Blues rock is a fusion genre combining elements of blues and rock. It is an electric ensemble-style music with instrumentation similar to electric blues and rock: electric guitar, electric bass, drums with Hammond organ. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock, Southern rock, early heavy metal. Blues rock continues to be an influence in the 2010s, with performances and recordings by popular artists. Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs, they recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin' Wolf, Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, the Paul Butterfield Blues Band, Canned Heat were among the earliest exponents and "attempted to play long, involved improvisations which were commonplace on jazz records".
John Mayall & the Bluesbreakers and Peter Green's Fleetwood Mac developed this more instrumental, but traditional-based style in the UK, while late 1960s and early 1970s groups, including Ten Years After, Savoy Brown, the Climax Blues Band and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, ZZ Top represented a hard rock trend. Although around this time, the differences between blues rock and hard rock lessened, there was a return to more blues-influenced styles. In the 1980s, the Fabulous Thunderbirds and Stevie Ray Vaughan, recorded their best-known works and the 1990s saw guitarists Gary Moore, Jeff Healey, Kenny Wayne Shepherd become popular concert attractions. Groups such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, as do contemporary artists such as the Black Keys. Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams focused on the electric guitar player, a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues.
Blues rock bands "borrow the idea of an instrumental combo and loud amplification from rock & roll". It is often played at a fast tempo, again distinguishing it from the blues; the core blues rock sound is created by bass guitar and drum kit. Bands included a harmonica called "a harp." The electric guitar is amplified through a tube guitar amplifier or using an overdrive effect. Two guitars are commonplace in blues rock bands: one guitarist focused on rhythm guitar, playing riffs and chords as accompaniment. While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, easier to amplify to loud volumes. Keyboard instruments, such as the piano and Hammond organ, are occasionally used; as with the electric guitar, the sound of the Hammond organ is amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals typically play a key role, although the vocals may be equal in importance or subordinate to the lead guitar playing.
As well, a number of blues rock pieces are instrumental-only. Blues rock pieces follow typical blues structures, such as twelve-bar blues, sixteen-bar blues, etc, they use the I-IV-V progression, though there are exceptions, some pieces having a "B" section, while others remain on the I. The Allman Brothers Band's version of "Stormy Monday", which uses chord substitutions based on Bobby "Blue" Bland's 1961 rendition, adds a solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel"; the key is major, but can be minor, such as in "Black Magic Woman". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets found in blues. An example is Cream's "Crossroads". Although it was adapted from Robert Johnson's "Cross Road Blues", the bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Cream uses some of the lyrics from "Traveling Riverside Blues" to create their own interpretation of the song.
Rock and blues have always been linked, with driving rhythms and electric guitar techniques such as distortion and power chords used by 1950s blues guitarists Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare. Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances. Precursors to blues rock included the Chicago blues musicians Elmore James, Albert King, Freddie King, who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. In 1963, American rockabilly soloist Lonnie Mack had an idiosyncratic, fast-paced electric blues guitar style that came to be identified with blues rock, his instrumentals from that period were recognizable as blues or R&B tunes, but he relied upon fast-picking techniques derived from traditional American country and bluegrass genres.
The best-known of these are the 1963 hit singles "Memphis" and "Wham!". However, blues rock was not named as such, or recognized as a distinct movement w
Kenny Aaronson is an American bass guitar player. He has recorded and performed with several notable artists, such as Billy Idol, Joan Jett and the Blackhearts, Hall and Oates, he started playing drums following in his older brother's footsteps. Aaronson switched to electric bass at the age 14 after becoming enamored by the bass on Motown records and was influenced by James Jamerson; as a teenager, he played bass for Brooklyn-based hard rock band Dust, which included Marc Bell, which released two albums in 1971 and 1972 on the Kama Sutra label. In 1973, Aaronson joined the New York band Stories, whose single,"Brother Louie", reached #1 on the Billboard and Record World charts. In 1988, Aaronson was named Bassist of the year by Rolling Stone; that year Aaronson toured with Bob Dylan, but he was forced to leave the tour after developing skin cancer. Aaronson underwent surgery, successful in defeating the disease. Aaronson was the bassist in the house band for the MTV Guitar Greats Show where along with Dave Edmunds, Chuck Leavell and Michael Shrieve, he backed up artists such as Steve Cropper, Brian Setzer, Dickey Betts, Link Wray, Neal Schon, Johnny Winter, Lita Ford, Tony Iommi and Dave Gilmour.
