Bruce Frederick Joseph Springsteen is an American singer-songwriter and leader of the E Street Band. Nicknamed "The Boss," he is recognized for his poetic lyrics, his Jersey Shore roots, his distinctive voice, lengthy, energetic stage performances. Springsteen has recorded more somber folk-oriented works, his most successful studio albums, Born to Run and Born in the U. S. A. find pleasures in the struggles of daily American life. He has sold more than 135 million records worldwide and more than 64 million records in the United States, making him one of the world's best-selling artists, he has earned numerous awards for his work, including 20 Grammy Awards, two Golden Globes, an Academy Award, a Tony Award. Springsteen was inducted into both the Songwriters Hall of Fame and the Rock And Roll Hall Of Fame in 1999, received Kennedy Center Honors in 2009, was named MusiCares person of the year in 2013, was awarded the Presidential Medal of Freedom in 2016. Married to actress Julianne Phillips, Springsteen married musician Patti Scialfa in 1991.
Their three children are Evan James Springsteen, Jessica Rae Springsteen, Sam Ryan Springsteen. Bruce Frederick Joseph Springsteen was born on September 23, 1949, at Monmouth Medical Center in Long Branch, New Jersey, he was brought home from the hospital to Freehold Borough. He attended Freehold Borough High School, his father, Douglas Frederick "Dutch" Springsteen, was of Dutch and Irish ancestry, worked as a bus driver, among other jobs, but was unemployed most of the time. Springsteen said his mother, Adele Ann, a legal secretary and of Italian ancestry, was the main breadwinner, his maternal grandfather was born in a town near Naples. He has two younger sisters and Pamela. Pamela left acting to pursue still photography full-time. Douglas Springsteen, Bruce's father, suffered from mental health issues through his life which worsened in his years. Springsteen's last name is topographic and of Dutch origin translating to "jumping stone" but more meaning a kind of stone used as a stepping stone in unpaved streets or between two houses.
The Springsteens are among the early Dutch families who settled in the colony of New Netherland in the 1600s. Raised a Catholic, Springsteen attended the St. Rose of Lima Catholic school in Freehold Borough, where he was at odds with the nuns and rejected the strictures imposed upon him though some of his music reflects a Catholic ethos and includes a few rock-influenced, traditional Irish-Catholic hymns. In a 2012 interview, he explained that it was his Catholic upbringing rather than political ideology that most influenced his music, he noted in the interview that his faith had given him a "very active spiritual life", although he joked that this "made it difficult sexually." He added: "Once a Catholic, always a Catholic."In ninth grade, Springsteen began attending the public Freehold High School, but did not fit in there either. Former teachers have said he was a "loner, who wanted nothing more than to play his guitar." He felt so uncomfortable that he skipped the ceremony. He attended Ocean County College, but dropped out.
Springsteen grew up hearing fellow New Jersey singer Frank Sinatra on the radio. He became interested in being involved in music himself when, in 1956 and 1957, at the age of seven, he saw Elvis Presley on The Ed Sullivan Show. Soon after this his mother rented him a guitar from Mike Diehl's Music in Freehold for $6 a week but it failed to provide him with the'instant gratification' he desired. In 1964, Springsteen saw the Beatles appearances on The Ed Sullivan Show and, inspired, he bought his first guitar for $18.95 at the Western Auto Appliance Store. Thereafter he started playing for audiences with a band called the Rogues at local venues such as the Elks Lodge in Freehold. In late 1964, Springsteen's mother took out a loan to buy her 16-year-old son a $60 Kent guitar, an act he subsequently memorialized in his song "The Wish"; the following year, he went to the house of Tex and Marion Vinyard, who sponsored young bands in town. They helped, his first gig with the Castiles was at a trailer park on New Jersey Route 34.
The Castiles recorded two original songs at a public recording studio in Brick Township and played a variety of venues, including Cafe Wha? in Greenwich Village. Marion Vinyard said. Called for conscription in the United States Army when he was 18, Springsteen failed the physical examination and did not serve in the Vietnam War, he had suffered a concussion in a motorcycle accident when he was 17, this together with his "crazy" behavior at induction gave him a classification of 4F, which made him unacceptable for service. In the late-1960s, Springsteen performed in a power trio known as Earth, playing in clubs in New Jersey, with one major show at the Hotel Diplomat in New York City. Earth consisted of John Graham on bass, Mike Burke on drums. Bob Alfano was added on organ was replaced for two gigs by Frank'Flash' Craig. From 1969 through early 1971, Springsteen performed with Steel Mill, which included Danny Federici, Vini Lopez, Vinnie Roslin and Steve Van Zandt and Robbin Thompson. During this time he performed at venues on the Jersey Shore, in Richmond, Nashville, a set of gigs in California gatheri
"Relator" is the first single from Break Up, a collaborative album between Pete Yorn and Scarlett Johansson. It was arranged by Pete Yorn; the single was released as a digital download on May 12, 2009 and was available as an Amazon.com exclusive release. It samples lyrics from "All My Loving" by The Beatles. On September 10, 2009, Yorn and Johansson performed "Relator" on the French television show Le Grand Journal. Pete Yorn and Scarlett Johansson performed "Relator" on the October 12, 2009 episode of The Ellen DeGeneres Show. A music video for "Relator" was released on August 12 on Yahoo! Music and subsequently on VH1. Directed by Jim Wright, shot at Studio 1444 in Hollywood, the video shows Yorn and Johansson interplaying as a couple while performing the song
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Live at the Roxy (Pete Yorn album)
Live at the Roxy is a live album by Pete Yorn, recorded at The Roxy Theatre in Los Angeles on June 14, 2001. The album contains live versions of several songs from his debut album Musicforthemorningafter, as well as covers of Bruce Springsteen's "Dancing in the Dark" and "Panic" by The Smiths; the album was distributed only through independent music retail outlets in 2001 and is out of print. All tracks composed by Pete Yorn.
Reckoning (R.E.M. album)
Reckoning is the second studio album by the American alternative rock band R. E. M. Released on April 9, 1984 by I. R. S. Records. Produced by Mitch Easter and Don Dixon, the album was recorded at Reflection Sound Studio in Charlotte, North Carolina, over 16 days in December 1983 and January 1984. Dixon and Easter intended to capture the sound of R. E. M.'s live performances, used binaural recording on several tracks. Singer Michael Stipe dealt with darker subject matter in his lyrics, water imagery is a recurring theme on the record. Released to critical acclaim, Reckoning reached number 27 in the United States—where it was certified gold by the Recording Industry Association of America in 1991—and peaked at number 91 in the United Kingdom. After their debut album Murmur received critical acclaim, R. E. M. Began working on their second album, they wrote new material prodigiously. Because of the many new songs the band had, Buck unsuccessfully tried convincing everyone to make the next album a double album.
In November 1983, the band recorded 22 songs during a session with Neil Young producer Elliot Mazer in San Francisco. While Mazer was considered as a candidate to produce the band's next album, R. E. M. Decided to team up again with Murmur producers Mitch Don Dixon instead. R. E. M. Started recording Reckoning at Reflection Sound in Charlotte, North Carolina on December 8, 1983; the group recorded over two eight-day stretches around Christmas that year, separated by two weeks of canceled studio time that allowed the band to perform in Greensboro, North Carolina, go see a movie, shoot a video in the studio. While the studio diary listed 16 days for recording, the album sleeve claimed the album was recorded in 14 days, while in interviews, Buck sometimes stated that the album was recorded in 11 days; the producers both disputed. It was twenty days, still short, but it's not eleven."During recording, there was pressure from I. R. S. Records to try making the album more commercial; the label sent messages to Dixon and Easter, which the producers told the band that they would ignore.
While the producers respected I. R. S. president Jay Boberg, they expressed dismay at the comments he made when he visited during the last day of sessions. Dixon called Boberg "record company clueless", while Easter said "I got along with Jay Boberg OK but now and again he would express an opinion that would make me think,'holy shit', because it would strike me as teenage." Buck said he was grateful that Easter acted as a buffer between the band and its label. He said that "it got to the point where as much as respected the guys at I. R. S. Basically tried to record the records so they wouldn't know were recording them!", explained that part of the reason why R. E. M. recorded the album so was that the group wanted to finish before representatives from I. R. S. showed up to listen to it. The recording sessions were difficult for lead singer Michael Stipe, among the band, was worn out by the band's 1983 tour schedule. Getting usable vocal tracks from Stipe was difficult. While recording the song "7 Chinese Brothers", Stipe sang so that Dixon could not hear him on the tape.
