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Psychobilly
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Psychobilly is a fusion genre of rock music that mixes elements of punk rock, rock and roll, rockabilly, and rhythm and blues. It is one of several subgenres of rockabilly which also include thrashabilly, punkabilly, surfabilly and gothabilly, merriam-Webster defines it as music that blends punk rock and rockabilly, another dictionary defines it as loud frantic rockabilly music. Psychobilly, while rooted in the twang of rockabilly, owes just as much to the sound of straight up three-chord punk, Psychobilly bands and lyrics usually take an apolitical stance, a reaction to the right- and left-wing political attitudes which divided other British youth cultures. Many psychobilly bands are trios of guitar, upright bass and drums. Psychobilly gained underground popularity in Europe beginning in the early 1980s, with the UK band The Meteors, the second wave of psychobilly began with the 1986 release of British band Demented Are Gos debut album In Sickness & In Health. The genre soon spread throughout Europe, inspiring a number of new such as Mad Sin and the Nekromantix. The evolution of psychobilly as a genre is described as having occurred in waves. In the mid- to late 1970s, as punk rock became popular, several rockabilly and garage rock bands appeared who would influence the development of psychobilly. The term psychobilly was first used in the lyrics to the country song One Piece at a Time, written by Wayne Kemp for Johnny Cash, the lyrics describe the construction of a psychobilly Cadillac using stolen auto parts. It wasnt meant as a style of music, nevertheless, The Cramps, along with artists such as Screamin Jay Hawkins, are considered important precursors to psychobilly. Their 1979 album Songs the Lord Taught Us is considered influential to the formation of the psychobilly genre, about. com calls The Meteors the first true psychobilly band and notes their blend of the themes of horror, punk and rockabilly. They were the first band to use the term Psychobilly as a description of their music, formed in South London in 1980, they are considered the first verifiable psychobilly band. Their albums In Heaven and Wreckin Crew are recognized as landmarks of the years of the genre. Starting in the scene, the Meteors were quickly shunned for being too different. Excuses for exclusion from rockabilly concerts varied from the band having too extreme of a sound to their drummer having green hair, the Meteors blended elements of punk rock, rockabilly, and horror film themes in their music. Another commentator argues that The Misfits American Nightmare may have been the first psychobilly song, the Meteors also articulated psychobillys apolitical stance, a reaction to the right- and left-wing political attitudes which divided other British youth cultures. Fans of The Meteors, known as the Crazies, are attributed with inventing the style of slam dancing known as wrecking. The short-lived Sharks, formed in Bristol in 1980, followed closely behind The Meteors with their influential album Phantom Rockers, Demented Are Go are a Welsh psychobilly band that was formed around 1982 in Cardiff
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Anaglyph 3D
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Anaglyph 3D is the name given to the stereoscopic 3D effect achieved by means of encoding each eyes image using filters of different colors, typically red and cyan. Anaglyph 3D images contain two differently filtered colored images, one for each eye, when viewed through the color-coded anaglyph glasses, each of the two images reaches the eye its intended for, revealing an integrated stereoscopic image. The visual cortex of the brain fuses this into perceptive tion of a scene or composition. Anaglyph images have seen a recent resurgence due to the presentation of images and video on the Web, Blu-ray Discs, CDs, low cost paper frames or plastic-framed glasses hold accurate color filters that typically, after 2002, make use of all 3 primary colors. The current norm is red and cyan, with red being used for the left channel, the cheaper filter material used in the monochromatic past dictated red and blue for convenience and cost. There is an improvement of full color images, with the cyan filter. Video games, theatrical films, and DVDs can be shown in the anaglyph 3D process, practical images, for science or design, where depth perception is useful, include the presentation of full scale and microscopic stereographic images. Examples from NASA include Mars Rover imaging, and the investigation, called STEREO. Other applications include geological illustrations by the United States Geological Survey, a recent application is for stereo imaging of the heart using 3D ultra-sound with plastic red/cyan glasses. Anaglyph images are much easier to view than either parallel or crossed-view pairs stereograms, however, these side-by-side types offer bright and accurate color rendering, not easily achieved with anaglyphs. Recently, cross-view prismatic glasses with adjustable masking have appeared, that offer an image on the new HD video. Template, 3D Glasses The oldest known description of anaglyph images was written in August 1853 by W. Rollmann in Stargard about his Farbenstereoscope and he had the best results viewing a yellow/blue drawing with red/blue glasses. Rollmann found that with a drawing the red lines were not as distinct as yellow lines through the blue glass. In 1858 Joseph DAlmeida began projecting three-dimensional magic lantern slide shows using red and green filters with the audience wearing red, louis Ducos du Hauron produced the first printed anaglyphs in 1891. This process consisted of printing the two negatives which form a photograph on to the same paper, one in blue. The viewer would then use coloured glasses with red and blue or green, the left eye would see the blue image which would appear black, whilst it would not see the red, similarly the right eye would see the red image, this registering as black. Thus a three dimensional image would result, william Friese-Green created the first three-dimensional anaglyphic motion pictures in 1889, which had public exhibition in 1893. 3-D films enjoyed something of a boom in the 1920s, the term 3-D was coined in the 1950s
3.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
4.
The Cramps
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The Cramps were an American rockabilly band, formed in 1976 and active until 2009. The band split after the death of lead singer Lux Interior and their line-up rotated much over their existence, with the husband and wife duo of Interior and lead guitarist and occasional bass guitarist Poison Ivy the only permanent members. The addition of guitarist Bryan Gregory and drummer Pam Ballam resulted in the first complete lineup in April 1976 and they were part of the early CBGB punk rock movement that had emerged in New York. The Cramps are noted as influencing a number of styles, not only were they one of the first punk bands. Their music is mostly in form, played at varying tempos. An integral part of the early Cramps sound was dual guitars, the focus of their songs lyrical content and their image was camp humor, sexual double-entendre, and retro horror/sci-fi b-movie iconography. They also were influenced to a degree by the Ramones and Screamin Jay Hawkins, in turn, The Cramps have influenced countless subsequent bands in the garage, punk and revival rockabilly styles, and helped create the psychobilly genre. Psychobilly was a term coined1 by The Cramps, although Lux Interior maintained that the term did not describe their own style, Lux Interior and Poison Ivy met in Sacramento, California in 1972. In light of their artistic interests and shared devotion to record collecting. Lux took his name from a car ad, and Ivy claimed to have received hers in a dream. In 1973, they moved to Akron, Ohio, and then to New York in 1975, soon entering into CBGBs early punk scene with other emerging acts like the Ramones, Patti Smith, Television, and Mink DeVille. The lineup in 1976 was Poison Ivy Rorschach, Lux Interior, Bryan Gregory, in a short period of time, the Cramps changed drummers twice, Miriam Linna replaced Pam Ballam, and Nick Knox replaced Linna in September 1977. R. S. Their first tour of Great Britain was as supporting act to The Police on that bands first UK tour promoting Outlandos dAmour, once back to the east coast, they played the revamped 40s swing club The Meadowbrook in New Jersey, which had a huge stage and dance floor. The Cramps were the act, with opening set by Nozon. The Cramps relocated to Los Angeles in 1980 and hired guitarist Kid Congo Powers of The Gun Club, while recording their second LP, Psychedelic Jungle, the band and Miles Copeland began to dispute royalties and creative rights. The ensuing court case prevented them from releasing anything until 1983, mike Metoff of The Pagans was the final second guitarist – albeit only live – of the Cramps pre-bass era. He accompanied them on an extensive European tour in 1984 which included four sold out nights at the Hammersmith Palais and they also recorded performances of Thee Most Exalted Potentate of Love and You Got Good Taste which were broadcast on The Midsummer Nights Tube 1984. Smell of Female peaked at No.74 in the UK Albums Chart, the band appears in the 1982 film Urgh
5.
Hasil Adkins
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Hasil Adkins /ˈhæsəl/ was an American singer-songwriter and multi-instrumentalist. His genres include rock and roll, country, blues and more commonly rockabilly and he generally performed as a one-man band, playing guitar and drums at the same time. Adkins grew up in poverty in the midst of the Depression, the newfound popularity secured him a cult following, spawned the Norton Records label, and helped usher in the genre known as psychobilly. Adkins was born in Boone County, West Virginia on April 29,1937 and he was the youngest of ten children of Wid Adkins, a coal miner, and Alice Adkins, raised in a tarpaper shack on property rented from a local coal company. Born at the time of the Great Depression, Adkins early life was stricken by poverty and his parents were unable to provide him shoes until he was four or five years old. Some reports say he attended school for a brief time. Adkins given name, Hasil, pronounced Hassel, was often mispronounced, One of his brothers was named Basil, similarly pronounced Bassel. Hasil dated a girl named Hazel, and was given the nickname The Haze. As he explained it, the nickname came about cause Starlight records wanted something catchy, Hasil Adkins loved to eat meat, specifically poultry, the subject of many of his songs. Following the release of 2000s Poultry in Motion, Adkins toured with dancing go-go chicken dancers and his diet also reportedly consisted of as much as two gallons of coffee a day, and copious amounts of liquor and cigarettes. Aside from his fondness for meat, Adkins claimed to have, All three of got me into trouble over the years. One such incident occurred in 1957 when he and three friends drove a car off a mountain, a local newspaper reported the car tumbled 70 feet into nearby Pond Fork. While the driver died at the scene, Adkins survived, although he sustained a permanent back injury, in the 1980s Adkins again found himself in trouble with the law. In 1983 he was living with his girlfriend who was still a minor and her mother reported to police that she had been raped, and Adkins was subsequently charged with third-degree sexual assault, although the girl insisted the sexual acts were consensual. In October the same year, another relationship ended with jail time, no one was hurt, but Adkins was charged with felony illegal possession of a shotgun and spent five months in jail. Adkins was said to have suffered from depression and insomnia among other mental illnesses. On April 15,2005, Adkins was deliberately run over in his front yard by a teenager on an ATV, ten days later, on April 26, Adkins was found dead in his home, two days before his 68th birthday. Nicknamed The Haze, Adkins career began in the mid 1950s in a studio in his home near Madison
6.
Fever (Little Willie John song)
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Fever is a song written by Eddie Cooley and Otis Blackwell, who used the pseudonym John Davenport. It was originally recorded by American R&B singer Little Willie John in 1956, the song managed to top the Billboard R&B Best Sellers in the US and peak at number 24 on the Billboard Hot 100. It was received positively by critics and included on several lists of the best songs during the time it was released. It has been covered by artists from various musical genres, most notably by Peggy Lee whose rendition became the most widely known version of Fever. Lees version contained rewritten lyrics different from the original and an altered music arrangement and it became a top-five hit on the music charts in the UK and Australia in addition to entering the top ten in the US and the Netherlands. Fever was nominated in three categories at the 1st Annual Grammy Awards in 1959, including Record of the Year, other notable cover versions of Fever include those by Elvis Presley, The McCoys, La Lupe, Beyoncé and Madonna. The latter released it as a single from her studio album Erotica in March 1993 through Warner Bros. It topped the charts in Finland and the Hot Dance Club Songs in the US in addition to charting in the top 50 in many other countries. Madonna promoted Fever by filming and releasing a video directed by Stéphane Sednaoui. Various versions of Fever by different artists were used in films, theater plays. The idea for Fever was presented to Otis Blackwell by an old friend, Eddie Cooley, who in 1956 had a hit song called Priscilla. Blackwell said, Eddie Cooley was a friend of mine from New York and he called me up and said Man, I got an idea for a song called Fever, but I cant finish it. I had to write it under another name because, at that time, Little Willie John reportedly disliked the song, but was persuaded to record it, on March 1,1956, by King Records owner Syd Nathan and arranger and producer Henry Glover. Fever is a soul and rhythm and blues minor key opus with an arrangement consisting of low saxophones played by Ray Felder and Rufus Nose Gore, the vocal style of Willie John is similar to moaning and he is backed by finger snaps. Bill Dahl from the website AllMusic noted a contrast between the songs arrangement and the vocals along with the finger snapping which marginally lightened the mood. Fever was released as a single in April 1956 and became a hit along with the top-ten R&B song Letter from My Darling. Fever reached number one for three weeks on the Billboard R&B Best Sellers chart in the United States, peaking at the top on July 21,1956 and it also made the pop charts, peaking at number 24 on the Billboard Hot 100. The song has one million copies in the US
7.
Alex Chilton
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William Alexander Alex Chilton was an American singer-songwriter, guitarist, and record producer, best known as the lead singer of the Box Tops and Big Star. He is frequently cited as an influence by influential rock artists and bands, some of whose testimonials appeared in the 2012 documentary Big Star. Chilton grew up in a family, his father, Sidney Chilton, was a jazz musician. The new group recorded with Chips Moman and producer/songwriter Dan Penn at American Sound Studio, as lead singer for The Box Tops, Chilton enjoyed at the age of 16 a number-one international hit, The Letter. The Box Tops went on to have several other major hits, including Neon Rainbow, Cry Like a Baby, Sweet Cream Ladies, Forward March. By late 1969, only Chilton and guitarist Gary Talley remained from the original group, the group decided to disband and pursue independent careers in February 1970. After deciding against pursuing an education at Memphis State University, Chilton began performing as a solo artist. His 1970 recordings and productions from that time frame were released later in the 1980s and 1990s on albums like Lost Decade and 1970. During this era, Chilton was considered as a replacement vocalist for Al Kooper in Blood, Chilton and Bell co-wrote In The Street for Big Stars first album #1 Record, a track later covered by Cheap Trick and used as the theme song of That 70s Show. Rosebrough would occasionally work with Chilton on later recordings, including Big Stars Third album, there he made the acquaintance of The Cramps, a formative psychobilly ensemble. He brought them to Memphis, to which he had moved back to by April 1978, in 1979, Chilton released, in a limited edition of 500 copies, the album Like Flies on Sherbert. Produced by Chilton with Jim Dickinson at Phillips Recording and Ardent Studios it features his own interpretations of songs by artists as disparate as the Carter Family, newman, Ernest Tubb, and KC and the Sunshine Band, along with several originals. While criticized by some as a mess, this album is considered by many to be a lo-fi masterpiece. The second show, at the Camden club Dingwalls, was recorded and he also continued to work with Tav Falcos Panther Burns on stage and in the studio during this period. The group played a string of shows in the fall in Chicago, philadelphia, New York, and New Jersey, this would be Chiltons last tour for three years. He resumed playing with Panther Burns in 1983 and he stopped playing regular gigs with Panther Burns and formed a trio with the groups bassist, Coman, and drummer Joey Torres to play his out-of-town bookings. Chiltons business relationship with Mathé would last the rest of his life, in the U. S. Chiltons solo releases were released by the Big Time, Razor & Tie, Ardent, and Bar/None record labels. In 1985, Chilton began working with Memphis jazz drummer Doug Garrison, six songs were recorded at Ardent Studios for the 1985 EP Feudalist Tarts, three originals joined by songs from the catalogs of Carla Thomas, Slim Harpo, and Willie Tee
8.
Sam Phillips
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He was a producer, label owner, and talent scout throughout the 1940s and 1950s. He was the founder of both Sun Studio and Sun Records in Memphis, Tennessee, through Sun, Phillips discovered such recording talent as Howlin Wolf, Carl Perkins, Jerry Lee Lewis, and Johnny Cash. The height of his success culminated in his launching of Elvis Presleys career in 1954 and he is also associated with several other noteworthy rhythm and blues, country, and rock and roll musicians of the period. Phillips sold Sun in 1969 to Shelby Singleton and he was an early investor in the Holiday Inn chain of hotels. He also advocated racial equality and helped break down barriers in the music industry. Phillips was the youngest of eight children, born on a farm near Florence, Alabama, to tenant farmers, Madge Ella. As a child, he picked cotton in the fields with his parents alongside black laborers, the experience of hearing workers singing in the fields left a big impression on the young Phillips. Traveling through Memphis with his family in 1939 on the way to see a preacher in Dallas, he slipped off to look at Beale Street, I just fell totally in love, he later recalled. Phillips attended the former Coffee High School in Florence and he conducted the school band and had ambitions to be a criminal defense attorney. However, his father was bankrupted by the Great Depression and died in 1941, forcing Phillips to leave school to look after his mother. To support the family Phillips worked in a store and then a funeral parlor. In the 1940s, Phillips worked as a DJ and radio engineer for Muscle Shoals radio station WLAY, according to Phillips, this radio stations open format would later inspire his work in Memphis. Beginning in 1945, he worked for four years as an announcer, on January 3,1950, Phillips opened the Memphis Recording Service at 706 Union Avenue in Memphis, Tennessee. The Memphis Recording Service let amateurs perform, which drew performers such as B. B. King, Junior Parker, Phillips then would sell their performances to larger record labels. In addition to performances, Phillips recorded events such as weddings and funerals. The Memphis Recording Service also served as the studio for Phillipss own label, Phillips combined different styles of music. He was interested in the blues and said, The blues, it got people—black and white—to think about life, how difficult and they would sing about it, they would pray about it, they would preach about it. This is how they relieved the burden of what existed day in, the recording was released on the Chess/Checker record label in Chicago, in 1951
9.
Illegal Records
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Illegal Records was an independent record label, founded by Miles Copeland III with his younger brother Stewart Copeland and the manager of The Police, Paul Mulligan in 1977. The label released The Polices debut single, Fall Out, Copeland went on to sign more artists and start several other indie sublabels including Deptford Fun City Records, Step-Forward Records and Total Noise Records. He also launched the divisions, France & Netherlands, that released some of the same titles with different catalogue numbers. In 1979, after Copeland started I. R. S, Records, Illegal became its distributor in UK and Europe. It continued its operations until 1988, when it merged its operations with I. R. S, Deptford Fun City Records - Outlet for Deptford bands such as Alternative TV and Squeeze. Step-Forward Records - Sublabel for Punk bands such as Chelsea, The Fall & The Cortinas, list of record labels, I–Q Discogs page
10.
Smell of Female
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Smell of Female is the first live album by the American garage punk band the Cramps. It was also released by New Rose as a box set, with an additional track. It was later expanded to album length with three bonus tracks, all tracks written by Lux Interior and Poison Ivy Rorschach except where indicated. The Cramps Lux Interior - vocals, harmonica, percussion Poison Ivy Rorschach - lead guitar, bass Kid Congo Powers - guitar Nick Knox - drums Technical Paul McKenna - engineer Da Lux - cover
11.
Bad Music for Bad People
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Bad Music for Bad People is the second compilation album of previously released material by the American garage punk band the Cramps. It was released in 1984 on I. R. S, all tracks written by Lux Interior and Poison Ivy Rorschach, except where indicated. Lux Interior - vocals Bryan Gregory - guitar Kid Congo Powers - guitar Poison Ivy Rorschach - guitar Nick Knox - drums
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