Robert Pete Williams
Robert Pete Williams was an American Louisiana blues musician. His music characteristically employed unconventional structures and guitar tunings, his songs are about the time he served in prison, his song "I've Grown So Ugly" has been covered by Captain Beefheart, on his album Safe as Milk, by The Black Keys, on Rubber Factory. Williams was born in Louisiana, to a family of sharecroppers, he had no formal schooling, spent his childhood picking cotton and cutting sugar cane. In 1928, he moved to Baton Rouge and worked in a lumberyard. At the age of 20, Williams fashioned a crude guitar by attaching five copper strings to a cigar box, soon after bought a cheap, mass-produced one. Williams was taught by Frank and Robert Metty, was at first chiefly influenced by Peetie Wheatstraw and Blind Lemon Jefferson, he began to play for small events such as Church gatherings, fish fries and dances. From the 1930s to the 1950s, Williams played music and continued to work in the lumberyards of Baton Rouge, he was discovered by ethnomusicologists Dr Harry Oster and Richard Allen in Louisiana State Penitentiary, where he was serving a life sentence for fatally shooting a man in a nightclub in 1956, an act which he claimed was in self-defense.
Oster and Allen recorded Williams performing several of his songs about prison life, pleaded for him to be pardoned. Under pressure from Oster, the parole board issued a pardon, commuted his sentence to 12 years. In December 1958, he was released into'servitude parole', which required 80 hours of labor per week on a Denham Springs farm without due compensation, only room and board provided; this parole prevented him from working in music, though he was able to play with Butch Cage and Willie B. Thomas at Thomas's home in Zachary. By this time, Williams' music was becoming popular, he played at the 1964 Newport Folk Festival. By 1965, he was able to tour the country, traveling to Los Angeles, Massachusetts and Berkeley, California. In 1966 he toured Europe. In 1968 he began to work outside of music. In 1970, Williams began to perform once again, touring blues and folk festivals throughout the United States and Europe, his music has appeared in several films notably, the Roots of American Music. His most popular recordings included "Prisoner's Talking Blues" and "Pardon Denied Again".
Williams has been inducted into the Louisiana Blues Hall of Fame. In 2014, he was inducted into the Blues Hall of Fame. Williams reduced his activities by the late 1970s, died in Rosedale, Louisiana on December 31, 1980. Angola Prisoner's Blues, recorded 1959, includes five tracks by Williams Those Prison Blues, recorded 1959 - reissued in 1971 with altered track listing Free Again, recorded 1961 Louisiana Blues, recorded 1966 Robert Pete Williams, recorded 1970 When I Lay My Burden Down, recorded 1971 Sugar Farm Blues, recorded 1972 Robert Pete Williams with Big Joe Williams, recorded 1972, includes three tracks with Big Joe Williams on kazoo Legacy of the Blues Vol. 9, 1973 Santa Fe Blues, 1979 Poor Bob's Blues, recorded 1959-1980, Folk-Lyric label Baton Rouge Blues: A Guide to the Baton Rouge Bluesmen and Their Music by Jimmy Beyer, 1980. Publisher: Arts and Humanities Council of Greater Baton Rouge, ASIN: B0006E5DPW Illustrated Robert Pete Williams discography
After the Gold Rush
After the Gold Rush is the third studio album by Canadian musician Neil Young, released in September 1970 on Reprise Records. It is one of four high-profile albums released by each member of folk rock collective Crosby, Nash & Young in the wake of their chart-topping 1970 album Déjà Vu. Gold Rush consists of country folk music, along with the rocking "Southern Man", inspired by the Dean Stockwell-Herb Bermann screenplay After the Gold Rush. After the Gold Rush peaked at number eight on the Billboard Top Pop Albums chart. Despite a mixed initial reaction, it has since appeared on a number of "greatest albums" lists. Initial sessions were conducted with backing band Crazy Horse at Sunset Sound Studios in Los Angeles amid a short winter 1970 tour that included a well-received engagement with Steve Miller and Miles Davis at the Fillmore East. Despite the deteriorating health of rhythm guitarist Danny Whitten, the sessions yielded two released tracks, "I Believe In You" and "Oh, Lonesome Me." Most of the album was recorded at a makeshift basement studio in Young's Topanga Canyon home during the spring with Crosby, Nash, & Young bassist Greg Reeves, Crazy Horse drummer Ralph Molina and burgeoning eighteen-year-old musical prodigy Nils Lofgren of the Washington, D.
C.-based band Grin on piano. The incorporation of Lofgren was a characteristically idiosyncratic decision by Young: Lofgren had not played keyboards on a regular basis prior to the sessions.. The Young biography Shakey claims Young was intentionally trying to combine Crazy Horse and CSNY on this release, with members of the former band appearing alongside Stephen Stills and Reeves; the cover art is a solarized image of Young, walking past the New York University School of Law campus, passing an old woman. The picture was taken by photographer Joel Bernstein and was out of focus, it was. The photo is cropped. Songs on the album were inspired by the Dean Stockwell-Herb Bermann screenplay for the unmade film After the Gold Rush. Young asked Stockwell if he could produce the soundtrack. Tracks that Young recalls as being written for the film are "After the Gold Rush" and "Cripple Creek Ferry." The script has since been lost, though has been described as "sort of an end-of-the-world movie." Stockwell said of it, "I was gonna write a movie, personal, a Jungian self-discovery of the gnosis... it involved the Kabala, it involved a lot of arcane stuff."According to the Neil Young Archives, After the Gold Rush was released on September 19, 1970.
Critics were not impressed. Village Voice critic Robert Christgau was more enthusiastic, saying: "While David Crosby yowls about assassinations, Young divulges darker agonies without bothering to make them explicit. Here the gaunt pain of Everybody Knows This Is Nowhere fills out a little—the voice softer, the jangling guitar muted behind a piano. Young's melodies—every one of them—are impossible to dismiss, he can write'poetic' lyrics without falling flat on his metaphor when the subject is ecology or crumbling empire. And despite his acoustic tenor, he rocks plenty. A real rarity: pleasant and hard at the same time."Critical reaction has improved with time. After the Gold Rush has appeared on a number of greatest albums lists. In 1998 Q magazine readers voted After the Gold Rush the 89th greatest album of all time, it was ranked 92nd in a 2005 survey held by British television's Channel 4 to determine the 100 greatest albums of all time. In 2003, Rolling Stone named the album the 71st greatest album of all time, his highest ranking on this list.
Pitchfork listed it 99th on their 2004 list of the "Top 100 Albums of the 1970s". In 2006, Time Magazine listed it as one of the'All-TIME 100 Albums', it was ranked third in Bob Mersereau's 2007 book The Top 100 Canadian Albums. Its follow-up album, was named the greatest Canadian album of all time in that book. In 2005, Chart Magazine readers placed it fifth on a poll of the best Canadian Albums. In 2002, Blender Magazine named it the 86th greatest "American" album. New Musical Express named it the 80th greatest album of all time in 2003; the album was included in the book 1001 Albums You Must Hear Before You Die. After the Gold Rush was remastered and released on HDCD-encoded CD and digital download on July 14, 2009 as part of the Neil Young Archives Original Release Series; the remaster has been released on vinyl and a high-resolution digital version on Blu-ray disc is planned although a release date for this format has not yet been announced. All tracks written except where noted. Neil Young – guitar, harmonica, lead vocals Danny Whitten – guitar, vocals Nils Lofgren – guitar, vocals Jack Nitzsche – piano Billy Talbot – bass Greg Reeves – bass Ralph Molina – drums, vocals Stephen Stills – vocals Bill Peterson – flugelhorn
A&M Records was an American record label founded as an independent company by Herb Alpert and Jerry Moss in 1962. Due to the success of the discography A&M released, the label garnered interest and was acquired by PolyGram in 1989 and began distributing releases from Polydor Ltd. from the UK. Throughout its operations, A&M housed well-known acts such as Joe Cocker, Procol Harum, Captain & Tennille, Sergio Mendes, Ozark Mountain Daredevils, Bryan Adams, Burt Bacharach, Liza Minnelli, The Carpenters, Paul Williams, Janet Jackson, Cat Stevens, Peter Frampton, Elkie Brooks, Carole King, Extreme, Amy Grant, Joan Baez, the Human League, The Police, CeCe Peniston, Blues Traveler, Soundgarden and Sheryl Crow. PolyGram was acquired by Seagram and dissolved into Universal Music Group in 1998, A&M's operations were ceased in January 1999 when it was merged with Geffen Records and Interscope Records to form the record company Interscope Geffen A&M Records. In 2007, Interscope Geffen A&M announced that A&M was revived as trademark and brand and was to be merged with Octone Records to form A&M Octone Records, which operated until 2013, when A&M Octone was folded into Interscope.
Today, A&M's catalog releases are managed by Verve Records, Universal Music Enterprises and Interscope. A&M Records was formed in 1962 by Jerry Moss, their first choice for a name was Carnival Records, under which they released two singles before discovering that another label had taken the Carnival name. The company was subsequently renamed Moss's initials. From 1966 to 1999, the company's headquarters were on the grounds of the historic Charlie Chaplin Studios at 1416 North La Brea Avenue, near Sunset Boulevard in Hollywood. Throughout the 1960s and 1970s, A&M had such acts as Herb Alpert & the Tijuana Brass, Baja Marimba Band, Burt Bacharach, Sérgio Mendes & Brasil ’66, the Sandpipers, Boyce & Hart, We Five, the Carpenters, Chris Montez, Elkie Brooks, Lee Michaels and Tennille, the Flying Burrito Brothers, Quincy Jones, Lucille Starr, Stealers Wheel and Lyle, Barry DeVorzon, Perry Botkin, Jr. Marc Benno, Liza Minnelli, Rita Coolidge, Gino Vannelli, Wes Montgomery, Paul Desmond, Bobby Tench, Toni Basil, Paul Williams.
Folk artists Joan Baez, Phil Ochs and Gene Clark recorded for the label during the 1970s. Billy Preston joined the label in 1971, followed by Andre Popp and Herb Ohta in 1973. In the late 1960s, through direct signing and licensing agreements, A&M added several British artists to its roster, including Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, the Move and Spooky Tooth. In the 1970s, under its manufacturing and distribution agreement with Ode Records, A&M released albums by Carole King and the comedy duo Cheech & Chong. Other notable acts of the time included Nazareth, Y&T, the Tubes, Supertramp, Joan Armatrading and James, Chris de Burgh, Rick Wakeman, the Ozark Mountain Daredevils, Chuck Mangione and Peter Frampton. On March 10, 1977, A&M signed the Sex Pistols after the band had been dropped by EMI. However, A&M dropped the band within a week. A&M sustained its success during the 1980s with a roster of noted acts that included Orchestral Manoeuvres in the Dark, Henry Badowski, Janet Jackson, the Police, the Brothers Johnson, Atlantic Starr, the Go-Go's, Bryan Adams, Suzanne Vega, Brenda Russell, Jeffrey Osborne, Oingo Boingo, the Human League, Ozark Mountain Daredevils, Lois & Bram, Annabel Lamb, Jim Diamond, Vital Signs, Joe Jackson, Scottish rock band Gun.
They through a deal with Christian music label Myrrh, distributed back catalog recordings of Amy Grant as well as her new recordings, starting with 1985's Unguarded, to the mainstream marketplace, a vital component in her subsequent breakthrough as a mainstream artist. Within a decade of its inception, A&M became the world's largest independent record company. A&M releases were issued in the United Kingdom by EMI's Stateside Records label, under its own name by Pye Records, who released the first Herb Alpert records on the Pye International label before issuing the records on the A&M label until 1967. From 1969, A&M set up its own UK base appointing John Deacon as General Manager - a post he held until 1979. Several A&R men were recruited including Larry Yaskiel and Derek Green and major UK acts such as the Police, Rick Wakeman, Gallagher & Lyle, Elkie Brooks, the Strawbs and Peter Frampton as well as many others were all signed to the UK label. A&M releases were issued in Australia through Festival Records until 1989.
A&M Records Ltd. was established in 1970, with distribution handled by other labels with a presence in Europe. A&M Records of Canada Ltd. was formed in 1970, A&M Records of Europe in 1977. In 1979, A&M entered a distribution agreement with RCA Records in the US, with CBS Records in many other countries. Over the years, A&M added specialty imprints: Almo International for middle of the road. A&M was bought by PolyGram in 1989. Alpert and Moss continued to manage the label until 1993. In 1998, Alpert and Moss sued PolyGram for breach of the integrity clause settling for an additional $200 million payment. In 1991, A&M launched Perspective Records as a joint venture with producing team Jimmy Jam and Terry Lewis. Jam and Lewis stepped down as CEOs of the imprint in 1997. In 1999, t
1001 Albums You Must Hear Before You Die
1001 Albums You Must Hear Before You Die is a musical reference book first published in 2005 by Universe Publishing. Part of the 1001 Before You Die series, it compiles writings and information on albums chosen by a panel of music critics to be the most important and best in popular music between the 1950s and the 2010s; the book was edited by Robert Dimery, an English writer and editor who had worked for magazines such as Time Out and Vogue. Each entry in the book's list of albums is accompanied by a short essay written by a music critic, along with pictures and additional information. Only albums consisting of original material by a particular artist were included, which meant that compilations by various artists, including most film soundtracks, were excluded; the most recent edition consists of a list of albums released between 1955 and 2017, part of a series from Quintessence Editions Ltd. The book is arranged chronologically, starting with Frank Sinatra's In the Wee Small Hours and the most recent edition concluding with I See You by The xx.
In the book's introduction, general editor Robert Dimery notes that the selections were intended to bring attention to gifted songwriters. Joni Mitchell, Elvis Costello and Nick Cave are named as examples; the release dates are chosen from the date the album first released in the artist's home country, the version is the first one released, which would affect The Beatles' album tally. In most cases, bonus tracks added for versions are ignored; the editors attempted to ensure that each album profiled was still available for purchase. Soundtracks that were not original material from a particular artist were excluded. In February 2006, Publishers Weekly called the book a "bookshelf-busting testament to music geeks' mania for lists" and said it was "about as comprehensive a'best-of' as any sane person could want"; the reviewer added: "For music lovers, it doesn't get much better." As of March 11, 2019, the 2006 edition had an average rating of 3.96 stars out of 5 with 1,583 ratings on Amazon.com's social cataloging website Goodreads and 4 stars out of 5 on Amazon.com.
Most of the book's recommendations are rock and pop albums from the Western world. 1001 Albums features selections from world music and blues, folk, hip hop, electronic music, jazz. The rock and pop albums include such subgenres as punk rock, heavy metal, alternative rock, progressive rock, easy listening, thrash metal and rockabilly. Classical and modern art music are excluded; these artists have the most albums in the 2017 edition. 9 albums: David Bowie. 7 albums: the Beatles, Bob Dylan, Neil Young. 6 albums: Morrissey, Elvis Costello, the Rolling Stones and Garfunkel/Paul Simon. 5 albums: the Byrds, Brian Eno, Leonard Cohen, Peter Gabriel, Iggy Pop, Led Zeppelin, Lou Reed, Sonic Youth, Bruce Springsteen, Tom Waits, the Who. 4 albums: Nick Cave and the Bad Seeds, Miles Davis, P. J. Harvey, the Kinks, Joni Mitchell, Pink Floyd, Radiohead, R. E. M. Steely Dan, Talking Heads, U2, Stevie Wonder. 3 albums: Aerosmith, the Beach Boys, Beastie Boys, Björk, Black Sabbath, Tim Buckley, Kate Bush, Johnny Cash, Ray Charles, Creedence Clearwater Revival, the Cure, Deep Purple, Dexys Midnight Runners, the Doors, Nick Drake, Echo & the Bunnymen, the Fall, Marvin Gaye, the Jimi Hendrix Experience, Michael Jackson, Bob Marley and the Wailers, Van Morrison, My Bloody Valentine, Parliament/Funkadelic, Pet Shop Boys, Elvis Presley, Public Enemy, Roxy Music, Frank Sinatra, Kanye West, Yes, Frank Zappa.
Rolling Stone's 500 Greatest Albums of All Time 1,000 Recordings to Hear Before You Die 1001 Movies You Must See Before You Die 1001 Books You Must Read Before You Die 1001 Video Games You Must Play Before You Die Official website
Psychedelic rock is a diverse style of rock music inspired, influenced, or representative of psychedelic culture, centred around perception-altering hallucinogenic drugs. The music is intended to replicate and enhance the mind-altering experiences of psychedelic drugs, most notably LSD. Many psychedelic groups differ in style, the label is applied spuriously. Originating in the mid-1960s among British and American musicians, the sounds of psychedelic rock invokes three core effects of LSD: depersonalization and dynamization. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, extended instrumental segments; some of the earlier 1960s psychedelic rock musicians were based in folk and the blues, while others showcased an explicit Indian classical influence called "raga rock". In the 1960s, there existed two main variants of the genre: the whimsical British pop-psychedelia and the harder American West Coast acid rock.
While "acid rock" is sometimes deployed interchangeably with the term "psychedelic rock", it refers more to the heavier and more extreme ends of the genre. The peak years of psychedelic rock were between 1966 and 1969, with milestone events including the 1967 Summer of Love and the 1969 Woodstock Rock Festival, becoming an international musical movement associated with a widespread counterculture before beginning a decline as changing attitudes, the loss of some key individuals and a back-to-basics movement, led surviving performers to move into new musical areas; the genre bridged the transition from early blues and folk-based rock to progressive rock and hard rock, as a result contributed to the development of sub-genres such as heavy metal. Since the late 1970s it has been revived in various forms of neo-psychedelia; as a musical style, psychedelic rock attempted to replicate the effects of and enhance the mind-altering experiences of hallucinogenic drugs, incorporating new electronic sound effects and recording effects, extended solos, improvisation.
Common features include: electric guitars used with feedback, wah wah and fuzzbox effects units. The term "psychedelic" was coined in 1956 by psychiatrist Humphry Osmond first as an alternative descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy; as the countercultural scene developed in San Francisco, the terms acid rock and psychedelic rock were used in 1966 to describe the new drug-influenced music and were being used by 1967. The terms psychedelic rock and acid rock are used interchangeably, but acid rock may be distinguished as a more extreme variation, heavier, relied on long jams, focused more directly on LSD, made greater use of distortion. In the popular music of the early 1960s, it was common for producers and engineers to experiment with musical form, unnatural reverb, other sound effects; some of the best known examples are Phil Spector's Wall of Sound production formula and Joe Meek's use of homemade electronics for acts like the Tornados. XTC's Andy Partridge interprets the music of psychedelic groups as a "grown-up" version of children's novelty records, believing that many acts were trying to emulate those records that they grew up with.
There was no transition to be made. You go from things like'Flying Purple People Eater' to'I Am the Walrus', they go hand-in-hand." Music critic Richie Unterberger says that attempts to "pin down" the first psychedelic record are therefore "nearly as elusive as trying to name the first rock & roll record". Some of the "far-fetched claims" include the instrumental "Telstar" and the Dave Clark Five's "massively reverb-laden" "Any Way You Want It"; the first mention of LSD on a rock record was the Gamblers' 1960 surf instrumental "LSD 25". A 1962 single by The Ventures, "The 2000 Pound Bee", issued forth the buzz of a distorted, "fuzztone" guitar, the quest into "the possibilities of heavy, transistorised distortion" and other effects, like improved reverb and echo began in earnest on London's fertile rock'n' roll scene. By 1964 fuzztone could be heard on singles by P. J. Proby, the Beatles had employed feedback in "I Feel Fine", their 6th consecutive No. 1 hit in the UK. American folk singer Bob Dylan was a massive influence on mid 1960s rock music.
He led directly to the creation of folk rock and the psychedelic rock musicians that followed, his lyrics were a touchstone for the psychedelic songwriters of the late 1960s. Virtuoso sitarist Ravi Shankar had begun in 1956 a mission to bring Indian classical music to the West, inspiring jazz and folk musicians.
Blues rock is a fusion genre combining elements of blues and rock. It is an electric ensemble-style music with instrumentation similar to electric blues and rock: electric guitar, electric bass, drums with Hammond organ. From its beginnings in the early- to mid-1960s, blues rock has gone through several stylistic shifts and along the way it inspired and influenced hard rock, Southern rock, early heavy metal. Blues rock continues to be an influence in the 2010s, with performances and recordings by popular artists. Blues rock started with rock musicians in the United Kingdom and the United States performing American blues songs, they recreated electric Chicago-style blues songs, such as those by Muddy Waters, Jimmy Reed, Howlin' Wolf, Albert King, at faster tempos and with a more aggressive sound common to rock. In the UK, the style was popularized by groups such as the Rolling Stones, the Yardbirds, the Animals, who managed to place blues songs into the pop charts. In the US, Lonnie Mack, the Paul Butterfield Blues Band, Canned Heat were among the earliest exponents and "attempted to play long, involved improvisations which were commonplace on jazz records".
John Mayall & the Bluesbreakers and Peter Green's Fleetwood Mac developed this more instrumental, but traditional-based style in the UK, while late 1960s and early 1970s groups, including Ten Years After, Savoy Brown, the Climax Blues Band and Foghat became more hard rock oriented. In the US, Johnny Winter, the Allman Brothers Band, ZZ Top represented a hard rock trend. Although around this time, the differences between blues rock and hard rock lessened, there was a return to more blues-influenced styles. In the 1980s, the Fabulous Thunderbirds and Stevie Ray Vaughan, recorded their best-known works and the 1990s saw guitarists Gary Moore, Jeff Healey, Kenny Wayne Shepherd become popular concert attractions. Groups such as the Jon Spencer Blues Explosion and the White Stripes, brought an edgier, more diverse style into the 2000s, as do contemporary artists such as the Black Keys. Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams focused on the electric guitar player, a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues.
Blues rock bands "borrow the idea of an instrumental combo and loud amplification from rock & roll". It is often played at a fast tempo, again distinguishing it from the blues; the core blues rock sound is created by bass guitar and drum kit. Bands included a harmonica called "a harp." The electric guitar is amplified through a tube guitar amplifier or using an overdrive effect. Two guitars are commonplace in blues rock bands: one guitarist focused on rhythm guitar, playing riffs and chords as accompaniment. While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, easier to amplify to loud volumes. Keyboard instruments, such as the piano and Hammond organ, are occasionally used; as with the electric guitar, the sound of the Hammond organ is amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals typically play a key role, although the vocals may be equal in importance or subordinate to the lead guitar playing.
As well, a number of blues rock pieces are instrumental-only. Blues rock pieces follow typical blues structures, such as twelve-bar blues, sixteen-bar blues, etc, they use the I-IV-V progression, though there are exceptions, some pieces having a "B" section, while others remain on the I. The Allman Brothers Band's version of "Stormy Monday", which uses chord substitutions based on Bobby "Blue" Bland's 1961 rendition, adds a solo section where "the rhythm shifts effortlessly into an uptempo 6/8-time jazz feel"; the key is major, but can be minor, such as in "Black Magic Woman". One notable difference is the frequent use of a straight eighth-note or rock rhythm instead of triplets found in blues. An example is Cream's "Crossroads". Although it was adapted from Robert Johnson's "Cross Road Blues", the bass "combines with drums to create and continually emphasize continuity in the regular metric drive". Cream uses some of the lyrics from "Traveling Riverside Blues" to create their own interpretation of the song.
Rock and blues have always been linked, with driving rhythms and electric guitar techniques such as distortion and power chords used by 1950s blues guitarists Memphis bluesmen such as Joe Hill Louis, Willie Johnson and Pat Hare. Characteristics that blues rock adopted from electric blues include its dense texture, basic blues band instrumentation, rough declamatory vocal style, heavy guitar riffs, string-bending blues-scale guitar solos, strong beat, thick riff-laden texture, posturing performances. Precursors to blues rock included the Chicago blues musicians Elmore James, Albert King, Freddie King, who began incorporating rock and roll elements into their blues music during the late 1950s to early 1960s. In 1963, American rockabilly soloist Lonnie Mack had an idiosyncratic, fast-paced electric blues guitar style that came to be identified with blues rock, his instrumentals from that period were recognizable as blues or R&B tunes, but he relied upon fast-picking techniques derived from traditional American country and bluegrass genres.
The best-known of these are the 1963 hit singles "Memphis" and "Wham!". However, blues rock was not named as such, or recognized as a distinct movement w