Bongo Fury is a collaborative album by American artists Frank Zappa and the Mothers, with Captain Beefheart, released in October 1975. The live portions were recorded on May 20 and 21, 1975, at the Armadillo World Headquarters in Austin, Texas. Tracks 5, 6 and 9 are studio tracks recorded in January 1975; the album is a notable entry in Zappa's discography, because it was the last to feature a majority of his early 1970s band, which appeared on Over-Nite Sensation, Roxy & Elsewhere, One Size Fits All. Napoleon Murphy Brock's vocals are featured both on the sprawling "Advance Romance" as well as on the three-part harmonies of "Carolina Hard-Core Ecstasy". Captain Beefheart, in his only tour with Zappa's band, delivers vocals and harmonica on several tracks, including his two short prose readings "Sam with the Showing Scalp Flat Top" and "Man with the Woman Head". Bongo Fury marks the first appearance of Terry Bozzio, who would become Zappa's featured drummer between 1975 and 1978. Reviewing in Christgau's Record Guide: Rock Albums of the Seventies, Robert Christgau wrote: "This sentimental reunion album, recorded in Austin with additional L.
A. studio work, is dismissed by Zappaphiles and'Fhearthearts alike, but what were they expecting? Because there's a blues avatar up top, the jazzy music has a soulful integrity, though it's embarrassing to hear the Captain deliver Frankie's latest pervo exploitations, the rest of the songs are funnier because he's singing them." All tracks performed by Captain Beefheart. This is the last original Frank Zappa album. Frank Zappa – lead guitar and backing vocals Captain Beefheart – harp and backing vocals, shopping bags George Duke – keyboards and backing vocals Napoleon Murphy Brock – sax and backing vocals Bruce Fowler – trombone, fantastic dancing Tom Fowler – bass dancing Denny Walley – slide guitar, backing vocals Terry Bozzio – drums, moisture Chester Thompson – drums Robert "Frog" Camarena – backing vocals on "Debra Kadabra" Michael Braunstein – engineer Frank Hubach – engineer Kelly Kotera – engineer Kerry McNabb – engineer Davey Moire – engineer Cal Schenkel – design John Williams – photography, cover photo Bob Stone – engineer Mike D. Stone of the Record Plant – engineer Album - Billboard
Bat Chain Puller
Bat Chain Puller is the 13th studio album by Captain Beefheart, released on February 22, 2012. It was recorded in 1976 by DiscReet Records, who had intended to release it with Virgin Records as Captain Beefheart's tenth studio album, it was co-produced by Kerry McNab. The album was a subject of friction between DiscReet cofounders Herb Frank Zappa. Cohen had used Zappa's royalty checks to fund the album's production, this led Zappa to withhold the master tapes from Virgin. Beefheart recorded a new album for Warner Bros. Shiny Beast, with no involvement from Zappa. Following a lawsuit, settled in 1982, the album remained unreleased until 2012, after Zappa's family had announced in 2011 that they would release the original Bat Chain Puller in its intended form. After recording the album Bongo Fury with Frank Zappa, Don Van Vliet formed a new Magic Band and began recording Bat Chain Puller for DiscReet and Virgin Records. Zappa described the proposed album as Vliet's best since Trout Mask Replica.
Vliet co-produced it with Kerry McNab, who served as the remix engineer on Zappa's album One Size Fits All. Herb Cohen, DiscReet's cofounder and Zappa's business manager, paid for the album's production costs with Zappa's royalty checks, leading Zappa to end his business partnership with Cohen. Cohen and Zappa each demanded to be paid an advance by Virgin, leading Zappa to withhold the master tapes, leading Cohen to sue Zappa. Due to the lawsuit, Vliet rerecorded the Bat Chain Puller tracks for Warner Bros. Records under the title Shiny Beast. In 1982, Cohen settled his lawsuit with Zappa. Vliet intended to use half of the tracks from the original Bat Chain Puller album on Ice Cream For Crow, but Zappa refused Vliet's request. Vliet biographer Mike Barnes subsequently claimed that Vliet did not want the original album to be released. On June 24, 2011, six months after Vliet's death, Zappa's widow Gail claimed that the original Bat Chain Puller would be released "his year. December most likely".