Kenny auditioned for the Rolling Stones in 1994. Aaronson has toured and recorded with a variety of artists including Billy Idol, Billy Squier, Brian Setzer, Dave Edmunds, HSAS, Mick Taylor, Graham Parker and Oates, Edgar Winter, Robert Gordon, Leslie West Band, Rick Derringer and Joan Jett among others. Aaronson was a regular member of Jett's backing group the Blackhearts from 1991 to 1995. Aaronson was one of the few Blackheart band members to co-write a track with Jett; the song, "World Of Denial", was recorded for the 1994 album "Pure and Simple" but was not released in the U. S. until 2001's Fit To Be Tied- Great Hits by Joan Jett and The Blackhearts". In July 2011, Aaronson supported singer/songwriter John Eddie and played with Corky Laing & The Memory Thieves. In 2011, Aaronson recorded with ex Bongo's singer Richard Barone on a tribute album for The Runaways. Aaronson joined the New York Dolls and toured in the summer of 2011 supporting Mötley Crüe and Poison. More 2014 recorded with Gar Francis of the Doughboys, Kurt Reil of The Grip Weeds and Bruce Ferguson of The Easy Out a self-titled full-length album under the name The Satisfactors.
In June 2015 the first single of the album called Johnny Commando reached Top 10 in The Netherlands at Ned. FM Radio. In November 2015, he joined legendary British band The Yardbirds. In 2016, Aaronson was featured on former Mambo Sons guitarist/songwriter Tom Guerra's critically acclaimed second solo album "Trampling Out the Vintage," and in 2018, co-wrote three songs with Guerra intended for The Yardbirds, which were included on Guerra's third solo album, "American Garden." With DustDust Hard Attack With StoriesBrother Louie Traveling Underground With Rick DerringerDerringer Sweet Evil Derringer Live If I Weren't So Romantic, I'd Shoot You Guitars And Women Rock And Roll Hoochie Koo: The Best Of Rick Derringer With Silver CondorTrouble At Home With Hagar Schon Aaronson ShrieveThrough The Fire With Brian SetzerThe Knife Feels Like Justice With Blue Öyster CultClub Ninja Imaginos With Billy IdolVital Idol With Michael MonroeNot Fakin' It With Joan Jett and the BlackheartsPure and Simple Fit to be Tied writing credit on "World of Denial" With Billy SquierSixteen Strokes lap steel With Graham ParkerLive from New York With Ian McDonaldDriver's Eye With Tom Guerra and Scott Lawson Mambo Sons With John EddieGuy Walks into a Bar Who the Hell is John Eddie With MountainMaster of War With Dana FuchsLonely for a Lifetime Love to Beg With The SatisfactorsThe Satisfactors With Radio ExileRadio Exile With Tom GuerraTrampling Out the Vintage American Garden With Mark DudaMonth of Sundays OthersContributor to "Standing in the Shadows of Motown", The biography of James Jamerson Soundtrack "Porky's Revenge" Tribute to Otis Blackwell "Brace Yourself" with Joe Louis Walker, Debbie Harry, Ronnie Spector, Kris Kristofferson, Graham Parker, Smithereens Sound Track "Boys on the Side" Colin Larkin: The Encyclopedia of Popular Music.
Third edition. Macmillan, New York, N. Y. 1998. Official website: www.kennyaaronson.com Interview with Mambo Sons bandmate Tom Guerra for Vintage Guitar Magazine: Kenny Aaronson: From Dust to Dylan. Retrieved September 26, 2006
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
Ben King (guitarist)
Ben King is a British guitarist, who joined English band The Yardbirds in October 2005. He has gained popularity as a musician owing to his extensive technical ability of the guitar coupled with his young age upon entry to the Yardbirds at only 21 years old. Born to a musical family in 1984, King spent the majority of his life devoted to the guitar, growing up listening to the vast range of music provided by his parents. King developed an astute understanding of the guitar at a early stage, garnering both a technical and philosophical approach alongside a head-down work ethic. Having spent time in various bands and gaining local notoriety for his talent, he moved to Guildford, Surrey where he enrolled at the Academy of Contemporary Music. King received a good amount of attention from the faculty with his talents, gained the interest of ex-Alice Cooper guitarist Pete Friesen and Yardbirds bass guitarist John Idan. Having completed his vocational studies, King was offered an audition by Idan, founding Yardbirds members Jim McCarty and Chris Dreja.
