

    Hi. I`ve just read a fan fiction, written "by" Sonny Crockett, named "Bullet"("A bullet for Crockett"), told by Sonny`s name here . It`s great! I wanted to make smth like it, but about Rico Tubbs and his story with Legba ("The tale of a goat"). I named it "Poison" and also made a clip with "Flesh" "Poison" ("Tale of a goat" by Rico Tubbs) (...) "So, we`ll play this game " I said, being totally confident in my own words. "I can handle it". Sonny`s objections and warnings of Castillo could not stop me. Black magic! A funny thing, yeah. Will they bewitch me? Laughter took me apart and I went out, not to continue this conversation. At the appointed time I sat into the car of Legba's people to get to the ceremony. Sonny attached a sensor to their car and followed us. I was completely calm. The ceremony began after the sunset. Everyone danced around the fire with torches. Including Marie. It looked like either the circus, or theatrical performance. I watched with some interest, waiting for the right moment. It was important not to lose a sight of Marie. And then the unexpected happened. Somehow my cover was blown up-they knew who I was. Legba's people grabbed me, dragged to Legba and threw me on my knees in front of him. Marie was already sitting at his feet-she clearly was not all right. He did something with her. Sonny. Come on, man. Damn, you were right. That`s more serious than I thought. "You don't believe the loas live within you. They do! You just forgot them"-said Legba. I was waiting. Sonny. It`s time. Legba took a syringe with some liquid. Tetrodotoxin. No, don`t do this. No. He slowly approached me. "This doze can kill you"-he said and brought his hand with the syringe over mine. Fear like an electric shock went through me. "Don`t be stupid! You gotta stop!"-I shouted. And at the same moment my muscle was pierced by the needle. I could not escape-Legba's people held me strongly. "I too was with a police in Haiti. When I pay the bribes in American money, I'll be a policeman again. Not you!"-said Legba. "Your nerves will be too fragile. Your courage will shiver like glass. Even if you survive, you will serve only one law-the law of the walking dead." The first cramps began to settle my body. It hurt me a lot but I couldn't move, I didn`t feel my arms and legs. The pain was becoming unbearable. Fear. I was covered by the uncontrollable fear-I knew that for some reason no one can help me now. I was completely helpless with this crazy man. Then a terrible thing happened. He turned to Marie who was sitting still. "Mon petite. You don't wish to go back to Haiti with me. You've become one of them. Stay. Stay here for eternaty. Stay here. Stay here." He wrapped the girl`s neck with the rope. Then tightened the noose and pulled... I tried my best to stay consciousness. "It hurts, it hurts"-I wanted to scream but I had no voice. Dizzy, extreme pain in all muscles drove me crazy. My eyes were closing, I forced to unclench my eyelids. I couldn't feel my arms and legs. Breathing was becoming harder by the minute. The poison paralyzed me. Because of the oxygen lack I had darkness in my eyes, but I coudn`t take a deep breath. "You see a vision. You can`t touch it t. Do you like it? You have got no hands, legs, you have got no will. Your world is made of glass. No more real than the the mirror imadge." I was out of breath. Lights swirled in my eyes .. everything doubled.. this bastard killed Marie , and I was not able to help in any way. This realization was killing me. I was twisted by convulsions, I was shaking. The last thing I remember-crazy Legba's eyes, looking somewhere inside me. The end. This is the end-I thought. How strange. I`ve heard about such things for so many times, but never beliaved in them. I stand and see myself laying on the ground in a dust. Sonny is kneeling by, trying to shake me back to consciousness. But I can`t. Sonny.. If only I could say now-you were my brother for these two years.. If only I could say thank you and goodbye.. Sonny pulls my body into his arms and hugs me, asking to hold on. It seems that I can`t leave.. I opened my eyes and saw HIM again. He walked around my bed. Where am I? Am I dead? Someone did an injection into my arm. Who? Why? I was scared. I was alone with this crazy sick man and his people. Marie was here, too. So, it meant that I'm dead. Marie looked into my eyes and repeated the name of the Haitian freighter-Blackbird. Legba's man hit me. And then HE took the syringe again and reached it for my arm. "Nooo!"-I screamed and suddenly sprang and seized him. "Rico!.."-the voice came to my mind. Sonny! Oh God... he was here with me, he pried my hands and hugged me strongly. At that moment I broke down, started to cry and hugged him too. The horror subsided so suddenly . So it was all just a nonsense. Sonny was here, Sonny, not Legba. He cradled me and said something soothing. They found me in the morning at the bottom of empty pool in a coma and I was taken to the hospital. So I`ve got a 12 hours break in my biography . When I recovered I told Sonny and Castillo about what had happened at the ceremony. The next day we watched Legba on the freighter. His people were not long in coming. Shooting began. I realized that something is wrong with me, when raised my gun and all floated in my eyes. Sonny noticed it and grabbed me , sat me down near the wall and covered by himself. Oh, Sonny.. My friend! We continued the pursuit. And then I saw Legba. He wasn't even holding a gun on me. He just stared into my eyes, and my hands dropped weapon. "Spread your barriers. Go into me! Legba! Papa Legba!"- he shouted. It was hypnotic. I couldn't move. And then he suddenly took out his gun but I was faster. As soon as he broke contact with me, I was able to move. And I shot. Legba dropped overboard. I felt the cold sweat and had to grab the metal. Finally it's all over. Sonny looked at me and smiled. He helped me again. We found Marie at the bottom of the boat. She was alive, but under a dose of the same drug. Now I`ll not be so lightly to the fact which defies logic. I nearly died and I could stay with the hurt mind forever. Another page in our practice of our drug-fighting practice was closed.
  15. Tonight in game 5 of the NBA finals, the camera showed DON JOHNSON in the crowd in Oakland California. The TV commentators asked, "Where's Tubbs?" and, "I LOVE MIAMI VICE!" "He sure looks great for his age!" Not sure which team if any he was rooting for. He wasn't wearing any team colors. I know he did that miami vice commercial with Lebron James, but then again, he did his NASH BRIDGES TV show just a couple miles away in San Francisco (the city next to Oakland California, just a few minutes drive), so who knows...perhaps he just wanted to see a great basketball game. Also, not sure who he was with. A son perhaps?
  16. Tribute to 80`s TV series...

    So... I`m working on this "tributes to 80`s TV series" concept, basically recording interpretations of my fave theme tunes. In the process, I got the thinking I`d make music videos for them as well. Lot`s of work, but way much fun revisiting these iconic tunes. Got 1 more song/video left, A-Team, then I`m done! Thought I`d share `em with you folks, hope you find them entertaining!
  17. Like many of you, I've been fascinated by everything in MV when it was on air. Music soon emerged as one of the most defining features of the show, not less than fashion, cars, colors etc. Being a young musician at that time (I was 24 to 29), I was impressed, and wanted to learn and master that music lexicon to recreate those moods on my own. Remember, it was something new back then. So I started to analyze, study, and decode every single aspect of the music of MV. After many years, joining this community, I discovered there's still a huge interest about it, and many young music lovers aim to recreate those moods today. After sharing my tracks, I had a lot of requests concerning this subject, so I thought about writing a more music-oriented analysis of Jan's work. While is pretty easy to find articles and investigations about his equipment, very little information is available about his writing and production. I won't go too technical, but when a technical term is needed, I provided a bracketed explanation, so that even non musicians can enjoy it and hopefully find it interesting. Sure the ones who attempt to recreate that mood will be pointed in the right direction. I don't mean to be teachy, nor exhaustive. Feel free to ask questions or fix/add informations. After all it's something I did long time ago and I'm trying now to recollect, but beware: it's gonna be a long post. THE FAMOUS MIAMI VICE SOUND I'd start from what is supposed to be the Holy Graal when it comes to Jan's music: the "sound". On music forums you can find people desperately asking about that particular keyboard, synth patch or piece of gear Jan used on MV. A frustrating research that - in my opinion - misses the very point. The sound of Miami Vice is made of many ingredients, and the difference is often in the way they are blended and cooked. The timbre or color of the keyboards is just one of those elements. You recognize it's him after a couple of bars, like it happens with a Bacharach song. No matter who sings, no matter how's arranged, no matter if it's a cover: It's Burt Bacharach, you get it since the first bars. And this means one thing: strong personality and music identity. It takes a lot more than "sound" to barely come close to it. INSIDE MV MUSIC - WRITING In my attempt to inject Hammer in my veins, back in the 80s I tried to analyze the way his tracks are written and arranged. Here we go. 1. Harmony - Though Jan's roots lie in jazz and jazz-rock, you'll hardly find a jazz chord on his MV cues. Most of them are built upon simple, naive triads (three sound chords). Their progressions often make the difference. Even when he starts obvious, sooner or later an apparently "foreign" chord comes in. The difficult part, when using such tricks, is to make you feel the whole progression as natural and consistent. And that's what he does. 2. Melody - One of the keys of JH success is being simple without being obvious. Many of the themes are real elementary, but - as for the harmony - they have a twist. And remember, changing a single note can dramatically turn a boring melody into an intriguing one. And viceversa. More, when a theme is repeated, rhythmic variations in performance are added. Anticipations, displacements, delays of notes are introduced at every repetition. A good example of this concept can be heard on "Marina", where the melody is repeated with such variations. That's one of the reasons it never gets boring. Some themes are made of moving chords instead of a single voice, so you have a full harmonization over the whole melody, like on "Alvarado Chase" or "Candy In The Alley", kindly shared by our member Crockettt. 