The song "Bat Chain Puller" was based upon the rhythm of the windshield wipers on Vliet's Volvo car. Included are original recordings of songs that had appeared on the albums Shiny Beast, Doc at the Radar Station and Ice Cream for Crow. Captain Beefheart – vocals, soprano saxophone John "Drumbo" French – drums, guitar, music director Denny "Feelers Rebo" Walley – guitar, accordion Jeff Moris Tepper – guitar John Thomas – piano, Rhodes electric piano, Mini Moog
A musician is a person who plays a musical instrument or is musically talented. Anyone who composes, conducts, or performs music is referred to as a musician. A musician who plays a musical instrument is known as an instrumentalist. Musicians can specialize in any musical style, some musicians play in a variety of different styles depending on cultures and background. Examples of a musician's possible skills include performing, singing, producing, composing and the orchestration of music. In the Middle Ages, instrumental musicians performed with soft ensembles inside and loud instruments outdoors. Many European musicians of this time catered to the Roman Catholic Church, they provided arrangements structured around Gregorian chant structure and Masses from church texts. Notable musicians Phillipe de Vitry Guillaume Dufay Guillaume de Machaut Hildegard of Bingen John Jenkins Beatritz de Dia Tyagaraja Purandara Dasa Bhimsen Joshi Bismillah Khan A. R. RAHMAN Renaissance musicians produced music that could be played during masses in churches and important chapels.
Vocal pieces were in Latin—the language of church texts of the time—and were Church-polyphonic or "made up of several simultaneous melodies." By the end of the 16th century, patronage split among many areas: the Catholic Church, Protestant churches, royal courts, wealthy amateurs, music printing—all provided income sources for composers. Notable musicians Giovanni Palestrina Giovanni Gabrieli Thomas Tallis Claudio Monteverdi Leonardo da Vinci The Baroque period introduced heavy use of counterpoint and basso continuo characteristics. Vocal and instrumental "color" became more important compared with the Renaissance style of music, emphasized much of the volume and pace of each piece. Notable musicians George Frideric Handel Johann Sebastian Bach Antonio Vivaldi Classical music was created by musicians who lived during a time of a rising middle class. Many middle-class inhabitants of France at the time lived under long-time absolute monarchies; because of this, much of the music was performed in environments that were more constrained compared with the flourishing times of the Renaissance and Baroque eras.
Notable musicians Wolfgang Amadeus Mozart Joseph Haydn Ludwig Van Beethoven The foundation of Romantic period music coincides with what is called the age of revolutions, an age of upheavals in political, economic and military traditions. This age included the initial transformations of the Industrial Revolution. A revolutionary energy was at the core of Romanticism, which quite consciously set out to transform not only the theory and practice of poetry and art, but the common perception of the world; some major Romantic Period precepts survive, still affect modern culture. Notable musicians Ludwig van Beethoven Frédéric Chopin Franz Schubert Niccolò Paganini Franz Liszt Charles-Valentin Alkan Richard Wagner Pyotr Ilyich Tchaikovsky Johannes Brahms Johann Strauss II The world transitioned from 19th-century Romanticism to 20th century Modernism, bringing major musical changes. In 20th-century music and musicians rejected the emotion-dominated Romantic period, strove to represent the world the way they perceived it.
Musicians wrote to be"... objective. While past eras concentrated on spirituality, this new period placed emphasis on physicality and things that were concrete."The advent of audio recording and mass media in the 20th century caused a boom of all kinds of music—pop, dance, folk and all forms of classical music. Musicians can experience a number of health problems related to the practice and performance of music; these can include tinnitus and noise-induced hearing loss, which occurs and over a long period of time, most musicians do not seek help until they start to experience secondary symptoms such as tinnitus, distortion of sounds and hyperacusis. In addition, musicians are at increased risk for both musculoskeletal and vocal health problems when producing high sound levels on musical instruments. Increased biomechanical demands, whether at the hands, embouchure, or vocal cords, elevates the risks for occupational health problems like tendonitis, carpal tunnel, rupture of facial muscles, vocal cord malfunction.
Singer Composer Tour manager Musicians' or'Hi-Fi' earplugs Media related to Musicians at Wikimedia Commons
Carson City, Nevada
Carson City is an independent city and capital of the US state of Nevada, named after the mountain man Kit Carson. As of the 2010 census, the population was 55,274; the majority of the town's population lives in Eagle Valley, on the eastern edge of the Carson Range, a branch of the Sierra Nevada, about 30 miles south of Reno. The town began as a stopover for California-bound emigrants, but developed into a city with the Comstock Lode, a silver strike in the mountains to the northeast; the city has served as Nevada's capital since statehood in 1864. Before 1969, Carson City was the county seat of Ormsby County; the county was abolished that year, its territory merged with Carson City to form the Consolidated Municipality of Carson City. With the consolidation, the city limits extend west across the Sierra Nevada to the California state line in the middle of Lake Tahoe. Like other independent cities in the United States, it is treated as a county-equivalent for census purposes; the Washoe people have inhabited surrounding areas for about 6,000 years.
The first European Americans to arrive in what is now known as Eagle Valley were John C. Frémont and his exploration party in January 1843. Fremont named the river flowing through the valley Carson River in honor of Kit Carson, the mountain man and scout he had hired for his expedition. Settlers named the area Washoe in reference to the indigenous people. By 1851 the Eagle Station ranch along the Carson River was a trading post and stopover for travelers on the California Trail's Carson Branch which ran through Eagle Valley; the valley and trading post received their name from a bald eagle, hunted and killed by one of the early settlers and was featured on a wall inside the post. As the area was part of the Utah Territory, it was governed from Salt Lake City, where the territorial government was headquartered. Early settlers bristled at the control by Mormon-influenced officials and desired the creation of the Nevada territory. A vigilante group of influential settlers, headed by Abraham Curry, sought a site for a capital city for the envisioned territory.
In 1858, Abraham Curry thereafter renamed the settlement Carson City. As Curry and several other partners had Eagle Valley surveyed for development. Curry decided Carson City would someday serve as the capital city and left a 10-acre plot in the center of town for a capitol building. After gold and silver were discovered in 1859 on nearby Comstock Lode, Carson City's population began to grow. Curry built the Warm Springs Hotel a mile to the east of the city center; when territorial governor James W. Nye traveled to Nevada, he chose Carson City as the territorial capital, influenced by Carson City lawyer William Stewart, who escorted him from San Francisco to Nevada; as such, Carson City bested American Flat. Curry loaned the Warm Springs Hotel to the territorial Legislature as a meeting hall; the Legislature named Carson City to be the seat of Ormsby County and selected the hotel as the territorial prison with Curry serving as its first warden. Today the property is still part of the state prison.
When Nevada became a state in 1864 during the American Civil War, Carson City was confirmed as Nevada's permanent capital. Carson City's development was no longer dependent on the mining industry and instead became a thriving commercial center; the Virginia and Truckee Railroad was built between Carson City. A log flume was built from the Sierra Nevadas into Carson City; the current capitol building was constructed from 1870 to 1871. The United States Mint operated the Carson City Mint between the years 1870 and 1893, which struck gold and silver coins. People came from China during that time; some of them taught school. By 1880 a thousand Chinese people, "one for every five Caucasians", lived in Carson City. Carson City's population and transportation traffic decreased when the Central Pacific Railroad built a line through Donner Pass, too far to the north to benefit Carson City; the city was revitalized with the mining booms in Tonopah and Goldfield. The US federal building was completed in 1890.
These developments could not prevent the city's population from dropping to just over 1,500 people by 1930. Carson City resigned itself to small city status, advertising itself as "America's smallest capital"; the city grew after World War II. As early as the late 1940s, discussions began about merging Carson City. By this time, the county was little more than a few hamlets to the west. However, the effort did not pay off until 1966; the required constitutional amendment was passed in 1968. On April 1, 1969, Ormsby County and Carson City merged as the Consolidated Municipality of Carson City. With this consolidation, Carson City absorbed former town sites such as Empire City, which had grown up in the 1860s as a milling center along the Carson River and current U. S. Route 50. Carson City could now advertise itself as one of America's largest state capitals with its 146 square miles of city limits. In 1991, the city adopted a downtown master plan, specifying no building within 500 feet of the capitol would surpass it in height.
This plan prohibited future high-rise development in the center of downtown. The Ormsby House is the tallest building in downtown Carson City, at a height of 117 feet; the structure was completed in 1972. Carson City
Personal is the second album by Captain Beefheart and his Magic Band. It was released in October 1968 a year after the band had taken to the studio to record the follow-up to 1967's Safe as Milk; the finished album has a controversial reputation owing to producer Bob Krasnow's use of audio effects when the tracks were mixed down in accordance with the psychedelic trends of the day. Beefheart subsequently condemned this production, which he said was done without his knowledge or approval, though he is said to have agreed to it; the original intention was to record an album for Buddah Records entitled It Comes to You in a Plain Brown Wrapper. A considerable amount of material was recorded for the project during the period of October–November 1967 with Bob Krasnow producing. Buddah, declined to release the album, issued as Strictly Personal on Krasnow's own Blue Thumb label the following year; the album features re-recorded versions of songs from the 1967 sessions. The psychedelic effects added by Krasnow included phasing, reverse tape, tape editing and deep echo.
Beefheart always professed that he hated the effects, claiming they had been added without his knowledge, though it is he was aware and approved of them at the time. However, subsequent recordings of his are produced with a unaffected sound. Buddah released some recordings from the earlier sessions, along with an earlier version of "Kandy Korn", as Mirror Man in 1971. Much other material from the 1967 sessions has since been released: the compilation I May Be Hungry But I Sure Ain't Weird contained eleven of the original cuts taken from master tapes; this album has long since been out of print, but all eleven tracks can be found spread across The Mirror Man Sessions and the current version of Safe as Milk. Some of these tracks were used for a vinyl-only release by the Sundazed label in 2008 bearing the original intended title of It Comes to You in a Plain Brown Wrapper but this release does not duplicate the original album's concept or sequence. Barret Hansen, in a December 1968 review for Rolling Stone, was unsure of the value of the record.
Stewart Mason, in a retrospective AllMusic review, felt it was a terrific album but underrated due to the reputation of Bob Krasnow's remixing. All tracks written by Don Van Vliet. According to the album credits, all songs were written by Don Van Vliet. Lyricist Herb Bermann has contested this, claiming to have written the lyrics to the songs "Safe As Milk", "Trust Us," "Gimme Dat Harp Boy," and "Kandy Korn" Don Van Vliet – vocals, harmonica Alex St. Clair – guitar Jeff Cotton – guitar Jerry Handley – bass John French – drums Smiley Smile BibliographyBarnes, Mike. Captain Beefheart. Omnibus Press. ISBN 1-84449-412-8 Lyrics and further details at the Captain Beefheart Radar Station
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
Jimmy Carl Black
James Carl Inkanish, Jr. known professionally as Jimmy Carl Black, was a drummer and vocalist for The Mothers of Invention. Born in El Paso, Black was of mixed Native American heritage, his trademark line was "Hi Boys and Girls, I'm Jimmy Carl Black, I'm the Indian of the group." The line can be heard several times on The Mothers of Invention's album We're Only in It for the Money. The line can be heard in Haskell Wexler's 1969'Medium Cool', he was addressed as such by Theodore Bikel in the film 200 Motels. He has been credited on some Mothers albums as playing "drums and poverty", he appeared in the movie directed by Frank Zappa, 200 Motels, sings the song "Lonesome Cowboy Burt". Black made a few more appearances with Zappa in 1975 and 1980, appeared as guest vocalist on "Harder Than Your Husband" on the Zappa album You Are What You Is; the same year, 1981, he performed the same song at the discothèque Aladdin, Bergen, Norway, as part of The Grandmothers, after their release Grandmothers, an anthology of unreleased recordings by ex-members of The Mothers of Invention.
Jimmy Carl Black on Frank Zappa: I would have told him that I appreciated his friendship through the years and that I had learned a lot from him. I loved Frank like you do a brother. In 1972, he played with the band he founded with Mothers wind player Bunk Gardner. In the summer of 1975 he played drums for Captain Beefheart & the Magic Band under the stage name Indian Ink, notably at the band's appearance at the Knebworth Festival. In the eighties Jimmy and Bunk and Don Preston performed under the name "The Grandmothers" along with a bunch of other ex-Zappa musicians, but the band soon disbanded. Jimmy moved to Austin, where he met English singer Arthur Brown; the duo recorded an album of classic R&B songs, Black and Blue, performed live together. After the death of his first wife, Jimmy moved to Italy in 1992 and to Germany in 1995, where he reformed The Grandmothers with original members Don and Bunk and with Dutch bass player Ener Bladezipper and Italian guitar player Sandro Oliva. Black performed as a guest vocalist with the Muffin Men, a Frank Zappa tribute band based in Liverpool and with Jon Larsen, on the surrealistic Strange News From Mars project, featuring several other Zappa alumni, such as Tommy Mars, Bruce Fowler, Arthur Barrow.
Black toured around Europe with Muffin Men between 1993-2007 playing hundreds of gigs, appearing on many of the CDs and DVDs. Black and Eugene Chadbourne played as "the Jack and Jim Show" around Europe and US between 1992 and 2003, they performed many Beefheart compositions alongside other material. At Steely Dan's 2001 Rock and Roll Hall of Fame induction, Walter Becker asked the assembled if they remembered who the original Mothers of Invention drummer was. Becker unsuccessfully lobbied the Rock and Roll Hall of Fame for Black's inclusion as a founding member of The Mothers of Invention. An autobiographical audio production with Jimmy Carl Black was recorded in 2007, called The Jimmy Carl Black Story, produced by Jon Larsen. Black was diagnosed with lung cancer in August 2008, died on November 1, 2008 in Siegsdorf, Germany. Benefits were held on November 9, 2008 at the Bridgehouse II in London and December 7, 2008 in Crown Valley, California, he is survived by three sons and two daughters. In 2013, the documentary Where's the Beer and When Do We Get Paid? about Black began running in Germany.
Black's autobiography For Mother's Sake was published by Black's widow on November 1, 2013 to mark the fifth anniversary of his death. The incomplete manuscript was rounded off using material from the synoptic web-bio Black published on his website, extracts from various interviews Black gave; the main body of text was transcribed from tapes recorded by Roddie Gilliard in the Muffin Men tour bus during 1995-1998. Them 3 Guys The Keys The Squires Soul Giants The Mothers of Invention Geronimo Black Mesilla Valley Lo boys, Captain Beefheart & the Magic Band Big Sonny & The Lo Boys The Grandmothers Captain Glasspack & his Magic Mufflers Pound for Pound, Junior Franklin & The Golden Echoes, Rhythm Rats Jimmy Carl Black and the Mannish Boys Grandmothers The Jack & Jim Show Grandmothers The Farrell and Black Band Muffin Men Sandro Oliva & the Blue Pampurio's, X-Tra Combo, Behind The Mirror, Boogie Stuff, Cosmik Debris, Mick Pini Band, Jimmy Carl Black Band, Tempest Quartet, Happy Metal Band, etc.
Classic A Lil' Dab'l Do Ya − as Jimmy Carl Black & Mannish Boys Brown, Black & Blue − as Arthur Brown and Jimmy Carl Black When Do We Get Paid? Drummin' the Blues Is Singin' the Blues Hamburger Midnight − as BEP Mercedes Benz − as Jimmy Carl Black & the X-Tra Combo Indian Rock Songs from Jimmy Carl Black − live album How Blue Can You Get? Where's the $%&#@ Beer? I Just Got in from Texas − as Chris Holzhaus, Jimmy Carl Black & Louis Terrazas Can I Borrow a Couple of Bucks Until the end of the Week? I'm Not Living Very Extravagantly, I'll Tell You for Sure... Where's My Waitress? If We'd All Been Living in California... Freedom Jazz Dance – Jimmy Carl Black – Black/Brown/Stone (