The Times They Are a-Changin' (album)
The Times They Are a-Changin' is the third studio album by American singer-songwriter Bob Dylan, released on January 13, 1964 by Columbia Records. Whereas his previous albums Bob Dylan and The Freewheelin' Bob Dylan consisted of original material among cover songs, Dylan's third album was the first to feature only original compositions; the album consists of stark, sparsely arranged ballads concerning issues such as racism and social change. The title track is one of Dylan's most famous; some critics and fans were not quite as taken with the album as a whole, relative to his previous work, for its lack of humor or musical diversity. Still, The Times They Are a-Changin' peaked at No. 20 on the US chart going gold, belatedly reaching No. 4 in the UK in 1965. Dylan began work on his third album on August 1963, at Columbia's Studio A in New York City. Once again, Tom Wilson was the producer for the entire album. Dylan had, by the time of recording, become a influential cultural figure. Eight songs were recorded during that first session, but only one recording of "North Country Blues" was deemed usable and set aside as the master take.
A master take of "Seven Curses" was recorded, but it was left out of the final album sequence. Another session at Studio A was held the following day, this time yielding master takes for four songs: "Ballad of Hollis Brown", "With God on Our Side", "Only a Pawn in Their Game", "Boots of Spanish Leather", all of which were included on the final album sequence. A third session was held in Studio A on August 12. However, three recordings are taken from the third session saw official release: "master" takes of "Paths of Victory", "Moonshine Blues" and "Only a Hobo" were all included on The Bootleg Series Volumes 1–3 1961–1991 released in 1991. In 2013, "Eternal Circle" and "Hero Blues" were included in the 1963 entry of The 50th Anniversary Collection 1963. Sessions did not resume for more than two months. During the interim, Dylan toured with Joan Baez, performing a number of key concerts that raised his profile in the media; when Dylan returned to Studio A on October 23, he had six more original compositions ready for recording.
Master takes for "The Lonesome Death of Hattie Carroll" and "When the Ship Comes In" were both culled from the October 23 session. A master take for "Percy's Song" was recorded, but it was set aside and was not released until Biograph in 1985. An alternate take on "Percy's Song", a "That's All Right" /"Sally Free and Easy" medley and "East Laredo Blues" were released in 2013 on the 1963 entry of The 50th Anniversary Collection. Another session was held the following day, October 24. Master takes of "The Times They Are a-Changin'" and "One Too Many Mornings" were recorded and included in the final album sequence. A master take for "Lay Down Your Weary Tune" was recorded, but left out of the final album. Two more outtakes, "Eternal Circle" and "Suze", were issued on The Bootleg Series Volumes 1-3 1961-1991. A final outtake, "New Orleans Rag", was released in 2013 on "The 50th Anniversary Collection"; the sixth and final session for The Times They Are a-Changin' was held on October 31, 1963. The entire session focused on one song—"Restless Farewell"—whose melody is taken from an Irish-Scots folk song, "The Parting Glass", it produced a master take that closed the album.
The Times They Are a-Changin' opens with one of Dylan's most famous songs. Dylan's friend, Tony Glover, recalls visiting Dylan's apartment in September 1963, where he saw a number of song manuscripts and poems lying on a table. "The Times They Are a-Changin"' had yet to be recorded. After reading the words "come senators, please heed the call", Glover asked Dylan: "What is this shit, man?", to which Dylan responded, "Well, you know, it seems to be what the people like to hear". Dylan recalled writing the song as a deliberate attempt to create an anthem of change for the moment. In 1985, he told Cameron Crowe: ""This was a song with a purpose, it was influenced of course by the Irish and Scottish ballads …'Come All Ye Bold Highway Men','Come All Ye Tender Hearted Maidens'. I wanted to write a big song, with short concise verses that piled up on each other in a hypnotic way; the civil rights movement and the folk music movement were pretty close for a while and allied together at that time."The climactic lines of the final verse: ""The order is fadin'/ And the first one now/ Will be last/ For the times they are a-changin'" have a Biblical ring, several critics have connected them with lines in the Gospel of Mark, 10:31, ""But many that are first shall be last, the last first."A self-conscious protest song, it is viewed as a reflection of the generation gap and of the political divide marking American culture in the 1960s.
Dylan, disputed this interpretation in 1964, saying "Those were the only words I could find to separate aliveness from deadness. It had nothing to do with age." A year Dylan would say: "I can't say that adults don't understand young people any more than you can say big fishes don't understand little fishes. I didn't mean "The Times They Are a-Changin'" as a statement … It's a feeling.""Ballad of Hollis Brown" was recorded for Dylan's previous album, The Freewheelin' Bob Dylan. That version was rejected and the song was re-recorded for The Times They Are a-Changin'. Descr
Folk music includes traditional folk music and the genre that evolved from it during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, or music performed by custom over a long period of time, it has been contrasted with classical styles. The term originated in the 19th century. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music; this process and period is reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has not been applied to the new music created during those revivals; this type of folk music includes fusion genres such as folk rock, folk metal, others. While contemporary folk music is a genre distinct from traditional folk music, in U.
S. English it shares the same name, it shares the same performers and venues as traditional folk music; the terms folk music, folk song, folk dance are comparatively recent expressions. They are extensions of the term folklore, coined in 1846 by the English antiquarian William Thoms to describe "the traditions and superstitions of the uncultured classes"; the term further derives from the German expression volk, in the sense of "the people as a whole" as applied to popular and national music by Johann Gottfried Herder and the German Romantics over half a century earlier. Though it is understood that folk music is music of the people, observers find a more precise definition to be elusive; some do not agree that the term folk music should be used. Folk music may tend to have certain characteristics but it cannot be differentiated in purely musical terms. One meaning given is that of "old songs, with no known composers", another is that of music, submitted to an evolutionary "process of oral transmission....
The fashioning and re-fashioning of the music by the community that give it its folk character". Such definitions depend upon " processes rather than abstract musical types...", upon "continuity and oral transmission...seen as characterizing one side of a cultural dichotomy, the other side of, found not only in the lower layers of feudal and some oriental societies but in'primitive' societies and in parts of'popular cultures'". One used definition is "Folk music is what the people sing". For Scholes, as well as for Cecil Sharp and Béla Bartók, there was a sense of the music of the country as distinct from that of the town. Folk music was "...seen as the authentic expression of a way of life now past or about to disappear" in "a community uninfluenced by art music" and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class yet for him true folk music was, in Charles Seeger's words, "associated with a lower class" in culturally and stratified societies.
In these terms folk music may be seen as part of a "schema comprising four musical types:'primitive' or'tribal'. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre. For example, the Grammy Award used the terms "traditional music" and "traditional folk" for folk music, not contemporary folk music. Folk music may include most indigenous music. From a historical perspective, traditional folk music had these characteristics: It was transmitted through an oral tradition. Before the 20th century, ordinary people were illiterate; this was not mediated by books or recorded or transmitted media. Singers may extend their repertoire using broadsheets or song books, but these secondary enhancements are of the same character as the primary songs experienced in the flesh; the music was related to national culture. It was culturally particular. In the context of an immigrant group, folk music acquires an extra dimension for social cohesion.
It is conspicuous in immigrant societies, where Greek Australians, Somali Americans, Punjabi Canadians, others strive to emphasize their differences from the mainstream. They learn songs and dances that originate in the countries their grandparents came from, they commemorate personal events. On certain days of the year, such as Easter, May Day, Christmas, particular songs celebrate the yearly cycle. Weddings and funerals may be noted with songs and special costumes. Religious festivals have a folk music component. Choral music at these events brings children and non-professional singers to participate in a public arena, giving an emotional bonding, unrelated to the aesthetic qualities of the music; the songs have been performed, by custom, over a long period of time several generations. As a side-effect, the following characteristics are sometimes present: There is no copyright on the songs. Hundreds of folk songs from the 19th century have known authors but have continued in oral tradition to the point where they are considered traditional for purposes of music publishing.
This has become much less frequent since the 1940s. Today every folk song, recorded is credited with an arranger. Fusion of cultures: Because cultures interact and change over time
Cher is an American singer and actress. Referred to by the media as the Goddess of Pop, she has been described as embodying female autonomy in a male-dominated industry, she is known for her distinctive contralto singing voice and for having worked in numerous areas of entertainment, as well as adopting a variety of styles and appearances during her six-decade-long career. Cher gained popularity in 1965 as one-half of the folk rock husband-wife duo Sonny & Cher after their song "I Got You Babe" reached number one on the American and British charts. By the end of 1967, they had sold 40 million records worldwide and had become, according to Time magazine, rock's "it" couple, she began her solo career releasing in 1966 her first million-seller song, "Bang Bang". She became a television personality in the 1970s with her shows The Sonny & Cher Comedy Hour, watched by over 30 million viewers weekly during its three-year run, Cher, she emerged as a fashion trendsetter by wearing elaborate outfits on her television shows.
While working on television, Cher established herself as a solo artist with the U. S. Billboard Hot 100 chart-topping singles "Gypsys, Tramps & Thieves", "Half-Breed", "Dark Lady". After her divorce from Sonny Bono in 1975, she launched a comeback in 1979 with the disco album Take Me Home and earned $300,000 a week for her 1980–1982 concert residency in Las Vegas. In 1982, Cher made her Broadway debut in the play Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean and starred in its film adaptation, she subsequently received critical acclaim for her performances in films such as Silkwood, The Witches of Eastwick and Moonstruck, with the latter having earned her the Academy Award for Best Actress. She revived her musical career by recording the rock-inflected albums Cher, Heart of Stone and Love Hurts, all of which yielded successful singles such as "I Found Someone", "If I Could Turn Back Time" and "Love and Understanding". Cher reached a new commercial peak in 1998 with the dance-pop album Believe, whose title track became the biggest-selling single of all time by a female artist in the UK.
It features the pioneering use of Auto-Tune known as the "Cher effect". Her 2002–2005 Living Proof: The Farewell Tour became one of the highest-grossing concert tours of all time, earning $250 million. In 2008, she signed a $180 million deal to headline the Colosseum at Caesars Palace in Las Vegas for three years. In 2018, Cher returned to film for her first on-screen role since 2010's Burlesque, starring in the musical romantic comedy film Mamma Mia! Here We Go Again. Inspired by the film, the album Dancing Queen debuted at number three on the Billboard 200, tying with 2013's Closer to the Truth for Cher's highest-charting solo album in the U. S. Cher has won a Grammy Award, an Emmy Award, an Academy Award, three Golden Globe Awards, a Cannes Film Festival Award, an award from the Kennedy Center Honors and the Council of Fashion Designers of America, among several other honors, she has sold 100 million records worldwide to date, becoming one of the best-selling music artists in history. She is the only artist to date to have a number-one single on a Billboard chart in six consecutive decades, from the 1960s to the 2010s.
Outside of her music and acting, she is noted for her political views, philanthropic endeavors, social activism, including LGBT rights and HIV/AIDS prevention. Cher was born Cherilyn Sarkisian in El Centro, California, on May 20, 1946, her father, John Sarkisian, was an Armenian-American truck driver with gambling problems. Cher's father was home when she was an infant, her parents divorced when Cher was ten months old, her mother married actor John Southall, with whom she had another daughter, Cher's half-sister. Now living in Los Angeles, Cher's mother began acting, she played minor roles in films and on television. Holt secured acting parts for her daughters as extras on television shows like The Adventures of Ozzie and Harriet, her mother's relationship with Southall ended when Cher was nine years old, but she considers him her father and remembers him as a "good-natured man who turned belligerent when he drank too much". Holt remarried and divorced several more times, she moved her family around the country.
They had little money, Cher recounted having had to use rubber bands to hold her shoes together. At one point, her mother left Cher at an orphanage for several weeks. Although they met every day, both found the experience traumatic; when Cher was in fifth grade, she produced a performance of the musical Oklahoma! for her teacher and class. She organized a group of girls and choreographing their dance routines. Unable to convince boys to participate, she sang their songs. By age nine, she had developed an unusually low voice. Fascinated by film stars, Cher's role model was Audrey Hepburn due to her role in the 1961 film Breakfast at Tiffany's. Cher began to take after behavior of Hepburn's character, she was disappointed by the absence of dark-haired Hollywood actresses. She had wanted to be famous since childhood but felt unattractive and untalented commenting, "I couldn't think of anything that I could do... I didn't think I'd be a dancer. I just thought, well; that was my goal."In 1961, Holt married bank manager Gilbert LaPiere, who adopte
Where Do You Go (Cher song)
"Where Do You Go" is a song written by Sonny Bono. It was released as the first single by Cher in the quarter of 1965 for her second album The Sonny Side of Cher, it fell short of the Billboard Hot 100's top 20, but still earned Cher a moderate success, by reaching the Top 40. It was followed by the U. S. #2 smash hit "Bang Bang" which saw a release early the following year. It was a bigger hit in Canada. Lyrics of this song at MetroLyrics
Ringo, I Love You
"Ringo, I Love You" is a rock song performed by American singer-actress Cher released under the pseudonym Bonnie Jo Mason, the name she used at the start of her career when based in Los Angeles. The song was released in 1964 during the height of Beatlemania, it was a tribute to The Beatles. The original vinyl is now a valuable rarity. In 1999 the song was covered by German electronic duo Stereo Total and released on their studio album My Melody. "Ringo, I Love. The single was released under the name of Bonnie Jo Mason because producer Phil Spector wanted American names for his singers, Cherilyn La Piere was not a name he considered sufficiently American; the single failed to chart nationally, did not pick up much local radio play, although it was a minor hit in Buffalo, New York. It has been suggested that many radio stations would not consider playing the record because they thought Cher's low vocals were a man's vocals, although the artist's female moniker and the fact that the singer explicitly identifies herself as a girl in the song makes this story open to question.
Therefore, they believed it was a male homosexual singing a love song as a dedication to Ringo Starr. The track does not have Spector's usual Wall of Sound production techniques, instead featuring more of a crudely arranged "beat group" sound. Spector, if he did indeed produce the track, took no producer credit, the record did not appear on Philles Records, Spector's usual label. "Beatle Blues" is on the single's B-side, a typical tossed-off Spector instrumental made so that the A-side would get all the attention. "Ringo, I Love You" has been released on compact disc on small indie record label, although not on Cher releases. Beatles", "Flabby Road", "Everything You Always Wanted To Know About Rock & Roll" and "Girls in the Garage". 7" Promo "Ringo, I Love You" – 1:50 "Beatle Blues" – 2:00 Official website of Cher
A song is a single work of music, intended to be sung by the human voice with distinct and fixed pitches and patterns using sound and silence and a variety of forms that include the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals. Written words created for music or for which music is created, are called lyrics. If a pre-existing poem is set to composed music in classical music it is an art song. Songs that are sung on repeated pitches without distinct contours and patterns that rise and fall are called chants. Songs in a simple style that are learned informally are referred to as folk songs. Songs that are composed for professional singers who sell their recordings or live shows to the mass market are called popular songs; these songs, which have broad appeal, are composed by professional songwriters and lyricists. Art songs are composed by trained classical composers for recital performances. Songs are recorded on audio or video.
Songs may appear in plays, musical theatre, stage shows of any form, within operas. A song may be for a solo singer, a lead singer supported by background singers, a duet, trio, or larger ensemble involving more voices singing in harmony, although the term is not used for large classical music vocal forms including opera and oratorio, which use terms such as aria and recitative instead. Songs with more than one voice to a part singing in polyphony or harmony are considered choral works. Songs can be broadly divided depending on the criteria used. Art songs are songs created for performance by classical artists with piano or violin/viola accompaniment, although they can be sung solo. Art songs require strong vocal technique, understanding of language and poetry for interpretation. Though such singers may perform popular or folk songs on their programs, these characteristics and the use of poetry are what distinguish art songs from popular songs. Art songs are a tradition from most European countries, now other countries with classical music traditions.
German-speaking communities use the term art song to distinguish so-called "serious" compositions from folk song. The lyrics are written by a poet or lyricist and the music separately by a composer. Art songs may be more formally complicated than popular or folk songs, though many early Lieder by the likes of Franz Schubert are in simple strophic form; the accompaniment of European art songs is considered as an important part of the composition. Some art songs are so revered. Art songs emerge from the tradition of singing romantic love songs to an ideal or imaginary person and from religious songs; the troubadours and bards of Europe began the documented tradition of romantic songs, continued by the Elizabethan lutenists. Some of the earliest art songs are found in the music of Henry Purcell; the tradition of the romance, a love song with a flowing accompaniment in triple meter, entered opera in the 19th century, spread from there throughout Europe. It became one of the underpinnings of popular songs.
While a romance has a simple accompaniment, art songs tend to have complicated, sophisticated accompaniments that underpin, illustrate or provide contrast to the voice. Sometimes the accompaniment performer has the melody. Folk songs are songs of anonymous origin that are transmitted orally, they are a major aspect of national or cultural identity. Art songs approach the status of folk songs when people forget who the author was. Folk songs are frequently transmitted non-orally in the modern era. Folk songs exist in every culture. Popular songs may become folk songs by the same process of detachment from its source. Folk songs are more-or-less in the public domain by definition, though there are many folk song entertainers who publish and record copyrighted original material; this tradition led to the singer-songwriter style of performing, where an artist has written confessional poetry or personal statements and sings them set to music, most with guitar accompaniment. There are many genres of popular songs, including torch songs, novelty songs, rock and soul songs, other commercial genres, such as rapping.
Folk songs include ballads, plaints, love songs, mourning songs, dance songs, work songs, ritual songs and many more. Air Animal song: bird vocalization, whale song, zoomusicology Aria Canticle Hymn Instrumental Lists of songs Madrigal Poem and song Song structure Theme song Vocal music Marcello Sorce Keller, "The Problem of Classification in Folksong Research: a Short History", Folklore, XCV, no. 1, 100- 104. Jean Nicolas De Surmont, From vocal poetry to song, toward a Theory of Song Obects" with a foreword by Geoff Stahl, Ibidem
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin