1960s Psychedelic Hippie Culture and Music

Learn to Play Guitar Like the Beatles

2009-07-19T15:54:00.001+09:30

By Edgar Z. Johnson

Great Beatles Electric Guitar Rock Riffs

While The Beatles were not known as a riff band in the same way that The Rolling Stones or Led Zeppelin were, they did write and play some great guitar riffs over the years. Among The Beatles riff-based songs that really stand out are "Day Tripper," Paperback Writer" and "And Your Bird Can Sing."

You can learn how to play all of these great guitar riffs on your guitar if you get some high quality guitar lessons online. Yes, you read that correctly! You can get high quality guitar lessons online. You don't have to hire a private guitar instructor to learn how to play the guitar like The Beatles.

Great Beatles Acoustic Guitar Songs

The Beatles didn't have one guitarist like Led Zeppelin or The Who. They had three (George Harrison, John Lennon and Paul McCartney) and each of them wrote and played great acoustic guitar songs as Beatles. For example George Harrison wrote and played "Here Comes The Sun," John Lennon wrote and played "Julia" and Paul McCartney wrote and played "Blackbird." You can also learn how to play acoustic guitar songs such as these with your online guitar lessons too.

Online Guitar Lessons

In the "bad old days" you had to hire an expensive guitar teacher to teach you how to play guitar like The Beatles. You would have to pay for each and every lesson and that would really add up over time. You don't have to do that now. Now you can download guitar lessons online and have unlimited access (without ever having to pay for each lesson individually).

CLICK HERE to find out how you can Download Jamorama Online Guitar Lessons 24/7/365. With Jamorama you will learn how to play guitar like The Beatles (and any other band or guitarist).

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ALBUM REVIEW: The Beatles - George Harrison Has a New Remixed Best-Of Album

2009-07-19T15:51:00.001+09:30

By Jarrett S Newton

Just released last June, Let It Roll's unique packaging includes a 28-page booklet featuring previously unreleased and unique photos, and freshly penned liner notes by Warren Zanes. The collection's nineteen songs were reworked by Giles Martin (George Martin's son) at Abbey Road, and is out in CD and MP3 formats.

"Let It Roll: Songs by George Harrison is a collection of songs that takes us far into the territory that was ultimately a place unique to George Harrison," writes Warren Zanes in his liner notes essay for the new collection.

This Greatest Hits Collection is the 1st to include George's entire solo period , including the #1 Billboard Pop tracks Isn't It A Pity, Got My Mind Set On You, Give Me Love, and "My Sweet Lord. Let It Roll also has concert recordings of 3 timeless songs written by George, Here Comes The Sun, Something, plus While My Guitar Gently Weeps from his early 70s star studded Concert For Bangladesh benefit at Madison Square Garden.

"The keyhole into the world of George Harrison is the music itself. Yet his songs and the accomplishments for which he's remembered are inextricably bound-and those accomplishments are, without question, eclectic in scope," says the album liner notes.

George Harrison has been inducted in the Rock Hall of Fame twice, as a solo artist and as a member of The Beatles, plus he has one 11 Grammy Awards for his carreer with The Beatles, Traveling Wilburys, and as a solo artist. You can find Harrison's new star on the Hollywood Walk of Fame since last April.

The greatest hit's package is an fantastic collection of hits that show just the talent of the former Beatle. It skillfully shows just how much he grew as a songwriter after the Beatles and what a great, musically rich guitar player he was. The songs were personally selected by George's widow Olivia. The hits collection was painstakingly remixed by the son of George Martin, Giles.

Pick up your George Harrison's Greatest Hits at: Beatles Gifts.com.

Visit my Beatles News blog at Beatles Gifts Blog.

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Bob Dylan - Bob Dylan to Guest on New Beastie Boys Album

2009-07-19T15:44:00.002+09:30

by Brent Warnken

In a seemingly unlikely collaboration, living folk legend Bob Dylan is set to appear on the Beastie Boys' forthcoming album Hot Sauce Committee Pt.2 (no release date yet!), which will follow Hot Sauce Committee Pt.1, set to arrive September 15. The Beastie Boys told Drowned in Sound that Dylan praised the Brooklyn-bred rap trio on his radio program and was subsequently sampled on the upcoming record.

The Beastie Boys previously used part of Dylan's "Just Like Tom Thumb's Blues" for "Finger Lickin' Good" off Crack Your Head, although his contribution will be a spoken word piece rather than music this time around. Dylan previously complimented Mike D, MCA and Ad-Rock on an episode of his Theme Time Radio Hour show, and his praise will appear on the almost-finished record in some capacity.

In addition to being featured on the Beastie Boys forthcoming album, Dylan may soon be collaborating with one of his contemporaries: former Beatle Paul McCartney. The seasoned pair of musicians, both icons of the 1960s and '70s, first met in 1964 when the Beatles were in New York, and according to musical folklore, Bob Dylan first introduced the Fab Four to a certain illegal herb.

Although it was Dylan and another Beatle, George Harrison, who really hit it off (they penned "I'd Have You Anytime" together, played the Concert for Bangladesh and were both part of The Travelling Willburys), he has expressed his admiration for Sir Paul, and McCartney has also hinted that he would like to work with Dylan at some point in his career.

Bob Dylan has sure come a long way from his native Duluth, MN, where he was born Robert Allen Zimmerman. After lifting his now-famous moniker Bob Dylan from the poet Dylan Thomas, the fledgling musician picked up his guitar and harmonica and moved to New York City, where he soon became a folk darling in Greenwich Village.

John Hammond at A&R stumbled upon a positive review of Dylan's coffee shop act in the New York Times and signed him soon after. While his debut failed to generate any attention, his sophomore record spawned the iconic song "Blowin' in the Wind" in
1963 and he soon hit the road with protest singer (and romantic interest) Joan Baez. Although the couple parted ways in 1965, by this time Dylan was earning ample praise for his autobiographical ballads and protest songs alike.

When Bob Dylan branched off from his folk roots on his rock'n'roll-tinged 1965 album Bringing It All Back Home, audiences did not respond warmly. In fact, he was booed off the stage during a performance at the Newport folk Festival. The album nonetheless yielded one of his most well-known songs, "Like a Rolling Stone," and Dylan continued to churn out albums and exhibit increasingly erratic behavior in interviews in the coming years. After experiencing a reclusive period in the 1970s, Dylan began performing live again in the '90s, and you can now get Bob Dylan tickets to see him live online.

This article is sponsored by StubHub. StubHub.com is a leader in the business of selling http://www.stubhub.com/bob-dylan-tickets/, sports tickets, concert tickets, theater tickets and special events tickets.

OPINION: The Beatles - Seven Great Piano Based Songs‏

2009-07-19T15:40:00.003+09:30

by Jake Topp

The Beatles incorporated the use of a piano much more so than most other rock bands. While most of their songs were guitar based, a number of them were based primarily around the piano. Seven of The Beatles best piano based songs are featured in this article.

"Let It Be" is one of The Beatles most timeless songs and like all seven of The Beatles piano based songs in this article it was sung and written by Paul McCartney (who also played the piano on all of these songs). It was the title track of the last album The Beatles released, although it was actually recorded before Abbey Road. It was a hit single in countries around the world and is still among their most popular songs today.

"Hey Jude" was groundbreaking for it's length (over seven minutes long) and for a long time it was the longest #1 single ever in the US and the UK. It was one of The Beatles most commercially and critically successful songs. Like many of The Beatles greatest singles, it was never included on a Beatles album. But it has been, of course, included on Beatles "great hits" compilations along with the Past Masters compilation (which includes all of the Beatles singles not released on albums, it's highly recommended). "Hey Jude" is the highest ranking Beatles song on the 2004 Rolling Stone magazine list of the 500 greatest songs of all time (it's ranked at #8.)

"For No One" is a very beautiful ballad from Revolver. Along with the piano, it also features a french horn and a harpsichord. The Beatles were always looking for new sounds to try on their recordings. This song is less well known than it should be. Those of you who only have The Beatles "greatest hits" compilations are really missing out on some of their greatest work. Buy the albums!

"Lady Madonna" is an upbeat song whose melody so catchy that it became a hit again in the 1990s when Sublime used it for their song "What I Got." Along with that catchy melody and the piano, the song also features a saxophone and a suitably awesome bass line by Paul McCartney. And here's a tip: If you haven't, start paying attention to The Beatles bass lines. They're awesome.

"Good Day Sunshine" is a brilliant tune from Revolver that is fun and catchy but also sort of slyly tongue in cheek. The piano licks help make this song great.

"The Long and Winding Road" is a pretty ballad that was overblown by Phil Spector's over the top production on the version released in 1970. The more stripped back version heard on Let It Be... Naked allows you to hear McCartney's true intention for this song (and lets you hear the piano that's pretty much drowned out in the Spector version). I really like the little organ solo on the stripped down version.

"The Fool on the Hill" is a rather quirky tune which includes piano but certainly has many other sounds in there as well (the flutes stand out in particular).

Jake Topp recommends going to http://www.musicbyday.com/pianolessons.html to find out about Rocket Piano which can help you to learn how to play piano like The Beatles.

More on Van Morrison

2009-07-19T15:36:00.002+09:30

Hi all,

I've just had a message from Exile Productions, Exile Publishing, Exile Films and Lion Records stating:

If you/your readers would like good quality, non-pirated previews from Van Morrison's latest album and DVD - "Astral Weeks Live at the Hollywood Bowl" - then footage of "Sweet Thing" from the Hollywood Bowl is available for fans to view and link to (ONLY please – not for embedding) at:

http://www.youtube.com/watch?v=4BYvoH2_XuA

Checxk it out - it's highly recommended!

MOVIE REVIEW: It Might Get Loud - Due for Release on 14 August 2009

2009-07-19T15:01:00.004+09:30

Hello everyone,

I've just heard about this new movie due for release on 14 August 2009. Should be interesting particularly for you Jimmy Page fans.

Synopsis

Rarely can a film penetrate the glamorous surface of rock legends. It Might Get Loud tells the personal stories, in their own words, of three generations of electric guitar virtuosos – The Edge (U2), Jimmy Page (Led Zeppelin), and Jack White (The White Stripes).

It reveals how each developed his unique sound and style of playing favorite instruments, guitars both found and invented. Concentrating on the artist’s musical rebellion, traveling with him to influential locations, provoking rare discussion as to how and why he writes and plays, this film lets you witness intimate moments and hear new music from each artist.

The movie revolves around a day when Jimmy Page, Jack White, and The Edge first met and sat down together to share their stories, teach and play.

Here's a little trailer from the movie - let's call it an appetiser!:
http://www.youtube.com/watch?v=m4EvZtsXz7w

Here's a bit more information about the movie:

Who hasn't wanted to be a rock star, join a band or play electric guitar? Music resonates, moves and inspires us. Strummed through the fingers of The Edge, Jimmy Page and Jack White, somehow it does more. Such is the premise of It Might Get Loud, a new documentary conceived by producer Thomas Tull.

It Might Get Loud isn't like any other rock'n roll documentary. Filmed through the eyes of three virtuosos from three different generations, audiences get up close and personal, discovering how a furniture upholsterer from Detroit, a studio musician and painter from London and a seventeen-year-old Dublin schoolboy, each used the electric guitar to develop their unique sound and rise to the pantheon of superstar.

Rare discussions are provoked as we travel with Jimmy Page, The Edge and Jack White to influential locations of their pasts. Born from the experience is intimate access to the creative genesis of each legend, such as Link Wray's "Rumble’s" searing impression upon Jimmy Page, who surprises audiences with an impromptu air guitar performance. But that's only the beginning.

While each guitarist describes his own musical rebellion, a rock'n roll summit is being arranged. Set on an empty soundstage, the musicians come together, crank up the amps and play. They also share their influences, swap stories, and teach each other songs. During the summit Page’s double-neck guitar, The Edge’s array of effects pedals and White’s new mic, custom built into his guitar, go live.

The musical journey is joined by visual grandeur too. We see the stone halls of Headley Grange where "Stairway to Heaven" was composed, visit a haunting Tennessee farmhouse where Jack White writes a song on-camera, and eavesdrop inside the dimly lit Dublin studio where The Edge lays down initial guitar tracks for U2’s forthcoming single. The images, like the stories, will linger in the mind long after the reverb fades.

It Might Get Loud might not affect how you play guitar, but it will change how you listen. The film is directed and produced by An Inconvenient Truth's Davis Guggenheim, and produced by Thomas Tull, Lesley Chilcott and Peter Afterman.

Q&A WITH PRODUCER THOMAS TULL

How is this film different from other music documentaries?
While there have been a lot of performance documentaries, this one is really about the relationship between these three men and their instruments. We tried to show what drives the artists, what got them passionate as players, what made them pick up the guitar in the first place.

Where did you come up with this concept?
The guitar is something I am ardent about. I was thinking how, on a global level, the personification of contemporary music IS the guitar: from video games to debates over Top 10 guitarists lists, from rock to jazz to blues, this instrument captures everyone's imagination. It was a subject I hadn't really seen explored on film, from that perspective.

What was instrumental in you picking Davis Guggenheim to direct?
I've known Davis as a friend for a number of years. He is one of the best documentarians there is (as shown in "An Inconvenient Truth"), and he's passionate about music too. He was the only person I thought of for this film.

Why did you want to make this film?
As a fan I wanted to see a movie that captured the essence of why people are so fanatic about the guitar. I wanted to tell that story through these three, particular artists.

How did you choose Jimmy Page, The Edge and Jack White? What was it like working with them?
It was almost like casting a movie. We wanted to show a wide range of styles and eras by focusing on three of the best players in the world, from three generations ... and they said yes! Like many kids, I had a poster of Jimmy Page on my wall - he is a living legend. U2 is one of the greatest bands ever, and The Edge is a brilliant and distinctive player. Jack White is the new generation - cutting his own path but also keeping the guitar, and great guitar traditions, alive.

What do you hope audiences will experience while watching the film?
Honestly, I made this film for people like me, people who love music and the experience of a live show. When you love a band or a musician you want to know how and why they do what they do - what makes them tick. Davis was able to show this, to get inside these guys' worlds and inside their heads in a way I don't think any other music documentary has. I hope fans are as excited and fulfilled by seeing and hearing what he uncovered as I am.

Q&A WITH PRODUCER/DIRECTOR DAVIS GUGGENHEIM

What was your initial reaction when Thomas Tull first approached you about IMGL?
Thomas asked me to come to his office in Burbank - I had no idea why. I get there and he launches into this passionate pitch about the electric guitar and how no film has ever captured what it is that makes the instrument so great. He described the huge influence the electric guitar has had on him and our entire society.

Soon, without ever realizing it, I was hooked: totally into this idea of looking at the subject matter in a different way. The history of the instrument has already been thoroughly explored. Most Rock and Roll documentaries focus on car wrecks and overdoses; or they pontificate with sweeping generalities about how this guy was "God" and how "music was changed forever"…
Thomas and I didn’t want any of that. We wanted to focus on story-telling and the path of the artist, we wanted to push deeper beneath the surface.

Are there particular moments from the film that are your favorites?
There are so many. We were filming in Jimmy Page's home outside of London - which he has never allowed before – and he starts pulling out his favorite albums and playing them for us. These are the records that he listened to and learned from as a young musician. Just watching him listen to the records was incredible - and then he started playing air guitar! We were filming Jack in Austin, Texas, and he's playing this out-of-control guitar solo. Through the lens, I start realizing that he's so focused and playing so aggressively that his hand is bleeding without him even knowing it. Or Edge taking us to the classroom where he and U2 first met and rehearsed when they were 16 and 17 years old. This was just a regular high school classroom – they would meet for practice and spend the first ten minutes clearing all the desks to the sides before they could actually play.

In Tennessee, I asked Jack to write an original song on camera – and he did it – right in front of us… I don’t think I have ever seen that before. Another time, Jimmy played us previews of two new tracks he was writing – both of which actually ended up in the movie.

What was the most challenging part of shooting this film?
The most challenging part of the project was weaving these three stories together. Each guitarist comes from a different generation, has different roots, different theories - sometimes in direct conflict of one another. I had a hunch that inter-cutting their stories would be really interesting, but was panicked at times - worried that it would never work.

How long did the shoot take?
Lesley Chilcott and I spent the better part of a year flying between London, Nashville and Dublin, following these guys. Sometimes it would be a very small crew, very intimate and sparse. And then we had a huge shoot on one of the largest Hollywood soundstages. There were seven cameras, the three rock stars, all their guitars and crew - it was like a three ring circus. I'll never forget the look on the crews’ faces (and even those of us in the business who are so jaded) when Jimmy Page, The Edge and Jack White, turned on their amps and started playing together. What I love about this movie, and what makes it so unique, is how the scale will change from Edge alone in his studio late night - to the three of them jamming on a Led Zeppelin track together with the volume full blast and the cameras capturing every angle.

What do you hope audiences will experience while watching the film?
I hope the audience will fall in love with these guys as much as I did. Not just as rock stars - that part is easy - but at individuals and artists who turned their individual life experiences into music: beautiful, raw, in-your-face, visceral, and transcendent. And I hope that audiences feel a touch of that child-like excitement that Thomas sparked in me, that first day we sat down.

ABOUT THE CAST

Jimmy Page

Jimmy Page is one of the most influential guitarists, songwriters and producers in rock and roll history. As the founding member of Led Zeppelin he helped define the hard-rock guitar sound.
Page picked up his first guitar when he was 12 years old, and although he took a few lessons, he was largely self-taught. After playing in various bands he surfaced as guitarist with Neil Christian and the Crusaders, with whom he toured England.

In 1963 Page enrolled in Sutton Art College in Surrey to pursue his other love, painting. During this period, he often found time to jam on stage at The Marquee. It was here where Page was sitting in one night that he was approached to do session work. Word spread quickly that Page could play anything and offers for session work came in from all over the place, including EMI and Decca Records. His first session for Decca was the recording "Diamonds" by Jet Harris and
Tony Meehan which went to Number 1 on the singles chart in early 1963.

While doing session work, Page joined the Yardbirds playing twin lead guitar with Jeff Beck. Following Beck’s departure from the band, the Yardbirds continued as a quartet and recorded one album (with Page as the lead guitar) titled "Little Games." During the band’s live performances, they were becoming increasingly more experimental.

Eventually the Yardbirds disbanded, and, keen to develop his ideas, Page recruited vocalist Robert Plant, drummer John Bonham and multi-instrumentalists John Paul-Jones to form a band soon to be known as Led Zeppelin.

Led Zeppelin made their debut at the University of Surrey in October 1968. Their self-titled first album was released in January 1969, during their first US tour. The album’s experimental blend of blues, folk and eastern influences with distorted amplification made it one of the pivotal records in the creation of heavy rock music. In their first year, Led Zeppelin managed to complete four US and four UK concert tours and release their second album, Led Zeppelin II. The second album was an even greater success than the first and reached the number one chart position in the US and the UK. Zeppelin became a must-see live band.

As a producer, composer and guitarist, Page was one of the major driving forces behind the rock sound of the era, with his trademark Gibson Les Paul guitar and Marshall Amplification. He also helped create one of the first fuzz boxes, came up with innovative recording techniques such as reverse echo, recording ambient sound and using stairwells to record drums. He rapidly became known for his innovative production techniques as well as his intricate guitar playing. Page used a bow, slide guitar, eastern scales, acoustic guitar, and the double-neck in addition to inventive recording techniques to create the Led Zeppelin sound, which became a prototype for all future rock bands.

After Led Zeppelin broke up in 1980, Page formed several other bands and performed live at the ARMS Charity series of concerts in 1983 which honoured Small Faces bass player Ronnie Lane. He then met with Paul Rogers and together they formed The Firm. He also found time to record on albums with Roy Harper while session work with Graham Nash and others followed. He recorded his first solo album Outrider in 1988, collaborated with David Coverdale in Coverdale Page, and made a live album with The Black Crowes.

Page had played lead guitar on Robert Plant’s Honeydrippers project and they reunited again to do two albums, tours in 1995 and 1998 and the MTV UnLedded special showcasing their album No Quarter, a compilation featuring restyled Led Zeppelin songs, which was a huge success.

Since 1990, Jimmy Page has been responsible for the remastering of the entire Led Zeppelin back catalogue and presenting new products such as the DVD How The West Was Won, and the immensely successful Mothership album in 2007.

He is currently involved in various ongoing charity concerns, particularly Task Brazil and the Action for Brazil's Children Trust (ABC Trust). In 2007 the surviving members of Led Zeppelin, as well as John Bonham's son, Jason Bonham, played a charity concert at the O2 Arena London. In June of 2008 Page received an honorary doctorate from the University of Surrey for his services to the music industry.

The Edge

Guitarist with Irish rock band U2, The Edge was born David Howell Evans in Barking, East London on August 8, 1961. A year later, he and his family moved to Malahide, Co. Dublin. He went on to attend Mount Temple School where he met Larry Mullen, Bono and Adam Clayton, and in 1978 U2 was formed.

Described as one of the most influential guitar players of his generation, The Edge's crystalline minimalist guitar playing, often making use of repeat echo, is the hallmark of U2's music, and one of the most original and distinctive guitar styles in rock and roll history. Recently acknowledged as one of the best live acts in the world, U2 have toured the globe countless times. They have released 14 studio albums and won numerous awards, including 22 Grammies.

One of the principle songwriters of U2, The Edge has also written extensively for other projects, often in collaboration with U2's Bono, including music for movies: Captive (1985), Gangs of New York (2002), GoldenEye (1995); for animation: The Batman (TV series 2004); and for the stage: A Clockwork Orange by the Royal Shakespeare Company (1990).

Marked out by their politics from the beginning, U2 were awarded Amnesty International's Ambassador of Conscience Award in 2006. In 2005, The Edge co-founded Music Rising, a charity initiative which provides musical instruments for the musicians, schools and churches of the Gulf Region. The Edge is married and lives in Dublin with his wife and children.

Jack White

One of the most enigmatic figures in music, Jack White has built a reputation as something of a modern American renaissance man. When Jack White formed The White Stripes with his big sister Meg in 1997 no one could have predicted the journey they would take. A love of early delta blues inspired him to take a minimalist approach to the music, one which included a simple drumming style by Meg as well as a red, white and black color scheme for everything from their stage clothing to their record sleeves.

As lead singer, guitarist and songwriter, Jack has steered the duo to international success. The White Stripes have released 6 critically acclaimed albums and picked up 5 Grammy Awards, including 3 for "Best Alternative Album": Elephant (2004), Get Behind Me Satan (2006) & Icky Thump (2008). To date they have also won 4 MTV Video Music Awards and 2 Brit Awards. Their international hit singles include "Fell In Love with A Girl" (2001), "Seven Nation Army" (2003), and "Icky Thump" (2007). The band are hugely popular all over the world and 2007 saw them perform at arenas across the US and Europe, including a stop at New York City’s famed Madison Square Garden.

In 2005 White formed a second band, The Raconteurs, with Brendan Benson, Jack Lawrence and Patrick Keeler. Described as "a new band of old friends", The Raconteurs first single, "Steady, As She Goes" was an immediate success and their debut album Broken Boy Soldiers went on to debut at #7 in the Billboard Album Charts. The band toured the world and wound up their 2006 touring schedule playing dates across the US with Bob Dylan. White and Dylan’s mutual appreciation has resulted in several guest performances together. Broken Boy Soldiers was nominated for 2 Grammy Awards. The Raconteurs’ sophomore album Consolers Of The Lonely (2008) also debuted at #7 and spawned the hit single "Salute Your Solution." White has managed to work with both of his bands simultaneously since 2005, currently working with each on an annual rotation.

While renowned around the globe as a rock performer and songwriter, White is also an award winning record producer. He has produced all of The White Stripes and Raconteurs recordings to date (the latter with Brendan Benson) and, in 2004, helmed Loretta Lynn’s Van Lear Rose album. As well as producing the album White put together Lynn’s band for the recording (which included the rhythm section of The Raconteurs) and appeared himself on guitar and vocals, including the duet "Portland, Oregon" which won the 2005 Grammy for "Best Country Collaboration With Vocals". Van Lear Rose was awarded the Grammy for "Best Country Album".
White has appeared in a handful of movie roles, including the Academy Award winning 2003 film Cold Mountain. Director Anthony Minghella cast White as Georgia Thewes on the advice of musical director T Bone Burnett. White’s role was a musical one and he performed several of the movie’s Appalachian songs. In the same year both members of The White Stripes appeared in director Jim Jarmusch’s Coffee & Cigarettes. Jack and Meg White played themselves in the vignette titled "Jack Shows Meg His Testla Coil".

In 2006 the duo appeared on screen again in an episode of The Simpsons titled "Jazzy And The Pussycats". In 2007 White made a cameo as Elvis Presley in the Judd Apatow produced comedy Walk Hard and in 2008 he performed on stage in New York City with The Rolling Stones for a scene in Martin Scorceses’ documentary Shine A Light. White joins Jimmy Page and The Edge in Davis Guggenheim’s electric guitar documentary It Might Get Loud, due for release later this year.

Jack White runs Third Man Records, which releases both The White Stripes and The Raconteurs around the globe.

DVD Review - The Rolling Stones Rock and Roll Circus

2009-07-19T14:57:00.001+09:30

by Greg Bahr at: http://guitarmojo.blogspot.com/
Article URL: http://guitarmojo.blogspot.com/2009/07/dvd-review-rolling-stones-rock-and-roll.html

On December 11th, 1968, The Rolling Stones hosted a concert originally planned to be broadcast on the BBC. The event was based on Mick Jagger's idea to stage a rock and roll show interspersed with circus acts. Reportedly unhappy with their performance, the Stones shelved the project until the release of this DVD in 1996.

Jethro Tull leads off, obviously miming to a pre-recorded track of "Song For Jeffrey." Black Sabbath guitarist Tony Iommi sits in as a favor to bandleader Ian Anderson.

The Who's next with a smashing rendition of "A Quick One While He's Away," a precursor to the epic rock opera "Tommy." John Entwistle's fingerstyle bass and Keith Moon's manic cymbal crashes act as an engine, while Pete Townshend drives the song with his trademark windmill power chords. The three harmonize behind Roger Daltry, who voices Townshend's comical tale of betrayal and forgiveness.

Blues giant Taj Mahal steps in with "Ain't That a Lot of Love," featuring Jesse Ed Davis' funky fretwork. Although at the time he was an unknown among a cast of luminaries, Taj more than held his own with spirited harmonica and soulful vocals. The extra features include "Checkin' Up On My Baby," "Leaving Trunk," and "Corrina," three more classics that catch a rising star at the inception of his illustrious career.

Pop star Marianne Faithful, who had a hit with a cover of the Stones' "As Tears Go By," serves as eye candy while singing "Something Better" sitting in the middle of the stage.

In a magical combination of musical brilliance, John Lennon, Eric Clapton, Keith Richards, and Mitch Mitchell perform as The Dirty Mac, a supergroup formed for the occasion. On "Yer Blues," a tune from The Beatles' White Album, Richards' rolling bass and Mitchell's syncopated drumming provide a safety net, as Lennon and Clapton walk the high wire, weaving intertwined rhythm and lead guitar lines.

On "Whole Lotta Yoko," The Dirty Mac jams to a blues progression unfortunately marred by Yoko Ono's atonal screeching.

Then the main attraction, The Rolling Stones, launch into the show's centerpiece set with "Jumping Jack Flash." Keith Richards and Bill Wyman start the ceremonies with the song's iconic intro riff, as ringmaster Mick Jagger takes center stage. "Parachute Woman" follows, with Jagger wailing on harmonica.

Brian Jones, in his last live appearance with the Stones, layers shimmering slide over Richards' acoustic strumming on the bittersweet ballad, "No Expectations." Keith's open G tuned guitar and Nicky Hopkins' piano set the world weary mood, as professor Jagger teaches the captive classroom that "You Can't Always Get What You Want," a parable later told on "Let it Bleed."

With drummer Charlie Watts and conga player Rocky Dijon laying down a tribal beat, and Wyman's descending bass line creating a sense of impending doom, Richards' stinging leads permeate the evil atmosphere as Jagger requests "Sympathy for the Devil," a satanic samba from the menu of "Beggar's Banquet."

Sitting in the midst of the star studded audience, Jagger and Richards sing "Salt of the Earth," a set closing ode to the working class.

Despite the lame circus acts and silly costumes, "The Rolling Stones Rock and Roll Circus" documents an unprecedented gathering of British rock royalty at the height of their powers, preserving for posterity a moment in time when rock and roll ruled the universe.

The Beatles Remastered Box Sets (Stereo & Mono)

2009-07-19T14:51:00.001+09:30

By Johnny Moon

The Long Wait For Remastered Beatles CDs Is Finally Over

When The Beatles albums were originally released on CD for the first time (in the 1980s) the technology was very new and the mastering job done then is now considered quite subpar (and has been for quite some time).

Beatles fans have been waiting a long time for Beatles albums to be remastered for CD again and now it's finally happening after more than 20 years. The official release date is September 9th, 2009. All 13 of The Beatles original UK albums are being remastered for stereo release. Along with those 13 albums (from Please Please Me through Let It Be) the Past Masters collection is also being remastered.

What's Past Masters? It's a collection of all of the songs released by The Beatles in the 1960s that were never included on one of their albums. This includes huge hit songs like "Hey Jude" and the fast version of "Revolution" which were released as singles but not on any of their 13 official studio albums.

Stereo Box Set

The stereo remastered versions of these 13 studio albums along with the Past Masters CD are all included in the stereo box set. There's also a lot of extra goodies included in this box set such as a DVD which includes a short documentary on the making of each album.

Mono Box Set

Up until about 1968, mono was the standard. This means that the stereo mixes done up until this time were mostly an afterthought. It was actually the mono versions of these albums that The Beatles and George Martin spent the most time trying to get perfect and it's because of this that to a lot of Beatles purists the mono versions are the "real" versions of these albums (up through The White Album which was the last one mixed in mono).

For the first time these original mono mixes are being released on CD (previously they were only available on original vinyl!). But these mono versions of the albums are not available for individual sale, but only as a part of the mono box set which includes all 10 of The Beatles studio albums that were originally mixed in mono (that means no Yellow Submarine, Abbey Road, or Let It Be.)

It also includes a CD called Mono Masters which is like the corresponding Past Masters except (obviously) in mono. Most of the songs on Past Masters were originally mixed in mono, so this makes sense.

09/09/09

The remastered CDs are not being released until 09/09/09 (a reference to the repeating "number nine" on "Revolution #9") but they can be pre-ordered online now. Pre-ordering may be particularly advised with the mono box set because it appears that only 10,000 copies are being made (although it's possible this is a miscommunication or some extra will be added later when they sell out).

9/9/9 is the date when the remastered Beatles CDs (and the box sets) are finally being released: CLICK HERE for Beatles remastered CD info (including how you can pre-order these box sets now).

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Wes Wilson rooted in the 60's

2009-07-19T14:24:00.008+09:30

From: Grateful Dead news - http://deadnews.blogspot.com/
Article URL: http://deadnews.blogspot.com/2006/04/wes-wilson-rooted-in-60s.html
Brought to my attention by Nick Oliva at Only Moments: http://onlymoments.wordpress.com/

A generation's artist rooted in the '60s: Maker of iconic posters still creates — and farms — on a spread near Aurora by Sony Hocklander News-Leader.

You may not know the name Wes Wilson, but you've likely seen his art in books and magazines, on walls or even T-shirts. Especially if you happen to be of a certain generation.

The unpretentious artist from Aurora not only lived in San Francisco during the 1960s counter-culture scene, he helped define it. Call him the Poster Child.

Stroll back to the Summer of Love through an exhibit of Wilson's posters — announcing San Francisco dance concerts by the Doors, the Grateful Dead, Jefferson Airplane, Sopwith Camel, the Grass Roots and more — at a reception Thursday with the artist at the Keyes Gallery. The exhibit, which also features Wilson's recent work, continues through May 27.

"I think it's going to really surprise people that he lives here in southwest Missouri, and what kind of mark he made in history," says Keyes curator Billy Spicer.

He's been written about in books including "The Art of Rock," released in 1985, for which he created an original cover, and the recently published "Art of Engagement" by Peter Selz.
In 1968, he received a National Endowment for the Arts award for his artistic contribution. Since then his posters — noted by many for their "dazzling contrast" and near-illegibility to those without "psychedelic eyes" — have been exhibited at the Louvre, the National Museum of American Art in Washington, D.C., the Museum of Modern Art in New York, the San Francisco Museum of Modern Art and more.

Living quietly now on 135 acres, Wilson looks forward to seeing his work at the Keyes. "It feels really good," he says. "Sort of like coming out again."

EARLY YEARS

Wilson, born in 1937, was raised by a single mother in rural northern California. After high school and a stint in the military, he attended San Francisco State College, studying philosophy and religion. He left before graduating to support three daughters and his first wife.

Wilson lived in the Wently, a low-rent apartment in San Francisco which housed numerous artists. There he met his wife Eva — at the time a dancer, now a psychologist — and Bob Carr, with whom he formed a printing business.

Though he had little artistic training, Wilson could draw and he developed graphic art skills with Carr as they created flyers for performing groups.

In 1965, Wilson designed, self-printed and sold the noted Vietnam War protest poster "Are We Next?" in which a swastika is imprinted with an American flag design. (An original will hang at the Keyes.) It was a way to express his distaste for America's involvement, Wilson says: "I just put it out there to stir people up to thinking about things."

Chet Helms, an emerging rock concert promoter, was impressed. He asked Wilson to design handbills, and what became a familiar logo, for a dance concert series known as Family Dog.
By early 1966, Helms and a competing promoter, Bill Graham, had begun producing weekly dances. Wilson designed posters for both: Graham's at the Fillmore Auditorium and Helms' at the Avalon Ballroom. Though Wilson was friendly with Helms until he died last summer, he felt stifled at the time because the promoter thought his art was "too far out."

Within a few months he worked exclusively for Graham, now deceased, until they parted in 1967 over a contract dispute.

'60S RENAISSANCE

San Francisco's Haight-Ashbury district in the mid-1960s was a place of socializing, discussion, war protests and shunning conservative lifestyles. It was a time of enlightenment, says Wilson: "In the '60s, we used to think of Utopia as something that was really going to happen." He and Eva — whose father, incidentally, was one of the 10 blacklisted Hollywood screenwriters — hung out with poets and other artists.

"We talked about art, and what art should be and what it is," recalls Eva. "It was a very creative period. There were musicians, dancing. It was an exciting time. Like the Renaissance."
They also met figures of the times, including Janis Joplin, who lived in one of their apartment buildings, and Jerry Garcia at some of the same parties.

And Andy Warhol.

The contemporary artist was in San Francisco to produce the Exploding Plastic Inevitable rock concert with Lou Reed and the Velvet Underground in 1967. Wilson did the poster (also displayed at the Keyes) and met Warhol when both were interviewed on the radio. After the show, Wilson invited him to drop by some time — never dreaming the New Yorker would show up that very night. Wilson was in pajamas when the doorbell rang.

"In comes this crowd: Andy, Lou Reed, Nico — a pop girl — and Ultra Violet, another girl. "So we had an evening of it," recalls Wilson. "We broke out some smoke, got food out of the ice box."
Dance concerts — which cost a fraction of current prices — defined the era. "In those days, for $2, you could see some amazing stuff," says Wilson. "Those were the good 'ol days, all right."

The concerts were energetic, notes Berkley art historian Walter Medeiros, who has studied the period and written about its artists for numerous exhibits. "The music was loud, there was a new form of dancing, a free form of dancing," he says. "It was very engaging with intense music, and light shows flashing liquid colors on a screen."

Wilson, and the artists who followed, attempted to capture that intensity in graphic form. The posters became so popular, people were tearing them down as quickly as they went up. Soon, they were being reprinted for sale. Poster shops sprang up locally and nationwide. "I'm certain it was the rock poster, this new style ... that caused the new poster craze," says Medeiros.

Among the artists, Wilson really was not a hippie, Medeiros notes, though he went to dances and used moderate drugs. "I was far enough out to be an artist," reflects Wilson, "but not far enough out to go over the edge."

THE POSTERS

Wilson's earliest posters were rather crude, says Medeiros. But he perfected his art with each new piece, often created in mere days. His first major poster of note — announcing the Association and other bands — features shimmering red flame-like lettering on a green background.

"That was really hot. That culminated everything he was developing at the time," says Medeiros. The artist is particularly noted for the lettering style he launched, says Medeiros: "It became the symbolic style." His lettering was meant to catch the eye, Wilson muses. At the same time, "it was something people had to stop to figure out."

That's not to say he invented the lettering, or that he was the only artist doing it. But Wilson was the first — inspired, he says, by the block lettering of Vienna Secessionist Alfred Roller. He liked how it filled the space and resculpted the style to make it his own.

Eric King, also of Berkley, was part of San Francisco's counter-culture movement. He was among the first to start collecting posters, he says. King recently published "The Collector's Guide to Psychedelic Rock Concert Posters, Postcards and Handbills, 1965 to 1973."

The emergence of the psychedelic rock poster "is generally regarded as the most outstanding bit of graphic art in the 20th century," says King. "These posters were at the heart of a major social upheaval."

Four other artists make up the "big five" of psychedelic poster fame: Stanley Mouse, Alton Kelley, Victor Moscoso and Rick Griffin. Wilson's posters are among the most collectible.
For instance, an early first run poster by Wilson, for the Tribal Stomp event, sold for $16,500 at auction last year, King says.

Wilson's posters were revolutionary also, King says, for the earthy, sensual women he drew.
"Wes drew women that were vibrantly powerful. They are very sexy, but they are sexy in a different way. He obviously had a revolutionary attitude toward women before feminists emerged," he says. "So Wes is not only revolutionary graphically, but he's revolutionary socially and politically."

Wilson continues to draw and paint the female figure. "I think of women as the embodiment of beauty," Wilson says.

GREEN ACRES

Never comfortable with the commercial side of the industry, Wilson shunned "opportunists" long ago and has profited little from his work. "I was idealistic. I tended to trust people, but not everybody was trustworthy," he says.

By the 1970s he was ready to leave it behind — along with the escalating cost of California living. Mostly, he wanted to live on a farm. That he landed in the Ozarks was a matter of chance.
In 1976, he and Eva packed 10-year-old Colin and 7-year-old Theanna into a Mazda pickup and headed for the Midwest. After several weeks of wandering — with the birth of Jason along the way — they found the rolling, partially wooded acreage at the end of a country road near Aurora.
It used to be a dairy farm, explains Wilson, leading the way from his house to a barn where, unexpectedly, a tall canvas bearing one of his nudes keeps company with old farm tools.
His studio on the barn's upper level is a living scrapbook where posters and '60s memorabilia mingle with paint tubes and newer works.

A framed copy of a poster he "threw together" in one weekend leans against a wall. "Here Come the Beatles" announces the Aug. 29, 1966, Candlestick Park concert that would become the Beatles' last live performance together.

Tables in the open space outside his studio hold more posters, including a few he designed for Springfield events in the 1980s — about the time he worked as a graphic artist for City Utilities while raising beef cattle on the farm.

In 1985, Wilson did the cover for "The Art of Rock," in which he and his posters are heavily featured. An exhibit of his work at the Springfield Art Museum in January 1990 spurred new interest in his art, so Wilson started a newsletter called Off the Wall.

That led him to also co-produce three successful rock art expositions in California during the '90s. The banner from one hangs across his barn.

Today, Wilson is more than content to work around his farm (he's preparing for more cattle), walk his dogs, paint in his studio or write on his blog (wes-wilson.com).

"I am so happy we moved out here when we did," says Wilson. "It really comes down to a sense of peace."

Photo 1 by Wes Wilson
Photo 2 by Bob McEowen

King Curtis - Rock and Roll Saxophone

2009-07-19T14:18:00.001+09:30

By Neal Battaglia

You don't need to be a fan of the saxophone to have heard King Curtis' music; you only need a pulse. King Curtis was one of the best saxophone players in the early rock and roll and soul scene and he contributed to many albums in his day.

King Curtis' desire to play saxophone came at the age of ten when he first heard Louis Jordan play. He told his adoptive parent's that he wanted more than anything to play saxophone. His desire hit a fever pitch when he heard the tenor stylings of Lester Young.

When he was 11 years old, his parents presented him with an alto saxophone, which he began playing in the junior high band. Curtis switched to the tenor when his school band needed a tenor player. When he was 16, he started his own band and was playing at parties and dances. Heavily influenced by Texas tenor players like Illinois Jacquet, Earl Bostic and Arnett Cobb, he was at home with rhythm and blues, pop, and jazz music.

In the liner notes to one of his albums, Curtis described his influences in greater detail: "I liked Gene Ammons, Dexter Gordon, Lester Young and Sonny Stitt as well. I also dug Ben Webster and Coleman Hawkins for ballads, Getz for facility, Charlie Parker for technique. Another guy that influences both myself and Ornette Coleman was a Texas tenor man called Red Connor, who was a Coltrane ahead of his time."

It wasn't long before successful musicians heard Curtis play and wanted him for their albums. He recorded the saxophone parts for the Chuck Willis song What Am I Living For and the Clyde McPhatter song A Lover's Question. His breakthrough performance came when he recorded Yackety Yak with the Coasters. Following his impressive performance on that album, his staccato laced style would come to be known as "yackety sax."

Curtis felt that jazz wasn't the best direction for a profitable career in music and fully embraced the opportunity to play on more commercial friendly albums. He recorded Reminiscing with Buddy Holly and released songs of his own, the most notable being Soul Twist and Soul Serenade.

During the mid to late sixties, King Curtis recorded his two most successful songs of all time, Memphis Soul Stew and Ode to Billie Joe. He also led Aretha Franklin's backing band, The Kingpins during this time. He continued his relationship with the Coasters into the late sixties and spent some time producing albums for other acts, often in partnership with legendary producer Jerry Wexler. Curtis became a popular attraction at rock shows across the world and had the opportunity to play at some of the greatest venues of the time.

In 1971, Curtis contributed the sax break on John Lennon's song It's So Hard, which was a track on Lennon's Imagine album. Sadly, one month before the U.S. release of the album, Curtis got into an altercation on his doorstep when a group of men blocking the doorway to his apartment building refused to move so that he could get in. Curtis was stabbed to death, and the music world lost another one of it's greats.

Neal Battaglia

Are you into sax improvisation? Learn more about Saxophone Improv at Sax Station!

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My Five Best Bob Dylan Songs of All Time

2009-07-19T14:13:00.002+09:30

My Five Best Bob Dylan Songs of All Time by James Fowler, Jr.

Bob Dylan is an iconic singer-songwriter who helped to make America stand up and think about the music they were listening to throughout the last four decades. He is a bard and storyteller of American culture using the guitar, harmonica, and piano as his tools of trade.

Known for his nasal-voice, Dylan actually strived for that by emulating an early influence in Woody Guthrie. Bob Dylan has written hundreds of songs over the past 45+ years. While this list could be done over and over, my favorite five are below.

1. Masters of War: The Freewheelin' Bob Dylan (1963). Arguably one of Bob Dylan's greatest social commentaries, Masters of War has an endless appeal because it can be used for any time. Dylan has claimed that this song is not an anti-war song more than it is a pro-pacifism song. When he wrote the song, he was referring to Eisenhower's "military-industrial complex". The song is based off of an old English folk song from the late medieval ages called, Nottamun Town. Dylan picked up from popular tune in Appalachia and changed the lyrics to fit his own sound.

2. Desolation Row: Highway 61 Revisited (1965). This song, coming in at more than 11 minutes, was the last track on this album and the only one to not to feature an electric guitar. Dylan states that this song is a minstrel song fashioned after the carnival singers in blackface that he had seen. The lyrics provide a warning to people that society is heading towards Armageddon at the height of the Cold War. The title of the song is a mish-mash of two counterculture favorite novels: Desolation Angels (Jack Kerouac) and Cannery Row (John Steinbeck). Although, it has also been referenced that Dylan took T.S. Eliot's (mentioned in the song) The Waste Land as an inspiration. It includes religious, popular culture and Shakespearian references to explain the madness of America in the mid-sixties.

3. Subterranean Homesick Blues: Bringing It All Back Home (1965). This was Dylan's first top 40 Billboard Hit (#39) and one of his first electric guitar songs. It seems like Dylan was obsessed with Jack Kerouac during 1964 and 1965, since this song probably takes its name from Kerouac's 1958 novel, The Subterraneans, about the Beat culture in New York City. The song is interesting in the fact that it shows how some youth were joining the emerging counterculture while others were following the establishment in altering verses, yet makes them realize at the end that they are all in the same boat.

4. Like A Rolling Stone: Single (1965). One of Bob Dylan's most recognizable songs, was first released as a single and then put onto the album Highway 61 Revisited. Of all of his songs, this one cemented his place in the popular music world moving him beyond his folksy roots. The basis of this song came from a short story Dylan had written. The song is about class division of a rich woman and a poor man ("Napoleon in rags") who have each fallen from the graces of upper society because they failed to see what was going on around him. Dylan is explaining that if you aren't aware of your surroundings, you too, can fall off your high horse into destruction.

5. Visions of Johanna: Blonde on Blonde (1966). The originally title of this song was, Seems Like A Freeze Out, and was probably a reference to Joan Baez, who Dylan was dating at the time. The lyrics seem to be somewhat autobiographical of Dylan's life in entering New York City and his relationships there. The "visions" are related in lyrical form as wisp-like memories go through the singer's mind as he is remembering her.

Jimm, has had a life-long love of gathering useless knowledge and bringing it up at inopportune times. Born and raised in Northeast Ohio, Jimm (yes, that is with two 'm's but the second one is silent), spends his days building web sites and SEO campaigns for clients and coming up with new top five lists.

When he's not spouting trivia, Jimm likes to dress up in armor and beat his friends with plumbing supplies in the form of a Live Action Role-Playing game (or LARP) called NERO. He also enjoys spending time with his wife, Maggie, and their "menagerie" of Porthos the dog (as seen on the web site), and his other three musketeers, the cats: Sebastian, Cassandra, and Samantha. Find out more useless trivia, submit your own opinions and more at http://www.myfivebest.com.

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The History of a True American Musical Art Form - The Blues

2009-07-19T14:07:00.002+09:30

The History of a True American Musical Art Form - The Blues by Jonathan Morgan Jenkins

In the history of music there has probably not been one musical style that has influenced "Popular Music" more than Blues. Blues also is unique in that it is truly an "American" musical art form. As we will discover, the roots of the musical styles of Jazz, Rock, Gospel and musical artists from BB King, Elvis Presley, The Beatles and The Rolling Stones to Led Zeppelin, all were heavily influenced by the Blues.

It is important to note that the term "Popular Music" as I have used it above is a bit misleading. Too often we mention Classical Music and Popular Music as two completely different musical expressions. I am not inferring that they are not very different from each other. What I am saying is that the word "Popular" actually only relates to the time period one lives in.

Let me explain. If we were living in Europe in 1786 when Mozart was 30 years old and in the height of his career (he died at age 36) his music would have been considered Popular, would it not? If there had been recording studios, radio stations, Mp3's and iPods in 1786 would it be too naive and simplistic to conclude that one of his symphonies or piano concertos would have been a "Top-Ten Release?" And if so, would it not be considered "Popular Music?" I think you will admit that this is certainly an unconventional but truthful perspective.

Since Blues has been such a powerful influence, it is important to understand why. Following is a brief history.

The Blues were born in the North Mississippi Delta following the Civil War. Its heartfelt and passionate performances are deeply rooted in slavery and the African American culture. Early compositions were Field Hollers, Ballads, Church Spirituals and Rhythmic Dance tunes called Jump-Ups that showcased a singer who would engage in a call-and-response with his guitar. He would sing a line, and the guitar would answer. For many years, due to the lack of music education, multitudes of songs were recorded and passed on only by memory. Because of this fact, it is very possible that many a great song was "lost in translation."

The Blues became the essence and hope of the African American laborer, whose spirit is wed to these songs, reflecting his inner soul to all who will listen. Rhythm and Blues is the cornerstone of all forms of African American music. The Blues, with it's 12-bar, dissonant 7th chord progression and its bent-note melodies were the early anthems of an oppressed race, bonding themselves together through their soulful cries for freedom and equality. From its origins at the crossroads of Highways 61 and 49, and the platform of the Clarksdale Railway Station, the blues eventually began to expand and headed north to Beale Street in Memphis.

The term "The Blues" refers to the "The Blue Devils", meaning melancholy and sadness. An early use of the term in this sense is found in George Colman's one-act farce Blue Devils (1798). Though the use of the phrase in African American music may be older, it has been attested to since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition.

The Blues form was first mainstreamed about 1911-14 by the black composer W.C. Handy (1873-1958). However, the poetic and musical form of the blues first crystallized around 1910 and gained popularity through the publication of Handy's "Memphis Blues" (1912) and "St. Louis Blues" (1914). Instrumental blues had been recorded as early as 1913. During the twenties, the blues became a national craze.

Mamie Smith recorded the first vocal blues song, 'Crazy Blues' in 1920. The Blues influence on jazz brought it into the mainstream and made possible the records of blues singers like Bessie Smith and later, in the thirties, Billie Holiday.

In northern cities like Chicago and Detroit, during the later forties and early fifties, Muddy Waters, Willie Dixon, John Lee Hooker, Howlin' Wolf, and Elmore James among others, played what was basically Mississippi Delta blues, backed by bass, drums, piano and occasionally harmonica, and began scoring national hits with blues songs.

At about the same time, T-Bone Walker in Houston and B.B. King in Memphis were pioneering a style of guitar playing that combined jazz technique with the blues tonality and repertoire. It is also important to mention that the roots of Jazz began with the Blues. So, if there were no Blues, there would be no Jazz!

In the early nineteen-sixties, the urban bluesmen were "discovered" by young white American and European musicians. Many of these blues-based bands like the Paul Butterfield Blues Band, the Rolling Stones, the Yardbirds, John Mayall's Bluesbreakers, Cream, Led Zeppelin, Canned Heat, and Fleetwood Mac, brought the blues to young white audiences, something the black blues artists had been unable to do in America except through the purloined white cross-over covers of black rhythm and blues songs.

Since the sixties, rock has undergone several blues revivals. Some rock guitarists, such as Eric Clapton, Jimmy Page, Jimi Hendrix, and Eddie Van Halen have used the blues as a foundation for offshoot styles. While the originators like John Lee Hooker, Albert Collins and B.B. King - and their heirs Buddy Guy, Otis Rush, and later Eric Clapton and the late Roy Buchanan, among many others, continued to make fantastic music in the blues tradition. The latest generation of blues players would be Robert Cray and the late Stevie Ray.

Today there are many different shades of the blues. Forms include:

Traditional county blues - A general term that describes the rural blues of the Mississippi Delta, the Piedmont and other rural locales.

Jump blues - A danceable amalgam of swing and blues and a precursor to R&B. Jump blues was pioneered by Louis Jordan.

Boogie-Woogie - A piano-based blues popularized by Meade Lux Lewis, Albert Ammons and Pete Johnson, and derived from barrelhouse and ragtime.

Chicago blues - Delta blues electrified.

Cool blues - A sophisticated piano-based form that owes much to jazz.

West Coast blues - Popularized mainly by Texas musicians who moved to California. West Coast blues is heavily influenced by the swing beat.

The public's affection for the Blues only seems to be increasing. In Dana Point California, the city next to mine, Doheny Beach now has a yearly Blues Festival that keeps getting bigger and bigger. Others can be found in Portland, New York, Chicago, San Francisco, and the list goes on.

As for me personally, Blues has always been a regular part of my life. When I play guitar and sing with other musicians, it is the easiest and most enjoyable form of popular music to "jam" with. When I was growing up and my parents owned a music store and rock club called The Four Muses in San Clemente California from 1965 to 1975, we always had Blues groups performing. Most notable was the famous Blues Duo of Sonny Terry and Brownie McGhee.

My only personal problem with listening to a lot of Blues is that it can become very repetitious and not "fresh" sounding due to the consistent use of the standard 12 bar Blues Chord Progression. That said, I highly recommend that everyone make an attempt to listen to some live Blues this summer. The music and the crowd it attracts normally guarantee an enjoyable experience.

Thank you for reading!

Jonathan Morgan Jenkins

Check out my web site!

http://www.vocaltrainingwarrior.com

http://www.vocaltrainingwarrior.com/about_me

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The Beatles White Album in Mono - Classic Double Album to Be Released in Mono in US For the 1st Time

2009-07-19T14:02:00.002+09:30

The Beatles White Album in Mono - Classic Double Album to Be Released in Mono in US For the First Time by Jackson Weinheimer

My Favorite Album Of All Time

The White Album is my favorite album ever (by The Beatles or anyone else). I love it because of all of the different styles of music on it. I love it because of all of the brilliant songs. I love it because of it's imperfections ("Don't Pass Me By" comes to mind). And yes, I love "Revolution #9."

The Last Beatles Album Mixed In Mono

For most of The Beatles career mono was the standard and the stereo mix was something that was done as an afterthought. The band (and the producers and engineers) worked to get the mono mix just perfect and then would throw together the stereo mix rather quickly, sometimes in a very experimental fashion (as stereo was still very new, people were trying things out to see what worked). But by 1968 mono was getting phased out and The White Album was The Beatles final album mixed in mono.

Never Released In The US In Mono

In the US mono had already been phased out and so only the stereo mix of the The White Album was released in the US while in the UK both the mono and stereo versions were released.

Mono Mixes On CD For The First Time

On 9/9/9 (a cool reference to "Revolution #9") the original mono mixes of The Beatles first 10 studio albums (through The White Album) will be released on mono on CD for the first time.

The White Album is the only one of those 10 albums that was never released in mono on vinyl in the US so it will really be the first release of this mix in the US ever (on any format.) For those of us who think this is the greatest album of all time (and I think there's quite a few of us!) it's very exciting to finally get to hear this mix.

The White Album in mono will not be available for individual purchase, instead it will be included as one of the 10 Beatles albums (all with original mono mixes) in the Beatles Mono Box Set.

CLICK HERE to learn more about this mono box set (which includes The White Album in mono on CD for the first time ever) including how you can order it online 24/7/365.

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A Brief History of Rock and Pop Music

2009-07-19T13:54:00.002+09:30

A Brief History of Rock and Pop Music by Tony Dunn

You may be wondering when exactly did rock/pop music begin? There's no clear answer to this. Some might say that it started with the advent of rock n roll with Bill Haley and the Comets in 1952. Others would say Elvis, although not the first but surely the original truly global superstar. Yet none of these were really the first.

Rock n roll has its roots in blues which has its roots back to the 19th century with black immigrants trying to escape from their slave driven lives. Fast forward to the early 20th century and some of the earliest recordings on 78 began to appear. Players from this time such as Bobby Jo and Robert Johnson helped to form the structure of early blues.

Robert Johnson had recorded only thirty songs during his short life as he was prevented from achieving true fame while alive by being poisoned by the jealous husband of a woman he knew. He died shortly before he was being sought to appear at the 'Spirituals To Swing' concert in 1938 by record producer John Hammond. As a result, his reputation only took off after Hammond released an album of his recordings for Columbia in the early sixties. Later blues exponents like Muddy Waters and Eric Clapton admitted borrowing heavily from these early stalwarts.

In the 50's, artists took the basic blues style and used electric guitars, drums and double bass for the first time creating early rock n roll, later known as rockabilly. Stalwarts like Chuck Berry, Buddy Hollie and Jerry Lee Lewis were the most famous protagonists here.

Later Elvis in the US and to a lesser extent, Cliff Richard (later leading the Shadows) in the UK brought rock n roll to a truly worldwide audience. This paved the way for the 60's beat era which could be considered the true beginning of pop music as we know it today, certainly as far as bands were concerned.

In the 50's and early 60's, it was mostly lead solo artists with just a backing band. With the advent of the beat era, bands dominated with The Beatles, The Rolling Stones and the Beach Boys from the US taking the world by storm. Even so, The Beatles later admitted being heavily influenced by those earlier rock n roll and blues artists.

They mostly played rock n roll and blues covers at their pre-fame Hamburg concerts in the early 60's. The Beatles however, were the first band to successfully blend classical music textures with rock n roll to form perfectly crafted pop songs, while bands like The Rolling Stones continued with the mainly rock n roll theme.

The Beatles took their finely crafted style further in the seminal album 'Sgt. Pepper's Lonely Hearts Club Band' in 1967 by utilizing new studio techniques and instruments never used before. They used a new instrument called 'the Melotron.' This was basically a keyboard which played looped tape recordings. of real instruments.

The most famous sound from this was probably the flute used on the 'Strawberry Fields' single recorded at the same time but later dropped from the album. The Melotron though, was cumbersome and unreliable and had a rather grainy sound. Even so it was regarded as the forerunner of the electronic sampler, invented nearly 20 years later. Infinitely more flexible than the Melotron, the sampler helped build the framework for modern pop,dance and R&B music.

The Beatles 'Sgt. Pepper' album with its groundbreaking recording techniques was preceded the year before by their 'Revolver' album. These LP's helped popularize a new wave in music known as psychedelic or acid rock, named after the mind bending effects of LSD drugs. Pink Floyd also recorded their debut album 'Piper at the Gates of Dawn' in the studio next door at the same time that The Beatles recorded Sgt. Pepper. It was reported that Pink Floyd were a direct influence to The Beatles as a result. This new style incorporated new guitar effects like Fuzz, flanger anger and delays. These were used along side the earliest portable synthesizers such as the therein and mini Moog, invented by Bob Moog.

In America, the Beach Boys responded with the 'Pet sounds' LP in 1966 and later that year released the first big psychedelic hit 'Good Vibrations'. About this time, the band 'Jefferson Airplane' recorded their debut album which was also the first LP to come out of the new San Franciscan music scene. This got the record industry's attention and they had two of the earliest psychedelic hits 'White Rabbit' and 'Somebody to Love' in 1967.

Meanwhile in Los Angeles, Jim Morrison joined with members of The Psychedelic Rangers and Rick and the Ravens to form 'The Doors'. They were initially turned down by Columbia but were signed to Electra Records and released their self titled debut LP in 1967. The album included the 7 minute long hit single 'Light my Fire' one of the first to break the typical three minute pop and rock song barrier.

Back in Britain, radio broadcasting was very limited because the BBC were the only organization allowed to broadcast on the mainland and had just two pop music shows The Saturday Club and Easy Beat Radio Luxembourg partially filled the gap but it was left to pirate radio, broadcast from ships out at sea with DJ John Peel which enabled the new style to reach a mass audience, often eclipsing the BBC in popularity.

The BBC responded in the end with the advent of Radio 1 in June 1967. With the existing labor government making pirate radio illegal in Britain several months later, DJ's like John Peel, rather than risk arrest, joined Radio 1 which had a much more informal and relaxed style as opposed to the staid and conservative approach favored by the BBC until then. This perfectly suited psychedelic pop and rock and John Peel championed this in his late night shows. playing new genres of music and introducing new and unsigned bands in the Peel sessions. He did this for nearly four decades until his death in 2004.

By the end of the 60's after the break up of The Beatles, mainstream music was about to change direction yet again both in style and fashion.

Tony Dunn publishes blogs on a variety of topics, including dog training, arts and entertainment reviews & true live stories. To read "Brief history of rock and pop music" which is continued in part two and other interesting stuff: visit the link below.

http://www.musicoftheguitar.blogspot.com

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The Beatles Mono Box Set - The Original Mono Mixes of the Beatles Albums on CD For the First Time

2009-07-19T13:51:00.001+09:30

The Beatles Mono Box Set - The Original Mono Mixes of the Beatles Albums on CD For the First Time by Jackson Weinheimer

The Mono Mixes Are What The Band Focused On

It wasn't until the late 1960s that stereo mixes really overtook mono mixes as the new standard and thus it wasn't until the late 1960s that The Beatles (and their producer George Martin and their engineers like Geoff Emerick) started to focus on the stereo mixes as anything other than an after thought after they got done perfecting their "real" mixes. That is, the mono mixes.

Hearing The Beatles Albums As Originally Intended

Since the original mono mixes were what the band and their producer and engineers were focused on it makes sense to think of those mono mixes as the albums as they were originally intended to be heard. And that's one of the big reasons that so many Beatles fans are excited about these original mono mixes being released on CD for the very first time this year (on September 9th, 2009).

What's In The Beatles Mono Box Set?

The first 10 Beatles albums in mono.

Help! & Rubber Soul in their original stereo.

Mono Masters collection of non-album tracks in mono.

Cool new packaging & an essay written by Kevin Howlett.

Why Only The First 10 Albums In Mono?

The Beatles final three studio albums (Abbey Road, Let It Be, & Yellow Submarine) are not included because they were never mixed in mono. By 1969 mono had been completely phased out.

Why Are Help! & Rubber Soul Included In Stereo?

These two albums are included with both mono & stereo mixes. The original stereo mixes for these albums were very experimental (because mixing in stereo was a very new thing at the time) and were deemed too weird to be released on CD when the Beatles CDs were first being pressed in the 1980s. So new stereo mixes were made for these albums and those new stereo mixes are what we've been hearing on CD ever since.

The original stereo mixes are included in this set for those of us who are curious as to how they sounded originally back in 1965!

What's On The Mono Masters Collection?

All of the Beatles songs that were not included on their original 13 UK studio albums in their original mono mixes! You may be thinking this is just going to be a collection of lesser songs because they didn't make it on the albums but that couldn't be any farther from the truth.

Many of their biggest hits were never included on their studio albums (such as "Hey Jude" and "Day Tripper"). This collection is based on it's stereo counterpart, Past Masters. The difference is, of course, that these are the mono versions of these classic songs.

Mono Mixes Of Albums Are Not Available For Individual Sale

These mono mixes of The Beatles albums can only be purchased as a part of this box set. On the other hand, the stereo mix CDs can be purchased individually or as a part of the new remastered stereo box set.

CLICK HERE to find out how you can order this Box Set online 24/7/365. It's available only as a limited edition (with only 10,000 copies being made) so you should definitely order as soon as possible to make sure you get your copy. While they are not officially for sale until 9/9/9 you can pre-order now.

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Charlie Parker Bio: Alto Saxophonist Legend

2009-07-19T13:46:00.001+09:30

Charlie Parker Bio Alto Saxophonist Legend by Neal Battaglia

Alto saxophonist Charlie Parker was one of the most influential jazz musicians of all time. Known also as Yardbird, or simply Bird, Charlie was an early bebop pioneer; many of his songs remain standards to this day.

It might surprise you, but Charlie Parker started playing the saxophone at age 11, but wasn't a child prodigy by any stretch of the imagination. He joined the school band at age 14, and by one account, was kicked out because of his bad playing as a result of his lack of formal training.

Charlie didn't let setbacks bother him though, and an in interview once said that for three to four years he practiced 15 hours a day. Part of this practice regime included playing the blues songs he learned in all 12 keys. During this time, Parker's improvisational skill flourished, and he began to develop some of the musical ideas that would give birth to bebop.

In the late thirties, Charlie played with local jazz bands in the Kansas City area. Ensembles led by Count Basie and Bennie Moten were popular in the area around this time and influenced Charlie's playing. By 1938 Charlie Parker had joined pianist Jay McShann's band, Jay McShann's Territory Band. The band played all over the southwest and occasionally travelled to bigger markets such as Chicago and New York.

It was with Jay McShann that Parker would play on his first professional recording. Bird moved to New York in 1939 and took a job as a dishwasher at Jimmy's Chicken Shack to supplement the income he made with Jay McShann's Territory Band. Pianist Art Tatum frequently played at the venue and his use of fast paced arpeggios would have an influence of Parker's playing.

In 1942 Charlie Parker left Jay's band to play with Earl Hines' band. A band that included Dizzy Gillespie on trumpet. A musician's strike from 1942-1943 has made it difficult to document much of what happened during that period. We do know, however, that in that year Paker played with a group of young musicians who embraced the new bebop form of jazz. This group of musicians included not only Parker and Gillespie but other soon to be legends, such as Thelonious Monk, Charlie Christian and Kenny Clarke.

During these formative years of the genre, most of the older, established jazz musicians did not embrace it. Some, however, such as Coleman Hawkins and Benny Goodman, appreciated the new art form, playing and recording with bebop stylists. The genre which Charlie Parker all but invented, had arrived.

Charlie was famous for showing up to gigs without an instrument and borrowing one from somebody else at the last minute. For this reason, he could be seen playing many different makes and models of sax. These include Conn 6Ms, Selmer model 22s, and 26s, and even a Grafton plastic saxophone. In 1947 he had a King Super 20 made exclusively for him. He seemed to prefer Brilhart mouthpieces, having used both Ebolin and Tonalin Streamlines. According to rumor he used hard Rico reeds early in his career but later switched to a 2 ½ in the fifties.

Neal Battaglia

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Leonard Cohen - Cohen Says Enough

2009-07-19T13:44:00.002+09:30

by Brent Warnken

Canadian singer Leonard Cohen has had enough of other artists covering his song "Hallelujah." Although Cohen admitted he was pleased when the track landed at numbers one and two on the U.K. singles chart last Christmas, with versions from X Factor winner Alexandra Burke and singer Jeff Buckley, he told Canadian Broadcasting Service that he feels there are too many versions of his song.

Said Cohen, "I was reading a review of a movie called Watchmen that uses it, and the reviewer said 'Can we please have a moratorium on 'Hallelujah' in movies and television shows?' and I kind of feel the same way. I think it's a good song, but too many people sing it."

Cohen also revealed that he felt vindicated because his record label nearly stopped him from releasing the song. "I was happy the song was being used, of course. There were certain ironic and amusing sidebars, because the record that it came from which was called Various Positions - [a] record Sony wouldn't put out (it was eventually released on indie label Passport). They didn't think it was good enough. It has songs like 'Dance Me To The End of Love,' 'Hallelujah,' 'If It Be Your Will.' So there was a mild sense of revenge in my heart," the singer explained.

By the time Leonard Cohen emerged as a singer in the 1960's, the Montreal native was well into his thirties and was already a critically acclaimed novelist and poet. Cohen released his debut album, Songs of Leonard Cohen, in 1967 and the now-classic album yielded hits like "Suzanne," "So Long, Marianne," "Sisters of Mercy" and "Hey, That's No Way to Say Goodbye."

Cohen's subsequent two albums, Songs From a Room (1969) and Songs of Love and Hate (1971) continued to cement his status as one of the most talented singer-songwriters of the late '60s and early '70s and he began to expand his musical horizons from pure folk to include traces of country, jazz and R&B on such albums as 1974's New Skin for the Old Cemetery.

It was in the mid-80s that Cohen released Various Positions (1984), the album the spawned one of his biggest hits, "Hallelujah," which has since been covered by Bono, Willie Nelson and countless others. Following the release of Various Positions, Cohen churned out two of his most lauded albums, I'm Your Man (1988), which drew on the AIDs crisis, and The Future (1992), in which he describes himself as "the little Jew who wrote the Bible" on one track, thus confronting his interest in Christian imagery, practice of Buddhist exercises and immersion in Judaism.

Cohen continued to release albums into the new millennium, such as 2001's Ten New Songs, 2004's Dear Heather and 2006's Blue Alert. In 2008 Cohen was inducted into the Rock and Roll Hall of Fame and that same year the musician, author and poet performed for a Canadian audience for the first time in some 15 years. Don't miss your chance to see him live, get your Leonard Cohen tickets online.

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The Beatles - Sgt Pepper's Lonely Hearts Club Band - Mono Vs Stereo Mixes

2009-07-19T13:40:00.001+09:30

The Beatles - Sgt Pepper's Lonely Hearts Club Band - Mono Vs Stereo Mixes by Johnny Moon

Both Mono & Stereo Mixes Of Sgt. Pepper Were Released In 1967

When The Beatles groundbreaking album Sgt. Pepper's Lonely Hearts Club Band was released in 1967 it was available in both a mono and a stereo mix. At the time mono was considered the "standard" as a majority of people listened to their music with mono playback and stereo was still pretty new to the scene and considered sort of "experimental."

The Beatles Worked Primarily On The Mono Mix

The Beatles and their producers and engineers (namely George Martin and Geoff Emerick who are legends in their fields) worked very hard to get the mono mix of Sgt. Pepper perfect. In comparison they spent much less time working on the stereo version. Because of this many people feel that the mono version of the album is the way it's "intended to be heard."

Differences Between The Mono & Stereo Mixes

Besides the obvious difference that mono is mono and stereo is stereo, there are differences in the mixes which allow certain things to be heard in one version but not another. What follows are a few examples of the differences between the two versions:

The guitar at the end of "Sgt. Pepper's Lonely Hearts Club Band" is far more prominent in the mono mix.

The mono mix of "Lucy in the Sky with Diamonds" includes a lot of echo on John Lennon's lead vocal which gives this version of the song a more "spacy" quality. It's also slightly slower.

"She's Leaving Home" sounds faster in the mono mix. Perhaps it was slowed down for some reason when they were mixing in stereo?

"Sgt. Pepper's Lonely Hearts Club Band (Reprise)" includes a drum intro that is four bars longer in the mono version. Also includes many other sounds that are inaudible in the stereo mix.

The Beatles Mono Box Set includes the mono version of Sgt. Pepper on CD for the first time. In all the Mono Box Set has the first 10 Beatles studio albums on mono (they stopped mixing in mono after The White Album) and a "Mono Masters" compilation which features all of their non-album songs in their original mono mixes (this includes huge hits like "Hey Jude" which were never included on an album).

The Mono Box Set is the only way to obtain the mono CD version of Sgt. Pepper because the individual CDs in the box set are not being released on their own, but only as a part of the set.

The Beatles Stereo Box Set includes the newly remastered stereo mixes of each of The Beatles albums.

When combined the Mono & Stereo Box Sets include every mix of a Beatles song originally released in the 1960s. They are the ultimate Beatles collections and serious Beatles fans will definitely be getting both of them.

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Sgt Pepper's Lonely Hearts Club Band in Mono - Hear the Beatles Legendary Album in Original Mono

2009-07-19T13:34:00.002+09:30

Sgt Pepper's Lonely Hearts Club Band in Mono - Hear the Beatles Legendary Album in Original Mono by Jackson Weinheimer

Changed Music Forever

The Beatles 1967 album Sgt. Pepper's Lonely Hearts Club Band changed the world of "pop" music when it was released. It made people realize that popular music could be more than just something to tap your toes to. It could be "art." It could be a thinking man's music.

The Focus Was On The Mono Mix

One thing that you don't hear much about when people discuss Sgt. Pepper is that when The Beatles were recording and mixing this legendary album (along with their producer George Martin and their engineer Geoff Emerick) their focus was mostly on the mono mix, not on the stereo mix that most of us have been listening to on CD.

Mono Was The Standard

Why were The Beatles focused on mono? Because that was the "standard" at the time. It's just how most people listened to their music in 1967. Stereo was still a relatively new thing. And while they did do a stereo mix for Sgt. Pepper not nearly as much time and effort was spent on getting it right as with the mono mix. In fact, the band was very involved with the process of the mono mix but mostly uninterested in the stereo mix.

As It Was Meant To Be Heard

Because of the focus on the mono mix there are some Beatles fans who feel that the mono mix of Sgt. Pepper is the "real" version of the album as it was really meant to be heard. Many have said that the mono mix is actually far superior to the stereo mix that most of us now know. Included among those who have said the mono mix is better is John Lennon himself.

Only The Stereo Version Was Put On CD

When The Beatles music was released on CD in the 1980s only the stereo version of Sgt. Pepper (and their other albums) were released. Up until now there's been no easy way for Beatles fans to hear the mono Pepper. You would have to find an old original mono Sgt. Pepper vinyl LP (which could be hard to find and expensive once found) and of course you'd have to have a record player!

Sgt. Pepper Released In Mono On CD On 9/9/9

Sgt. Pepper and the rest of The Beatles albums will finally be released in their original mono on CD on September 9, 2009 as part of a box set. On that same date remastered versions of their stereo albums are being released as well as The Beatles Rock Band video game.

Sgt. Pepper's Lonely Hearts Club Band will only be available on CD in it's original mono mix as a part of The Beatles Mono Box Set. None of the new mono mix Beatles CDs will be available for individual sale. There are reportedly only 10,000 copies being made of The Beatles Mono Box Set.

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Eric Clapton - Retaining the 'Slowhand' Persona

2009-07-18T22:23:00.002+09:30

by Brent Warnken

On a recent list of the 100 Greatest Guitarists of All Time done by Rolling Stone, it should come as no surprise that Eric Clapton was named in the Top Ten, coming in fourth just behind B.B. King, Duane Allman and Jimi Hendrix.

The only guitarist in the top five that is still alive, he has amazed audiences from the moment he stood onstage alongside the Yardbirds that his "slowhand" would make an impression on society's beats (Slowhand was the nickname given to Clapton for his impressive velocity in solos that were given to the youngest member of the group); "I think it's important to say something powerful and keep it economical," Clapton said in a Rolling Stone interview from 2001 about such a adjective.

Now the guitarist who has seen one of the most illustrious careers in the business is out again for the hot, sweltering month of June as his partner from the historic "Live at Madison Square Garden" concert," Steven Winwood, appears once again for 14 national dates. If you are ready for the future historical action, get in on Eric Clapton tickets online today.

"I have wanted to play with Steve for a long time," Clapton said in a press statement announcing the New York City shows from last year. "I consider him a friend and a truly gifted musician. Our set at the Crossroads Festival this summer was a real treat, so I expect these shows will be good fun for us and for the fans," and right he was, as the now celebrated live DVD showcases the two rock legends feeding off each other just like they did in the '60s with Blind Faith. The two are currently playing a two hour and 15 minute set that follows both careers, from Winwood's Traffic, Spencer Davis Group and solo career days to Clapton tracks like "Forever Man," "After Midnight" and "Cocaine."

It has been three years since Clapton's latest release which came in the form of
2006's The Road to Escondido. The set was another fusion of blues, rock, country and folk licks that earned his work with J.J. Cale a Grammy Award for Best Contemporary Blues Album (Vocal or Instrumental) at the 50th Annual Awards Ceremony two years later.

The collaboration reaffirmed his longtime fans just how well Clapton could still jam as the slow hand man had always dreamed of working with his longtime influence and hero, Cale. A mixture of Cale's sound from the '70s along with the Delaney & Bonnie features from Clapton's days with Cream, Road to Escondido was a true roots album from way back as listeners have trouble distinguishing the two legends in the set.

June 2009
10 - East Rutherford, NJ - Izod Center
12 - Philadelphia, PA - Wachovia Center
13 - Washington, DC - Verizon Center
15 - Columbus, OH - Schottenstein Center
17 - Chicago, IL - United Center
18 - St. Paul, MN - Xcel Energy Center
20 - Omaha, NE - Qwest Center
21 - Denver, CO - Pepsi Center
23 - Dallas, TX - American Airlines Center
24 - Houston, TX - Toyota Center
26 - Glendale, AZ - Jobing.com Arena
27 - Las Vegas, NV - MGM Grand Arena
29 - Oakland, CA - Oracle Arena
30 - Los Angeles, CA - Hollywood Bowl

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Invitation to Book Launch for "Goodbye, Crackernight" by Justin Sheedy, Saturday 26 September

2009-07-15T21:16:00.005+09:30

Hi all,

Here is an email I received from one of the regular contributors to this site, Justin Sheedy. Justin has a launch for his new book "Goodbye, Crackernight" coming up in September, so if you are in Sydney at this time, please go along. I'm sure Justin would love to meet you as he is a big fan of this site and the music and culture associated with it. And judging by the articles he writes for this site, he is a hell of a good writer!

Cheers,

Robert.

You are invited to the Book Launch for "Goodbye, Crackernight" by Justin Sheedy.

As per the image shown, the launch will be held at the beautiful new Surry Hills Library, 405 Crown Street, Surry Hills, on Saturday 26 September, 4-7pm. Admission is free, food & refreshments provided, copies of the book available on-site for sale and signing by the author, who will thank the Good Lord and read excerpts.

Though admission is free, your RSVP is essential: To do so, please telephone the Surry Hills Library on 02 8374 6230. To help us better plan the event, please also send an email to the following address by the end of July, stating numbers wishing to attend.

Though places will be limited so do get in quick. crackerlaunch@hotmail.com. We look forward to seeing as many of you there as possible. Until then, please keep up to date with happenings re "Goodbye, Crackernight" at http://crackernight.com/ and please feel free to forward this Invite email to anybody and everybody you like. Justin Sheedy.

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Van Morrison - Over 60 and Still Rocking!

2009-07-12T09:04:00.001+09:30

Van Morrison - Over 60 and Still Rocking! by Sofia Hills

In August 1945, a baby was born in Belfast Ireland who would grow to be one of the most influential musicians of the twentieth century. Named George Ivan Morrison by his parents, "Van the Man" by his fans, and more commonly Van Morrison by music lovers throughout the world, the "baby" is now into his sixties and both he, and his music are still going strong.

Playing a variety of instruments including keyboard, saxophone and harmonica he played in various groups until he found stardom knocking on his door when his Irish rhythm and blues band "Them" released in 1964 (ironically released as the B side of "Baby, Please Don't Go!").

Three years later, it would be "Brown Eyed Girl" that would bring him to an even higher level, only this time as a solo performer. "Brown Eyed Girl", a song that is considered synonymous with Van Morrison, has been listed in many top 100 best song lists - and in 2007 was inducted into the Grammy Hall of Fame. Despite this, Van Morrison remains adamant that because of a contract he signed without professional advice, he has never earned any royalties for this song.

Another of Morrison's songs that has achieved greatness is the title track from his 1970 "Moondance" album. Although released as a single 7 years after the release of the album, the sophisticated sound of "Moondance" has made it an ideal choice for singers like Michael Buble. Many of Van Morrison's songs have also appeared on movie soundtracks over the years.

Despite his public appeal, and the way his music reaches out to his fans, Van Morrison himself is not one of the music world's more flamboyant celebrities. In fact, at one time he suffered from serious stage fright which kept him from performing live for a time in the 1970s.

Since regaining his stage confidence he has played in front of such notable people as then US President Bill Clinton, as well as concert venues worldwide packed with thousands of fans. He's also no stranger to TV appearances and appeared as one of Jay Leno's final guests before his show was moved to prime time in May 2009.

One of the things that makes Van Morrison so popular is his ability to mix musical genre. Most performers stick within a particular genre and that's the foundation of their fan base. Van Morrison however reaches across genres, blending his native Celtic tones with blues, folk, rock and roll, and even pop. Consequently his music reaches a wide audience that spans generations.

Although Van Morrison doesn't tour, he does continue to perform live, so if you haven't seen him yet, make sure you get a ticket next time he's in your area!

Van Morrison concert fans can know about the artist discography and also how to book tickets here at tickets Van Morrison.

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Piano Based Beatles Songs

2009-07-12T08:59:00.002+09:30

Piano Based Beatles Songs by Jackson Weinheimer

While The Beatles are best known for their many great guitar based songs (such as "Get Back," "Revolution" and "Day Tripper" to name just a few) they also had a number of excellent songs where the piano was the main instrument in the mix.

"Hey Jude" - This was one of the Beatles most successful singles both as far as sales (it went to #1 in the US and the UK along with nine other countries) and as far as critical reception. It was nominated (although it did not win) for three Grammy Awards (Record of the Year, Song of the Year, and Best Pop Performance by Duo or Group with Vocal). It won a 1968 NME poll for best single of the year. And in 2004 it was ranked as the 8th greatest song of all time by Rolling Stone magazine (the highest ranking Beatles song).

For a long time it was the longest #1 single in US and the UK history (it's just over seven minutes long). Paul McCartney wrote the song, played the piano, and sang lead on the song (as he did on all three of the piano based songs in this article).

"Let It Be" - The title track for The Beatles final album was another hugely successful Paul McCartney piano ballad. It was also included in the 2004 list of the 500 greatest songs of all time by Rolling Stone magazine (#20). Over the last six months it has been the most played Beatles track (barely beating out "Come Together") on the music site Last.FM ("Hey Jude" is #6 on the list).

While this song is definitely "piano based," the guitar solo by George Harrison is one of the more beautiful guitar solos I've ever heard, and does deserve a mention when talking about this timeless song.

"Lady Madonna" - While not as famous as the previously mentioned songs, it did go to #1 in the UK (where "Let It Be" actually only reached #2). Although it did reach only #4 in the US which is actually a low ranking for a Beatles single!

Unlike "Hey Jude" and "Let It Be," "Lady Madonna" is a fast paced rock song. Along with the piano, defining features of the song are the heavy bass guitar, the saxophone, and the unusual sounding backing vocals. The song is barely over two minutes long which was normal for The Beatles, but would be quite strange for a single today.

It's been the 28th most played song on Last.FM over the last six months (right above the early Beatles hit "She Loves You"). In the 1990s the band Sublime had a hit with the song "What I Got" whose melody is almost identical to "Lady Madonna."

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Steve Miller Band - Preoccupation with Flight‏

2009-07-11T23:27:00.002+09:30

by Brent Warnken

What is it with Steve Miller and flying? A disproportionate number of Steve Miller Band's greatest hits have to do with airplane travel in one form or another, and the imagery associated with the band's albums include a distinct aero-fixation. If you like the way he sings about flying in his songs, you could find Steve Miller Band tickets online. In typical Steve Miller style, you should have the tickets air-mailed to you.

Album Cover Art

If you go to the Official Steve Miller Band webpage, stevemillerband, you'll see the Steve Miller Band logo large and bold in the center of the front page. The words STEVE MILLER BAND appear in an upside-down frown curve at the top, and a picture of a blue, winged horse occupies the vast majority of the page space.

The muscular horse is tense and rearing his head, showing his teeth and gums, seemingly startled by something at his rear. The wings on the horse's back are humongous, and they're spread out in all their glory, ready to fly (like an eagle). They are the only part of the blue horse that has caught the light of the sunset in the background, thus coloring the tips of the wings red, orange and violet.

The first appearance of this flying horse image is on Steve Miller Band's 10th studio album, 1977's Book of Dreams, and it would appear on several more albums in subsequent years. Most commonly the flying horse is found on their best-of albums. It's used as a kind of band logo (like the Rolling Stones' lips and tongue), a trademark you can see on official band merchandise. Because the horse does not have a horn, it's clearly not a unicorn. So why the wings, Steve Miller?

"Fly Like an Eagle"

One of the most obvious examples of Steve Miller Band singing about flying is "Fly Like an Eagle," one of their popular radio hits. The song has few lyrics that aren't tied directly to air travel. Even when Steve Miller sings about how "time keeps on slipping, slipping slipping/ into the future" he's most likely talking about how, when time zones are crossed, time slips into the future.

The chorus, which was used by the US Postal Service to advertise their air mail, goes like this: "I want to fly like an eagle/ To the sea/ Fly like an eagle/ Let my spirit carry me/ I want to fly like an eagle/ 'Til I'm free/ Oh, Lord, through the revolution."

"The Joker"

The title of "The Joker" is commonly mistaken as "Space Cowboy" because the song's first few lyrics identify the narrator as a "space cowboy." The rest of the song is mostly about loving women's peaches and smoking and toking, but it's important to note that the line about being a space cowboy was prominent in the verses, prominent enough for radio listeners to focus on that part of the song more than any other.

"Jet Airliner"

As if it couldn't get any more obvious, the Steve Miller Band released a major hit song titled "Jet Airliner" in 1977. The song is about leaving on a jet plane, and the chorus goes a little like this: "Big ol' jet airliner/ don't carry me too far away/ Big ol' jet airliner/ cause it's here that I've got to stay." The rest of the song is filled with references to flying on airplanes. For example "As I get on the 707/ Ridin' high I got tears in my eyes," and "Touchin down in New England town."

"Rockin' Me"

While most of the song "Rockin' Me" is about Steve Miller sweet-talking his girlfriend, the chorus is, of course, about flying across the country. Steve Miller sings, "I went from Phoenix, Arizona/ All the way to Tacoma/ Philadelphia, Atlanta, L.A./ Northern California where the girls are warm/ So I could hear my sweet baby say." Who would have that kind of travel itinerary besides someone flying zig-zag across the country?

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CONCERT REVIEW: The Atlantic City Pop Festival – A 40 Year Anniversary

2009-07-09T17:40:00.003+09:30

Article by Nick Oliva on Only Moments: http://onlymoments.wordpress.com
Article URL: http://onlymoments.wordpress.com/2009/06/19/the-atlantic-city-pop-festival-a-40-year-anniversary/

BEFORE WOODSTOCK THERE WAS THE ATLANTIC CITY POP FESTIVAL. Here's a good link for it: http://www.e-rockworld.com/AtlanticCity.htm.

I attended this incredible concert as a young lad and it changed my life for the better. I still have the original mimeographed line-up sheet. My uncle was the Chief of Police for Galloway Township, the place where the show was held, and I had to hear all kinds of shit about “druggie hippies” and the like. Of course, I never did any of those things…I swear (supreme bullshit). Here’s the super line-up courtesy Wikipedia:

American Dream
Aum
Booker T. & The M.G.s
Tim Buckley
Paul Butterfield Blues Band
The Byrds
Canned Heat
The Chambers Brothers
Chicago **Chicago Transit Authority
Joe Cocker
The Crazy World Of Arthur Brown
Credence Clearwater Revival
Dr. John
Cass Elliot
Iron Butterfly
Jefferson Airplane
Janis Joplin
Lighthouse
Little Richard
Lothar and the Hand People
Hugh Masekela
Buddy Miles
Joni Mitchell
Mother Earth
Tracy Nelson
Procol Harum
Buddy Rich
Biff Rose
Santana
Sir Douglas Quintet
Three Dog Night
Edgar Winter
Biff Rose
Frank Zappa

Biff Rose was the MC and filled in for Joni Mitchell when she started to cry and ran off stage in the middle of her 3rd song when the crowd was not paying attention to her performance. It seems she was placed in the rotation directly after Mother Earth featuring Tracy Nelson and the crowd wasn’t ready to hear her mild act.

Crosby, Stills & Nash were originally on the lineup but ended up as a no-show, Nash supposedly had polyps on tonsils (but sang at Woodstock two weeks later). The Chambers Brothers were a last-minute substitute.

Article by Nick Oliva on Only Moments: http://onlymoments.wordpress.com
Article URL: http://onlymoments.wordpress.com/2009/06/19/the-atlantic-city-pop-festival-a-40-year-anniversary/

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