Eric Clapton Crossroads Lay Down Sally After Midnight Allman Brothers

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Eric Clapton Crossroads Lay Down Sally After Midnight Allman Brothers

Eric Clapton John Mayer Crossroads Gravity Lay Down Sally I Don’t Trust Myself After Midnight Waiting on the World Daughters Allman Brothers You Don’t love me Maroon 5 Midnight Rider Sunday Morning This Love Tracy Chapman Gimme One Reason Fleetwood Mac The Chain MGMT Dreams Electric Feel Hall and Oates The Beatles I Can’t Go for That Blackbird I’ve Just Seen a Face Steve Miller Band Fly Like an Eagle The Killers The Joker Mr. Brightside All these things that I’ve Done The Black Keys Lonely Boy Marvin Gaye Thickfreakness Through the Grapevine Stevie Wonder Bill Withers Isn’t She Lovely Ain’t No Sunhine Superstition Just the Two of Us Use Me Jack Johnson Banana Pancakes Elvis Presley Sitting, Waiting, Wishing Heartbreak Hotel Inaudible Melodies Ray Charles The Cure/311 I Don’t Need No Doctor Love Song Hallelujah, I love her so I Got a Woman Led Zeppelin Over the Hills and Far Away Michael Jackson Rain Song Man In the Mirror Pink Floyd Money Creedence Clearwater Revival Susie Q Michael Jackson Man In the Mirror Toto Hold The Line Queens of the Stone Age No One Knows Ed Sheeran Thinking out Loud Leon Bridges Baby I’m Coming Home Stevie Ray Vaughan Pride and Joy Sublime What I Got Andy Mckee Santeria Tight Trite Night Bad Fish Ebon Coast The White Stripes Joe Bonamassa Seven Nation Army The Valley Runs Low Jason Mraz Chet Atkins I’m Yours Windy and Warm Beautiful Mess Live High Will Smith Prince Of Bel Air Gnarls Barkley Crazy Lynyrd Skynyrd Freebird (by request) Death Cab for Cutie I will Follow You Into the Dark Good Old War Cath Coney Island Brothers on a Hotel Bed My Own Sinking Ship Silversun Pickups The Avett Brothers Lazy Eye Weight of Lies Guns N’ Roses The Weeknd Sweet Child of Mine I Can’t Feel My Face Rush Matt Corby Fly By Night Souls a Fire .

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Biu Withers by Rob Bowman He Was the Leading Figure in the Nascent Black Singer-Songwriter Movement of the Early 1970S
PERFORMERS BiU Withers By Rob Bowman He was the leading figure in the nascent black singer-songwriter movement of the early 1970s. BILL WITHERS WAS SIMPLY NOT BORN TO PLAY THE record industry game. His oft-repeated descriptor for A&R men is “antagonistic and redundant.” Not surprisingly, most A&R men at Columbia Records, the label he recorded for beginning in 1975, considered him “difficult.” Yet when given the freedom to follow his muse, Withers wrote, sang, and in many cases produced some of our most enduring classics, including “Ain’t No Sunshine,” “Lean on Me,” “Use Me,” “Lovely Day,” “Grandma’s Hands,” and “Who Is He (and What Is He to You).” ^ “Not a lot of people got me,” Withers recently mused. “Here I was, this black guy playing an acoustic guitar, and I wasn’t playing the gut-bucket blues. People had a certain slot that they expected you to fit in to.” ^ Withers’ story is about as improb able as it could get. His first hit, “Ain’t No Sunshine,” recorded in 1971 when he was 33, broke nearly every pop music rule. Instead of writing words for a bridge, Withers audaciously repeated “I know” twenty-six times in a row. Moreover, the two-minute song had no introduction and was released as a throwaway B-side. Produced by Stax alumni Booker T. Jones for Sussex Records, the single’s struc ture, sound, and sentiment were completely unprecedented and pos sessed a melody and lyric that tapped into the Zeitgeist of the era. Like much of Withers’ work, it would ultimately prove to be timeless.
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ISSUE #41 MMUSICMAG.COM ISSUE #41 MMUSICMAG.COM Q&A Did that affect the album? Were you happy with the results? How did you fi nd Dave Depper? I don’t think so. It wasn’t like there was This being our fi rst record with an outside Dave has been a friend of ours for a long any bad blood, but we didn’t tell Rich that producer, it’s kind of a transitional record. I time, and he’s been a noted northwest Chris was leaving the band until after the really enjoyed working with Rich throughout. musical fi gure for a long time. When we were record was done—just because we didn’t He did a phenomenal job with the album— thinking of who we were going to play with, want exactly what you’re talking about to fi tting some of the newer demos, the way I’d he was literally the fi rst person we thought happen. It was better for the record and written the songs, with the stuff we’d already of. It was that kind of thing where we didn’t better for everybody. But it wasn’t a dramatic recorded with Chris in the summer of 2013. waste a lot of time thinking, “Oh, my God, or loaded-gun experience—it was more like, When we had the fi nal versions we knew what will we do?” We just thought, “OK, who “OK, let’s do the work.” In some ways, it Rich had been the right man for the job and shall we get in?” Dave was the fi rst person was like Chris was a very familiar session he brought the best out of us and the songs.
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