John Keats
John Keats was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets, along with Lord Byron and Percy Bysshe Shelley, despite his works having been in publication for only four years before his death from tuberculosis at the age of 25. Although his poems were not well received by critics during his lifetime, his reputation grew after his death, by the end of the 19th century, he had become one of the most beloved of all English poets, he had a significant influence on a diverse range of writers. Jorge Luis Borges stated that his first encounter with Keats' work was the most significant literary experience of his life; the poetry of Keats is characterised by sensual imagery, most notably in the series of odes. This is typical of romantic poets, as they aimed to accentuate extreme emotion through an emphasis on natural imagery. Today his letters are some of the most popular and most analysed in English literature; some of the most acclaimed works of Keats are "Ode to a Nightingale", "Sleep and Poetry", the famous sonnet "On First Looking into Chapman's Homer".
John Keats was born in Moorgate, London, on 31 October 1795 to Thomas Keats and his wife, Frances Jennings. There is little evidence of his exact birthplace. Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st, he was the eldest of four surviving children. Another son was lost in infancy, his father first worked as a hostler at the stables attached to the Swan and Hoop Inn, an establishment he managed, where the growing family lived for some years. Keats believed that he was born at the inn, a birthplace of humble origins, but there is no evidence to support his belief; the Globe pub now occupies the site, a few yards from the modern-day Moorgate station. He was baptised at St Botolph-without-Bishopsgate, sent to a local dame school as a child, his parents were unable to afford Eton or Harrow, so in the summer of 1803, he was sent to board at John Clarke's school in Enfield, close to his grandparents' house. The small school had a liberal outlook and a progressive curriculum more modern than the larger, more prestigious schools.
In the family atmosphere at Clarke's, Keats developed an interest in classics and history, which would stay with him throughout his short life. The headmaster's son, Charles Cowden Clarke became an important mentor and friend, introducing Keats to Renaissance literature, including Tasso and Chapman's translations; the young Keats was described by his friend Edward Holmes as a volatile character, "always in extremes", given to indolence and fighting. However, at 13 he began focusing his energy on reading and study, winning his first academic prize in midsummer 1809. In April 1804, when Keats was eight, his father died from a skull fracture, suffered when he fell from his horse while returning from a visit to Keats and his brother George at school. Thomas Keats died intestate. Frances remarried two months but left her new husband soon afterwards, the four children went to live with their grandmother, Alice Jennings, in the village of Edmonton. In March 1810, when Keats was 14, his mother died of tuberculosis, leaving the children in the custody of their grandmother.
She appointed Richard Abbey and John Sandell, to take care of them. That autumn, Keats left Clarke's school to apprentice with Thomas Hammond, a surgeon and apothecary, a neighbour and the doctor of the Jennings family. Keats lodged in the attic above the surgery at 7 Church Street until 1813. Cowden Clarke, who remained a close friend of Keats, described this period as "the most placid time in Keats' life." From 1814, Keats had two bequests, held in trust for him until his 21st birthday: £800 willed by his grandfather John Jennings and a portion of his mother's legacy, £8000, to be divided between her living children. It seems. Blame has been laid on Abbey as legal guardian, but he may have been unaware. William Walton, solicitor for Keats' mother and grandmother did know and had a duty of care to relay the information to Keats, it seems. The money would have made a critical difference to the poet's expectations. Money was always a great concern and difficulty for him, as he struggled to stay out of debt and make his way in the world independently.
Having finished his apprenticeship with Hammond, Keats registered as a medical student at Guy's Hospital and began studying there in October 1815. Within a month of starting, he was accepted as a dresser at the hospital, assisting surgeons during operations, the equivalent of a junior house surgeon today, it was a significant promotion. Keats' long and expensive medical training with Hammond and at Guy's Hospital led his family to assume he would pursue a lifelong career in medicine, assuring financial security, it seems that at this point Keats had a genuine desire to become a doctor, he lodged near the hospital, at 28 St Thomas's Street in Southwark, with other medical students, including Henry Stephens who became a famous inventor and ink magnate. However, Keats' training took up increasing amounts of his writing time, he was ambivalent about his medical career, he felt. He had written his first extant poem, "An Imitati
Rolling Stone
Rolling Stone is an American monthly magazine that focuses on popular culture. It was founded in San Francisco, California in 1967 by Jann Wenner, still the magazine's publisher, the music critic Ralph J. Gleason, it was first known for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a younger readership interested in youth-oriented television shows, film actors, popular music. In recent years, it has resumed its traditional mix of content. Rolling Stone Press is the magazine's associated book publishing imprint. Straight Arrow Press was the magazine's associated book publishing imprint, Straight Arrow Publishing Co. Inc. was the publishing company that published Rolling Stone. Rolling Stone magazine was founded in San Francisco in 1967 by 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 cover date of November 9, 1967, was in newspaper format with a lead article on the Monterey Pop Festival.
