DOCSLIB.ORG

Art and Paul

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art and Paul Art and Paul Song Samples: Art and Paul Radio Sign-up at http://www.radiosubmit.com to download songs for free. Radio: Bill Wence 800-584-5524 [email protected] Art and Paul (Art Podell and Paul Potash) were a highly regarded Greenwich Village folk duo circa 1959-1961 who recorded two albums for Columbia -- "Songs of Earth and Sky" in 1960 and "Hangin', Drinkin, and Stuff" in 1961. Bruce Eder has referred to the first album as a lost classicwith an avid cult following -- which is no exaggeration. Here's some background on Art and Paul: During their years in the Village (usually playing Cafe Wha!), Art and Paul attracted attention (and landed the recording contract with Columbia Records) with their creative arrangements of classic folk songs, which had a defining theatrical flair and occasional splashes of humor. They were good friends with a number of notable folkies back then, including Peter Yarrow and Noel Paul Stookey. In fact, when Peter and Noel were mulling over the idea of adding a voice to their duo, Art remembers writing "Mary Travers" on a napkin and passing it across the table to them. Shortly before that happened, Yarrow had given Art and Paul a song for their act that he had just written -- "Puff, the Magic Dragon." One of their performances was recorded in a 1961 college concert in Boulder, Colorado by a local radio station -- well over a year before Peter, Paul and Mary recorded their version. (The recording later surfaced on a number of anthologies released by the old Horizon label, initially on "Hollywood Hootenanny", which is currently available online for download.) As a quick aside, one of their most avid fans in Colorado back then was a young David Crosby.) Before they left Columbia, Mitch Miller was trying to put them on the charts and brought them a song that he felt had hit potential. Art and Paul were purists back them -- ironic given their subsequent involvement with the Minstrels -- and they turned it down. That song was "Sealed with a Kiss." Columbia ended up giving the song to a pop quartet called the Four Voices. The arrangement used by the quartet was quite unusual for them, undoubtedly because it had been created with "Art and Paul" in mind. Looking back, it would have been a great track fort them. Such is hindsight. Art and Paul broke up towards the end of 1961, after relocating to Southern California. Initially, Art focused on session work and songwriting (with songs recorded by Glenn Yarbrough, Rod McKuen, the Smothers Brothers and others); Paul aspired to become an actor. In late winter of 1962, Art joined the charter line up of the New Christy Minstrels and became one of the key creative forces during the group's peak years as an arranger, musician and writer (along with founder Randy Sparks and the late Nick Woods.) Two years later, Paul joined the Christies as well, replacing Gene Clark in March 1964 -- creating an Art and Paul reunion of sorts within the larger ensemble. Who were Art and Paul? • Art and Paul (Art Podell and Paul Potash) were an early sixties (1960-61) Greenwich Village duo who took a creative, theatrical approach to folk music that influenced many who came after them. Where were Art and Paul’s biggest audiences? • Café Wha? in Greenwich Village • Boulder, Colorado (Art and Paul’s records outsold The Kingston Trio’s records in Boulder in 1961 • Los Angeles (first folk music act at The Troubadour) Who were their friends and contemporaries? • Peter Yarrow and Noel Stookey (before PP&M) – it’s rumored that Art introduced Peter to Mary • Tom and Dick Smothers (Art wrote several songs for them) • David Crosby was one of their biggest fans in Denver as a young man • Peter Yarrow gave Art and Paul his song “Puff, the Magic Dragon,” to sing. A bootleg recording of them singing it in concert almost two years before the PP&M recording was eventually released on Horizon Records. • Art and Paul’s first guitarist was Dick Rosmini, recognized as a pioneer instrumentalist of the folk era and previously Bob Gibson’s