3. Influences - Jan's music life's been a 360 degrees journey through almost every kind of musical expression, and it happened during the years music was still important. So his influences are many, spanning from jazz to latin (mostly spanish and cuban), rock and blues, from classical to pop. No trace of funk or soul instead: when he goes black is always blues. INSIDE MV MUSIC - PERFORMANCE Layering and changing in the lead voice are often used. "Crockett's Theme" is an example. Beyond the famous plucked sound, fuzzy guitars and synth voices are added as the track progresses. In addition to that, lead parts are not copied and pasted. They are played each time. That makes a big difference. Even if you play the same thing 10 times, it will sound different each time. Since we're not machines, micro time-floating and variations in dynamics always occur. You don't hear them consciously, but the melody keeps sounding fresh to you. It' doesn't happen with copy and paste. More - while most of the rhythm parts are quantized (a software function allowing to set the recorded part "on time", even if you played it wrong) - many crucial parts are not. So 100% of the human feel is preserved. Sure, you have to be good at play to do that ;-). Synthwave, retrowave etc. is 100% copy and paste and quantized, also because most of the people into it are not even trained musicians. That's one of the reasons why you probably won't listen to them in 30 years time. Sure, the most defining aspect in JH playing, is his bending technique (for the non musicians, it's the way you change the pitch of a note while playing, like the guitarists do. On keyboards it's done by moving a wheel back and forth). He's famous for that. I did spend lots of time trying to master it, and it's not easy, especially in fast passages, cause you have to play a "wrong" note thinking you're going to raise or lower it to the right pitch. He uses this technique with great skill and huge musical taste. Also listen to George Duke for that. Rhythm textures are another trademark of MV. Sometimes they sound even overcrowded, but you can listen to the same loop hundreds of times without getting bored. Why? Cause they have depth and articulation. Listen to the rhythm texture on "The Search" and try to spot how many percussion voices/parts you hear, and try to write down each part: you'll be surprised to see how complex it is. Other times they're basic, but set in a way a real player would never do. Sometimes "ghost notes" (the softer, non-accended hits between the accented ones) are used. They add an incredible realism to the sequence, as if it was performed by a real player. INSIDE MV MUSIC - ARTICULATION Articulation in writing, arranging and production. This alone could be the key advice for the ones who attempt to recreate the sound of Miami Vice. Even "obsessive" tracks like "One Way Out" or "Evan" have lots of subtle variatons and surprises. Jan's cues are articulated and change as the track goes on. They may have an intro, an A part, a B part, a solo, a breakdown, a C part, an outro e so on. Lead instruments often pass the melody from one another. Just some of the features that set him apart from the music you hear today where - once you start - you know it will stay like that till the end. Dynamics is also one of the keys. Changes in dynamics and articulation of themes, plus a moderate use of quantize, help to keep a track interesting time after time. INSIDE MV MUSIC - THE TOOLS I kept this for last, cause - as said - to me it's not so crucial as many think. On the other hand, it has its own importance. It's a fact Jan made a fashion from some particular instruments, and they are tied to his sound. Unlike I have read here, Memorymoog is not the most defining sound on MV. Yamaha DX7 is. Just a couple of notes played with this instrument are able to evoke the vision of a night-cruising Crockett or a sneaking Castillo. Jan has been a master in blending the metal-sounding of the DX7's FM generation with the warmth of analog gear. We owe to the DX7 the amazing steel guitars you hear in "The Talk", "Last Flight", "Turning Point", "Lombard Trial", or the Spanish lead guitar on "Incoming" and tons of other cues. The DX7's been extensively used for slightly saturated guitar solos ("NIght Talk, "Rico's Blues") and for "country" guitars as in "El Viejo". DX7 is largely used on "Stone's War": the tremolo guitar/wurlie and the quasi-piano sound of the solo. Tons of bell-ish sounds, sitar-esque, eastern sounds etc. are made with this beautiful piece of gear. (I had 2 of them, shame on me I sold both). Other instruments used in MV soundtrack include CMI Fairlight, Roland Jupiter 8, MiniMoog etc. but you can find these infos everywhere on the net. Less people know Jan also played real guitars in his MV recordings (never for solos though), as well as modules from Kawai. Anyway, many sounds could come from a wide range of machines and this tells us one thing: it's not about what you use, it's about who you are. CONCLUSIONS Hope you have enjoyed this long investigation about the music of Miami Vice. I especially hope non musician have, cause that was my goal. Much more could be said, but I wrote a lot already. As we saw, "The Sound" is not just made of sounds. It takes talent, strong personality, a great musical taste and - in this case - the right chance to show them. Jan Hammer himself said he had the best possible one with Mann and MV. And we all agree. JB