Frustrated, the producer climbed a ladder to a spot above the recording booth Stipe was in and found a gospel record titled The Joy of Knowing Jesus by the Revelaires, which he handed to the singer in an attempt to inspire him. Stipe began reciting the liner notes from the album audibly, which enabled Dixon to move on to recording the vocal track to "7 Chinese Brothers" properly. With Reckoning, Dixon and the band wanted to capture the energy of R. E. M.'s live sound. Dixon had not seen the band perform live before working on Murmur. Dixon wanted the guitars to sound more like they did in concert, but they met resistance from both the band and the label. E. M. started recording, Dixon said the group "wanted to rock out a bit more". Dixon was enamored of the binaural recording technique, used it extensively on the album. Easter recalled that Dixon "made this sort of fake binaural head out of a cardboard box and stuck two microphones in it" to record the group. In Easter's opinion the method made drummer Bill Berry's parts "fresher sounding".
Binaural recording allowed bassist Mike Mills' backing vocals to be loud without obscuring Stipe's lead vocals. Dixon explained, "Mike Mills was singing 12 to 15 feet away from the microphones that were recording his part, but because it was in a studio binaural field, we would tend to hear him as behind."Biographer David Buckley wrote, "While the music moved away from Murmur's airless feel, the subject matter was a little darker." Buck noted in a 1988 interview. Buckley interpreted that imagery as representing the change presented by the band's increasing success, as well as the changing music scene of the group's Athens, Georgia hometown; the song "Camera" addressed the de
Back and Fourth (Pete Yorn album)
Back & Fourth is the fourth full-length release from singer/songwriter Pete Yorn. Allmusic gave the album three out of five stars. Rolling Stone gave it 3.5 stars. "Don't Wanna Cry" – 3:56 "Paradise Cove" – 3:56 "Close" – 4:23 "Social Development Dance" – 4:53 "Shotgun" – 4:00 "Last Summer" – 4:53 "Thinking of You" – 3:41 "Country" – 5:04 "Four Years" – 3:45 "Long Time Nothing New" – 4:15iTunes Store bonus track"Rooftop" – 4:10iTunes Store pre-order bonus track"Welcome" – 3:42 Some releases of the album include Acoustic Session, an extended play recorded on May 7, 2009, at Swing House, Los Angeles. "Close" "Don't Wanna Cry" "Shotgun" Pete Yorn – acoustic guitar, electric guitar, lead vocals, background vocals Ben Brodin – bowed vibes, Hammond B-3 organ, pump organ, Wurlitzer Joe Carnes – bass guitar, upright bass Jason DeWater – french horn Leslie Fagan – flute, alto flute Orenda Fink – background vocals Craig Fuller – tuba Scott Gaeta – drums Tom Hartig – tenor saxophone Mike Mogis – bowed vibes, e-bow, baritone guitar, electric guitar, hammer dulcimer, percussion, string arrangements, Wurlitzer Anton Patzner – string arrangements, violin Louis Patzner – string arrangements, cello Darrin Pettit – tenor saxophone, baritone saxophone Jonny Polonsky – bajo sexto, 12-string electric guitar, acoustic guitar, electric guitar, nylon string guitar Scott Quackenbush – trumpet R. Walt Vincent – keyboard bass, synthesizer bass, Wurlitzer Nate Walcott – Hammond B-3 organ, horn arrangements, string arrangements, tack piano Joey Waronker – drums, percussion Jay Wise – trombone
"Suspicious Minds" is a 1969 song by Elvis Presley written and first recorded by American songwriter Mark James. The song was recorded by Elvis Presley with producer Chips Moman after James' recording failed commercially, becoming a number one song in 1969, one of the most notable hits of Presley's career. "Suspicious Minds" was one of the singles that revived Presley's chart success in the U. S. following his'68 Comeback Special. It was his eighteenth and last number-one single in the United States. Rolling Stone ranked it No. 91 on their list of the 500 Greatest Songs of All Time. Session guitarist Reggie Young played on both the Presley versions; the song is about a mistrusting and dysfunctional relationship, the need of the characters to overcome their issues in order to maintain it. Written in 1968 by Mark James, co-writer of "Always on My Mind", the song was first recorded and released by James on Scepter Records in 1968. Chips Moman had asked James to come to Memphis to write songs for American Sound Studio.
At the time, James was residing in Houston. James had written three songs. American Sound Studio was gaining a reputation in the industry as the Box Tops had just recorded "The Letter" there so James relocated to Memphis. James said that late one night, he was fooling around on his Fender guitar and using his Hammond organ pedals for a bass line and came up with what he thought was a catchy melody. James at the time was married to his first wife, but still had feelings for his childhood sweetheart, married back in Houston. James's wife had suspicions of his feelings. James felt it was a confusing time for him and that all three were "caught in this trap that they could not walk out of." At the recording session, James sang the lead vocals, the studio band backed him with Moman producing. The horns and vocals of the Holladay Sisters were overdubbed. After the tape was mixed and Moman flew to New York, where James's manager had contacts with Scepter Records; the label loved the song and put it out, but Scepter did not have the money to promote new artists, the song did not make the charts.
That year, Don Crews, Moman's partner, told James that Presley had booked their studio to record what would become the From Elvis in Memphis album. Crews kept asking James. James felt Presley needed a mature rock'n' roll song to bring him back as Tom Jones was a hot artist at the time. Crews and James thought of "Suspicious Minds" and James began urging others to get Presley to hear it. Though James's recording had not been commercially successful, upon reviewing the song Presley decided he could turn it into a hit. Presley's 1969 recordings at American Sound Studio were a direct consequence to the'68 Comeback Special, that interested Chips Moman to produce recordings in the new style of Presley, making his comeback to the Memphis musical scene, by recording rock, country, rhythm & blues, soul. Marty Lacker, a close friend of Elvis, suggested he record at the studio; these sessions produced the album From Elvis in Memphis. "Suspicious Minds" was a product of a January 23, 1969 session, that took place between 4 am and 7 am.
Engineered by Bill Porter, it took eight takes to produce the final song, in which the lead vocal track was overdubbed by Presley himself that same night. James was in Memphis. James had walked into the recording studio control room a few days earlier during a session and sensed that Elvis was uncomfortable with his presence. James did not want to jinx the song; when James heard the track the day after it was recorded, he thought it sounded too slow. When he heard the embellished version, he said he was blown away. In years, whenever Elvis saw James he would cross the room to say hello. Production of the song was nearly scuttled over a copyright dispute. Elvis's business people said. Moman threatened to halt the recording session. Harry Jenkins of RCA agreed with Moman because he sensed that "the song would be a big hit and there would be plenty to go around." The songs "I'll Hold You In My Heart", "Without Love", "I'll Be There" were recorded in the same session. On August 7, the song was again overdubbed to stereo and mono in Las Vegas, where the final master was produced.
The song is noted for its change of time signature, in the bridge section, from 4/4 to a slower 6/8 and back again to the faster 4/4 rhythm. The instrumental arrangement uses an electric guitar, bass guitar, strings, trumpets and drums. Elvis' primary producer Felton Jarvis made the unusual decision to add a premature fade-out to the song starting at 3:36 and lasting for 15 seconds before fading back in; the first verse continues until it fades out. In a 2012 interview with Marc Myers of The Wall Street Journal, Moman disclosed that Jarvis was never happy with Elvis recording at American Sound Studio, saying "it was a control thing." Moman added, "So when Jarvis took the tape of'Suspicious Minds,' he added this crazy 15-second fade toward the end, like the song was ending, brought it back by overdubbing to extend it. I have no idea why he did that, it was like a scar. None of which mattered. Soon after the song was released, Elvis was back on top of the charts."Future Grateful Dead vocalist Donna Jean Godchaux sang backing vocals on the track.
The song was included on the legacy edition of From Elvis in Memphis and the follow that dream reissue of Back In Memph