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Joe Louis Walker
Issue #218 LIVING BLUES #218 • APRIL 2012 Vol. 43, #2 ® © JOE LOUIS WA JOE LOUIS L KER - LEE GATES - KER - LEE GATES WALKER K IRK F L ETCHER - R LEE GATES OSCOE C HENIER - PAU KIRK L RISHE FLETCHER LL - 2012 B L UES FESTIVA ROSCOE L GUIDE CHENIER $6.95 US $6.95 CAN www.livingblues.com 2012 Festival Guide Inside! Joseph A. Rosen Rhythm andBluesCruise,Rhythm October 2007. onthe Legendary Joe LouisWalker In 1985, after a decade of playing and singing nothing but gospel music with a quartet called the Spiritual Corinthians, 35-year-old Joe Louis Walker decided to get back to the blues. The San Francisco–born singer-guitarist had begun playing blues when he was 14, at first with a band of relatives and then with blues-singing pimp Fillmore Slim before becoming a fixture at the Matrix, the city’s preeminent rock club during the psychedelic Summer of Love, backing such visiting artists as Earl Hooker and Magic Sam. Michael Bloomfield became a close friend and mentor. The two musicians lived together for a period, and the famous guitarist even produced a Walker demo for Buddah Records, though nothing came of it. Then, in 1975, Walker walked away from the blues completely in order to escape the fast life and the drugs and alcohol associated with it that he saw negatively affecting Bloomfield and other musician friends. Walker knew nothing about the blues business when he started doing blues gigs again around the Bay Area with a band he’d put together, as a member of Oakland blues singer-guitarist Haskell “Cool Papa” Sadler’s band, and (for a tour of Europe) with the ad hoc Mississippi Delta Blues Band. -
Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation. -
Muziek Voor Volwassenen / Johan Derksen Maandag
Muziek voor volwassenen / Johan Derksen Album van de week: Harlem-King Solomon Hicks maandag 24 februari 2020 18:00-19:00 ARTIEST TITEL COMPONIST PLATENLABEL CATALOGUSNUMMER CD TITEL 1 O.V. Wright Blowin' in the wind Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 2 Howard Tate Girl from the north country Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 3 Marion Williams I pity the poor immigrant Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 4 The Neville Brothers With God on our side Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 5 Nina Simone Just like a woman Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 6 Freddie Scott I shal be released Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 7 Esther Phillips Tonight I'll be staying here with you Bob Dylan ACE CDCHD 1278 How many roads, black America sings Bob Dylan 8 King Solomon Hicks Everyday I have the blues Freddie King Provogue PRO Promo 561 Harlem 9 Betty LaVette Most of the time Bob Dylan Fontana onbekend Chimes of Freedom, the songs of Bob Dylan. Amnesty International 10 Steve Earle One more cup of coffee Bob Dylan Fontana onbekend Chimes of Freedom, the songs of Bob Dylan. Amnesty International 11 Miley Cyrus You're gonna make me lonesome when youBob go Dylan Fontana onbekend Chimes of Freedom, the songs of Bob Dylan. Amnesty International 12 Elvis Costello License to kill Bob Dylan Fontana onbekend Chimes of Freedom, the songs of Bob Dylan. -
Former Saturday Night Live Band Leader G.E. Smith to Rock the Stockton PAC Performance Set for Feb
Former Saturday Night Live Band Leader G.E. Smith to Rock the Stockton PAC Performance Set for Feb. 8 For Immediate Release Wednesday, January 8, 2014 Contact: Suzé DiPietro Stockton PAC Galloway Township, NJ 08205 [email protected] (609) 652-4927 Galloway Township, NJ- One of the most in demand blues/rock guitarists in the world is a mysterious character who goes by the name of G.E. Smith. Millions of TV viewers know his face- and the shock of an unruly blond ponytail that was always falling across it - from his tenure fronting the Saturday Night Live Band. G.E. Smith will rock the house at The Richard Stockton College of New Jersey’s Performing Arts Center on Saturday, Feb. 8, 2014. Show time is 7:30 p.m. Tickets are $32 and may be ordered online at www.stockton.edu/pac or by calling the Box Office at (609) 652-9000. The Box Office is open Monday through Friday from 9 a.m. to 3 p.m. and 90 minutes before the performance. For group sales, call (609) 652-4786. For G.E. (George Edward) Smith, a soulful guitarist, composer, singer, and bandleader, it all began in rural Stroudsburg, PA, where he was just about born with a guitar in his hand. “I started playing around the age of 4, and started getting good at 7,” Smith says. “Eventually, the girlfriend of one of my uncles bought me a Martin, a real good guitar, in 1959.” On his 11th birthday, Smith’s mother bought him his first electric guitar, a Fender Telecaster, a model that to dated his birth year- 1952. -
Has There Ever, in the History of 20Th Century Music, Ever Been a More Influential Organisation Than That of the American Folk Blues Festivals (AFBF)?
Muddy Waters John Lee Hooker Sonny Boy Williamson Willie Dixon, Buddy Guy Otis Spann a.m.m. ACT 6000-2 Release Date: 24. May 2004 Has there ever, in the history of 20th century music, ever been a more influential organisation than that of the American Folk Blues Festivals (AFBF)? Founded in 1962, this series has surely had a lasting effect on the European, American, and indeed interational, music scenes. Where would hip hop, jazz, funk, rock, heavy metal or world music be without the blues? Blues is the foundation of the popular music of the 20th century. Its intensity, rhythms and harmonies have affected many peoples and culture, up to and including the music of Africa, the alkand and Spanish flamenco. The blues captures the sentiments of the people in a nutshell. Of course, in the beginning it was just a feeling. But not just of the blues, but also of emptiness. The idea of tracking down and bringing surviving blues legends to Europe was that of jazz publicist Joachim Ernst Berendt at the end of the 1950s. The new style of rock 'n' roll was beginning to take a foothold, jazz was in the mean time beginning to be celebrated in Europe, but all too little was heard of the blues, despite itself being the musical foundation of jazz and rock 'n' roll. It was up to Horst Lippmann and his partner Fritz Rau to realise the idea of the AFBF and bring the best Afro- american blues performers to concert halls (!) for a European audience. First they contacted Willie Dixon. -
Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
Lonnie Mack R.I.P
LONNIE MACK R.I.P. 1941-2016 Guitarist and vocalist Lonnie Mack, known as one of rock’s first true guitar heroes - and a major influence on Stevie Ray Vaughan - died on April 21 of natural causes at Centennial Medical Center near his home in Smithville, Tennessee. He was 74. His early instrumental recordings - including “Wham!” and “Memphis” - influenced many of rock’s greatest players, including Vaughan, Eric Clapton, Duane Allman, Keith Richards and Jimmy Page. Although the term “blues rock” had not yet come into common usage in 1963, “Memphis” and “Wham!” are now widely regarded as the earliest genuine hit recordings of the virtuoso blues-rock guitar genre. + + + + + Thanks to phil_er_up for sharing the show at Dime. phil_er_up noted: This is what I remember. We were seated at a table and they were full bodied mics with the back end of mics on the table and used two ashtrays to elevate front of the mics to point toward the stage. Mics basically were pointed at each stack. With Metal tape the high end really comes through and you can hear Lonnie’s voice well and his guitar though the cymbals are loud too. Side A of the tape is smoking and, unfortunately, it cuts on Cincinnati Jail. Not much crowd noise. Crowd is way into the show though. Glad I left in all of Lonnie’s banter between songs so we can hear his voice. + + + + + Picture posted at guitarworld.com. Lineage: Allen Mics > Sony D6 > Master cassette Maxell MX90 Table in back of dance floor LONNIEBoulder Theater, Boulder,MACK CO Nak > MC (Maxell MX90) > RME DIGI > Interface > Samplitude 6.0 > Flac 8 August 24, 1989 MP3 Version Disc 1 Disc 2 01. -
Personal Branding from the Beatles
s esson in per h l so g na au l sb b n r a a n n e r d a i n k g & f r r r a o p m n a t l h a e m b o e r f a p t l l e e h s e l w t i t t i h l a I AmInf o the Walrus1/18 Side One 1. I Me Mine (Harrison) 2. I Am The Walrus (Lennon-McCartney) 3. Don’t Let Me Down (Lennon-McCartney) 4. The Continuing Story of Bungalow Bill (Lennon-McCartney) 5. Your Mother Should Know (Lennon-McCartney) Side Two 6. She Came In Through the Bathroom Window (Lennon-McCartney) 7. The Long and Winding Road (Lennon-McCartney) 8. Lucy In The Sky With Diamonds (Lennon-McCartney) 9. Everybody’s Got Something To Hide Except For Me and My Monkey (Lennon-McCartney) 10. Hello Goodbye (Lennon-McCartney) On Parrlophone 33 1/3 RPM Info 2/18 Side One | Track 1 I Me Mine Consider what you have to offer (and what you don’t). “We are CEOs of our own companies: Me Inc. To be in business today, our most important job is to be head marketer for the brand called You.” Tom Peters succinctly labeled and called attention to the concept of a personal brand in the August 1997 issue of Fast Company Magazine. The Beatles had that figured out well before 1997 and built a reputation, musically and personally, that stretched from Liverpool to every corner of the planet. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
THE SOCIOLOGY of AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: the 3 Theoretical Perspectives of Sociol
THE SOCIOLOGY OF AMERICAN POPULAR MUSIC (SOAP) COURSE OUTLINE/GUIDELINES Unit 1 Part I: The 3 Theoretical Perspectives of Sociology Part II: Origins of 20th Century American Popular Music: Roots of Anglo & African-American Music, Minstrelsy, the Blues & Ragtime Unit 2 Jazz: New Orleans, the Swing era, Bebop & Beyond (1920s-present) Unit 3 Rock & Roll (1950s-present) Unit 4 Country Music & The Urban Folk Revival (1920s-present) Unit 5 Soul, Motown & Funk (1950s-1970s) Unit 6 Hip-Hop & Rap (1970s-present) GRADING Grades will be based on the following: 1. tests/quizzes (50% of semester grade) 2. homework/classwork assignments (20% of semester grade) 3. Artist Spotlight Project (20% of semester grade) 4. class participation/behavior (10% of semester grade) Assignments must be turned in on time to earn full credit. You will receive half credit for assignments turned in one class period after the due date, and no credit will be given for assignments turned in after this point. If you know you are going to miss class, it is your responsibility to contact me regarding make-up assignments or tests. If you have any questions, please see me. STUDENTS WILL NOT BE PERMITTED TO TAKE MAKE-UP UNIT TESTS OR FINAL EXAMS IF THEIR ABSENCE ON THE ORIGINAL TEST DAY IS UNEXCUSED. Test/quiz dates are clearly posted on the board next to the agenda and on the online class calendar (see class website homepage). Therefore, THERE ARE NO EXCUSES FOR NOT KNOWING TEST/QUIZ DATES. IF YOU ARE PRESENT IN CLASS ON A TEST DAY, YOU MUST TAKE THE TEST. -
Punk Preludes
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 8-1996 Punk Preludes Travis Gerarde Buck University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Buck, Travis Gerarde, "Punk Preludes" (1996). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/160 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Punk Preludes Travis Buck Senior Honors Project University of Tennessee, Knoxville Abstract This paper is an analysis of some of the lyrics of two early punk rock bands, The Sex Pistols and The Dead Kennedys. Focus is made on the background of the lyrics and the sub-text as well as text of the lyrics. There is also some analysis of punk's impact on mondern music During the mid to late 1970's a new genre of music crept into the popular culture on both sides of the Atlantic; this genre became known as punk rock. Divorcing themselves from the mainstream of music and estranging nlany on their way, punk musicians challenged both nlusical and cultural conventions. The music, for the most part, was written by the performers and performed without worrying about what other people thought of it. -
The B-G News January 22, 1960
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 1-22-1960 The B-G News January 22, 1960 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News January 22, 1960" (1960). BG News (Student Newspaper). 1516. https://scholarworks.bgsu.edu/bg-news/1516 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Education our Challemrje: /22\ BwTUnc* oar GoaL VoL44 Bowling Gram State UnW.rmity. Bowling Gram. Ohio. Fridar. Ian. 22. 1960 No. 26 Collegiate Chorale Vacation Tour Is 'On' Again Will This Be Your Chair? 185 Earn Degrees; Commencement Is Set For Jan. 29 Approximately 185 students will be graduated this month during mid-year commencement exercises to be held at 3 p.m. Friday Jan. 29, in the main auditorium. Presi- dent Ralph W. McDonald will con- fer degrees to approximately 40 graduate students and 145 under- graduates. Dr. F. Edward Lund, president of Kenyon College, Gambier, will deliver the commencement ad- dress. "The Valor of Ignorance." The processional will start on the first floor of the Administra- tion Hldg. and move into the main auditorium at 2:45 p.m Thomas Curtis, instructor in music and University organist, will play for both the processional and reces- sional.