Speaking of Idan's interest in King, McCarty commented: Idan met Ben and happened to be best guitar there. John recommended him, he was great. We were looking for someone who could create some of the sounds we were used to. King was offered a role within The Yardbirds and replaced Jerry Donahue as lead guitarist in October 2005; the band booked a run of shows across England in that year before beginning to tour internationally in countries such as Germany, Sweden, Canada and the United States. King features on The Yardbirds' recent live release Live at B. B. King Blues Club. A clip of the song "I'm A Man", from this album was used by 20th Century Fox on the first episode of season 19 of The Simpsons, he performs on the bands 2014 live album Making Tracks. Ben King's Official Site The Yardbirds Official Site The Yardbirds US Fansite The Yardbirds on Favored Nations
Reunion Jam is a live album by English rock band the Yardbirds. It is of recordings of the first concerts after the band reformed in 1992, it features original Yardbirds Jim McCarty and Chris Dreja along with new members John Idan and Rod Demick. "Back Where I Started" "I'm Not Talking" "Heavy Weather" "Train Kept A-Rollin'" "Crying Out for Love" "Heart Full of Soul "Three Lane Highway" "I Ain't Done Wrong" "Sitting on Top of the World" "I Ain't Got You" "Rack My Mind" "I Ain't Superstitious" "Bad Boy" "Dust My Broom" "Mister, You're a Better Man Than I" "For Your Love" John Idan – lead guitar, lead vocals Chris Dreja – rhythm guitar, backing vocals Rod Demick – bass, backing vocals Jim McCarty – drums, backing vocals Reunion Jam on AllMusic
Live Yardbirds: Featuring Jimmy Page
Live Yardbirds: Featuring Jimmy Page is a live album by English rock group the Yardbirds. It was recorded at the Anderson Theatre in New York City on 30 March 1968. At the time, the Yardbirds had been performing as a quartet with Jimmy Page on lead guitar since October 1966; the album includes several familiar Yardbird songs, but extended with longer instrumental solos. "I'm Confused," based on Jake Holmes' "Dazed and Confused", is a highlight of the album. Using some different lyrics, Page re-recorded it with Led Zeppelin for their debut album in 1968; the group was dissatisfied with the recordings and objected to a release of the recordings, but after Page became famous with Led Zeppelin, Epic Records issued the album in September 1971. Page took Epic was enjoined from further distribution of the album. Over the years, there were several more attempts. In 2017, Page remixed the recordings. An album with the Anderson concert and demo recordings from the same time, were released in November 2017 on Yardbirds'68.
Although a live album, Epic Records overdubbed crowd noises from bullfights and other sound effects onto the original tracks against the band's wishes, in part because the live recordings were considered lacking in sound quality. This was a result of the general inexperience of the engineers in recording live rock music. For example, only a single microphone was deployed for the drums, hung above the kit; this resulted in the loss of much of the lower-range percussion in the recording. The Yardbirds rejected the album as a candidate for release upon its original completion in mid-1968, but Epic released it in 1971 in response to Led Zeppelin's success in the marketplace. Page took legal action against the label for releasing Live Yardbirds without authorization and Epic withdrew it. Epic parent CBS' Columbia Special Products label subsequently reissued the album in 1976, but this was again challenged by Page, the album again withdrawn. Authentic Epic and CSP copies of Live Yardbirds are thus quite rare, the album has been counterfeited as a result.
The album's cover art was designed by James Grashow, a woodcut artist who had earlier created the artwork for Jethro Tull's 1969 album Stand Up. Although the master tapes for this concert were presumed to be destroyed or otherwise unavailable, they were located and remixed by Page. Together with several demo recordings from the same period, they were released in November 2017 as Yardbirds'68. In a retrospective review for AllMusic, Bruce Eder gave the album four and a half out of five stars and notes the dominant role of Page's guitar playing. Although Eder feels "The performance reveals just how far out in front of the psychedelic pack the Yardbirds were by the spring of 1968", he adds: Ironically, this album isn't quite as strong as the contemporary Truth album by Jeff Beck because the Yardbirds were still juggling three sounds: the group's progressive pop/rock past, the psychedelia of 1968, a harder, more advanced blues-based sound. Songwriters and track running times are taken from the original Epic LP.
Other releases may have different listings. The Yardbirds Keith Relf – harmonica, lead vocals Jimmy Page – guitar Chris Dreja – bass guitar Jim McCarty – drums, backing vocalsProduction Don Meehan – engineer Buddy Graham – engineer Lenny Kaye – liner notes James Grashow – cover artist Alexander, Phil. Yardbirds'68; the Yardbirds. JimmyPage.com. JPRLPCD3. Clayson, Alan; the Yardbirds. San Francisco: Backbeat Books. ISBN 0-87930-724-2. George-Warren, Holly; the Rolling Stone Encyclopedia of Rock & Roll. Fireside. ISBN 0-7432-0120-5. Kaye, Lenny. Live Yardbirds: Featuring Jimmy Page; the Yardbirds. New York City: Epic Records. E 30615. Russo, Greg. Yardbirds: The Ultimate Rave-Up. Floral Park, New York: Crossfire Publications. ISBN 978-0-9791845-7-4. Live Yardbirds: Featuring Jimmy Page at Discogs
England is a country, part of the United Kingdom. It shares land borders with Wales to Scotland to the north-northwest; the Irish Sea lies west of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east and the English Channel to the south; the country covers five-eighths of the island of Great Britain, which lies in the North Atlantic, includes over 100 smaller islands, such as the Isles of Scilly and the Isle of Wight. The area now called England was first inhabited by modern humans during the Upper Palaeolithic period, but takes its name from the Angles, a Germanic tribe deriving its name from the Anglia peninsula, who settled during the 5th and 6th centuries. England became a unified state in the 10th century, since the Age of Discovery, which began during the 15th century, has had a significant cultural and legal impact on the wider world; the English language, the Anglican Church, English law – the basis for the common law legal systems of many other countries around the world – developed in England, the country's parliamentary system of government has been adopted by other nations.
The Industrial Revolution began in 18th-century England, transforming its society into the world's first industrialised nation. England's terrain is chiefly low hills and plains in central and southern England. However, there is upland and mountainous terrain in the west; the capital is London, which has the largest metropolitan area in both the United Kingdom and the European Union. England's population of over 55 million comprises 84% of the population of the United Kingdom concentrated around London, the South East, conurbations in the Midlands, the North West, the North East, Yorkshire, which each developed as major industrial regions during the 19th century; the Kingdom of England – which after 1535 included Wales – ceased being a separate sovereign state on 1 May 1707, when the Acts of Union put into effect the terms agreed in the Treaty of Union the previous year, resulting in a political union with the Kingdom of Scotland to create the Kingdom of Great Britain. In 1801, Great Britain was united with the Kingdom of Ireland to become the United Kingdom of Great Britain and Ireland.
In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain and Northern Ireland. The name "England" is derived from the Old English name Englaland, which means "land of the Angles"; the Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages. The Angles came from the Anglia peninsula in the Bay of Kiel area of the Baltic Sea; the earliest recorded use of the term, as "Engla londe", is in the late-ninth-century translation into Old English of Bede's Ecclesiastical History of the English People. The term was used in a different sense to the modern one, meaning "the land inhabited by the English", it included English people in what is now south-east Scotland but was part of the English kingdom of Northumbria; the Anglo-Saxon Chronicle recorded that the Domesday Book of 1086 covered the whole of England, meaning the English kingdom, but a few years the Chronicle stated that King Malcolm III went "out of Scotlande into Lothian in Englaland", thus using it in the more ancient sense.
According to the Oxford English Dictionary, its modern spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, in which the Latin word Anglii is used; the etymology of the tribal name itself is disputed by scholars. How and why a term derived from the name of a tribe, less significant than others, such as the Saxons, came to be used for the entire country and its people is not known, but it seems this is related to the custom of calling the Germanic people in Britain Angli Saxones or English Saxons to distinguish them from continental Saxons of Old Saxony between the Weser and Eider rivers in Northern Germany. In Scottish Gaelic, another language which developed on the island of Great Britain, the Saxon tribe gave their name to the word for England. An alternative name for England is Albion; the name Albion referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus the 4th-century BC De Mundo: "Beyond the Pillars of Hercules is the ocean that flows round the earth.
In it are two large islands called Britannia. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, i.e. it was written in the Graeco-Roman period or afterwards. The word Albion or insula Albionum has two possible origins, it either derives from a cognate of the Latin albus meaning white, a reference to the white cliffs of Dover or from the phrase the "island of the Albiones" in the now lost Massaliote Periplus, attested through Avienus' Ora Maritima to which the former served as a source. Albion is now applied to England in a more poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England and made popular by its use in Arthurian legend; the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximate