1.
Rock Around the Clock (film)
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Rock Around the Clock is the title of a 1956 musical film that featured Bill Haley and His Comets along with Alan Freed, the Platters, Tony Martinez and His Band and Freddie Bell and His Bellboys. It was produced by B-movie king Sam Katzman and directed by Fred F. Sears, Rock Around the Clock tells a highly fictionalized rendition of how rock and roll was discovered. As band manager Steve Hollis observes that big band music is failing to draw audiences any longer. Convinced that rock and roll will be the big thing, Hollis strikes a deal to manage the group. Hollis then turns to agent Corinne Talbot, who handles bookings for nearly all of the venues in which Hollis needs the band to play to gain them exposure. Talbots primary interest in Hollis, however, is to have him marry her, first, she books the band into a traditionally conservative venue, expecting them to reject the bands brash new sound. But instead, the dancers there are excited by the music, next, Talbot simply blacklists Hollis and his acts from the venues she controls. But Hollis maneuvers around her by calling in a favor owed to him by disc jockey Alan Freed, the resulting booking in Freeds venue grants the Comets the exposure they need in spite of Talbots efforts. Talbots final play is to agree to sign the group to a contract that will secure their future. Johns agrees to those terms and Talbot launches their career with a national tour, once the contract is signed and the tour begins, however, Hollis reveals that he and Johns married quickly during the time it took to draw up the contract. B. C. The band also performs live on camera during a brief rehearsal prior to lip-synching to the Decca recording of R-O-C-K, a few months prior to shooting the film, the Comets had undergone a major change in personnel, with several members leaving the group. As a result, most of the songs lip-synched in the film feature a different line-up of musicians from those shown performing. The only songs on which all musicians shown on screen were also involved in the session are See You Later Alligator. During the performances of Rock Around the Clock, Franny Beecher is shown playing the guitar for Danny Cedrone, who had originally been on the session. Cedrones guitar work can also be heard on ABC Boogie, the bars of which are performed off-camera. The film advanced the cause of integration by showing white musicians performing in the venues as black performers. Rock Around the Clock was one of the box office successes of 1956. Within a year, Elvis Presley would soon appear in the most popular films of the genre, including Jailhouse Rock and King Creole, Rock, Rock, Rock, The Big Beat and The Girl Cant Help It
2.
Rock Around the Clock (album)
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Rock Around the Clock was the third album of rock and roll music by Bill Haley and His Comets. Released by Decca Records in December 1955 it was, like the two albums that preceded it, an album of previously issued singles. Most of the contents had in fact been previously issued by Decca earlier in 1955 on the album Shake, Rattle. Unlike the previous release, which was in the 10-inch format and it was also the first Haley album to make the Billboard charts, and was one of the very first album releases of the rock and roll genre to do so. The recording was made in the Decca Records studio located in the Pythian Temple in New York City
3.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
4.
Bill Haley & His Comets
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Bill Haley & His Comets were an American rock and roll band, founded in 1952 and continued until Haleys death in 1981. The band, also known as Bill Haley and the Comets and Bill Haleys Comets, was the earliest group of musicians to bring rock and roll to the attention of America. From late 1954 to late 1956, the group placed nine singles in the Top 20, one of those a number one, although several members of the Comets became famous, Bill Haley remained the star. Following Haleys death, no fewer than seven different groups have existed under the Comets name, as of the end of 2014, four such groups were still performing in the United States and internationally. In the mid-1940s, Bill Haley performed with the Down Homers, the group that later became the Comets initially formed as Bill Haley and the Saddlemen c. 1949–1952, and performed mostly country and western songs, though occasionally with a bluesy feel, during those years Haley was considered one of the top cowboy yodelers in America. Many Saddlemen recordings were not be released until the 1970s and 1980s, the original members of this group were Haley, pianist and accordion player Johnny Grande and steel guitarist Billy Williamson. Al Thompson was the groups first bass player, followed by Al Rex, during the groups early years, it recorded under several other names, including Johnny Clifton and His String Band and Reno Browne and Her Buckaroos. Haley began his rock and roll career with what is now recognized as a style in a cover of Rocket 88 recorded for the Philadelphia-based Holiday Records label in 1951. It sold well and was followed in 1952 by a cover of a 1940s rhythm, slap-back bass, one identifying characteristic of rockabilly, was used on the Comets recordings of Rocket 88, Rock the Joint, Rock Around the Clock, and Shake, Rattle, and Roll. Slap-back had been used by bassist Al Rex, although to a lesser extent, slap-back bass was a necessity for the group, because in its early years, it did not feature a stage drummer, so the bass provided percussion in addition to the bass line. Rock the Joint and its immediate follow-ups were released under the increasingly incongruous Saddlemen name and it soon became apparent that a new name was needed to fit the new musical style. A friend of Haleys, making note of the alternative pronunciation of the name Halleys Comet to rhyme with Bailey. The new name was adopted in the fall of 1952, members of the group at that time were Haley, Grande, Williamson and Lytle. Soon after renaming the band, Haley hired his first drummer, Charlie Higler, during this time, Haley did not have a permanent lead guitar player, choosing to use session musicians on record and either playing lead guitar himself or having Williamson play steel solos. In 1953 Haley scored his first national success with a song called Crazy Man, Crazy. Haley later claimed the recording sold a million copies, but this is considered an exaggeration, Crazy Man, Crazy was the first rock and roll song to be televised nationally when it was used on the soundtrack for a 1953 television play starring James Dean. Their first session, on April 12,1954, yielded Rock Around the Clock, sales of Rock Around the Clock started slowly, since it was the B-side of the single, but it performed well enough that a second Decca session was commissioned
5.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, 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, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into 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, 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, however, 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 company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally 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, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the 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
6.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
7.
Pythian Temple (New York City)
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The Pythian Temple is an historic Knights of Pythias building at 135 West 70th Street between Columbus Avenue and Broadway in the Lincoln Square neighborhood of Manhattan, New York City. It was built in 1927 to serve as a place for the 120 Pythian lodges of New York City. Today it is an 88-unit luxury condominium building known as The Pythian, as the organizations popularity declined, in the early 1940s the Pythians leased space in the building to Decca Records, which created an acoustically renowned music recording studio in it. Decca had transformed a very large third floor auditorium with balconies, in 1954, Bill Haley and His Comets recorded their album Rock Around the Clock there. Other artists who recorded there included Buddy Holly, Sammy Davis Jr. and it was in use as a recording studio for over fifteen years. Days after the Soviet suppression of the Hungarian Revolution of 1956, noted actor and he, audience members, and a number of Pythians who had not attended the speech were pelted with eggs and fruit by angry demonstrators as they left the building. In 1958 the building was purchased by the New York Institute of Technology as that colleges main campus, in 1986 the building was converted to residential use by architect David Gura for which he won a Residential Design Award from the New York Chapter of the American Institute of Architects. The facade underwent a restoration in 2008-9, the building is a flamboyant Egyptian Revival Temple in Art Deco style. It was designed by Thomas W. Lamb, a noted for designing theaters. He created a facade of movie-set Egyptian forms, seated Pharaonic figures, polychrome columns. Inside, there were 13 lodge rooms and an auditorium decorated in a striking Egyptian manner, in addition to the thirteen lodge rooms and the spacious theater, the building had a gym and a bowling alley. The theater had Broadway-quality staging facilities for the fraternal associations professionally produced pageants, the windowless middle section steps back at about 100 feet up, with four seated Pharaonic figures similar to those of Ramses II at Abu Simbel. Two more setbacks rise to a highly colored Egyptian-style colonnade, and to giant urns carried by teams of yellow, red, in a rendering, the urns are lighted with fires. Published photographs of the show a double-height space in what appears to be polished black marble, with Egyptian decor, like a winged orb, or perhaps Isis. The parents of singer Lady Gaga moved into the building in 1993 and still live there today
8.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
9.
Rock and roll
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While elements of rock and roll can be heard in blues records from the 1920s and in country records of the 1930s, the genre did not acquire its name until the 1950s. For the purpose of differentiation, this deals with the first definition. The beat is essentially a blues rhythm with an accentuated backbeat, classic rock and roll is usually played with one or two electric guitars, a double bass or string bass or an electric bass guitar, and a drum kit. Beyond simply a style, rock and roll, as seen in movies and on television, influenced lifestyles, fashion, attitudes. In addition, rock and roll may have contributed to the civil rights movement because both African-American and white American teens enjoyed the music and it went on to spawn various genres, often without the initially characteristic backbeat, that are now more commonly called simply rock music or rock. The term rock and roll now has at least two different meanings, both in common usage, the American Heritage Dictionary and the Merriam-Webster Dictionary both define rock and roll as synonymous with rock music. Encyclopædia Britannica, on the hand, regards it as the music that originated in the mid-1950s. In 1934, the song Rock and Roll by the Boswell Sisters appeared in the film Transatlantic Merry-Go-Round, in 1942, Billboard magazine columnist Maurie Orodenker started to use the term rock-and-roll to describe upbeat recordings such as Rock Me by Sister Rosetta Tharpe. By 1943, the Rock and Roll Inn in South Merchantville, in 1951, Cleveland, Ohio disc jockey Alan Freed began playing this music style while popularizing the phrase to describe it. The origins of rock and roll have been debated by commentators. The migration of former slaves and their descendants to major urban centers such as St. The immediate roots of rock and roll lay in the rhythm and blues, then called race music, particularly significant influences were jazz, blues, gospel, country, and folk. The 1940s saw the use of blaring horns, shouted lyrics. In the same period, particularly on the West Coast and in the Midwest, similarly, country boogie and Chicago electric blues supplied many of the elements that would be seen as characteristic of rock and roll. Rock and roll arrived at a time of technological change, soon after the development of the electric guitar, amplifier and microphone. It was the realization that relatively affluent white teenagers were listening to music that led to the development of what was to be defined as rock. Because the development of rock and roll was a process, no single record can be identified as unambiguously the first rock. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Little Richard, Jerry Lee Lewis
10.
Rockabilly
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Rockabilly is one of the earliest styles of rock and roll music, dating back to the early 1950s in the United States, especially the South. As a genre it blends the sound of Western musical styles such as country with that of rhythm and blues, leading to what is considered classic rock, some have also described it as a blend of bluegrass with rock and roll. The term rockabilly itself is a portmanteau of rock and hillbilly, other important influences on rockabilly include western swing, boogie woogie, jump blues, and electric blues. An interest in the genre endures even in the 21st century, Rockabilly has left a legacy, spawning a variety of sub-styles and influencing other genres such as punk rock. There was a relationship between blues and country music from the very earliest country recordings in the 1920s. The first nationwide country hit was Wreck of the Old 97, backed with Lonesome Road Blues, during the 1930s and 1940s, two new sounds emerged. Recordings of Willss from the mid 1940s to the early 1950s include two beat jazz rhythms, jazz choruses, and guitar work that preceded early rockabilly recordings, wills is quoted as saying Rock and Roll. Why, man, thats the kind of music weve been playin since 1928. But its just basic rhythm and has gone by a lot of different names in my time and its the same, whether you just follow a drum beat like in Africa or surround it with a lot of instruments. The Maddox Brothers and Rose were at the edge of rockabilly with the slapped bass that Fred Maddox had developed. Maddox said, Youve got to have somethin they can tap their foot, or dance to, after World War II the band shifted into higher gear leaning more toward a whimsical honky-tonk feel, with a heavy, manic bottom end - the slap bass of Fred Maddox. They played hillbilly music but it sounded real hot and they played real loud for that time, too. The Maddoxes were also known for their antics and stuff. I mean it just wasnt us up there pickin and singing, there was something going on all the time. The demonstrative Maddoxes, helped release white bodies from traditional motions of decorum, more and more younger white artists began to behave on stage like the lively Maddoxes. Others believe that they were not only at the leading edge, Bill Monroe is known as the Father of Bluegrass, a specific style of country music. Many of his songs were in form, while others took the form of folk ballads, parlor songs. Bluegrass was a staple of music in the early 1950s
11.
Rock Around the Clock
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Rock Around the Clock is a rock and roll song in the 12-bar blues format written by Max C. Freedman and James E. Myers in 1952. The best-known and most successful rendition was recorded by Bill Haley & His Comets in 1954 for American Decca and it was a number one single on both the US and UK charts and also re-entered the UK Singles Chart in the 1960s and 1970s. It was not the first rock and roll record, nor was it the first successful record of the genre, the song is ranked No.158 on the Rolling Stone magazines list of The 500 Greatest Songs of All Time. Although first recorded by Italian-American band Sonny Dae and His Knights on March 20,1954, the famous version by Bill Haley & His Comets is not, strictly speaking. Myers claimed the song had been written specifically for Haley but, for various reasons, the original full title of the song was Were Gonna Rock Around the Clock Tonight. There are sources that indicate that Rock Around the Clock was written in 1953, the original arrangement of the song bore little resemblance to the version recorded by Haley, and was in fact closer to a popular instrumental of the day called The Syncopated Clock. The song was credited to Myers and Max C, Freedman, although its exact authorship is disputed, with many speculating that Freedman wrote the song on his own. There were several songs of the title Rock Around the Clock. In addition, it is erroneously stated that Rock Around the Clock is copied from a late-1940s Big Joe Turner recording. Aside from title similarity, however, the two songs bear little resemblance, there are many blues songs with the theme of partying or making love round the clock, with various actions specified at various hours. However, the melody of Rock Around the Clock does bear a very close similarity to that of Hank Williams first hit, Move It On Over. Williams song was similar to Charley Pattons Going to Move to Alabama. The song also uses phrases from Count Basies Red Wagon, first recorded in 1939. S, library of Congress on March 31. Haley and his Comets began performing the song on stage, but Dave Miller, his producer, Haley himself claimed to have taken the sheet music into the recording studio at least twice, with Miller ripping up the music each time. Myers next offered the song to Sonny Dae & His Knights, the groups subsequent recording, on the Arcade Records label, was a regional success, although it sounded very different from what Haley would later record. The recording session almost failed to place because the band was traveling on a ferry that got stuck on a sandbar en route to New York from Philadelphia. Once at the studio, producer Milt Gabler, insisted the band work on a song entitled Thirteen Women, near the end of the session, the band finally recorded a take of Rock Around the Clock, but Haleys vocals were drowned out by the band. A second take was made with minimal accompaniment while Sammy Davis
12.
Decca Records
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Decca Records began as a British record label established in 1929 by Edward Lewis. Its U. S. label was established in late 1934 by Lewis along with American Deccas first president Jack Kapp and later American Decca president Milton Rackmil. In 1937, as a result of anticipating Nazi aggression leading to World War II, Lewis sold American Decca, the British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, which is owned by Vivendi, the US Decca label was the foundation company that evolved into UMG. The name Decca was coined by Wilfred S. Samuel by merging the word Mecca with the initial D of their logo Dulcet or their trademark Dulcephone, Samuel, a linguist, chose Decca as a brand name as it was easy to pronounce in most languages. The name dates back to a gramophone called the Decca Dulcephone patented in 1914 by musical instrument makers Barnett Samuel. That company was renamed the Decca Gramophone Co. Ltd. Within years, Decca Records Ltd. was the second largest record label in the world, Decca bought the UK branch of Brunswick Records and continued to run it under that name. In the 1950s the American Decca studios were located in the Pythian Temple in New York City, in classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels. The pre-war classical repertoire on Decca was not extensive, but was select, heinrich Schlusnus made important pre-war lieder recordings for Decca. John Culshaw, who joined Decca in 1946 in a junior post and he revolutionised recording – of opera, in particular. Hitherto, the practice had been to put microphones in front of the performers, Culshaw was determined to make recordings that would be a theatre of the mind, making the listeners experience at home not second best to being in the opera house, but a wholly different experience. To that end he got the singers to move about in the studio as they would onstage, used sound effects and different acoustics. His skill, coupled with Decca engineering, took Decca into the first flight of recording companies and his pioneering recording of Wagners Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success. In the wake of Deccas lead, artists such as Herbert von Karajan, Joan Sutherland, however, Culshaw was, strictly speaking, not the first to do this. Far from being a mere rendering of the score, the 3-LP album set used sound effects to recreate the production as if the listener were watching a stage performance of the work. Until 1947, American Decca issued British Decca classical music recordings, afterwards, British Decca took over distribution through its new American subsidiary London Records. American Decca actively re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon, American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations
13.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
14.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
15.
Milt Gabler
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Milton Milt Gabler was an American record producer, responsible for many innovations in the recording industry of the 20th century. Milt Gabler was born in Harlem, New York, the son of Susie and his father was an Austrian Jewish immigrant, and his mothers family were Jewish immigrants from Russia. At 15, he working in his fathers business, the Commodore Radio Corporation. By the mid-1930s, Gabler renamed the business the Commodore Music Shop, Gabler started up a specialty label UHCA in about 1935 to reissue selected 78 r. p. m. Sides previously released by other companies and these reissues were from the original 78 stampers and were instrumental in spreading the concept of collecting classic performances from the past. A number of Paramount and Gennett sides were dubbed from clean copies and issued on UHCA, in 1937 he opened a new store on 52nd Street, and set up a series of jam sessions in a neighbouring club, Jimmy Ryans. Some of these he began recording, setting up his own record label and his role as a music producer soon superseded his other activities and he recorded many of the leading jazz artists of the day. One regular customer, Billie Holiday, found her record company, Columbia, resisting her appeals to release the song Strange Fruit, so she offered the song to Gabler. After getting the permission, he released her recording on Commodore in 1939, boosting her career and issuing what,60 years on. The success of Commodore Records inevitably led to an offer to join a major record label, Gabler was recruited to work for Decca Records in 1941, and left his brother-in-law Jack Crystal to run Commodore. In 1946 he produced and co-wrote Louis Jordan’s breakthrough single, Choo Choo ChBoogie, Gabler contributed a further slice of history when he signed Bill Haley and His Comets to Decca Records. He produced their initial recording session in April 1954, much of which was spent cutting a song which the thought the more likely hit of the two due to be recorded that day. Their efforts on 13 Women left only ten minutes for the second song, Rock Around The Clock was cut in two takes and changed the face of popular music. Gabler later commented, All the tricks I used with Louis Jordan, the only difference was the way we did the rhythm. On Jordan, we used a perfectly balanced rhythm section from the swing era, but Bill had the heavy backbeat. Commodore Records was wound up in 1954, Bob Shads Mainstream Records issued a series of albums of Commodore material in the early 1960s, keeping most of these recordings available. Gabler also continued to all of the Comets recordings for Decca until they left the label in 1959. Milt Gabler also produced all studio-albums in Hamburg for Bert Kaempfert and he wrote many lyrics for Kaempfert songs, like L-O-V-E, a very big hit for Nat King Cole, Danke schoen, etc
16.
Chattanooga Choo Choo
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Chattanooga Choo Choo is a 1941 song written by Mack Gordon and composed by Harry Warren. It was originally recorded as a tune by Glenn Miller and His Orchestra. The song was a production number in the 20th Century Fox film Sun Valley Serenade. The Glenn Miller recording, RCA Bluebird B-11230-B, became the #1 song across the United States on December 7,1941, the flip side of the single was I Know Why, which was the A side. This is followed by the introduction of four lines before the main part of the song is heard. The main song opens with a dialog between a passenger and a boy, Pardon me, boy, is that the Chattanooga Choo-Choo. Boy, you can give me a shine, after the entire song is sung, the band plays two parts of the main melody as an instrumental, with the instruments imitating the WHOO WHOO of the train as the song ends. The 78-rpm was recorded on May 7,1941, for RCA Victors Bluebird label and became the first to be certified a gold disc on February 10,1942, for 1,200,000 sales. The transcription of this ceremony can be heard on the first of three volumes of RCAs Legendary Performer compilations released by RCA in the 1970s. In the early 1990s a two-channel recording of a portion of the Sun Valley Serenade soundtrack was discovered, the song was written by the team of Mack Gordon and Harry Warren while traveling on the Southern Railways Birmingham Special train. The song tells the story of traveling from New York City to Chattanooga and that train is now a museum artifact. From 1880, most trains bound for Americas South passed through the southeastern Tennessee city of Chattanooga, the most notable reason why the song isnt about any particular train is because of the line, nothing could be finer|than to have your ham and eggs in Carolina. The rails, especially the routes of the early 1900s. Any route from Pennsylvania Station to Chattanooga through Carolina would be disjointed at best, the composition was nominated for an Academy Award in 1941 for Best Song from a movie. The song achieved its success that even though it could not be heard on network radio for much of 1941 due to the ASCAP boycott. In 1996, the 1941 recording of Chattanooga Choo Choo by Glenn Miller, other notable performances include, Cab Calloway and His Orchestra recorded a cover version of Chattanooga Choo Choo for Conqueror Records in 1941. Carmen Miranda recorded a cover on July 25,1942, bill Haley & His Comets released a cover of Chattanooga Choo Choo as a 45 single on Essex Records in 1954. Pianist Floyd Cramer recorded a version on RCA Records in 1962
17.
Shake, Rattle and Roll
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Shake, Rattle and Roll is a twelve bar blues-form song, written in 1954 by Jesse Stone under his assumed songwriting name, Charles E. Calhoun. It was originally recorded by Big Joe Turner and most successfully by Bill Haley & His Comets, the song as sung by Big Joe Turner is ranked #127 on the Rolling Stone magazines list of The 500 Greatest Songs of All Time. Stone played around with various phrases before coming up with shake, rattle, however, the phrase had been used in earlier songs. In 1919, Al Bernard recorded a song about gambling with dice with the same title, the phrase is also heard in Roll The Bones by the Excelsior Quartette in 1922. Turners version was recorded in New York on February 15,1954, the shouting chorus on his version consisted of Jesse Stone, and record label executives Jerry Wexler and Ahmet Ertegün. The saxophone solo was by Sam The Man Taylor, other players included McHouston Mickey Baker on guitar and drummer Connie Kay. The song, in its incarnation, is highly sexual. Perhaps its most salacious lyric, which was absent from the later Bill Haley rendition, is Ive been holdin it in, way down underneath / You make me roll my eyes, baby, make me grit my teeth. On the recording, Turner slurred the lyric holdin it in, Bill Haley & His Comets cover version of the song, recorded on June 7,1954, featured the following members of the Comets, Johnny Grande, Billy Williamson, Marshall Lytle, and Joey Ambrose. It is known that Danny Cedrone, a musician who frequently worked for Haley, played lead guitar. Bill Haleys own stage drummer, Dick Richards, did not play on record but may have provided backing vocals since he participated in the recording of the songs B-side. This was Cedrones final recording session as he died ten days later. Haleys version was released in August and reached #7 on the Billboard pop chart, Gabler has explained that he would clean up lyrics because, I didnt want any censor with the radio station to bar the record from being played on the air. With NBC a lot of race records wouldnt get played because of the lyrics, so I had to watch that closely Both recordings are considered classics. Haleys version is peppier and brighter and it fits the definition of rock and roll as a merger of country music and rhythm and blues. Haley had started his career in music while Turner was a blues shouter. Comparing the two versions illustrates the differences between blues and rock n roll, a simple, stark instrumental backing is heard on the Turner version. Where Turners version uses a bass line, the Comets version, produced by Milt Gabler of Decca Records
18.
Twelve-bar blues
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The 12-bar blues or blues changes is one of the most prominent chord progressions in popular music. The blues progression has a form in lyrics, phrase, chord structure. In its basic form, it is based on the I-IV-V chords of a key. The blues can be played in any key, mastery of the blues and rhythm changes are critical elements for building a jazz repertoire. In the key of C, one basic blues progression is as follows, a basic example of the progression would look like this, using T to indicate the tonic, S for the subdominant, and D for the dominant, and representing one chord. In Roman numeral analysis the tonic is called the I, the sub-dominant the IV, using said notations, the chord progression outlined above can be represented as follows. The first line takes four bars, as do the two lines, for a total of twelve bars. However, the vocal or lead phrases, though they come in threes. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues, handy, the Father of the Blues, codified this blues form to help musicians communicate chord changes. The length of sections may be varied to create eight-bar blues or sixteen-bar blues, seventh chords are often used just before a change, and more changes can be added. Basic jazz blues progression Play In jazz, 12-bar blues progressions are expanded with moving substitutions, the cadence uniquely leads to the root by perfect intervals of fourths. The Bebop blues, Play This progression is similar to Charlie Parkers Nows the Time, Billies Bounce, Sonny Rollinss Tenor Madness and it is a bop soloists cliche to arpeggiate this chord from the 3 up to the ♭9. Minor blues Play There are also minor 12-bar blues, such as John Coltranes Equinox and Mr. P. C. made famous by Lil Green with Big Bill Broonzy and then Peggy Lee with the Benny Goodman Orchestra. The chord on the scale degree may be major or minor, in which case it fits a dorian scale along with the minor i7 and iv7 chords. Major and minor can also be mixed together, a characteristic of the music of Charles Brown. While the blues is most often considered to be in strophic form with a verse-chorus pattern. Handys St. Louis Blues However, many using the blues chord progression have lyrics that are not in the three-line form. For instance, Im Moving On has a verse in the first four bars, Im movin on, Ill soon be gone You were flyin too high for my little old sky So Im movin on
19.
Pseudonym
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A pseudonym or alias is a name that a person or group assumes for a particular purpose, which can differ from their original or true name. Historically, they have taken the form of anagrams, Graecisms. Pseudonyms should not be confused with new names that replace old ones, actors, musicians, and other performers sometimes use stage names, for example, to mask their ethnic backgrounds. A collective name or collective pseudonym is one shared by two or more persons, for example the co-authors of a work, such as Ellery Queen, the term is derived from the Greek ψευδώνυμον, literally false name, from ψεῦδος, lie, falsehood and ὄνομα, name. A pseudonym is distinct from an allonym, which is the name of another person and this may occur when someone is ghostwriting a book or play, or in parody, or when using a front name, such as by screenwriters blacklisted in Hollywood in the 1950s and 1960s. See also pseudepigraph, for falsely attributed authorship, sometimes people change their name in such a manner that the new name becomes permanent and is used by all who know the person. This is not an alias or pseudonym, but in fact a new name, in many countries, including common law countries, a name change can be ratified by a court and become a persons new legal name. He then changed his name again to Malik El-Shabazz when he converted to Islam, likewise some Jews adopted Hebrew family names upon immigrating to Israel, dropping surnames that had been in their families for generations. The politician David Ben-Gurion, for example, was born David Grün in Poland and he adopted his Hebrew name in 1910, when he published his first article in a Zionist journal in Jerusalem. Criminals may use aliases, fictitious business names, and dummy corporations to hide their identity, a pen name, or nom de plume, is a pseudonym adopted by an author. Some female authors used male pen names, in particular in the 19th century, the Brontë family used pen names for their early work, so as not to reveal their gender and so that local residents would not know that the books related to people of the neighbourhood. The Brontës used their neighbours as inspiration for characters in many of their books, anne Brontë published The Tenant of Wildfell Hall under the name Acton Bell. Charlotte Brontë published Shirley and Jane Eyre under the name Currer Bell, emily Brontë published Wuthering Heights as Ellis Bell. A well-known example of the former is Mary Ann Evans, who wrote as George Eliot, Another example is Amandine Aurore Lucile Dupin, a 19th-century French writer who used the pen name George Sand. In contrast, some twentieth and twenty first century male romance novelists have used pen names. A few examples of male authors using female pseudonyms include Brindle Chase, Peter ODonnell and Christopher Wood. A pen name may be used if a real name is likely to be confused with the name of another writer or notable individual. Authors who write both fiction and non-fiction, or in different genres, may use different pen names to avoid confusing their readers, in some cases, an author may become better known by his pen name than his real name
20.
Origins of rock and roll
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Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. Rock and roll in turn provided the basis for the music that. The phrase rocking and rolling originally described the movement of a ship on the ocean, in 1951, Cleveland-based disc jockey Alan Freed began playing this music style while popularizing the term rock and roll to describe it. The alliterative phrase rocking and rolling was originally used by mariners at least as early as the 17th century, prevent her from rocking and rolling. And an 1835 reference to a ship, Rocking and rolling on both beam-ends. Myers at about the time, and Gus Reed in 1908. By that time, the specific phrase rocking and rolling was also used by African Americans in spirituals with a religious connotation, another version was issued on the Little Wonder record label in 1916. Rocking was also used to describe the spiritual rapture felt by worshippers at certain religious events, at the same time, the terminology was used in secular contexts, for example to describe the motion of railroad trains. Rocking and rolling were also used, both separately and together, in a context, writers for hundreds of years had used the phrases They had a roll in the hay or I rolled her in the clover. In 1922, blues singer Trixie Smith recorded My Man Rocks Me, although it was played with a backbeat and was one of the first around the clock lyrics, this slow minor-key blues was by no means rock and roll in the later sense. Also in 1927, traditional country musician Uncle Dave Macon, with his group the Fruit Jar Drinkers, recorded Sail Away Ladies with a refrain of Dont she rock, daddy-o, and Rock About My Saro Jane. Duke Ellington recorded Rockin In Rhythm in 1928, and Robinsons Knights Of Rest recorded Rocking and Rolling in 1930, in 1932, the phrase rock and roll was heard in the Hal Roach film Asleep in the Feet. In 1934, the Boswell Sisters had a pop hit with Rock and Roll from the film Transatlantic Merry-Go-Round, where the term was used to describe the motion of a ship at sea. In 1935, Henry Red Allen recorded Get Rhythm in Your Feet and Music in Your Soul which included the lyric, If Satan starts to hound you, commence to rock, the lyrics were written by the prolific composer J. Russel Robinson with Bill Livingston. Allens recording was a record on the Vocalion label, but the tune was quickly covered by white musicians. Other notable recordings using the words, both released in 1938, were Rock It For Me by Chick Webb, a number with Ella Fitzgerald on vocals featuring the lyrics. Wont you satisfy my soul, With the rock and roll, and Rock Me by Sister Rosetta Tharpe, a gospel song originally written by Thomas Dorsey as Hide Me In Thy Bosom. Tharpe performed the song in the style of a city blues, with lyrics, ecstatic vocals
21.
Crazy Man, Crazy
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Crazy Man, Crazy was the title of an early rock and roll song written by, and first recorded by Bill Haley & His Comets in April 1953. It is also believed to be the first rock and roll recording to be played on television in the US. The use of a comma in the title varies from source to source, but is present on the single release, which is credited to Bill Haley with Haleys Comets. The song was written by Bill Haley, one of these phrases was Crazy Man Crazy while another was Go, go, go, everybody. Haley incorporated both phrases into the song and he is said to have written it sitting at the kitchen table while his wife prepared lunch. The song was recorded at Coastal Studios in New York City and was released soon after by Essex Records, personnel on the recording included Haleys core Comets members, plus session musicians Art Ryerson and Billy Gussak. Also participating on backing vocals were Dave Miller and Jerry Blaine, co-founder of Jubilee Records, on May 23,1953, the song entered the American Billboard chart and reached No. 12, becoming the first song generally recognised as rock and roll to be a pop hit, the record was the Top Debut on the Cashbox chart for the week of May 23,1953, debuting at no.19. This was also Haleys first national success and his first major success with an original song, the recording was released on Essex Records as Essex 321, E-321-A, backed with Whatcha Gonna Do by Bill Haley with Haleys Comets and was published by Eastwick Music, BMI. The record was manufactured by the Palda Record Company of Philadelphia, Pennsylvania in 78 and 45 formats with an orange label, the recording was also released in the UK in August 1953, as London L1190 as a 78 with WhatCha Gonna Do as the B side. This live production featured James Dean and was a predecessor to his later Rebel Without a Cause, the Paley Center for Media maintains a copy of this production in its archives. J. and his female guest introducing the Comets. This film is regarded as the first rock and roll movie feature predating The Blackboard Jungle, the band also performed the song in the 1961 Mexican film Besito a Papa directed by José Díaz Morales made by Cinematográfica Filmex S. A. and released on September 14,1961. The film starred Mexican actress Lola Beltran, Haley would later claim that Crazy Man, Crazy sold a million copies, however no evidence to support this claim has been located. Haley and the Comets would record new versions of the song in 1960 and 1972, a 45 single was released on Radio Active Gold distributed by Buddah Records produced by Richard Nader. After Haleys death, surviving members of The Comets recorded new versions of the song in 1997,2000 and 2002. The Original Comets featuring Dick Richards on drums and Joey Ambrose on lead vocals performed the live on July 5,2014 at the Wildest Cats concert in the UK with Jacko Buddin on lead guitar. Ralph Marterie and his Orchestra also had a hit with their version in 1953 as Mercury 70153. Marterie reached no.13 on the Billboard Jockey chart with his version for the week ending June 20,1953 and it is sometimes claimed that sax player Rudy Pompilli, later to join the Comets, was on this record, but there is no evidence of this
22.
Big Joe Turner
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Joseph Vernon Big Joe Turner, Jr. was an American blues shouter from Kansas City, Missouri. According to the songwriter Doc Pomus, Rock and roll would have never happened without him and his greatest fame was due to his rock-and-roll recordings in the 1950s, particularly Shake, Rattle and Roll, but his career as a performer endured from the 1920s into the 1980s. He was inducted into the Rock and Roll Hall of Fame in 1987, known as The Boss of the Blues and Big Joe Turner, Turner was born in Kansas City. His father was killed in an accident when Joe was four years old. He first discovered a love of music in his involvement at church and he began singing on street corners for money, quitting school at age fourteen to work in Kansas Citys nightclubs, first as a cook, and later as a singing bartender. The Sunset was managed by Piney Brown and it featured separate but equal facilities for caucasian patrons. Turner wrote Piney Brown Blues in his honor and sang it throughout his entire career. At that time Kansas City nightclubs were subject to frequent raids by the police, wed walk in, sign our names and walk right out. Then we would cabaret until morning and his partnership with Johnson proved fruitful. C. Eventually they were seen by the talent scout John H, in part because of their appearance at Carnegie Hall, Turner and Johnson had a major success with the song Roll Em Pete. The track was basically a collection of blues lyrics. It was a song that Turner recorded many times, with combinations of musicians. Besides Roll Em, Pete, Turners best-known recordings from this period are probably Cherry Red, I Want a Little Girl, Cherry Red was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance. The next year Turner contracted with Decca and recorded Piney Brown Blues, in 1941, he went to Los Angeles and performed in Duke Ellingtons revue Jump for Joy in Hollywood. He appeared as a policeman in a comedy sketch called Hes on the Beat. Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewiss Soundies musical movies and he sang on the soundtrack recordings but was not present for filming, and his vocals were mouthed by the comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established their bar in Los Angeles and that same year he contracted with National Records company, and recorded under Herb Abramsons supervision. His first hit single was a cover of Saunders Kings S. K. Blues and he recorded the songs My Gals a Jockey and the risqué Around the Clock the same year, and the Aladdin company released Battle of the Blues, a duet with Wynonie Harris
23.
Rolling Stone
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Rolling Stone is an American biweekly magazine that focuses on popular culture. It was founded in San Francisco in 1967 by Jann Wenner, who is still the publisher. It was first known for its coverage and for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a readership interested in youth-oriented television shows, film actors. In recent years, it has resumed its traditional mix of content, Rolling Stone magazine was founded in San Francisco in 1967 by Jann Wenner and Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim. The first issue carried a date of November 9,1967. Some authors have attributed the name solely to Dylans hit single, At Gleasons suggestion, Rolling Stone initially identified with and reported the hippie counterculture of the era. In the very first edition, Wenner wrote that Rolling Stone is not just about the music, in the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazines political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine also helped launch the careers of prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Patti Smith. It was at point that the magazine ran some of its most famous stories. One interviewer, speaking for a number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus. In 1977, the magazine moved its headquarters from San Francisco to New York City, editor Jann Wenner said San Francisco had become a cultural backwater. During the 1980s, the magazine began to shift towards being an entertainment magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television, films, the magazine also initiated its annual Hot Issue during this time. Rolling Stone was initially known for its coverage and for Thompsons political reporting. In the 1990s, the changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors
24.
1954 in music
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This is a list of notable events in music that took place in the year 1954. January 14 – First documented use of the abbreviated term Rock n Roll to promote Alan Freeds Rock n Roll Jubillee, held at St. Nicholas Arena in New York, march 15 – The Chords record Sh-Boom for Atlantic Records Cat subsidiary. March 25 – At the 26th Academy Awards, Frank Sinatra wins the Academy Award for Best Supporting Actor for his role in From Here to Eternity, at the same ceremony, Bing Crosby is nominated for Best Actor for his role in The Country Girl. April – Fender Stratocaster electric guitar first produced in California, april 12 – Bill Haley and His Comets record Rock Around the Clock in New York City for Decca Records. May 20 – Rock Around the Clock is released as the B-side of Thirteen Women, the song is only a moderate success until it is featured in the film Blackboard Jungle the following year. July 5 – Elvis Presley has his first commercial recording session at Sun Studios in Memphis and he sings Thats All Right and Blue Moon of Kentucky, released as his first single on July 19 naming the performers as Elvis Presley, Scotty and Bill. October 16 – Elvis Presley makes his first radio broadcast, on a show in Shreveport, Louisiana, fall – A cover version of Big Joe Turners Shake, Rattle and Roll by Bill Haley and His Comets becomes the first internationally popular rock and roll recording. Record companies deliver 7 inch 45 rpm record singles to radio instead of 78s. Lyric Opera of Chicago is founded, pat Boone begins his recording career at Republic Records. Les Paul commissions Ampex to build the first eight track tape recorder, the Isley Brothers make their first recordings, featuring only the three eldest brothers, OKelly Jr. Rudolph and Ronald. The Newport Jazz Festival is established by George Wein, são Paulo State Symphony Orchestra is founded. C. These singles reached the top of US Billboard magazines charts in 1954, sandman - Chordettes Money Burns A Hole In My Pocket - Dean Martin Muskrat Ramble - Matys Brothers My Friend - Frankie Laine My Sin - Georgia Gibbs Mystery Train- Elvis Presley Oh. m. Cole Porter Annie Had a Baby w. m, henry Glover & Lois Mann A Blossom Fell w. m. Howard Barnes, Harold Cornelius & Dominic John Cara Mia w. m, tulio Trapani & Lee Lange Cherry Pink And Apple Blossom White w. Mack David Jacques Larue m. Irving Berlin Cross Over The Bridge w. m, bennie Benjamin & George David Weiss Earth Angel w. m. Jesse Belvin, Curtis Williams & Gaynel Hodge Evry Day of My Life w. m. Al Jacobs, the Finger Of Suspicion Points At You w. m. Paul Mann & Al Lewis From The Vine Came The Grape w. m, leonard Whitcup & Paul Cunningham Gilly, Gilly, Ossenfeffer, Katzenellen Bogen By The Sea w. m. Al Hoffman & Dick Manning Hearts Of Stone w. Eddy Ray m, Richard Adler & Jerry Ross Hes A Tramp Sonny Burke, Peggy Lee Hey There w. m
25.
National Recording Registry
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The National Recording Registry is a list of sound recordings that are culturally, historically, or aesthetically important, and/or inform or reflect life in the United States. The registry was established by the National Recording Preservation Act of 2000, the legislative intent of the National Recording Preservation Act of 2000 was to develop a national program to guard Americas sound recording heritage. The Act resulted in the formations of the National Recording Registry, The National Recording Preservation Board, beginning in 2002, the National Recording Preservation Board began selecting nominated recordings each year to be preserved. The first four yearly lists included 50 selections, however, since 2006,25 recordings have been selected annually. Thus, a total of 475 recordings have been preserved in the Registry as of 2017, each calendar year, public nominations are accepted for inclusion in that years list of selections to be announced the following spring. Those recordings on the Library of Congress National Recording Registry that are of a political nature will tend to overlap with the collection of the National Archives. The list shows overlapping items and whether the National Archives has an original or a copy of the recording, recordings may be a single item or group of related items, published or unpublished, and may contain music, non-music, spoken word, or broadcast sound. Recordings will not be considered for inclusion into the National Recording Registry if no copy of the recording exists, no recording should be denied inclusion into the National Recording Registry because that recording has already been preserved. No recording is eligible for inclusion into the National Recording Registry until ten years after the recordings creation, on January 27,2003, the following 50 selections were announced by the National Recording Preservation Board. In March 2004, the following 50 selections were made by the National Recording Preservation Board, in April 2005, the following 50 selections were made by the National Recording Preservation Board. In April 2006, the following 50 selections were made by the National Recording Preservation Board, on March 6,2007, the following 25 selections were made by the National Recording Preservation Board. On May 14,2008, the following 25 selections were made by the National Recording Preservation Board, on June 10,2009, the following 25 selections were made by the National Recording Preservation Board. On June 23,2010, the following 25 selections were made by the National Recording Preservation Board, on April 6,2011, the following 25 selections were announced. On May 23,2012, the following 25 selections were made by the National Recording Preservation Board, on March 21,2013, the following 25 selections were announced. On April 2,2014, the following 25 selections were announced, on March 25,2015, the following 25 selections were announced. On March 23,2016, the following 25 selections were announced, on March 29,2017, the following 25 selections were announced. As of 2014, the oldest recording on the list is Edouard-Leon Scott de Martinvilles Phonautograms which date back to 1853. The most recent is Fanfare for the Uncommon Woman by Joan Tower, performed by the Colorado Symphony Orchestra under the direction of Marin Alsop, which was released in 1999
26.
Library of Congress
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The Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States, the Library is housed in three buildings on Capitol Hill in Washington, D. C. it also maintains the Packard Campus in Culpeper, Virginia, which houses the National Audio-Visual Conservation Center. The Library of Congress claims to be the largest library in the world and its collections are universal, not limited by subject, format, or national boundary, and include research materials from all parts of the world and in more than 450 languages. Two-thirds of the books it acquires each year are in other than English. The Library of Congress moved to Washington in 1800, after sitting for years in the temporary national capitals of New York. John J. Beckley, who became the first Librarian of Congress, was two dollars per day and was required to also serve as the Clerk of the House of Representatives. The small Congressional Library was housed in the United States Capitol for most of the 19th century until the early 1890s, most of the original collection had been destroyed by the British in 1814, during the War of 1812. To restore its collection in 1815, the bought from former president Thomas Jefferson his entire personal collection of 6,487 books. After a period of growth, another fire struck the Library in its Capitol chambers in 1851, again destroying a large amount of the collection. The Library received the right of transference of all copyrighted works to have two copies deposited of books, maps, illustrations and diagrams printed in the United States. It also began to build its collections of British and other European works and it included several stories built underground of steel and cast iron stacks. Although the Library is open to the public, only high-ranking government officials may check out books, the Library promotes literacy and American literature through projects such as the American Folklife Center, American Memory, Center for the Book, and Poet Laureate. James Madison is credited with the idea for creating a congressional library, part of the legislation appropriated $5,000 for the purchase of such books as may be necessary for the use of Congress. And for fitting up an apartment for containing them. Books were ordered from London and the collection, consisting of 740 books and 3 maps, was housed in the new Capitol, as president, Thomas Jefferson played an important role in establishing the structure of the Library of Congress. The new law also extended to the president and vice president the ability to borrow books and these volumes had been left in the Senate wing of the Capitol. One of the only congressional volumes to have survived was a government account book of receipts and it was taken as a souvenir by a British Commander whose family later returned it to the United States government in 1940. Within a month, former president Jefferson offered to sell his library as a replacement
27.
Leroy Anderson
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Leroy Anderson, was an American composer of short, light concert pieces, many of which were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as one of the great American masters of light orchestral music, born in Cambridge, Massachusetts to Swedish parents, Anderson was given his first piano lessons by his mother, who was a church organist. He continued studying piano at the New England Conservatory of Music, in 1925 Anderson entered Harvard University, where he studied musical harmony with Walter Spalding, counterpoint with Edward Ballantine, canon and fugue with William C. Hill and Walter Piston, composition with Walter Piston and double bass with Gaston Dufresne and he also studied organ with Henry Gideon. He graduated with a Bachelor of Arts, Magna cum laude in 1929 and was elected to Phi Beta Kappa, in Harvard University Graduate School, he studied composition with Walter Piston and Georges Enescu and received a Master of Arts in Music in 1930. At the time he was working as organist and choir director at the East Milton Congregational Church, leading the Harvard University Band, and conducting and arranging for dance bands around Boston. Andersons first work was the 1938 Jazz Pizzicato, but at just over ninety seconds the piece was too short for a three-minute 78-RPM single of the period, Fiedler suggested writing a companion piece and Anderson wrote Jazz Legato later that same year. The combined recording went on to one of Andersons signature compositions. In 1942 Leroy Anderson joined the U. S. Army, counter Intelligence Corps as a translator and interpreter, in 1945 he was reassigned to the Pentagon as Chief of the Scandinavian Desk of Military Intelligence. However his duties did not prevent him from composing, and in 1945 he wrote The Syncopated Clock, Anderson became a reserve officer and was recalled to active duty for the Korean War. In 1951 Anderson wrote his first hit, Blue Tango, earning a Golden Disc and his pieces and his recordings during the fifties conducting a studio orchestra were immense commercial successes. Blue Tango was the first instrumental recording ever to one million copies. His most famous pieces are probably Sleigh Ride and The Syncopated Clock, in February 1951, WCBS-TV in New York City selected Syncopated Clock as the theme song for The Late Show, the WCBS late-night movie. Anderson started the work during a wave in August 1946. The Boston Pops recording of it was the first pure orchestral piece to reach No.1 on the Billboard Pop Music chart, from 1952 to 1961, Andersons composition Plink, Plank, Plunk. was used as the theme for the CBS panel show Ive Got A Secret. Andersons musical style employs creative instrumental effects and occasionally use of sound-generating items such as typewriters. Anderson wrote his Piano Concerto in C in 1953 but withdrew it, in 1988 the Anderson family decided to publish the work. Erich Kunzel and the Cincinnati Pops Orchestra released the first recording of this work, four other recordings, including one for piano, in 1958, Anderson composed the music for the Broadway show Goldilocks with orchestrations by Philip J. Lang
28.
Blues
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Blues is a genre and musical form originated by African Americans in the Deep South of the United States around the end of the 19th century. The genre developed from roots in African musical traditions, African-American work songs, spirituals, Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. Blue notes, usually thirds or fifths flattened in pitch, are also a part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove, Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times, Early blues frequently took the form of a loose narrative, often relating the troubles experienced in African-American society. Many elements, such as the format and the use of blue notes. The origins of the blues are closely related to the religious music of the Afro-American community. The first appearance of the blues is often dated to after the ending of slavery and, later and it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century, the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues, World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a form called blues rock evolved. The term blues may have come from blue devils, meaning melancholy and sadness, the phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the intense visual hallucinations that can accompany severe alcohol withdrawal. As time went on, the phrase lost the reference to devils, by the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, in lyrics the phrase is often used to describe a depressed mood. The lyrics of traditional blues verses probably often consisted of a single line repeated four times. Two of the first published songs, Dallas Blues and Saint Louis Blues, were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times, the lines are often sung following a pattern closer to rhythmic talk than to a melody
29.
Hank Williams
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Hiram King Hank Williams, was an American singer-songwriter and musician. Born in Mount Olive, Butler County, Alabama, Williams moved to Georgiana, where he met Rufus Payne, Payne had a major influence on Williams later musical style, along with Roy Acuff and Ernest Tubb. During this time, Williams informally changed his name to Hank and he moved to Montgomery, where he began his music career in 1937, when producers at radio station WSFA hired him to perform and host a 15-minute program. He formed as backup the Drifting Cowboys band, which was managed by his mother, Williams eventually married Audrey Sheppard, who was his manager for nearly a decade. After recording Never Again and Honky Tonkin with Sterling Records, he signed a contract with MGM Records, in 1947 he released Move It on Over, which became a hit, and also joined the Louisiana Hayride radio program. One year later, he released a cover of Lovesick Blues, after an initial rejection, Williams joined the Grand Ole Opry. He was unable to read or notate music to any significant degree, among the hits he wrote were Your Cheatin Heart, Hey, Good Lookin, and Im So Lonesome I Could Cry. Several years of pain, alcoholism, and prescription drug abuse severely damaged Williams health. He divorced Sheppard and was dismissed by the Grand Ole Opry because of his unreliability, Williams died on New Years Day of 1953 at the age of 29, from heart failure exacerbated by pills and alcohol. Despite his short life, Williams had a influence on 20th-century popular music. The songs he wrote and recorded have been covered by artists and have been hits in various genres. He has been inducted into multiple halls of fame, such as the Country Music Hall of Fame, the Songwriters Hall of Fame. Williams was born in Butler County, Alabama, the son of Jessie Lillybelle Lillie and his parents married on November 12,1916. Hank Williams was of English ancestry, Elonzo Williams worked as an engineer for the railroads of the W. T. Smith lumber company. He was drafted during World War I, serving from July 1918 until June 1919 and he was severely injured after falling from a truck, breaking his collarbone and suffering a severe blow to the head. After his return, the familys first child, Irene, was born on August 8,1922, another son of theirs died shortly after birth. Their third child, Hiram, was born on September 17,1923, in Mount Olive. Since Elonzo Williams was a Mason, and his wife was a member of Order of the Eastern Star the child was named after Hiram I of Tyre, as a child, he was nicknamed Harm by his family and Herky or Poots by his friends
30.
Charley Patton
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Charley Patton, also known as Charlie Patton, was an American Delta blues musician. Considered by many to be the Father of the Delta Blues, he created a body of American music. The musicologist Robert Palmer considered him one of the most important American musicians of the twentieth century, Patton spelled his name Charlie, but many sources, including record labels and his gravestone, use the spelling Charley. Patton was born in Hinds County, Mississippi, near the town of Edwards, most sources say he was born in April 1891, but the years 1881,1885 and 1887 have also been suggested. Pattons parentage and race also are uncertain, biographer John Fahey described Patton as having light skin and Caucasian features. Patton was considered African-American, but because of his light complexion there has been speculation that he was Mexican or Cherokee and it is now generally agreed that Patton was of mixed heritage, with both white and black ancestors, as well as a Cherokee grandmother. In 1897, his family moved 100 miles north to the 10, 000-acre Dockery Plantation, there, Patton developed his musical style, influenced by Henry Sloan, who had a new, unusual style of playing music, which is now considered an early form of the blues. Patton performed at Dockery and nearby plantations and began an association with Willie Brown, tommy Johnson, Fiddlin Joe Martin, Robert Johnson, and Chester Burnett also lived and performed in the area, and Patton served as a mentor to these younger performers. He was popular across the southern United States and performed annually in Chicago, in 1934, unlike most blues musicians of his time, who were often itinerant performers, Patton played scheduled engagements at plantations and taverns. He gained popularity for his showmanship, sometimes playing with the guitar down on his knees, behind his head, Patton settled in Holly Ridge, Mississippi, with his common-law wife and recording partner, Bertha Lee, in 1933. He died on the Heathman-Dedham plantation, near Indianola, on April 28,1934 and his death certificate states that he died of a mitral valve disorder. The death certificate does not mention Bertha Lee, the only informant listed is one Willie Calvin, Pattons death was not reported in the newspapers. A memorial headstone was erected on Pattons grave, paid for by musician John Fogerty through the Mt. Zion Memorial Fund in July 1990, the spelling of Pattons name was dictated by Jim ONeal, who also composed the epitaph. Screamin and Hollerin the Blues, The Worlds of Charley Patton and it also features recordings by many of his friends and associates. The set won three Grammy Awards in 2003, for Best Historical Album, Best Boxed or Special Limited Edition Package, another collection of Patton recordings, The Definitive Charley Patton, was released by Catfish Records in 2001. Pattons song Pony Blues was included by the National Recording Preservation Board in the National Recording Registry of the Library of Congress in 2006, the board annually selects recordings that are culturally, historically, or aesthetically significant. In 2013, Jack Whites Third Man Records teamed up with Document Records to reissue The Complete Recorded Works in Chronological Order of Charley Patton, Blind Willie McTell and the Mississippi Sheiks. The marker commemorates the lyrics of Pattons Peavine Blues, which refer to the branch of the Yazoo, the marker notes that riding on the railroad was a common theme of blues songs and was seen as a metaphor for travel and escape
31.
Jim Jackson (musician)
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Jim Jackson was an African-American blues and hokum singer, songster, and guitarist, whose recordings in the late 1920s were popular and influential on later musicians. Jackson was born in Hernando, Mississippi, the researchers Bob Eagle and Eric LeBlanc date his birth as 1876, but other sources give 1884 or 1890. He was raised on a farm, where he learned to play guitar and he soon began travelling with the Rabbit Foot Minstrels, featuring Ma Rainey and Bessie Smith, and other minstrel shows. He also played in clubs on Beale Street in Memphis, Tennessee and his popularity and proficiency secured him a residency at the prestigious Peabody Hotel in Memphis in 1919. Like Lead Belly, Jackson knew hundreds of songs, including blues, ballads, vaudeville numbers, and traditional tunes, in 1927 the talent scout H. C. Speir obtained for him a contract with Vocalion Records. On October 10,1927, he recorded Jim Jacksons Kansas City Blues and its melody and lyrics can be traced In many later blues and rock and roll songs, including Rock Around the Clock and Kansas City. Following this hit Jackson recorded a series of Kansas City follow-ups, other artists recorded cover versions of the song and reworked it. Jackson moved to Memphis in 1928 and made a series of further recordings and he also appeared in King Vidors all-black 1929 film Hallelujah. It is unclear what role he played, Jackson ran the Red Rose Minstrels, a travelling medicine show which toured Mississippi, Arkansas and Alabama. As a talent scout for Brunswick Records, he discovered Rufus Speckled Red Perryman, shortly afterwards, in February 1930, Jackson recorded his last session. He later moved back to Hernando and continued to perform until his death in 1933, janis Joplin later recorded a version of Kansas City Blues, inserting the lyrics Babe, Im leavin, yeah Im a-leavin this mornin / Goin to Kansas City to bring Jim Jackson home. Jackson was an influence on the Chicago bluesman J. B. Jacksons Kansas City Blues was a fixture of Robert Nighthawks concert set list. Brownie McGhee said Kansas City Blues was the first tune that I ever learned to play, the song Wild About My Lovin was covered by the Lovin Spoonful and released on their 1965 debut album, Do You Believe In Magic. List of blues musicians First rock and roll record Jim Jackson Vols
32.
Phrase (music theory)
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In music theory, a phrase is a unit of musical meter that has a complete musical sense of its own, built from figures, motifs, and cells, and combining to form melodies, periods and larger sections. Terms such as sentence and verse have been adopted into the vocabulary of music from linguistic syntax, john D. White defines a phrase as, the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, edward Cone analyses the typical musical phrase as consisting of an initial downbeat, a period of motion, and a point of arrival marked by a cadential downbeat. Charles Burkhart defines a phrase as Any group of measures that has degree of structural completeness. What counts is the sense of completeness we hear in the not the notation on the page. To be complete such a group must have an ending of some kind …, phrases are delineated by the tonal functions of pitch. They are not created by slur or by legato performance …, a phrase is not pitches only but also has a rhythmic dimension, and further, each phrase in a work contributes to that works large rhythmic organization. In common practice phrases are often four bars or measures long culminating in a more or less definite cadence. A phrase will end with a weaker or stronger cadence, depending on whether it is an antecedent phrase or a consequent phrase, however, the absolute span of the phrase is as contestable as its pendant in language, where there can be even one-word-phrases. Thus no strict line can be drawn between the terms of the phrase, the motiv or even the separate tone, discovering a works phrase rhythm is a gateway to its understanding and to effective performance. The term was popularized by William Rothsteins Phrase Rhythm in Tonal Music, techniques include overlap, lead-in, extension, expansion, reinterpretation and elision. A phrase member is one of the parts in a phrase separated into two by a pause or long note value, the second of which may repeat, sequence, or contrast with the first
33.
Count Basie
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William James Count Basie was an American jazz pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens, dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By 16 years old, he played jazz piano at parties, resorts. In 1924, he went to Harlem, where his career expanded, he toured with groups to the major jazz cities of Chicago, St. Louis. In 1929 he joined Bennie Motens band in Kansas City, in 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. William Basie was born to Harvey Lee and Lillian Basie in Red Bank and his father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his became an groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background and his father played the mellophone, and his mother played the piano, in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living and she paid 25 cents a lesson for piano instruction for him. Not much of a student in school, Basie dreamed of a traveling life and he finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies, though a natural at the piano, Basie preferred drums. Discouraged by the talents of Sonny Greer, who also lived in Red Bank and became Duke Ellingtons drummer in 1919. Greer and Basie played together in venues until Greer set out on his professional career, by then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardsons Kings of Syncopation. When not playing a gig, he hung out at the pool hall with other musicians. He got some jobs in Asbury Park at the Jersey Shore, around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, soon, Basie met many of the Harlem musicians who were making the scene, including Willie the Lion Smith and James P. Johnson. His touring took him to Kansas City, St. Louis, New Orleans, throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers and this provided an early training that was to prove significant in his later career
34.
Marshall Lytle
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Marshall Lytle was an American rock and roll bassist, best known for his work with the groups Bill Haley & His Comets and The Jodimars in the 1950s. He played upright bass on the iconic 1950s rock and roll records Crazy Man, Crazy, Shake, Rattle and Roll. Born in Old Fort, North Carolina, Lytle was a player before joining Bill Haleys country music group, The Saddlemen. But Lytle was hired to double bass for the group, replacing departing musician Al Rex. Soon after, Lytle co-wrote with Haley the bands first national hit, Crazy Man, Lytle played on all of Haleys recordings between mid-1951 and the summer of 1955, including the epochal Rock Around the Clock in 1954. He was paid $41.25 for the three-hour Decca recording session which included the original A side. He played a late 1940s model Epiphone B5 upright double bass, purchased in October 1951 and he used gut strings for the G and D strings while the A and E strings were wound. Lytles style of playing, which involved slapping the strings to make a sound, is considered one of the signature sounds of early rock and roll. The athletic Lytle also developed a routine, along with Ambrose. This became a performance for The Comets that later musicians working for Haley were instructed to emulate. He was part of the band when they appeared on the NBC Texaco Star Theatre show hosted by Milton Berle and he also appeared in the 1954 Universal International Pictures movie short Round Up of Rhythm. In September 1955, Lytle, along with drummer Dick Richards and Ambrose, quit The Comets in a dispute and formed their own musical group. Before leaving, Lytle and his colleagues offered to train their replacements in the art of rock and roll playing, Lytle was succeeded by Al Rex—ironically, the same musician he had originally been hired to replace. The Jodimars became one of the first rock and roll groups to take up residence in Las Vegas showrooms, by 1958 they had broken up, though Lytle attempted to continue the group on his own. Despite the musicians not having each other in decades, The Comets quickly found their groove again although Lytle sang the lyrics of Rock Around the Clock out-of-order. Their performance was the hit of the show, and over the couple of years The Comets began touring again. The band has recorded albums for the German label Hydra Records, the UK-based Rockstar Records. Lytle also recorded an album in 1993 entitled Air Mail Special back by members of The Stargazers, a UK rockabilly group, the album was credited to Marshall
35.
Wildwood, New Jersey
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Wildwood is a city in Cape May County, New Jersey, United States. It is part of the Ocean City Metropolitan Statistical Area and is a summer resort destination. With visitors, the population can swell to 250,000 during the summer months, the city, and the surrounding communities that share the name, derives its name from the wild flowers found in the area. Wildwood was originally incorporated as a borough by an act of the New Jersey Legislature on May 1,1895, from portions of Middle Township, on January 1,1912, Wildwood was incorporated as a city, replacing both Wildwood borough and Holly Beach City. The Wildwoods began developing as a resort in the last decade of the 19th century, a building boom began in the 1950s, due partially to the construction and completion of the Garden State Parkway in 1955. Rock Around the Clock, often credited as the first rock, the songs status as one of the first rock and roll hits has given rise to the citys claim as the birthplace of rock and roll. Wildwood is home to over 200 motels, built during the Doo-Wop era of the 1950s and 1960s, in a recognized by the state of New Jersey. The motels are unique in appearance, with Vegas-like neon signs, New construction in the area has seen the demolition of several motels to make room for larger condominiums. The Wildwood Doo Wop Preservation League has taken action to help save, the Caribbean Motel in Wildwood Crest, and the Chateau Bleu Motel in North Wildwoods are both listed on the National Register of Historic Places. A 1950s Doo Wop museum includes property from demolished motels such as neon signs, neo-Doo Wop buildings in the area feature a neon lit Wawa and a 1950s styled Acme Supermarket. According to the United States Census Bureau, the city had an area of 1.394 square miles. The city is located on an island facing the Atlantic Ocean. On the same island are the towns of North Wildwood, Wildwood Crest and Diamond Beach, collectively with the town of West Wildwood, these communities form The Wildwoods resort. Unincorporated communities, localities and place names located partially or completely within the city include Five Mile Beach, as of the census of 2010, there were 5,325 people,2,251 households, and 1,146 families residing in the city. The population density was 4,082.0 per square mile, there were 6,843 housing units at an average density of 5,245.7 per square mile. The racial makeup of the city was 68. 04% White,11. 15% Black or African American,0. 73% Native American,0. 79% Asian,0. 13% Pacific Islander,16. 24% from other races, and 2. 91% from two or more races. Hispanic or Latino of any race were 31. 21% of the population,40. 7% of all households were made up of individuals, and 14. 2% had someone living alone who was 65 years of age or older. The average household size was 2.27 and the family size was 3.03
36.
Essex Records
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Essex Records was founded in Philadelphia, Pennsylvania, in 1951 by David Miller primarily to record contemporary country and western, rhythm and blues as well as jazz and gospel. Jack Howard was the promotion manager, the label had little popular success. They issued a 1954 single called Oh, Mein Papa, the label also released the first 12-inch album of rock and roll music with its 1954 Haley compilation Rock with Bill Haley and the Comets. Haleys first big hit, Crazy Man, Crazy was followed by two chart hits, Fractured, and Live It Up. In 1954, Haley left Essex for Decca Records, the primary female vocalist on the label was Bunny Paul, who scored hits in 1954 with Such a Night and Honey Love. The colour of the Essex label was orange with the print in black
37.
Bootleg recording
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A bootleg recording is an audio or video recording of a performance that was not officially released by the artist or under other legal authority. The process of making and distributing such recordings is known as bootlegging, bootlegs usually consist of either unreleased studio recordings, live performances or interviews with an unpredictable level of quality. The following year, the Rolling Stones Liver Than Youll Ever Be, subsequent bootlegs became more sophisticated in packaging, particularly the Trademark of Quality label with William Stouts cover artwork. Compact disc bootlegs first appeared in the 1980s, and internet distribution became popular in the 1990s. Changing technologies have affected the recording, distribution, and varying profitability of the underground industry, the copyrights for the song and the right to authorise recordings often reside with the artist, according to several international copyright treaties. The recording, trading and sale of bootlegs continues to thrive, however, even as artists, the word bootleg originates from the practice of smuggling illicit items in the legs of tall boots, particularly the smuggling of alcohol during the American Prohibition era. The word, over time, has come to refer to any illegal or illicit product and this term has become an umbrella term for illicit, unofficial, or unlicensed recordings, including vinyl LPs, silver CDs, or any other commercially sold media or material. The alternate term ROIO or VOI arose among Pink Floyd collectors, to clarify the recording source, although unofficial and unlicensed recordings had existed before the 1960s, the very first rock bootlegs came in plain sleeves with the title rubber stamped on it. However, they developed into more sophisticated packaging, in order to distinguish the manufacturer from inferior competitors. With todays packaging and desktop publishing technology, even the layman can create official looking CDs, with the advent of the cassette and CD-R, however, some bootlegs are traded privately with no attempt to be manufactured professionally. This is even more evident with the ability to share bootlegs via the Internet, some record companies have considered that any record issued outside of their control, and for which they do not receive payment, to be a counterfeit, which includes bootlegs. The most common type is the live bootleg, or audience recording, a number of bootlegs originated with FM radio broadcasts of live or previously recorded live performances. Other bootlegs may be soundboard recordings taken directly from a mixing console used to feed the public address system at a live performance. Artists may record their own shows for review, but engineers may surreptitiously take a copy of this. Some bootlegs consist of private or professional studio recordings distributed without the involvement, including demos. A theme of early rock bootlegs was to copy deleted records, such as old singles and B-sides, onto a single LP, some bootlegs, however, did lead to official releases. According to enthusiast and author Clinton Heylin, the concept of a record can be traced back to the days of Shakespeare. The US did not agree to the terms, resulting in many piratical reprints of sheet music being published there by the end of the century
