Warehouse: Songs and Stories
Warehouse: Songs and Stories is the sixth and final studio album by alternative rock band Hüsker Dü released by Warner Bros. Records as a double album on two vinyl LPs; the band dissolved following the tour in support of its release, in part due to disagreements between songwriters Bob Mould and Grant Hart over the latter's drug use. This album, along with Candy Apple Grey, showcases the increasing maturity of Mould and Hart's writing—a change which alienated some long-time fans; this album is known for its battle between the two songwriters, with Mould famously telling Hart that he would never have more than half of the songs on a Hüsker Dü album. Mould said that this time period was a "rough stretch", but that Warehouse was still a "good record." "Had it been pared back to a single record it might have had more impact, but we were loggerheads at that point."The album's title comes from the fact that the group had rented some warehouse space in which to write and rehearse. During the recording sessions and Mould replaced a few of Greg Norton's bass tracks for their respective songs when Norton's own contributions were not to their liking.
In his autobiography, Mould identified Hart's "Charity, Chastity and Hope" as one of the songs whose bass lines were rerecorded, uncredited, by their composers. "Could You Be the One?", was released as a single and video. Other singles released from the album were "She's a Woman" and "Ice Cold Ice". Warehouse: Songs and Stories peaked at #117 on the Billboard Top 200 and charted for a week on the UK Albums Chart at #72. Hüsker Dü performed'Could You Be the One?' and'She's a Woman' live on the Late Show with Joan Rivers on April 27, 1987. The band were interviewed by Joan. A cover version of "Up in the Air" was included on Heidi Berry's album Love; the album was included in the book. CD releases of Warehouse: Stories combine all the songs onto a single disc. Bob Mould – guitar, bass guitar, vocals Grant Hart – drums, bass guitar, percussion, vocals Greg Norton – bass guitar, vocals Producers: Bob Mould, Grant Hart Engineer: Steven Fjelstad Mastering: Howie Weinberg Photography: Daniel Corrigan, Hüsker Dü Warehouse: Songs and Stories at Myspace
A guitarist is a person who plays the guitar. Guitarists may play a variety of guitar family instruments such as classical guitars, acoustic guitars, electric guitars, bass guitars; some guitarists accompany themselves on the guitar by playing the harmonica. The guitarist may employ any of several methods for sounding the guitar, including finger picking, depending on the type of strings used, including strumming with the fingers, or a guitar pick made of bone, plastic, felt, leather, or paper, melodic flatpicking and finger-picking; the guitarist may employ various methods for selecting notes and chords, including fingering, the barre, and'bottleneck' or steel-guitar slides made of glass or metal. These left- and right-hand techniques may be intermixed in performance. Several magazines and websites have compiled what they intend as lists of the greatest guitarists—for example The 100 Greatest Guitarists of All Time by Rolling Stone magazine, or 100 Greatest Guitarists of All Time by Guitar World magazine.
Rolling Stone In 2003, Rolling Stone magazine published a list called The 100 Greatest Guitarists of All Time. This list included 100 guitarists whom the magazine editor David Fricke considered the best, with a brief introduction for each of them; the first in this list is the American guitarist Jimi Hendrix introduced by Pete Townshend, guitarist for The Who, who was, in his turn, ranked at #50 in the list. In describing the list to readers, Paul MacInnes from British newspaper The Guardian wrote, "Surprisingly enough for an American magazine, the top 10 is fair jam-packed with Yanks," though he noted three exceptions in the top 10; the online magazine Blogcritics criticized the list for introducing some undeserving guitarists while forgetting some artists the writer considered more worthy, such as Johnny Marr, Al Di Meola, Phil Keaggy or John Petrucci. In 2011, Rolling Stone updated the list, which this time was chosen by a panel of guitarists and other experts with the top 5 consisting of Jimi Hendrix, Eric Clapton, Jimmy Page, Keith Richards and Jeff Beck.
Artists who had not been included in the previous list were added. Rory Gallagher, for example, was ranked in 57th place; the 100 Greatest Guitarists of All Time is mentioned in many biographies about artists who appear in the list. Guitar World Guitar World, a monthly music magazine devoted to the guitar published their list of 100 greatest guitarists in the book Guitar World Presents the 100 Greatest Guitarists of All Time from the Pages of Guitar World Magazine. Different from the Rolling Stone list, which listed guitarists in descending order, Guitar World divided guitarists by music genre—such as "Lords of Hard Rock" for hard rock artists or "Jazzmen" for jazz players. Despite the appearance in other magazines like Billboard, this publication by Guitar World was criticized for including no female musicians within its selection. However, Guitar World published a list of "Eight Amazing Female Acoustic Players," including Kaki King, Muriel Anderson and Sharon Isbin. TIME and others Following the death of Les Paul, TIME website presented their list of 10 greatest artists in electric guitar.
As in Rolling Stone magazine's list, Jimi Hendrix was chosen as the greatest guitarist followed by Slash from Guns'N' Roses, B. B. King, Keith Richards, Jimmy Page, Eric Clapton. Gigwise.com, an online music magazine ranks Jimi Hendrix as the greatest guitarist followed by Jimmy Page, B. B. King, Keith Richards and Kirk Hammett. There are many classical guitarists listed as notable in their respective epochs. In recent decades, the most "notable classical and cross genre" guitarist was Paco de Lucía, one of the first flamenco guitarists to have crossed over into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", Dennis Koster, author of Guitar Atlas, has referred to de Lucía as "one of history's greatest guitarists.". Media related to Guitarists at Wikimedia Commons
Craig Marvin Taborn is an American pianist, organist and composer. He works solo and in bands playing various forms of jazz, he started playing piano and Moog synthesizer as an adolescent and was influenced at an early stage by a wide range of music, including by the freedom expressed in recordings of free jazz and contemporary classical music. While at university, Taborn recorded with jazz saxophonist James Carter. Taborn went on to play with numerous other musicians in electronic and acoustic settings, while building a reputation as a solo pianist, he has a range of styles, adapts his playing to the nature of the instrument and the sounds that he can make it produce. His improvising for solo piano adopts a modular approach, in which he begins with small units of melody and rhythm and develops them into larger forms and structures. In 2011, Down Beat magazine chose Taborn as winner of the electric keyboard category, as well as rising star in both the piano and organ categories. By mid-2017, Taborn had released nine albums as leader or co-leader, had appeared on more than ninety as a sideman.
Taborn was born in Minneapolis, Minnesota, to John, a psychologist, Marjorie, a social worker. His father was a department chair at the University of Minnesota and his mother worked for Minneapolis public schools. Taborn's older brother, John Gregory, became a psychologist, they grew up in Golden Valley, where Craig Taborn attended Breck School. His parents gave him a Moog synthesizer as a present when he was 12, around the time when he started playing piano, he received basic instruction from his father, who played by ear. Taborn borrowed records from a public library and listened to public radio, discovering music from the Association for the Advancement of Creative Musicians and Sun Ra, among others; as a youth he listened to heavy metal and contemporary classical music, identified commonalities among these disparate forms of music. At high school, Taborn studied music theory and composition with PhD-qualified teachers for two years. In his own words, he is "not a classically trained pianist at all".
He borrowed from the library Segments II by pianist Cecil Taylor's band while at high school, but found separating the various elements of the music too difficult. After attending a Last Exit concert, he went home and listened to the Taylor album again: "It was more manageable in terms of being able to hear detail and listen to content; that was a big moment in terms of being able to relax and process information in more abstract environments." Taborn studied at the University of Michigan in Ann Arbor from 1988. He auditioned for the jazz program in the university's School of Music, but joined the College of Literature and the Arts. Taborn met drummer Gerald Cleaver soon after arriving at university, they established an electronic group, the Tracey Science Quartet. Taborn played with Marcus Belgrave and Wendell Harrison. While still a university student, he became known for his membership of saxophonist James Carter's band, where he contributed to a series of albums, beginning with JC on the Set, recorded in 1993.
Taborn's first recording as leader came in 1994, was released by DIW. Craig Taborn Trio, with bassist Jaribu Shahid and drummer Tani Tabbal, featured Taborn playing in a range of styles on piano and included several of his own compositions. At this stage in his career, his comments on his tastes in composition and performance were: "Even though I like avant garde jazz and classical music, I like to swing. I like to work with harmony and melody in my own music, I like acoustical instruments, but I can be quite dictatorial about the composed section, lay down in great detail what everyone is supposed to do and how they should do it."Frequent performances and tours with Carter and others meant that Taborn's studies were delayed: he graduated from university with a BA in general studies in April 1995, after which he moved to New York. He continued playing with Carter into 1998. In the late 1990s, Taborn recorded with saxophonist Roscoe Mitchell, for techno producer Carl Craig's album Programmed as part of Innerzone Orchestra.
In 2001, Taborn made his second recording as leader: Light Made Lighter, for Thirsty Ear, with Chris Lightcap on bass and Cleaver on drums. "On the strength of this recording", wrote the Los Angeles Times reviewer, "Taborn emerges as one of the most exciting pianists to lead a band since the ascent of Matthew Shipp". Another reviewer commented that "Taborn seems to revel in the cracks the way Monk did, hitting the awkward-sounding notes between the notes to punctuate his lines". In the 2000s, "Taborn became one of the most in-demand musicians in New York", in the words of one biographer, he played and recorded with a large, diverse range of musicians, in both free jazz and more mainstream bands, playing various keyboard and electronic instruments. One critic observed that a lot of his collaborations in the early and mid-2000s did not feature a bassist, suggested that Taborn's "dexterity and inventiveness stand in for both a keyboard and a bass player." In 2001, he had his first solo concert in New York, made his first recordings under the leadership of saxophonist Tim Berne, with a trio led by percussionist Susie Ibarra.
On these, he employed electronics as well as piano. Taborn went on to record, durin
David King (drummer)
David King is an American drummer and composer from Minneapolis. He is known for being a founding member of the jazz groups The Bad Plus and Happy Apple although he is active in many other projects including free jazz collective Buffalo Collision with NYC "Downtown" musicians Tim Berne and Hank Roberts and the electronic art/pop group Halloween Alaska as well as the noise/prog band The Gang Font with former Hüsker Dü bassist Greg Norton. King has recorded or performed with Bill Frisell, Joshua Redman, Joe Lovano, Dewey Redman, Chris Speed, Ursus Minor, Joe'Guido' Welsh, Viktor Krauss, Matt Maneri, Bill Carrothers, Anthony Cox, Kurt Rosenwinkel, Benoît Delbecq, Django Bates, Meat Beat Manifesto, Craig Taborn's Junk Magic, Tchad Blake, Tony Platt, Mason Jennings, Haley Bonar, Wendy Lewis, Chris Morissey, Jim Mcneely and HR big band, Peter Lang, Craig Green and his high school big band among others. King has written and performed for modern dance with the Mark Morris Dance Group and for fashion and performing live for three seasons of designer Isaac Mizrahi's fashion week shows at Bryant Park NYC and for film with the award winning animated shorts "Bike Ride Story" and "Bike Race" by Tom Schroeder.
In March 2008 King appeared with The Bad Plus on the Late Night with Conan O'Brien television show playing one of King's compositions, "Thriftstore Jewelry". In 2010 King released a solo record titled "Indelicate" on the Sunnyside label where the drummer plays duets with himself on piano aided by overdubbing in the studio. In 2012 King released a trio record of standards featuring Bill Carrothers and Billy Peterson on Sunnyside Records titled "I'll be Ringing You", he has released three records with The Dave King Trucking Co.: Good Old Light, Adopted Highway, Surrounded By The Night on Sunnyside Records. King features in the documentary'King for Two Days' which documents a two-night concert held at the Walker Art Center in Minneapolis, MN celebrating the music of Dave King and featuring performances by five of the bands he drums in. King for Two Days is an official selection for the 2012 Big Sky Documentary Film Festival, he hosts a one-hour all-jazz radio show "King's Speech" Sunday nights on Minnesota Public Radio's KCMP, a YouTube web series called "Rational Funk".
The Bad Plus Halloween, Alaska Happy Apple The Gang Font Vector Families Dave King Trucking Company F*K*G Love-Cars 12 Rods Bill Carrothers' "The Electric Bill" Craig Taborn Haley Bonar Meat Beat Manifesto Mason Jennings Siamese Fighting Fish Julian Lage Dave King's homepage 2013 Audio Interview with Dave King from the podcast I'd Hit That
Grant Vernon Hart was an American musician, best known as the drummer and co-songwriter for the alternative rock and hardcore punk band Hüsker Dü. After the band's breakup in 1988, he formed the alternative rock trio Nova Mob, where he moved to vocals and guitar, his solo career became his main focus after the dissolution of Nova Mob in 1997. As the co-songwriter of Hüsker Dü, Hart's songs received praise from contemporaries, his vocal style, in contrast to that of Hüsker Dü bandmate Bob Mould, had a more measured and melodic delivery. His choice of lyrical themes, which ranged from teenage alienation in "Standing by the Sea" and the depiction of a murder in "Diane," to playful story-telling in "Books About UFOs," helped to expand the subject matter of hardcore punk. Hart died on September 13, 2017 of complications from liver cancer and Hepatitis C. Grant Hart was born in South St. Paul, the youngest child of a credit union employee and a shop teacher. Hart described his family as a "typical American dysfunctional family Not abusive, though.
Nothing to complain about." When Hart was 10, his older brother was killed by a drunk driver. Hart records. Hart met Bob Mould while working at a record store. Mould a college freshman, would buy marijuana from Hart. At first Hart dismissed Mould as "an upstater pretending to be a Manhattanite," but the two soon became friends. Hart formed Hüsker Dü in 1979 with his friend Greg Norton; the band's early material had them lumped in with the hardcore movement of the early 1980s. The bandmembers received help from their parents in their early days. In Hart's case, his mother let him use the copier machine at the credit union where she worked to make show flyers, the band added $2,000 to an existing loan at the credit union to release the band's first single, "Statues," on their own label Reflex Records in 1981. Success existed on a small scale for the band. Hüsker Dü's music became more melodic over time. By late 1982, Hart's drumming "rushed the music along more than ever" and he and Mould, who traded vocal duties, were singing more tunefully.
While Mould was the band's primary songwriter, Hart began writing more songs. Hart wrote two songs for 1983's Metal Circus EP, the "perversely sing-along" "Diane" and the "impassioned speed-pop gem" "It's Not Funny Anymore." Hüsker Dü's more melodic take on hardcore struck a chord with college students, various tracks from Metal Circus Hart's "Diane," were put into rotation by dozens of campus radio stations across the US. Hart was tagged by observers as the "hippie" of the group due to his long hair and his propensity to drum with bare feet; as Hart and Mould developed as musicians and songwriters, an unspoken tension and competition arose in the band between them. Tensions were heightened when Mould demanded that starting with 1984's Zen Arcade that the band's records contain individual songwriter credits. In spite of the creative tensions, Hüsker Dü garnered critical acclaim with the release of Zen Arcade and subsequent albums. Michael Azerrad stated that by 1985's Flip Your Wig "the two songwriters were trying their level best to outdo each other, with spectacular results" Hüsker Dü had left the hardcore genre behind, which caused some discomfort with their label at the time, SST Records.
In one interview, Hart hinted that SST thought Hüsker Dü were "soft" because they stayed in motels while touring and wrote happy songs. Hart elaborated, "We don't have to convince the world that we're suffering to convince them that we're artists... There's nothing wrong with being happy." Hart designed. In 1986 Hüsker Dü became the first key band from the American indie scene to sign with a major label, inking a deal with Warner Bros. Records. However, tensions within the band worsened after signing with Warner Bros. Hart became addicted to heroin following the band's tour behind their major label debut Candy Apple Grey in 1986, with Hart being incorrectly diagnosed as HIV-positive in the middle of that year. Mould and Hart were feuding about Hart's drug use and creative conflicts, with Hart accusing Mould of ensuring he could not have more than 45 percent of the songs on each of the band's albums; the band dissolved after a show in Columbia, Missouri, in 1987. Hart was trying to quit heroin using a supply of methadone.
Hart played the show, but Mould and Norton were concerned Hart would soon be suffering from withdrawal and thus would be unable to play the next few shows. While Hart insisted he could perform, Mould had canceled the dates. Hart quit the band four days later. Hart has said his drug use was not the reason for the band's demise, rather, it was the tensions between the band members. Hart said, "It just became that it was easier to be around Bob if you were playing a part of Bob's game," and said he felt Mould's songs had become "square."Though it was rumored during his Hüsker Dü days that he and bandmate Mould were an item, both have flatly denied having been romantically involved. Six months after Hüsker Dü's breakup, Hart discovered that his diagnosis as being HIV-positive was incorrect. In 1988 he released th
Flip Your Wig
Flip Your Wig is the fourth album by American band Hüsker Dü, released in September 1985. It was the band's first self-produced album, it was the best-selling album to that point for the band's label SST Records, the last album they made for that label. The band spent months in the studio to achieve higher-quality production for the album's melodic power pop songs; as of 1985 Hüsker Dü was the best-selling band on SST Records. The band had wanted to produce their previous album New Day Rising, but SST insisted on sending long-time label producer Spot. With Flip Your Wig the band was allowed to self-produce. Recording took place over several sessions in the band's hometown of Minneapolis from March to June 1985, by far the longest the band had spent in the studio; the cleaner production complemented the more melodic songs, still performed with distorted guitars in a high-powered manner. Guitarist Bob Mould and drummer Grant Hart each wrote half the songs, which continued the band's trend toward power pop and away from the fast, noisy hardcore punk of their earliest material."Makes No Sense at All" was released as a single, with "Love Is All Around" on the b-side.
The "Makes No Sense at All" video includes both songs, back-to-back. "Makes No Sense at All" was the band's first song to achieve significant airplay on album-oriented rock radio. Flip Your Wig appeared via SST in September 1985, it débuted at No. 5 on the CMJ album charts and received more radio airplay and mainstream press attention than the band's earlier releases, including stories in Creem, Rolling Stone. Robert Christgau declared in The Village Voice that with the album's production the band had "never sounded so good", the album placed in the top ten of the magazine's critics' poll for 1985 along with New Day Rising. Flip Your Wig became SST's best-selling album at the time of its release, moving 50,000 copies in its first four months. By the time the album was released Hüsker Dü had signed a record deal with the major-label Warner Music Group, who were keen to release the album themselves. However, out of loyalty, because of SST's appointment of new promotions manager Ray Farrell, the album was given to SST.
The title track and "Keep Hanging On" became staples of the band's live shows, while power pop anthem "Makes No Sense at All" was featured in a music video. Decades Bob Mould saw Flip Your Wig as "the best album Hüsker Dü did". Ira Robbins and John Leland at Trouser Press describe the album as "Positively brilliant — fourteen unforgettable pop tunes played like armageddon were nigh" and rate "Makes No Sense at All" as "one of 1985's best 45s". AllMusic's review says "Flip Your Wig would be a remarkable record on its own terms, but the fact that it followed New Day Rising by a matter of months and Zen Arcade by just over a year is astonishing." Liner notes adapted from at the album sleeve. Bob Mould – producer, bass, piano and background vocals, percussion Greg Norton – bass Grant Hart – producer, drums and background vocals, slide whistle, Steve Fjelstad – engineer
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat