BOOK REVIEW: Iluminating the Lives of Joni Mitchell, Carole King and Carly Simon - Written by Sheila Weller
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VIDEOS: Bob Dylan in Concert
2008-09-27T15:10:00.002+09:30Here's a few mighty performances by Bob Dylan:
Like a Rolling Stone:
http://www.youtube.com/watch?v=xO0gSJGJ7Fs
Blowin' in the Wind:
http://www.youtube.com/watch?v=A4nPJ-YYHBc
Hurricane:
http://www.youtube.com/watch?v=EotM7FH8uQg
Enjoy!Dr Robert MullerFacts about Bob Marley
2008-09-27T12:18:00.000+09:30Facts About Bob Marley by Richard Heap
Bob Marley, the Natural Mystic, may yet prove to be the most important musical artist of the twentieth century. Bob Marley's songs of determination, rebellion, and faith found an audience all over the world. Bob Marley was reggae's leading practitioner and emissary, embodying its spirit and spreading its gospel to all corners of the globe. Bob Marley free speech carries with it some freedom to listen.
Reggae's most transcendent and iconic figure, Bob Marley was the first Jamaican artist to achieve international super stardom, in the process introducing the music of his native island nation to the far-flung corners of the globe. Though he died prematurely at age 36, the heartbeat reggae rhythms of the enormous body of music that Bob Marley left behind have endured. However, in the two decades since the great man has gone, it is clear that he is without question one of the most transcendent figures of the past hundred years.
The last Bob Marley and the Wailers tour in 1980 attracted the largest audiences at that time for any musical act in Europe. Bob Marley and the Wailers was now the most important band on the road that year and the new Uprising album hit every chart in Europe. Bob Marley has always defended this often maligned herb. By popularizing reggae music and its marijuana celebrating lyrics, Bob Marley has prompted many people to question what they have been told, to take a fresh look at the evidence.
The Bob Marley Foundation seeks to maintain a dynamic foundation which will enable individuals, groups, and/or communities in developing nations, particularly Jamaica and Africa, to create and implement programs that assist in the empowerment of the oppressed people and the elimination of generational poverty through sustainable projects.
Richard Heap is a writer interested in drum and bass records and writes for http://www.drum-and-bass-records.info
Article Source: http://EzineArticles.com/?expert=Richard_Heap
http://EzineArticles.com/?Facts-About-Bob-Marley&id=1486953Dr Robert MullerThe Story of The Who's 'Won't Get Fooled Again'
2008-09-21T20:03:00.001+09:30Mick Jagger Makes Sure the Who Won't Get Fooled Again by Virgil Vince
The album 'Who's Next' provided fans with some of the most cherished songs ever written by the band. Rising from the smoldering remains of Pete Townshend's emotional breakdown and thwarted artistic vision, the band was able to cherry pick from the reams of compositions that Townshend had lying around unused from previous projects. For The Who Won't Get Fooled Again, the epic eight and a half minute track that closed the album, would become their anthem, a stunning tour de force that railed against the dangers of false revolution.
The Who weren't enamored with the song when they first laid it down in 1971. Originally recorded in New York, the band felt that the track could stand some revision, and so they employed the services of the Rolling Stones Mobile Studio, a great recording studio on wheels that was popular amongst bands of the day who wanted to record their albums in off the wall places. These usually ended up being enormous, empty mansions isolated from fans and possessing unique acoustic properties. In the case of The Who, they kept the Mobile Studio close to home and worked on the track at Mick Jagger's Star Grove residence in England. The biggest change between the original track and that which would emerge from their work at Stargrove was the decision to again use parts of the synthesizer demo that Townshend had recorded earlier in the year. Juxtaposed with the rising and falling organ part during the solo break in the middle of the song, this new edit would make its way onto the final record.
Given the lyrical content of the track, it is unsurprising that many political movements and pundits have appropriated the track to represent their particular cause and champion the overthrow of the status quo. According to The Who Won't Get Fooled Again partially represented their backlash against the pressure they felt from radical revolutionaries to give their music over entirely to whatever movement happened to come calling. The lyrics had their root in the plot of Townshend's failed 'Lifehouse' rock opera, in which the villain attempts to convince the hero that they are almost the same people - to which the hero sings this stunning rebuttal. The song remains a cautionary statement to those who would get caught up in the promise of change without examining whether they are merely trading one power structure for another that is equally deficient.
Classic-Rock-Music.com is the mystical rehersal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER
Article Source: http://EzineArticles.com/?expert=Virgil_Vince
http://EzineArticles.com/?Mick-Jagger-Makes-Sure-the-Who-Wont-Get-Fooled-Again&id=1490787Dr Robert MullerThe Story of The Pinball Wizard
2008-09-21T20:01:00.002+09:30Novelty Aside, For the Who Pinball Wizard Represents a Crossover Favorite by Virgil Vince
'Pinball Wizard' is one of those songs that has taken on a life of its own. Completely removed from the context of the original rock opera 'Tommy', for which it was written, 'Pinball Wizard' seems to be a strange, somewhat whimsical tale of a 'deaf, dumb and blind kid' who has somehow managed to master playing pinball. His skill level is great enough to defeat even the most talented of sighted champions, and he goes on to become the king of the local pinball community. It may even seem as though the song was written for children, given its non-threatening acoustic guitar breaks and seemingly light lyrical content.
The meaning behind the track and the reasons for which it was written are of course quite different. 'Tommy' was the story of a boy who was robbed of the standard senses that human beings are usually afforded, and as such it is not a lighthearted tale. The band was worried that perhaps the overall message and themes explored in 'Tommy' were too dark for public consumption, and that something had to be done in order to keep people from falling too deeply into the spiritual abyss. This concern was amplified when critics responded to a rough assembly of the album with limited enthusiasm. To The Who Pinball Wizard was a way of giving their title character a quirky skill that would endear him to the audience, even though Pete Townshend was never happy with what he considered his 'clumsy' arrangement for the song.
The song was originally intended to be a bit less clean cut and cheery than the version which was put on the album. Townshend had written slightly raunchier lyrics and had hoped to imbue the song with the kind of schoolyard cheekiness and humor that he felt was appropriate for the characters in the story. It is also interesting that of all the songs on 'Tommy', this was the single which was picked up by rock radio and which became extremely popular. Given that the entire piece sounds like a novelty song outside the confines of the work, perhaps it is not unusual that for many casual fans of The Who Pinball Wizard is the only track from that album with which they are familiar. The appeal of 'Pinball Wizard' was not limited to fans. Artists as far ranging as Rod Stewart and Elton John recorded cover versions of the track, and it continues to be a popular cover song for modern rock group as well.
Classic-Rock-Music.com is the mystical rehersal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER
Article Source: http://EzineArticles.com/?expert=Virgil_Vince
http://EzineArticles.com/?Novelty-Aside, -For-the-Who-Pinball-Wizard-Represents-a-Crossover-Favorite&id=1490831Dr Robert MullerOPINION: Greatest Guitarists?
2008-09-21T19:48:00.001+09:30Greatest Guitarists of All Time by Steve Krenz
On the list of greatest guitarists of all time there could be literally hundreds of names. There have been so many influential guitarists who have changed the world of music for the better. However, there are certainly a few that stand above the rest. Not only are they incredible in how they play, but they have endured the test of time and really have been inspirational for so many up and coming guitarists.
The one and only Jimi Hendrix is at the top of the list for many reasons. Considered to be by far one of the greatest guitarists in rock music history, Hendrix achieved world wide fame back in the late 1960's. Starting in England he made a name for himself at the Monterey Pop Festival and then later at Woodstock in 1969. He was a pioneer of guitar feedback and was the first to incorporate overdriven amplifiers, which until then were thought of as a way to make bad music. Hendrix played one of the most amazing guitars of all time with his Fender 60's Reverse Headstock Stratocaster.
Second on the prestigious list of greatest guitarists of all time should be the incomparable Jimmy Page. Joining the group The Yardbirds before starting the band known to all as Led Zeppelin, Page was one of the most versatile guitarists in history. He was ranked number nine in Rolling Stone's list of 100 top guitarists of all time. Playing his Gibson Les Paul Classic as well as his Gibson Custom Shop Jimmy Page Double Neck Electric he was pure magic on stage.
Also one of the original members of The Yardbirds, Eric Clapton is a name that is synonymous with amazing guitar playing. With a nickname such as "Slowhand" Clapton won several Grammy Awards and is one of the most successful guitar players and musicians in the 20th and 21st century. With an amazing three inductions into the Rock and Roll Hall of Fame, Clapton is the reason that many youngsters even pick up a guitar for the first time. He was a pioneer for blues-rock as well as psychedelic rock while playing his famous Eric Clapton Artist Signature Stratocaster.
Making this list of greatest guitarists of all time, you can't help but remember Carlos Santana. With his blend of rock, blues, jazz fusion and salsa, his music is truly inspiring. Santana is one musician that can change with the times and adapt his guitar playing to the various types of music he is working on. With a decidedly Latin flair, his music reaches to the core of your soul. Playing on a PRS Santana II named after him or the Gibson SG, Carlos Santana sounds great no matter what music he plays.
Whether your choice for greatest guitarist of all time would be someone in heavy metal like Slash from Guns N Roses or Angus Young from AC/DC or someone more rhythmic like Keith Richards there are certainly many choices out there. The one thing they all have in common is that there is literally no end to their natural talent and their ability to really rock the guitar.
Stop wasting money on 1-on-1 guitar lessons! Check out Steve Krenz's awesome Learn and Master Guitar course, it beats the pants off anything out there. It's the most comprehensive and thorough instructional guitar course available today. Advanced guitarists should check out http://www.madguitarlicks.com for 35 killer licks to add to their arsenal.
Article Source: http://EzineArticles.com/?expert=Steve_Krenz
http://EzineArticles.com/?Greatest-Guitarists-of-All-Time&id=1492006Dr Robert MullerVIDEOS: Howard Stern on the Maharishi Mahesh Yogi
2008-09-16T10:19:00.003+09:30Here's an interesting view of the Maharishi Mahesh Yogi - by Howard Stern, the shock jock of American radio.
For your information, if you don't know much about the Maharishi, he was a notorious figure in the 1960s. He was born in 1917 and died in February this year. He founded the Transcendental Meditation technique and related programs. He became known in the West in part due to his interactions with The Beatles and other celebrities. So here are the videos and they are fascinating!
http://www.youtube.com/watch?v=bxvwmL7ns24
http://www.youtube.com/watch?v=0A5W2JwdKmI
Enjoy!Dr Robert MullerLed Zeppelin - A One-Off Reunion Concert?
2008-09-15T13:00:00.001+09:30Going Down Slow Like a Led Balloon - The Rise and Rise of Led Zeppelin by Robin Piggott
The news, just released, of a one off reunion concert in London, in November 2007, of arguably the Band that changed the face of Rock Music, will be something that will be talked about in generations to come.
Led Zeppelin, fronted by Robert Plant; he of the cherub face and long blond curly locks strode into Rock and Blues History in 1968 with the release of their first album. On this piece of vinyl magic Jimmy Page, John Bonham, John Paul-Jones and Mr Plant, with the fatherly figure of Ahmet Ertegun, head of Atlantic records wove a spell that will never be broken! It’s hard to believe that it will be 40 years in a few months time that this little piece of music history first saw the light of day.
Its worth mentioning that the genesis of this Band came about as a result of the demise of another R&B legend namely the Yardbirds. All three of the Lead Guitarists of the Yardbirds went on to create their own chunk of Rock and Blues history and still create a lump in the throat wherever they appear. Eric Clapton…Jeff Beck…Jimmy Page all came to prominence in the years 1963 to 1966.
Eric Clapton left the Yardbirds, making way for Jeff Beck as Lead player, to join the Godfather of British Blues …John Mayall. The year was 1965.
Jimmy Page joined the Yardbirds initially as Bass Guitarist, after the departure of Paul Samwell- Smith who became a record producer. He then transformed the Band with a two guitar line-up which proved successful. If you get a chance get hold of the film “Blow-Up” by Antonioni and you will see a clip of the Yardbirds playing in a small club with this line up. As the Band was beginning to creak at the seams, Jimmy Page, in being obliged to honour an American Tour that was imminent changed the name of the Band to “The New Yardbirds” and from this beginning Led Zeppelin was born.
Eric Clapton as we all know steamed into Rock Legend with John Mayall followed by Cream and a solo career subsequently.
Jeff Beck, while not perhaps as celebrated commercially as Jimmy or Eric built up a loyal and fanatical following but remained in the shadows.
November 2007 in London will give an opportunity to those who were not born when Page, Plant, Bonham and Paul-Jones strutted their stuff on the world music stage, to glimpse a slice of Rock History.
Robin Piggott is a Driving Instructor and Blues Disciple in Ireland, who brings four decades of experience to his Astral Driving School based in Limerick. take a peek at his web site http://www.astraldrivingschool.ie Here you can find a treasure trove of everything for the Learner Driver and while you are at it ... Pick up a free seven part mini course"Passing the Driving Test First Time" and stack the cards in your favour.
Article Source: http://EzineArticles.com/?expert=Robin_Piggott
http://EzineArticles.com/?Going-Down-Slow-Like-a-Led-Balloon--The-Rise-and-Rise-of-Led-Zeppelin&id=722376Dr Robert MullerALBUM REVIEW: Santana - Supernatural
2008-09-15T12:56:00.002+09:30Santana Supernatural Rock Music CD Review by Clyde Lee Dennis
Supernatural is an album from Rock Superstar Santana, and is another great one by this talented musician. Supernatural grabs your attention right from the very first note with Yaleo and won’t let go until the very last note of the very last song The Calling, which is another great track by the way.
Rock music fans will recognize some of the well known contributors on the project including Dave Matthews and Eric Clapton plus a few other notables as well.
I’m of the opinion that Supernatural is certainly Santana’s best work in a few years. A totally enjoyable CD and an outstanding release. What I call must have music. I give it two thumbs up because it’s a collection that even the casual Rock fan can appreciate and enjoy.
While the entire CD is really very good some of my favorites are track 2 - Love Of My Life, track 6 - Do You Like The Way, and track 10 - Wishing It Was.
My Bonus Pick, and the one that got Sore [...as in "Stuck On REpeat"] is has to be track 5 - Smooth. What a nice track!
Supernatural Release Notes:
Santana originally released Supernatural on June 15, 1999 on the Arista Records label.
CD Track List Follows:
- Yaleo, (Da Le)
- Love Of My Life - (featuring Dave Matthews)
- Put Your Lights On - (featuring Everlast)
- Africa Bamba
- Smooth - (featuring Rob Thomas)
- Do You Like The Way - (featuring Lauryn Hill/Cee-Lo)
- Maria Maria - (featuring The Product G&B)
- Migra
- Corazon Espinado - (featuring Mana)
- Wishing It Was - (featuring Eagle-Eye Cherry)
- El Farol 12. Primavera
- Calling, The - (featuring Eric Clapton)
Release Notes
Personnel: Carlos Santana (vocals, guitar, congas, percussion); Everlast (vocals, guitar); Dave Matthews, Rob Thomas, Lauryn Hill, Cee-Lo, The Product G&B, Fher, Eagle Eye Cherry (vocals); Eric Clapton, Francis Dunnery, Al Anderson, Sergio Vallin, JB Eckl (guitar); Danny Wolinski (flute, saxophone); KC Porter (accordion, programming, background vocals); Mic Gillette, Jose Abel Figueroa (trumpet, trombone); Marvin McFadden, Javier Melendez, William Ortiz (trumpet); Jeff Cressman, Steve Turre, Ramon Flores (trombone); Alex Gonzales (drums, background vocals); Billy Johnson, Carter Beauford, Horatio Hernandez, Rodney Holmes, Greg Bissonette, Jimmy Keegan (drums); Karl Perazzo (congas, timbales, percussion, background vocals); Raul Rekow (congas).
Producers include: Carlos Santana, Steve Harris, Wyclef Jean, Jerry "Wonder" Duplessis, KC Porter.
Engineers include: Steve Fontano, Glenn Kolotkin, Mike Couzi.
The Home Source
The home source is your home furniture and decor online resource. Find all of
your home related projects online.Article Source: http://EzineArticles.com/?expert=Clyde_Lee_Dennis
http://EzineArticles.com/?Santana-Supernatural-Rock-Music-CD-Review&id=720878Dr Robert Muller- Yaleo, (Da Le)
OPINION: 10 Great Albums! Do you agree?
2008-09-06T22:27:00.001+09:3010 Records That Changed the World by Phil Stutt
There have been many good records, but most did not change the world of music. There have been some that did and here is my top 10. (Please feel free to argue and let me know your top 10. It is all subjective after all.) These either changed the direction of music or were the pinnacle of their genre. each record comes with a brief explanation which I will expand on later posts.
1. Tutti Frutti (Little Richard)
There are many early rock and roll records that could claim to have laid the fundamentals for what was to follow. However Tutti Frutti is my choice for its sheer power and energy. Coupled with with the fact that this was a major hit for a black artist at a time when that was almost unheard of means that Tutti Frutti just has to be on my list.
2. Move It. (Cliff Richard)
Sir Cliff. This is widely acknowledged as one of the first rock and roll records made outside of the USA. No matter that S.C.R. was a pale shadow of Elvis, this record told the youth in Britain that we could play real rock and roll and make it ours. there are those that would argue for Rock Island Line by Lonnie Donegan but for my money this record deserves its place in history.
3. Revolver (The Beatles)
Revolver is perhaps the most contentious inclusion in this list. There is no Sgt Pepper, no White Album, in this list, this is The Beatles at their best. This is the pinnacle of good, catchy pop songs, never equalled and often copied. It is also the only Beatles album I own...
4. Trout Mask Replica (Captain Beefheart)
Suddenly it was alright to meld Blues and Jazz and shake them both up to produce something not of this world. It was also alright to use free form lyrics, stream of consciousness writing. It was alright to be an artist and to work in rock. With this album rock came of age.
5. Velvet Underground and Nico (VU &; N)
The cliche is that not many people bought this album but everyone who did started a band. Well, I bought this album when it was released and did not start a band. The list of those that now claim this as a major influence makes the inclusion of this, flawed, magical album inevitable, and deserved.
6. Horses (Patti Smith)
1975 and music is boring. Born of a passion for Hendrix, The Who, and other rock acts from the 60's Patti Smith launched herself on the album buying public with this stunning debut. the breadth of her vision and the execution of that vision is a sensation. Punk attitude with an artist's honesty. Simply a must have album.
7. Thriller (Michael Jackson)
before Thriller most albums spawned one or two singles. After Thriller albums would be packed with possible singles. For better or worse this album changed the music industry for ever. (Personally, I think it was for the worse, and I hate this album).
8. King of the Delta Blues (Robert Johnson)
RJ was not the father of the blues as some claimed in the 60s, but he was a very close relative. The reason that this album has to be included in this list is not that it was unique when the tracks were recorded in 1937. The reason is that this album changed white music forever when it was released as a double album on CBS in 1967. It was the first time that most of us white kids had heard real, traditional blues. That so many of us still listen to it and that the music still speaks to the following generations proves how influential this record was, and is. It led directly to the revival of the fortunes of John Lee Hooker, Muddy waters and the rest. If ever a record changed the world of music it is this one.
9. Apache (The Shadows)
Love it or hate it (guess which camp I am in!) This record changed the face of music in the UK. Hank Marvin was voted the best guitar player in the NME for years. Strat rock in the UK was born and countless budding guitarists bought Bert Weedon's 'Play in a Day'...
10. My Favourite Things (John Coltrane)
I had not heard this record for years. About 18 months ago I walked into the studio to prepare for my radio show. The proceeding programme was on and this was on. I was stunned at how good this still sounded. There is genius at work here. JC takes a small insignificant and mundane song and turns it into something sublime. This made improvisation not only acceptable it made it fundamental for any musician. If only more musicians were as good at it as JC.
Well, that is my list. What is yours?
I am passionate about real music which is why I started http://www.realrockandblues.com so that I have an excuse to talk about music, and bore people with my views! I also have a blog http://philstutt.blogspot.com/ and I use that to talk about things going on in my life, and bore even people about music...
I am in my 50s (it hurts to say that, my mind feels 36 but my body....). I live in the UK. I have all the usual bad habits, alcohol smoking etc. I am in a great relationship with a very understanding lady (she has to be).
I love Blues, Captain Beefheart, Wreckless Eric, Tim Fite. I hate Celine Dion, boy bands. 'Nuff said.
Article Source: http://EzineArticles.com/?expert=Phil_Stutt
http://EzineArticles.com/?10-Records-That-Changed-the-World&id=1449369Dr Robert MullerOPINION: The Ten Greatest Guitar Solos
2008-09-03T21:51:00.001+09:30The Ten Greatest Guitar Solos Ever by Ricky Sharples
As with everything else, everybody has an opinion as to who is the greatest guitar solo player and what was their greatest solo. All this is a matter of opinion of course but we can still learn from the opinions of musicians on what makes guitar solos great. Today I thought that I would run through some of the so-called great guitar solos and see what we can learn from such a list. I have decided not to number this list. I just want to bring these classics to your attention.
Stairway To Heaven was recorded in 1971 and never released as a single in the USA but is still among the most requested songs ever. Composed by Jimmy Page and Robert Plant, the final version of the song was a result of many hours of work in the studio by Jimmy Page.
Sultans Of Swing by Dire Straits introduced to the world the sparse arrangements and lyrical genius of Mark Knopfler. The version of the song that appeared on the album was voted number 22 on Guitar World magazine's greatest guitar solos.
Another song that was transformed in the studio was All Along The Watchtower. The guitar solo fits the song as though it was made for it but Jimi Hendrix took the original song by Bob Dylan and added layers of electric guitar music until the original could no longer hold up its head. In fact, Bob Dylan now uses Jimi Hendrix' interpretation.
Sunshine Of Your Love is famous for its distinctive riff and Eric Clapton's use of the Rogers and Hart song Blue Moon to start off his guitar solo. The solo is classic Clapton in its tone and phrasing.
Sometimes things work out in the end. Like the day Van Halen's record producer heard Eddie Van Halen fooling around on the guitar and insisted that he include it on their first album. The result was an instrumental track called Eruption.
One of the first songs to feature distortion and feedback, I Heard Her Call My Name is on most lists of top ten solos. Taken from Velvet Underground's second album, I Heard Her Call My Name is Lou Reed's claim to fame as a guitar player and a precurser of heavy metal.
Songs that start slow and work up into a sweat are always popular with audiences, and Freebird by Lynyrd Skynyrd became the number audiences hung out for. This is another song that is on almost every list of great songs or guitar solos. The transition from ballad to up tempo rock has to be experienced to be believed.
In 1977 The Eagles released an album called Hotel California with the title song being interpreted in many dark and mysterious ways. The song was famously changed to an acoustic number featuring eight guitars but in its original form the lyrics were just there to put in the spaces between the guitar parts.
You Shook Me All Night Long by AC/DC is a favorite amongst fans of Angus Young, a showman who loves playing the guitar and giving the crowd what it wants.
Comfortably Numb by Pink Floyd features two guitar solos. They are a mixture of several solos improvised in the studio and blended together by guitarist David Gilmour. This was supposedly a routine way of working for Gilmour and in this case it resulted in guitar solos that feature on everybody's list of greats.
So that is a list of great guitar solos. Your mission now is to go to YouTube or a music store and seek out the songs you have read about here and give them a listen. Then if you are intersted, go and find some other top ten or top one hundred lists and find bands and music you have never heard of and make them part of your musical background. And keep playing the guitar.
Do you want to learn to play the guitar? Learn How To Play A Guitar For Free is a constantly updated blog which contains all the resources you need for: learning to play solo guitar, how to learn guitar chords, how to learn to read and play easy acoustic guitar tabs, finding a free online guitar tuner, looking for free guitar lessons online, and how to learn guitar scales.
Article Source: http://EzineArticles.com/?expert=Ricky_Sharples
http://EzineArticles.com/?The-Ten-Greatest-Guitar-Solos-Ever&id=1434316Dr Robert MullerBOOK REVIEWS: Some recommended biographies
2008-09-03T21:13:00.001+09:30Some Recommended Songwriter Interviews and Biographies by Del Boland
Lately, I have enjoyed reading about some of my favorite songwriters. It is an attempt to understand their thinking and perhaps glean some of their methodologies, if such a thing exists. I was able to find a rather broad range of biographies in my local library. I will provide a brief description of a few books that I read recently and provide some additional comments.
First of all, there is an excellent compilation by American Songwriter Magazine appropriately entitled "Song" that has some very nice interviews with a wide variety of songwriters including Tom Petty, John Prine, Willie Nelson, Jeff Tweedy and Sheryl Crow. Each interview provides insights and recommendations to other songwriters which may be helpful. I recommend this book to those folks who may not have the time to dig into full blown biographies. It is a compilation of somewhat condensed interviews and many of the artists provide suggestions to aspiring songwriters.
I happen to be a Wilco fan since moving to the Chicago area, so I read a book called, "Learning How To Die" by Greg Kot. It is an interesting story of a group that defied the industry's formulaic approach to popular music and songwriting. It also offers a very nice example of a band that managed to break through despite a variety of challenges. This book provides not only a very good insight into the current trends of the music industry, but also helps folks to understand how the music business operates. Furthermore, it helps distinguish the more avant garde approach of a singer songwriter from the more commercial approach of a pure performer or a pure songwriter.
I read Warren Zevon's biography, "I'll Sleep When I'm Dead" written by his friend and former wife, Crystal Zevon. It is a tragic story, but it provides a very nice description of the underappreciated Zevon, who wrote with a style that we may never really see again. Zevon is to music what Hunter S. Thompson is to literature. He was the epitome of "gonzo", a term coined by H.S. Thompson. Hunter seemed to recognize this particular characteristic in Zevon as they became fast friends.
I recently read "Paul Simon", a biography by Laura Jackson. I find this book particularly enjoyable as I recall the events surrounding the emergence of Simon and Garfunkel in the 60's. I find it particularly interesting that some of my favorite songs written by Paul Simon had distinct ties to events in his life as well as events in history. There are too many songs to list but I especially love "Sound of Silence", "The Boxer", "Bridge Over Troubled Water", "America", "Late In The Evening", "Graceland", "Diamonds On The Soles Of Her Shoes", and "You Can Call Me Al". While it would be fun to provide an analysis of these songs, I will not spoil the book for those who may have an interest in reading it for themselves. However, I did find it interesting that Simon employed a habit of collecting somewhat random thoughts and observations in a notebook which were later infused in his writing.
I have just completed a biography written about the late Woody Guthrie by Elizabeth Partridge entitled, "This Land Is Your Land". This book is very readable, yet, for me, it was extremely dark and depressing. After reading the book, I wanted to hug my 14 year old and go outside to see if the sun was still shining. It was, thank God. While Woody Guthrie is one of the most prolific songwriters of modern times along with folks like Leonard Cohen, his life was worse than I could have ever imagined. Nonetheless, it is difficult to cast Woody Guthrie in a 100% positive light. I cannot pass judgment on this man other than to say he was extraordinarily unorganized in every way except for his unique gift of songwriting. Incidentally, it was my interest in Bob Dylan that led me to Woody Guthrie. I had heard Guthrie's name many times growing up, but I was not prepared for his tragic story.
If you are interested in songwriting, I would encourage you to learn more about the songwriters who have made an impression on you. It is interesting, but it can also be a bit frightening as you may find some characteristics similar to your own. There is definitely something that draws certain folks to this art form and it is interesting to see certain similarities that weave through their lives, in both circumstances and behaviors.
Perhaps one very positive attribute that stands out the most for me is the tendency for all great songwriters to be extraordinary observers of life, in general. They seem to have a peculiar ability to put words to things that are indescribable for the rest of the population. These words allow listeners to instantly identify with human thoughts and emotions in unique ways.
A bit on the darker side, there are certain characteristics that are very difficult to understand for those of us who are tied into society's framework. Some songwriters have exhibited self destructive behaviors that seem to coincide with their success. For some of these people, there seems to be a common thread of introspection, depression and mania. While my list is rather tame compared to some of the others who were, perhaps, not able to achieve the same level of notoriety, there seems to be enough similarity to give us good reason to remain vigilant with regard to our own lives. Extreme circumstances and behaviors can provide ample material for a songwriter, but it just makes good sense to temper it with moderation (when possible) for the sake of maintaining the self control and respectability that I believe is necessary for a sustained, happy life. Art is a wonderful thing, but there are plenty of very good examples of art that exists without tremendous suffering as a prerequisite. If you have suffered, then by all means, find a way to convert your experience into art. However, I would urge anyone not to go through life looking for opportunities to suffer for art's sake.
Finally, these books provide an added bonus for fans of music during the most prolific 50 years in the history of music. There is a cultural aspect to each book that perhaps provides a better understanding of the environmental elements surrounding each artist. These elements include history, politics, social change, economic conditions, and pop culture. In addition, each of the above books is a "Who's Who" of influential folks surrounding the music industry during this period.
Article distributed by permission of Del Boland and Bluemusepublishing.com Bluemusepublishing.com is a free online community for songwriters, bands, and musicians.
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http://EzineArticles.com/?Some-Recommended-Songwriter-Interviews-and-Biographies&id=1424270Dr Robert MullerThe Art of Andy Warhol
2008-08-23T18:03:00.001+09:30Campbell's Soup And Acrylic Pop Art by Karl Sultana
Campbell’s Soup Cans, 1962, Andy Warhol, American 1928-1987), Acrylic on canvas, series of 32 paintings, each canvas 20”x 16" (50.8cm x 40.6cm). Currently in the collection of New York’s Museum of Modern Art (MoMA).
Warhol first exhibited his series of Campbell's soup can paintings in 1962, with the 32 canvases hung so the bottom of each painting rested on a shelf in a parody of soup cans on a supermarket shelf. The 32 acrylic paintings in the series were a very literal representation of the number of varieties of soup sold at the time by Campbell's, with each label noting a different flavor.
Adding to the irony, the Acrylic paintings were presented in chronological order starting (at the upper left) with the date that Campbell introduced the various soup flavors (tomato in 1897, etc.) It is believed that the MoMA curator made this decision, not Warhol. Warhol claimed that he himself ate Campbell’s soup for lunch every day for more than twenty years.
Like other Pop artists of his time, Warhol used images of proven mass appeal such as comic strips, photos of rock idols and movie stars, advertisements, and tabloid news shots. In his endless repetition of banal images, he parodies the complacency, overabundance, and rampant consumerism of US society in the fifties and sixties.
His use of advertising-style graphics, silk screen and acrylic paints to portray over and over the same images was seen as subverting the idea of painting as a medium of invention and originality. He was attacked throughout his career, but struck a chord both in the art world and with the public. Cheeky, irreverent, but undeniably talented, Andy Warhol became a popular cult idol himself in the American art world of the sixties.
What Andy Did for Acrylic Painting
In the long history of art materials, acrylic paints are the newest by far. Acrylics were first developed as a solvent-based art medium only in the early part of the twentieth century. The first water-borne acrylic - the kind artists use today - was developed and launched in 1955 as Liquitex® (or “liquid texture”).
In the 1940s acrylic paint was commonly used as house paint, popular because of easy cleanup with soap and water. The wide range of colors and its fast-drying properties caught the attention of artists who took to using acrylics for large background areas in oil paintings.
Acrylics became widely used in printing and graphics, and since Andy Warhol was a graphic artist it was a natural medium for him to use. Historically, a new medium such as acrylic paint would take generations of exposure and refinement to gain artistic acceptance. When Andy Warhol’s acrylic painting gained critical and financial success, acrylics gained respectability and a permanent place in the artists’ toolbox of materials.
Turn a favorite family photograph into an acrylic portrait as a way of displaying it and preserving it forever. An inexpensive way to acquire an acrylic painting or acrylic portrait of any black and white or color photograph is to commission one from acrylic painting website.
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http://EzineArticles.com/?Campbells-Soup-And-Acrylic-Pop-Art&id=690152Dr Robert MullerBOOK REVIEW: Cover Versions: The Album Art of Steve Hardstaff
2008-08-23T17:22:00.003+09:30COMING OUT IN SEPTEMBER 2008
Cover Versions: The Album Art of Steve Hardstaff by Steve Hardstaff
Steve Hardstaff has worked with some of the most creative artists and groups in popular culture and music including Sir Pete Blake, Led Zeppelin, BoDiddley, Jamie Reid, Half Man Half Biscuit and Lee 'Sctratch' Perry.
Includes comments and quotes from musicians and artists who have worked with Hardstaff - Jimmy Carl Black (Mothers of Invention), Lee 'Scratch' Perry, Suggs (Madness), Ian McNabb (Icicle Works).
Examines the work of a highly influential designer (designed the first triplegate fold sleeve - The Strawbs Grave New World). Hardstaff's work spans the height of The Beatles' creativity to the present day i-pod generation.
'Time will certainly reveal the relevance and importance of what Steve Hardstaff has delivered over the years, with black singing ink, good old cut and paste and those ever present crackling discs that possess his soul and fire his imagination.' Mike Badger (founder The La's, Co-owner Viper Label).
'Steve Hardstaff's visual trademark are musical collages packed with exciting, stimulating images and above all humour.' Jimmy Carl Black (The Mothers Of Invention, The Magic Band, The Muffin Men).
Steve Hardstaff's work has always been about Liverpool: from ferrying images around for Peter Blake and Jan Haworth for the cover of Sergeant Pepper's Lonely Hearts Club Band to producing the award-winning sleeve for Half Man Half Biscuit's This Leaden Pall. Hardstaff's artwork, often signed under his nom-de-guerre 'Jacuzzi, ' has been used by every record label to have graced the city in the last 40 years: posters for 'The Magical Mystery Tour', artist in residence at the legendary Eric's club, commissions from contemporary labels. Hardstaff established in Liverpool the first music-industry-focused design studio outside London and decades later his work continues to attract local, national and international interest.
This volume pulls together for the first time a unique collection of work from one of the pioneers of modern graphic design: from the world's first triple gatefold sleeve (The Strawbs Grave New World) to work for Led Zeppelin, Fleetwood Mac and Liverpool favourites Deaf School, The Icicle Works, Half Man Half Biscuit, Dead or Alive, China Crisis and others, from work that provoked cries of 'treason' from the tabloid press during the Falklands war to collaborations with infamous Sex Pistols designer Jamie Reid. Complementing a striking collection of images are comments and quotes from musicians and artists who have worked with Hardstaff - including Jimmy Carl Black (Mothers of Invention), Lee 'Scratch' Perry, Suggs (Madness), Ian McNabb (Icicle Works) and others - elucidating the creative processes that have positioned him as one of the great innovators of the graphic arts and a leading figure in music industry design. For further information or to order this book please click here: http://www.liverpool-unipress.co.uk/html/publication.asp?idProduct=3D385=5
LUP books are distributed in North America by University of Chicago Press. For further information or to order this book please click here: http://www.press.uchicago.edu/presssite/metadata.epl?mode=3Dsynopsis&boo=kkey=3D334372Dr Robert MullerBOOK REVIEW: Shroom: A Cultural History of the Magic Mushroom by Andy Lechter - reviewed by Lux
2008-08-23T16:16:00.004+09:30Reviewed: "Shroom: A Cultural History of the Magic Mushroom" by Andy Letcher - reviewed by Lux
In "Shroom: A Cultural History of the Magic Mushroom", Andy Letcher has given us a thorough and rigorous study of mushroom culture. Among books on psychoactive mushrooms, Shroom is unprecedented in the degree to which the author demands that arguments be supported by evidence.
Anyone familiar with the voluminous literature on this topic will immediately recognize this as a revolutionary step; the genre is crowded with speculation ranging from cautious ("The Road to Eleusis": http://www.erowid.org/library/books/road_to.shtml to extravagant: "Food of the Gods": http://www.erowid.org/library/books/food_of_the_gods.shtml. A scholar boasting PhDs in both ecology and religious studies, Lechter is also no stranger to the psychedelic underground.
In this book he painstakingly reconstructs mushroom theories ranging from Eleusis to Santa Claus. Letcher is highly critical of most of these theories, which he sometimes characterizes in sardonic terms that border on contemptuous. Although his tone can be caustic, he pays mushroom enthusiasts the compliment of taking their arguments seriously and analyzing them as such. "Shroom" opens with a serviceable overview of the biology and chemistry of psychoactive mushrooms. The book then moves into the cultural history of mushrooms, including a valuable review of pre-1950s reports of mushroom use.
Letcher documents and analyzes nearly every major argument written about psychoactive mushrooms in the last century. He chronicles the channels by which a cloudy mix of science and speculation has flowed into the collective reservoir of the psychedelic underground. The basic argument that Letcher critiques looks something like this: For thousands of years, humans have had an important relationship with psychoactive mushrooms. After stumbling upon them unawares, our ancestors grasped the powerof the psychedelic experience they provide. It may be that the spiritual insights which inspired the major world religions were based on entheogenic mushroom sacraments. The druids of pre-Roman Europe, the ancient Greeks of Eleusis, and perhaps even our early ancestors on the African savanna knew that one could contact the spirit world or commune with the gods under the influence of psychoactive fungi. This wisdom was tragically lost when conservative elements within the world's religious institutions began to attack entheogens, driving their use underground.
In some cases, the use of mushroom entheogens was secretly transmitted by various codes. Hidden references to mushroom use abound in scriptures and religious art, such as the "Soma" of the Hindu "Rig Veda", which may refer to "Amanita muscaria". The urge to suppress entheogens comes from what Riane Eisler called a "dominator culture" - a patriarchal, hierarchical culture based on power and authority. Such a culture imposes itself on others by force. People living in dominator cultures are alienated from the natural and spiritual worlds, while members of communal egalitarian societies are deeply rooted in the cycles of nature and have an uncontrived, experience-based religious life. Some of these sharing cultures made open and uninhibited use of entheogens, until they were suppressed by dominator cultures, especially the Judeo-Christian culture of Europe.
Sound familiar?
"Shroom" documents the arguments by which this received wisdom took shape, tracing its origins to the works of figures such as Robert Graves and R. Gordon Wasson. Over time the story was elaborated and extended by Jonathan Ott, John Allegro, Terence McKenna, Clark Heinrich, and many others. Letcher effectively dismantles nearly every aspect of this mushroom history. In some cases, as in the implausible theories of McKenna, little more is needed than asking "What is the basis for this claim?" In the words of curmudgeon Christopher Hitchens, "A claim that is put forth without evidence may be dismissed without evidence."
Letcher maintains that the conventional wisdom of mushroom history is rooted in the beliefs and attitudes of members of an industrial society who themselves feel alienated from the spiritual world and from the cycles of nature. Such persons are liable to project an idealized portrait of their own longings onto cultures that are remote in time or in space, such as the Paleolithic hunter-gatherers of Africa or the shamans of Siberia. It is easy to project beliefs onto a druidic culture about which one knows nothing. Letcher demonstrates that the closer one looks at the druids of Europe and the"curanderos" of Mexico, the less plausible idealized stories become.
Quoting from a considerable number of pre-twentieth century accounts of accidental ingestion of psychedelic mushrooms and finding that the experience was invariably regarded as poisoning or illness, not as spiritual epiphany or gratuitous grace, Letcher contends that there is nothing intrinsic to the experience of eating psychoactive mushrooms such that people in other cultures would necessarily interpret it as valuable. Stories about the antiquity of psychoactive mushroom sacraments probably owe more to R. Gordon Wasson than any other figure. By Wasson's own account, he successfully rediscovered secret mushroom cults in central Mexico which had survived the Spanish Inquisition.
Wasson argues throughout several books that these mushroom cults are analogous to ancient mushroom cults that inspired the great spiritual traditions of the East (Vedic Hinduism in India) and the West (the Minervic mystery rites in Greece). Letcher cogently argues that the character of mushroom use in Mexico was distorted by R. Gordon Wasson's amateurish and biased ethnographies. Wasson arrived in Mexico already convinced that the use of psychoactive mushrooms was related to the origin of the world's religions, and he was eager to find evidence to support his theory. According to "Shroom", Wasson turned down opportunities to participate in mushroom rituals with "curanderos" who did not fit the profile of the sacred mushroom shaman he was looking for.
He was overjoyed to find Maria Sabina, whom he could depict as a shaman who used mushrooms in sacred ceremonies. In Sabina's own account, however, she used mushrooms to heal, not for spiritual enlightenment. A devout Catholic, Sabina found her spiritual needs amply met every Sunday in church. Letcher builds a strong case that Wasson extruded his observations through the filter of his convictions.
The structure of Wasson's mistakes is common to most of the stories that depict ancient or remote cultures as sacred mushroom eaters. These stories typically begin with a zealous hypothesis, cherry-pick for supporting evidence, and disregard counter-evidence. Letcher makes an important moral argument that inaccurate and fantastical depictions of other cultures, such as those that abound in mushroom literature, are not merely inaccurate - they constitute a form of intellectual colonialism. Edward Said gave us the term "Orientalism" to describe the process by which remote peoples are exoticized and made into symbols by inaccurate ethnography and fanciful storytelling. Orientalist anthropologies deprive the people they study of their right to their actual history. In Letcher's reading, Orientalism runs riot through psychedelic mushroom culture, and his sharply-honed arguments are fueled by abundant evidence drawn from anthropology, history, and religious studies.
This review focuses on the broad outlines of Letcher's argument because the overarching theory warrants analysis. No brief review can do justice to the rich detail and close analysis that Letcher offers. This is an essential book on the subject of psychoactive mushrooms, and an important step forward in the evolution of how we talk about the history of entheogens.
Reference: The Erowid Review: http://www.erowid.org/library/review/review.php?p=263Dr Robert MullerThe Story of Jimi Hendrix
2008-08-20T16:56:00.001+09:30A Short Biography of Jimi Hendrix by Andre Sanchez
Jimi Hendrix and Kurt Cobain: 25 years apart and from the same part of the world. Different deaths, but related nonetheless. There must be something about the North East of the USA, but at least it gave us two brilliant performers, although there is no doubt in most people's mind who was the true genius of the two.
However, this is about the greater of the two, and Cobain's name was mentioned only to express wonder about how this part of the USA should produce two great personalities that died before their time, and perhaps while their horizons were, in their own eyes only, on the wane.
Johnny Allen Hendrix, was born in Seattle on 27th November, 1942, and had his name changed by his father on returning from the war to James Marshall Hendrix after James's uncle Leon Marshall Hendrix. His childhood was an unstable and deprived one, and he both suffered neglect and lived in welfare care for a while. Jimi practiced guitar on an unstringed broomstick and a one stringed ukulele, and although he paid $5 for his first acoustic guitar his first real guitar was a white Supro Ozark that his father bought him when he realized his son was serious about learning guitar.
He had no amp, but that did not deter him. He learned by watching others and listening to records, and was initially influenced by his father's Muddy Waters and BB King records so unsurprisingly stared his guitar playing life with the blues. He was a totally extrovert player, and his showing off with electrifying guitar playing actually upset a lot of people, and got him fired from his first band.
From there on he went from band to band, and after serving as a paratrooper in the army, he worked as a session guitarist backing such rock legends as Little Richard, the Isley Brothers and Sam Cooke. It was after he allowed Chas Chandler, formerly of the Animals, to be his manager that his career kicked off big style. Keith Richards (Rolling Stones) girl friend, Linda Keith, had told Chas about Jimi's electrifying playing, and he was persuaded to go to London UK. That was when Chas Chandler changed s name to Jimi, and formed the band the Jimi Hendrix Experience with Mitch Mitchell and Noel Redding.
London was the ideal place at time for an up and coming pop star of Jimi's type, and the band blasted the charts with its first single 'Hey Joe'. After following The Who at that fabulous pop festival at Monterey (were you there?) in 1967 and sent the crowd wild by trashing his guitar with fire on stage the band released their first album "Are You Experienced" and Jimi was a star.
The Experience's most successful album. 'Electric Ladyland' was released in 1968 after Chas Chandler left as manager, and his leaving was the beginning of the end. Drugs and hangers-on crowding the studios led eventually to the end of the band and Jimi formed another band he Gypsies, Sun and Rainbows for a short time: their only gig was Woodstock, 1969, where his version of 'The Star Spangled Banner' was electrifying, but also his last great public performance.
Drugs were catching up, and his last album was "Cry of Love" also featured Billy Cox of gypsies, and Mitch Mitchell who had been with Jimi since the Experience days. On 17th September 1970, he took some sleeping pills belonging to his girlfriend, Monica Denneman. He had an apparent allergic reaction to them, and threw up sometime during the night and drowned on his vomit. He was taken to hospital but was pronounced dead. An inauspicious end to a great musician at the age of 27.
Jimi Hendrix was known for his electrifying solos work, and his use of his teeth and playing behind his back. These have been described as gimmicks, and perhaps they were, but they were gimmicks that nobody else had thought of using live and on TV. He has yet to be emulated and everybody knows of Jimi Hendrix.
His use of designed feedback was pioneering and his branded trademark. Nobody sounded like him, and nobody has done since. You know it's Jimi playing from the that first unique note.
Those of us fortunate enough to see him play live will never forget his dynamic personality and superb guitar skills, and his name and work will live forever. On that day in September 1970 a true genius was lost and the music world was the worse for it.
Jimi Hendrix may not have been the best pure guitarist, even in his own time, but no one has yet approached him in his personality, dynamism and on-stage presence and it is doubtful now if anybody ever will.
If reading his story has inspired you to learn to play the guitar, I highly recommend you try http://www.jamplaynow.com, their online video lessons are excellent.
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http://EzineArticles.com/?A-Short-Biography-of-Jimi-Hendrix&id=1409368Dr Robert MullerThe Hard Life of Keith Moon
2008-08-20T16:43:00.001+09:30Keith Moon and His Tragic Fall by Virgil Vince
The story of Keith Moon is one of the more tragic and cautionary tales of the classic rock era. Moon was an extremely influential and talented drummer who hailed from the northern part of London. From an early age he displayed the wild streak that would dominate his entire life.
Bounced out of school, he was far more interested in two of his life's greatest loves: partying and playing the drums. He found early musical release playing in London cover bands, but the encounter that would ultimately change the course of rock and roll history and sadly seal his fate came in 1964, when at the tender age of 17 Moon joined The Who. After convincing them after a show that he would be a far better drummer than their current one, they gave him an audition in which he beat the drums so hard they were easily persuaded that he was the perfect backbone for their raucous sound.
Moon was an innovative drummer who was never afraid to try new things behind the kit. Early on in The Who he began assembling a drum kit that would better compliment his habit of using the kick drum to pace his rhythms, and he eventually ended up combining several different kits in order to give him the breadth of sound he needed. He played with abandon, but also great skill, a very difficult trick for a professional musician to pull off. Every performance was barn burner, and Moon left it all on the stage at the end of each show. His influence on the drummers who came after him has been profound, and he is often cited with John Bonham as being one of the key originators in rock and roll.
Keith Moon was a prankster who loved to punctuate his performances by blowing up his equipment or ransacking the stage. He also carried this behavior over into post-concert shenanigans, destroying hotel rooms and causing chaos whenever possible. Sadly, this excess also applied to his alcohol consumption, and he became notorious in the music scene for his prodigious appetites.
Being a member of The Who since the age of 17 meant that Keith Moon had always been exposed to life at 100 miles per hour, 24 hours a day. He was unable to develop any mechanism that would let him downshift to a pace that was survivable, and he died of an overdose of a treatment that had been designed to help him deal with his alcoholism. His death shattered The Who and shocked the rock world at the end of the 70's, forcing many to reflect on their role in this young man's out of control spin.
Classic-Rock-Music.com is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER
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http://EzineArticles.com/?Keith-Moon-and-His-Tragic-Fall&id=1406537Dr Robert MullerA Tribute to Paul McCartney
2008-08-16T16:50:00.001+09:30Paul McCartney's Experimental Side by Johnny Moon
Experimental Beatle McCartney
I often feel that Paul McCartney gets a bum rap with John Lennon receiving most of the credit as the "experimental Beatle." This just isn't the case. It was actually McCartney who was the one pushing the envelope with much of The Beatles more experimental music.
While Lennon is well known for his avante garde "Revolution #9." Paul McCartney was actually the first Beatle to tackle avante-garde music with 1967's "Carnival of Light." Of course "Carnival of Light" has still never been released (many thought it would come out during the Anthology series but it did not.)
McCartney was also the brains behind a lot of The Beatles more "far out" ideas such as the whole Sgt. Pepper concept and the Magical Mystery Tour film and album. It was also the person who had the idea of using tape loops for John Lennon's breakthrough recording "Tomorrow Never Knows."
Another important aspect of what Paul McCartney brought to the Beatles was the idea of trying totally different types of musical styles. It was actually Lennon who was often against this. McCartney liked doing songs like "Your Mother Should Know" which were in a completely different style than one would expect from a rock band.
If you look at a modern experimental psychedelic band like Ween I think you'll see that they are actually far more influenced by the Paul McCartney side of The Beatles than the John Lennon side. McCartney liked doing things that were totally off the wall and weird like "Maxwell's Silver Hammer." I think Lennon actually missed the point of this type of music when he called it "granny music." It's not "granny music." It's weird music. And it's really tripped out if you can dig on it.
McCartney was very adventerous as a musician. Along with The Beatles producer George Martin, McCartney was the guy behind a lot of The Beatles more adventerous arrangements and he was behind the reknowned "suite" on side two of Abbey Road. Again Lennon didn't like that idea.
Modern Experimental McCartney
Too few people know about McCartney's experimental music in the 1990s and in the 2000s. If you've never heard his work as "The Fireman" then I think you are in for a treat (if you like psychedelic ambient music that is.) In particular I recommend 1998's Rushes. I also just found out that he's planning on releasing a new album as The Fireman this year.
2000's Liverpool Sound Collage is another great example of how experimental McCartney's music can get. Like with The Fireman projects, McCartney worked with Youth (of The Super Furry animals) on it.
Pure Pitch Method Ear Training Develop Golden Ears Like Sir Paul McCartney's.
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http://EzineArticles.com/?Paul-McCartneys-Experimental-Side&id=1364269Dr Robert MullerALBUM REVIEW - The Beatles: Revolver
2008-08-16T16:47:00.002+09:30The Beatles' Revolver - A Revolution in 1966 by Johnny Moon
The Context
It was August of 1966. Only 2 and a half years since The Beatles first broke onto the scene in the United States with "I Want To Hold Your Hand" and the accompanying hysteria ("Beatlemania.") Since then The Beatles music had quickly been evolving from their earlier pop rock into a more sophisticated art rock.
Rubber Soul
Their most recent album was Rubber Soul which had been released in December of '65. While these days just 8 months between album releases is a short time, in those days it was considered a reasonably long time to wait for the biggest band in the world to release their next album. Rubber Soul was itself a major step forward from the album before that (Help!) It included the first use of the Indian instrument the sitar on a pop record ("Norwegian Wood') and it also featured more introspective lyrics (such as on "Nowhere Man" & "In My Life") than were generally heard on their earlier albums.
Revolver
While Rubber Soul was a big step forward, Revolver was a leap forward sonically. The most forward looking track was of course the album closer, "Tomorrow Never Knows" which still sounds like the future 42 years later. I'll look at that track more in depth at the end of this article.
While Rubber Soul had "Norwegian Wood" which had some sitar on it, Revolver's "Love You To" was something else entirely. This George Harrison song based entirely on Indian instruments that sounded totally unlike anything pop music listeners of the time had ever heard before. In fact I bet it sounds totally unlike anything most pop music listeners of today have ever heard too (unless of course they've listened to Revolver or Sgt Pepper.) "Love You To" definitely expanded the horizons for what a pop record could sound like. But it was far from alone in that regard on this album.
"Eleanor Rigby" featured a string quartet and Paul McCartney's voice. With it's poetic lyrics and unique arrangement, it still stands as a classic in popular music today.
"Yellow Submarine" is a childlike song written by Paul McCartney and sung by Ringo Starr that went on to inspire the cartoon feature of the same name released in 1968. It's really quite a weird song, isn't it? This was a great example of The Beatles just completely ignoring any rules for what kind of songs should be on a popular music album.
"I'm Only Sleeping" features George Harrison's backwards guitar. I'm not sure if this is the first pop song to include backwards guitar, but it is probably one of the first. Harrison learned to play the desired melody backwards so that when reversed it would fit in properly with the song. Just another example of The Beatles pushing the envelope in the studio with their arrangements.
"Tomorrow Never Knows"
While there are many amazing breakthroughs on this album, it's been said that every song on the album inspired a new sub genre of rock music, it's "Tomorrow Never Knows" that really stands out as a ground breaking song. Amazingly enough this was the first song recorded for the album (in April of 1966, John Lennon wrote it in January of '66.)
Everything about this song from it's lyrics to it's song writing to it's arrangement to it's production was very experimental. The vocals were put through a Leslie speaker to obtain a vibrato effect. This was the first time such an effect was used. The lyrics were based on The Psychedelic Experience by Timothy Leary (and that book was based on the Tibetan Book of the Dead.) The song featured very inventive use of tape loops, reverse drums, reverse guitar, and many more sonic explorations. Another unusual fact about the song is that the song is almost entirely played on just one chord. This was probably greatly influenced by Indian music which is often played in such a way.
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http://EzineArticles.com/?The-Beatles-Revolver---A-Revolution-in-1966&id=1363803Dr Robert MullerBridge Over Troubled Water: A Unique Opinion
2008-08-16T16:41:00.001+09:30Gospel Flavour of "Bridge Over Troubled Water" by Steve Wickham
There is a song that makes me feel small, but in a very good way. It commences gently but assertively with a trickling piano then booms at the end in an eerily cool and comforting sort of way. The crescendo of the third verse is what brings goose pimples to the skin as I'm taken to the inner sanctum of God's court; his Presence. In this way it has 'oaks' of the 23rd Psalm. It is the safety of the Shepherd whom fills us with the feeling 'we shall not want.'
At his 92nd birthday celebration a son fulfils his elderly father's wish -- the reading of the 23rd Psalm. It's an amazing cogent dirge of faithful assurance, read slowly and strongly; so much like the song...
Of course the song I'm referring to is the 1970 classic, Bridge Over Troubled Water by Paul Simon and Art Garfunkel. Many an artist (including more than one Christian artist) has recorded their own rendition of this universal favourite that lived atop the billboard top 100 for a couple of months. It was Simon and Garfunkel's swansong.
The song is colossal. There is an eternal shrill to it. It builds upon the images of the overwhelmed. Whether we're 'feeling small, ' 'friends can't be found, ' or we're simply 'down and out' he is a bridge over that troubled water -- he's on our side. Who is this person? Have you 'met' him yet? He comforts and dries the tears. He'll surround us with safety and answers when 'pain is all around.'
The first and second verses are melodies for the melancholy -- an elixir for desperates. Then the divine ballad shifts up in gear and suddenly lifts us... first musically, then spiritually. The theme of loneliness and sorrow ends suddenly and a new era of victorious hope emerges; again the overtones of the 23rd Psalm.
'Silver girl's time has come.' She is about to live her dream; there is a sure pillion of hope as he shows her how she's to shine. He will 'ease her mind.'
Sail on silver girl
Sail on by
Your time has come to shine
All your dreams are on their way
See how they shine
Oh when you need a friend
I'm sailing right behind
Like a bridge over troubled water
I will ease your mind
Like a bridge over troubled water
I will ease your mindImagine in your pain and desolation, the bridge that carries you safely over the dark and treacherous torrent below, and through that dark period, mentally, emotionally, spiritually, psychologically.
Bridge Over Troubled Water is a wonderfully inspirational yet expansive song for the downcast complete with music and feeling of epic proportions. It's a creative touch of God for humankind; a miracle of creation and modern day art. In the spiritual sense, it's a 'saving' work that must have saved thousands upon thousands of lives. Praise God.
Copyright © 2008, Steven J. Wickham. All Rights Reserved Worldwide.
Steve Wickham is a safety and health professional (BSc) and a qualified lay Christian minister (GradDipDiv). His key passion is work / life balance and re-creating value for living, and an exploration of the person within us.
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http://EzineArticles.com/?Gospel-Flavour-of-Bridge-Over-Troubled-Water&id=1375743Dr Robert MullerA Tribute to Jimmy Page
2008-08-16T16:22:00.000+09:30Jimmy Page - Yardbirds, Led Zeppelin, The Firm by Virgil Vince
These are some of the names that come to mind when one thinks of the best guitarists and super groups of the past 40 years of rock and roll history. Jimmy Page was one of the original riff rockers, putting together snarling, attacking guitar lines that are some of the most memorable in the classic rock canon. Not only was he a master of fuzzed out blues metal, but he was also capable of crafting intricate, haunting melodies that seemed to freeze musical moments in time, holding them close to the ear to be savored and enjoyed.
Not everyone is familiar with the origins of Jimmy Page's music career, as the first successful band he was in was somewhat overshadowed by its other, equally famous guitar-slinging members. Eric Clapton was one of the original members of the group, but he left when he could no longer stomach the band's move from blues to pop. He was replaced by Jeff Beck, a guitar hero's guitar hero, and Clapton recommended that Jimmy Page also be considered. A couple of years later Page was helping Beck front the group, and their twin guitar attack would score several hits before Beck decided to move on to a solo career.
After the Yardbirds split up, Page attempted to ride the momentum of the group with a band he called 'The New Yardbirds', but they ended up renaming themselves Led Zeppelin instead and went on to become the most influential hard rock band of all time. Jimmy Page's creativity really got a chance to shine in the group, and Zeppelin was able to better channel his artistic vision. Of course, it helped that his fellow band mates were all virtuosos themselves.
The Firm were a group that Page became involved in during the mid-80's. Together with label mate Paul Rogers, formerly of the band Bad Company, The Firm were an attempt for both to move on from their oppressively famous back catalog and chart new musical waters. While they did manage to release 2 albums and go on a number of successful tours, the group never gathered the same level of commercial appeal that their previous bands had done.
For Jimmy Page, Yardbirds, Led Zeppelin , The Firm all represent specific chapters in his varied and amazingly prolific life. To have had the chance to collaborate with so many gifted musicians means that Page's recorded musical legacy will live on long after he has stopped performing.
Classic-Rock-Music.com is the mystical rehearsal studio for rockers DEMON TWEAK. Listen as they prepare for battle with the evil trickster Loki by playing home brewed classic rock direct from Ragnarok. Also read articles on your favorite classic rock band written by resident historian VIRGIL THE STORYTELLER
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http://EzineArticles.com/?Jimmy-Page---Yardbirds, -Led-Zeppelin, -The-Firm&id=1384192Dr Robert Muller
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