primary accompanist. • Mitch Miller brought the song “Sealed with a Kiss” to Art and Paul but they rejected it because it was not a true folk song. What has been said about Art and Paul? • Bruce Eder of Allmusic.com has called “Songs of Earth and Sky” a lost classic. • Tim Hauser of Manhattan Transfer said that Art and Paul were major influences on his musical vision for Manhattan Transfer AND THEIR FRIENDS SAY... “The music on these albums, with their extraordinarily beautiful harmonies... both informed and inspired Peter, Paul and Mary. When you listen, you are listening to history, and an important part of the birth of the 1960s Folk to history, and an important part of the birth of the 1960s Folk Renaissance.”-- Peter Yarrow “Art & Paul...Greenwich Village stalwarts at the Cafe Wha. It is a memorable and valuable part of my performing history to have shared the stage with them in those early days of the folk music revival.”-- Noel Paul Stookey “Art & Paul were brilliant... theatrical. Their arrangements were innovative and mesmerizing.” -- Tracy Newman, Emmy Award winning TV writer/producer, singer/songwriter “Art & Paul forged the template for many folk duos that followed... I was honored to be in such company that defined ‘the ‘60s.’”-- Van Dyke Parks “I first played the Troubadour in 1961... I saw the greats there -- and Art & Paul were part of that...experience!”-- Mason Williams, singer/songwriter RECOMMENDED TRACKS FOR AIRPLAY Songs of Earth and Sky • Track 1 – All the Pretty Little Horses (lullaby in delicate harmony) • Track 4 – Viva Jujuy (rhythmic song in Spanish celebrating Jujuy Province in Argentina) • Track 5 – Wish I Didn’t Miss Her So (simple love song) • Track 6 – Pick a Bale o’Cotton (Upbeat version of a work song from the slave South) • Track 8 – There’s a Hole in the Bucket, Mariah (pure comedy from Art and Paul – one of Noel Stookey’s favorite Art and Paul performances) Hangin’, Drinkin’ and Stuff • Track 16 – Song of Time (pulsing poetic with Gloria Augostino on classical harp) • Track 24 – Tres Moricas (in Spanish, the lyric tale of three loves features Art’s classical guitar) • Track 22 – My Favorite Things - (Sound of Music – Theodore Bikel’s favorite version of the song) • Track 18 – Moonshiner (a powerful rendition of an Appalachian classic) See more music by Art Podell here: http://www.radiosubmit.com/rs/artpodell/ ©2021 Radio Submit.
Load more

Recommended publications
  • Nity Lost One of Its Giants. Dick Rosmini
    n September 9, the music actor on "Bonanza," his production world and the audio commu- of Gale Garnet's "We'll Sing in the 0nity lost one of its giants. Sunshine," his playing, recording and Dick Rosmini succumbed to Amy- production for Jackie DeShannon, otrophic Lateral Sclerosis (ALS) at recording Jackson Browne's demos. the age of 59. He is survived by his his writing and playing of all the gui- wife of 35 years, Christine. tar and banjo music for Coppola's Dick Rosmini grew up in New "The Black Stallion," and his 12- York's Greenwich Village. He was string guitar on the sound track of immensely entertaining both to his "Leadbelly ." musical audiences and his engineer- Musical art was Dick Rosmini's ing colleagues. No one who met him life passion. At a gala tribute orga- ever felt ambivalent about him. He nized by the Hollywood Sapphire was either loved or disliked: loved by Group for him last year-attended by those who found his brusque and many artists and musical associ- often arrogant truths refreshing, and ates-the recurring theme of speak- feared by those whose own arrogant ers was his immense capacity for truths were never as well studied. sharing information that enriched Rosmini never suffered fools, but Dick Rosmini them or improved their art. Anything was as generous a teacher as ever and everything that had the potential there was. typical of anyone else. He earned the to give a musical artist a new color A man of intense intellect. unelring irreverent appellation "The Sabicas of on the palette became Dick's personal focus and burning impatience, Ros- the Blues Guitar" from his friends.
    [Show full text]
  • Thrasher Opposes SG Handling of Racism Krashna Seeks Forum As
    -----------------~-~--- VOL. IV, NO. 88 Serving the Notre Dame and S-at-,._n_t_M:-:--a-ry~·s-C::::l-J/~Ie_og_e-;-C;-o-m._n_1_U_n7"ity~------------:T:;:;::;HURSDAY, MARCH 5, 197C Thrasher opposes SG Prof. Nutting elaborates on Krashna seeks forum handling of racism Free City idea as legislative council by Steve Lazar by Bill Carter program, according to Thrasher, Winingfi explained that the re­ would be more effective for it "I think we've really got to Student Body Presidential structuring of student govern­ by Steve Hoffman would influence not only the face the fact that perhaps the Candidate Dave Krashna pro­ ment was an essential change if and Mark Day actual students involved, but 'great University' is obsolete; it's posed last night that the Student the voice of the student body Student Body President candi­ also the people with whom these trying to do so much that Senate be abolished and that it was to become more effective. be replaced with a new body "There's just too much red date Tom Thrasher charged that students are in contact in their perhaps it can't do anything very called the Student Fomm. tape involved now," Winings Student Goernment had failed daily lives. In order to do this, well including teaching." The Forum according to said. "We don't need any more in dealing with racial tensions on Thrasher says, the money now Professor Willis D. Nutting, once Krashna would be "hall based" political games with one person campus this year "by allowing intended for monirity recruit­ referred to by one of his and would consist of Hall Presi­ having more power than a­ isolated incidents to drift into ment, plus additional funds, colleagues as a "prophet," dent and Off-Campus represent­ nother.
    [Show full text]
  • Classical Gas Recordings and Releases Releases of “Classical Gas” by Mason Williams
    MasonMason WilliamsWilliams Full Biography with Awards, Discography, Books & Television Script Writing Releases of Classical Gas Updated February 2005 Page 1 Biography Mason Williams, Grammy Award-winning composer of the instrumental “Classical Gas” and Emmy Award-winning writer for “The Smothers Brothers Comedy Hour,” has been a dynamic force in music and television circle since the 1960s. Born in Abilene, Texas in 1938, Williams spent his youth divided between living with his 1938 father in Oklahoma and his mother in Oregon. His interest in music began when, as a teenager, he to 1956 became a fan of pop songs on the radio and sang along with them for his own enjoyment. In high Oklahoma school, he sang in the choir and formed his first group, an a capella quartet that did the 1950’s City style pop and rock & roll music of the era. They called themselves The Imperials and The to L.A. Lamplighters. The other group members were Diana Allen, Irving Faught and Larry War- ren. After Williams was graduated from Northwest Classen High School in Oklahoma City in 1956, he and his lifelong friend, artist Edward Ruscha, drove to Los Angeles. There, Williams attended Los Angeles City College as a math major, working toward a career as an insurance actuary. But he spent almost as much time attending musical events, especially jazz clubs and concerts, as he did studying. This cultural experience led him to drop math and seek a career in music. Williams moved back to Oklahoma City in 1957 to pursue his interest in music by taking a crash course in piano for the summer.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges.
    [Show full text]
  • Microphone Theory)
    PART I (Microphone Theory) Harvey Gerst: Ok, you're on. At 64, maybe the best thing I can do with my life is to pass on what I've learned from great people that taught me when I was starting out. I think that's why Al Schmitt, George Massenburg, Ed Cherney, and some of the other really big guns spend so much time on the net. We all owe the guys that came before us a lot, and this is our way of paying them back. And that's the only thing I have in common with all those guys I just mentioned - we all kinda drank from the same well back in the 50s and 60s. I'll try to cover as much ground as I can, to give everybody a good basic understanding of the different mic designs, advantages and disadvantages of each design, how mic polar patterns are created, advantages and disadvantages of each polar pattern, and finally where each type might be used, along with advantages and disadvantages of each usage. How's that for a course outline? This is the frequency response curve of a Neumann TLM-103. Not very flat, is it? Does that mean it's a bad mic? Before we can answer that we hafta know how to read one of these curves and how to interprete it. Okay, let's start this with some interesting history as a prelude to the whole mic discussion. "Why" will become pretty clear by the third or fourth paragraph: In a way, the history of microphones and sound all started with Alexander Graham Bell, and Western Union.
    [Show full text]
  • Date Artist App Notes Last Update 2019/01/04 1960/05
    Date Artist App Notes last update 2019/01/04 1960/05/20, 21 (FS) Jackie Washington 1 Maxine Abel 1 1960/05/27-29 (F-U) Weekend Folk Song Jamboree w Tom Paley and Sylvia Marrs 1960/06/03-05 (F-U) Jackie Gibson 1 Schenectady balladeer Peter Stanfield and Dave Levy 1 NYC Country Music Men 1960/06/10, 11(FS) Annie Bird 1 1960/06/17, 18 (FS) Jack Ballard 1 1960/06/24, 25 (FS) Dave Van Ronk 1 1960/07/01, 02 (FS) 1960/07/08, 09 (FS) Rev. Gary Davis 1 1960/07/15, 16 (FS) 1960/07/22, 23 (FS) 1960/07/29, 30 (FS) Hedy West 1 1960/08/05, 06 (FS) Logan English 1 1960/08/12, 13 (FS) Dave Van Ronk, Sylvia Marrs 2 1960/08/19, 20 (FS) Ian Buchanan 1 ballads and blues 1960/08/26, 27 (FS) Jackie Washington 2 1960/09/02-10 closed for vacation 1960/09/15-17 (H-S) Tom Paxton 1 1960/09/23, 24 (FS) Dick Weissman, Hedy West 1960/09/30-08/01 (FS)Dick Rosmini guitar, banjo 1960/10/07, 08 (FS) 1960/10/14, 15 (FS) George “Smoke” Dawson and Rob Hunter 1960/10/21, 22 (FS) 1960/10/28, 29 (FS) 1960/11/04, 05 (FS) Dave Van Ronk 3 1960/11/11, 12 (FS) Tom Paxton 2 1960/11/13 (U) Charlie Fair Trio 1 jazz 1960/11/18, 19 (FS) Rev. Gary Davis 2 1960/11/25, 26 (FS) Hedy West 2 1960/11/27 (U) Charlie Fair Trio jazz 1960/11/29 (T) Film Series starts, T & W, showings at 6:30 and 9:15 1960/12/02, 03 (FS) Hedy West 1960/12/09, 10 (FS) 1960/12/16, 17 (FS) Luke Faust and Ellen Adler 1960/12/23, 24 (FS) Dave Van Ronk 4 1960/12/30, 31 (FS) Hedy West 4 1961/01/06, 07 (FS) 1961/01/12 (H) SPAKAR Auto Sports Club of Saratoga first meeting 1961/01/13, 14 (FS) Barry Kornfeld 1 protege of Gary
    [Show full text]
  • September/October 1987 $2.95 the Sound Engineering Magazine
    SEPTEMBER/OCTOBER 1987 $2.95 THE SOUND ENGINEERING MAGAZINE serving:recording, broadcast and sound contracting fields Featuring 2 to 8 trk-The Smaller Recording Studio Guides: Consoles & Mixers; Equalizers Sviicluvicr + 504 r WHAT YOU DO WITH THE M-600 MIXER is YOUR BUSINESS. That's why we've designed it to meet or exceed your most demanding requirements. And made it the easiest, most flexible professional mixing console you'll ever work with. The M-600 is modular. Which means you can custom configure the console to your audio or video production needs. The M-600 lets you choose up to 32 input channels, or you can start with 16 or 24 input channels and expand the board as your needs change. Optional stereo modules can also be added to provide even more line inputs for MIDI instruments and video production convenience. Installation and wiring is exceptionally easy. The M-600 is the only modular mixer that's available with all the necessary finished cables and installation hardware. And that can eliminate a lot of installation hassles and expense. At the same time, no other mixer at its price gives you multi-pin, computer-type connectors for quieter, more secure connections. But the real pleasures of the M 600 will only be evident after it's in your studio. Up to 64 stereo or 128 mono inputs can be accessed directly from the top panel. A patch bay can be added for fast, flexible routing. That's convenience. The M-600 has all the features you'd expect in a professional mixing console.
    [Show full text]
  • Washington Label Discography
    Washington Label Discography: Washington 300 series (12 inch LP) WLP 301 - Tom Glaser Concert (For and with Children) – Tom Glazer [10/59] Jimmie Crack Corn/Jennie Jenkins/Skip to My Lou/Fox/Put Your Finger in the Air/Hush Little Baby/Pick a Bale/Names/Come On and Join Into the Game/Little Bitty Baby/Now, Now, Now/Frog/So Long WLP 302 – Come See the Peppermint Tree – Evelyn Lohoefer and Evelyn and Donald. McKayle [1959] Follow Me/Kitchen Stuff/My Shoes Went Walking/The Yellow Bee/Jabberty-Jib/The Elf/A Shiny Penny/Putt-Putt/My Pretty Red Swing/Riddle/Dance Awhile//Jump and Spin/Riding on a Star/Me, Too/Wheels/All Mixed Up/Miriam/The Dress/The Ribbon/Carrots and Things/The Crow, The Worm and The Fish/The Moon in the Yard/Thingamabob/The Peppermint Tree/Mr. Sandman WLP 303 – Sometime-Anytime – McKayle, Stephenson, Reynolds [1959] Parade/Stuff/Watching Things Go By/Gingerbread Man/Red Wagon/Squirrel/Lunch in the Yard/Wiggle-Fidget/Not Quite Sure/Tree House/Limb of a Bright Blue Tree/Balloon/Please/Rocking Chair/Quite a Day/Rooster With a Purple Head Washington Classical 400 series (12 inch LP) WLP 401 - Beethoven: Short Piano Works - Arthur Balsam [1958] WLP 402 - Vivaldi-Telemann - New York Woodwind Quintet [1958] WLP 403 - Telemann: Don Quichotte - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 404 - Vivaldi: 4 Conceri - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 405 - Torelli: Sinfonias - Newell Jenkins and Milan Chamber Orchestra [1958] WLP 406 - Vivaldi: Violin Concerto, 3 Winds Concerti - Newell Jenkins and Milan Chamber
    [Show full text]
  • Full Report on Columbia `Music People' Meet; Davis: `Be Open to Change''
    DEPARTMf N1 ART AND RCORDiNS ALLEN WUMri : Cue From. The TV Cartridge? (Ed) . Full Report On Columbia `Music People' Meet; Davis: `Be Open To Change'' ... Maitland Clarifies `Near -Total' H wood Base ... Buddah Extends Pacts /Mayfield, Impressions, Hawkins ... BeIIIJarrard Tie AMES BROWN: BROWN IS BEAUTIFUL www.americanradiohistory.com She never promised you another "Rose Garden:' But here it is, anyway: "How Can I UnloveYou:' Lynn Anderson's new single has a lot in common with her million seller, "Rose Garden." It was written by Joe South. Produced by Glenn Sutton. And it has the kind of universal message that will make it equally at home on Top -40, country and easy listening stations. \Ve beg your pardon. It could be another "Rose Garden." "How Can I UnloveYou"4-45429 by Lynn Anderson. On Columbia Records ^>. o COI UMBI MARCAS REG. PRINTEO IN U_S.A www.americanradiohistory.com THE INTERNATIONAL MUSIC -RECORD WEEKLY Cash Box Vol. XXXIII - Number 6/July 31, 1971 Publication Office/1780 Broadway, New York, New York 10019/Telephone: JUdson 6-2640/Cable Address Cash Box, N. Y. GEORGE ALBERT President and Publisher MARTY OSTROW Vice President IRV LICHTMAN Editor in Chief EDITORIAL CHRISTIE BARTER West Coast Editor ED KELLEHER ERIC VAN LUSTBADER KENNY KERNER EDITORIAL ASSISTANTS MIKE MARTUCCI ANTHONY LANZETTA ADVERTISING STAN SOIFER Advertising Manager Music: EXECUTIVES TV 'Now' ACCOUNT & ED ADLUM, New York HARVEY GELLER, Hollywood WOODY HARDING Art Director COIN MACHINE á VENDING ED ADLUM General Manager Cue From TV Cartridge? DON DROSSEL CAMILLE COMPASIO, Chicago LISSA MORROW. Hollywood CIRCULATION THERESA TORTOSA, Mgr. HOLLYWOOD HARVEY GELLER-CHRISTIE BARTER 6430 Sunset Blvd.
    [Show full text]
  • America's Roots Music
    FREE Volume 1 Number 4 July/August 2001 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers AMERICA’S ROOTS MUSIC NEW FILM EXAMINES THE LIFE & MUSIC OF APPALACHIAN PEOPLE ike O Brother, Where Art Thou, singing ballads Songcatcher is a movie where the and young folks plot is built to showcase the fiddling away on music. As with O Brother... the the corner. music being trumpeted is from Songcatcher Appalachia. The haunting songs attempts to give us a glimpse into life in the Songcatcher in the film, as well as on the mountains at the turn of the century. Dr. Lily L soundtrack, represent some of Penleric (JANET MCTEER) is an academic WRITTEN & DIRECTED BY America’s most powerful musical folklorist. When she is passed over again for MAGGIE GREENWALD influences - the roots that later sprout into blue- university promotion, she leaves the universi- WITH JANET MCTEER, EMMY ROSSUM, grass, country music, folk singing, and eventually, the Southern- ty and heads to the mountains where her sister runs a local PAT CARROLL, AIDAN QUINN influenced rock ‘n roll of Elvis Presley. Appalachia remains a schoolhouse. Once there, she “discovers” the treasure-chest hotbed of creative music with new stars such as Iris DeMent ris- of music, sung with such expression and depth that she is at ing out of the old traditions with the rarest of gifts: a high lone- once inspired to tell the world (and make her statement to the some voice and a simple song that can shatter a person’s heart.
    [Show full text]
  • The CORD WEEKLY VOL
    The CORD WEEKLY VOL. VII NO. 10 WATERLOO LUTHERAN UNIVERSITY FRIDAY, NOVEMBER 25, 1966 U of W students stage bookstore protestsit-inpricesto By CHEVRON STAFF University police counted 210 University of Waterloo stud- students entering the president's ents invaded the office of the office. university president Friday af- The president refused to make ternoon (Nov. 18) protesting high prices and a $67,000 profit an on-the-spot committment to at the university bookstore last the students. "I don't say that year. your demands are unfair," he Many more crowded around said. "But I don't say that they listening over outside the inter- are fair either. com as the president, J. G. Hag- ey, attempted to justify his pol- After an hour of discussion, icy to the protesters. President Hagey agreed to reply Leading the students was Tom to one of the students demands Patterson, speaker of Student by Wednesday the question Council and chairman of its of two student — on bookstore committee. members the Demonstrators were demand- bookstore committee. ing a .15-percent reduction in The demonstration climaxed book prices and student member- four years of discontent over ship on the administration com- bookstore profits. But many stu- mittee studying services like the bookstore and food services. dents were left unsatisfied by Both had to be guaranteed in their leaders apparent compro- writing, and effective January 1. mise. University president Hagey Grad psychology student, Dav- agreed to meet leaders of the id Andres, said, "We've been Photo by Clark demonstration' in his office. But put years A week ago today hundreds of Uni- pletely impassible.
    [Show full text]
  • Interviewer: When Didyoufirst Begin to Become Involved in Music? Ben Kettlewell: My Actual Interest in Playing Began When I Was Very Young
    AFTERT U51? )3©1J,]31€ Isstje ic soies ‘ ELficTR@AcéuS:ricislvlusic % ndthe 21st cen turyV VL _iWhat rap music j5?Ife;a||y about M i An EM Master Personal Touch BEN KETTLEWE LL [A 30 year obsession with music — his way] Interviewer: When didyoufirst begin to become involved in music? Ben Kettlewell: My actual interest in playing began when I was very young. I would go to church with my grandfather on Sundays and fool By J. Engstrom around on the piano after service. I really loved that piano, but I only had a chance to play on it once a week. When I got older, it seems like every piano I encountered after then was locked, so I didn’t get a chance to play. So I started playing guitar in junior high school. I: You are an electronic musician now, but “" * * ' your early rnurical career was centered around a Forty—five year old composer, Ben Kettlewell folk background How did that come about? has been involved with almost every aspect Ben: In the early sixties when I first of music at one time or another over 30 started playing guitar, the only instruction years. He was touring professionally at the books I could find were collections of folk age of 20. He's most famous for his radio songs, little notation books by Pete Segar and series for public radio, "Imaginary Voyage". Sing Out magazine, a folk periodical. I used these to teach myself as well as playing along with records and picking up licks from various albums.
    [Show full text]