The cover price was 25¢. In the first issue, Wenner explained that the title of the magazine referred to the 1950 blues song "Rollin' Stone", recorded by Muddy Waters, Bob Dylan's hit single "Like a Rolling Stone": You're wondering what we're trying to do. It's hard to say: sort of a sort of a newspaper; the name of it is Rolling Stone which comes from an old saying, "A rolling stone gathers no moss." Muddy Waters used the name for a song. The Rolling Stones took their name from Muddy's song. "Like a Rolling Stone" was the title of Bob Dylan's first rock and roll record. We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll."—Jann Wenner, Rolling Stone, November 9, 1967, p. 2 Some authors have attributed the name to Dylan's hit single: "At Gleason's suggestion, Wenner named his magazine after a Bob Dylan song." Rolling Stone identified with and reported the hippie counterculture of the era. However, it distanced itself from the underground newspapers of the time, such as Berkeley Barb, embracing more traditional journalistic standards and avoiding the radical politics of the underground press.
In the first edition, Wenner wrote that Rolling Stone "is not just about the music, but about the things and attitudes that music embraces". 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 magazine's 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 helped launch the careers of many prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Ben Fong-Torres, Patti Smith and P. J. O'Rourke, it was at this point that the magazine ran some of its most famous stories, including that of the Patty Hearst abduction odyssey. One interviewer, speaking for a large number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus, describing it as a "rite of passage".
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 a general "entertainment" magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television and the pop culture of the day; the magazine initiated its annual "Hot Issue" during this time. Rolling Stone was known for its musical coverage and for Thompson's political reporting. In the 1990s, the magazine changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors and popular music; this led to criticism. In recent years, the magazine has resumed its traditional mix of content, including in-depth political stories, it has expanded content to include coverage of financial and banking issues. As a result, the magazine has seen its circulation increase and its reporters invited as experts to network television programs of note.
The printed format has gone through several changes. The first publications, in 1967–72, were in folded tabloid newspaper format, with no staples, black ink text, a single color highlight that changed each edition. From 1973 onwards, editions were produced on a four-color press with a different newsprint paper size. In 1979, the bar code appeared. In 1980, it became a large format magazine; as of edition of October 30, 2008, Rolling Stone has had a smaller, standard-format magazine size. After years of declining readership, the magazine experienced a major resurgence of interest and relevance with the work of two young journalists in the late 2000s, Michael Hastings and Matt Taibbi. In 2005, Dana Leslie Fields, former publisher of Rolling Stone, who had worked at the magazine for 17 years, was an inaugural inductee into the Magazine Hall of Fame. In 2009, Taibbi unleashed an acclaimed series of scathing reports on the financial meltdown of the time, he famously described Goldman Sachs as "a great vampire squid".
Bigger headlines came at the end of June 2010. Rolling Stone caused a controversy in the White House by publishing in the July issue an article by journalist Michael Hastings entitled, "The Runaway General", quoting criticism by General Stanley A. McChrystal, commander of the International Security Assistance Force and U. S. Forces-Afghanistan commander, about Vice President Joe Biden and oth
Jazz fusion
Jazz fusion is a musical genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with rock music and rhythm and blues. Electric guitars and keyboards that were popular in rock and roll started to be used by jazz musicians those who had grown up listening to rock and roll. Jazz fusion arrangements vary in complexity; some employ groove-based vamps fixed to a single key or a single chord with a simple, repeated melody. Others use elaborate chord progressions, unconventional time signatures, or melodies with counter-melodies; these arrangements, whether simple or complex include improvised sections that can vary in length, much like in other form of jazz. As with jazz, jazz fusion employs brass and woodwind instruments such as trumpet and saxophone, but other instruments substitute for these. A jazz fusion band is less to use piano, double bass, drums, more to use electric guitar, bass guitar, drums; the term "jazz rock" is sometimes used as a synonym for "jazz fusion" and for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music.
After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s in parallel with the development of a radio-friendly style called smooth jazz. Experimentation continued in the 2000s. Fusion albums those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as approach. In 1967 John Coltrane died, because rock was the most popular genre of music in America, DownBeat magazine declared in a headline that "Jazz as We Know It Is Dead". Guitarist Larry Coryell, sometimes called the godfather of fusion, referred to a generation of musicians who had grown up on rock and roll when he said, "We loved Miles but we loved the Rolling Stones." In 1966 he started the band the Free Spirits with Bob Moses on drums and recorded the band's first album. Out of Sight and Sound was released in 1967, the same year DownBeat began to report on rock music. After the Free Spirits, Coryell was part of a quartet led by vibraphonist Gary Burton, releasing the album Duster with its rock guitar influence.
Burton produced the album Tomorrow Never Knows for Count's Rock Band, which included Coryell, Mike Nock, Steve Marcus, all of them former students at Berklee College in Boston. The pioneers of fusion emphasized exploration, electricity, intensity and volume. Charles Lloyd played a combination of rock and jazz at the Monterey Jazz Festival in 1966 with a quartet that included Keith Jarrett and Jack DeJohnette. Lloyd adopted the trappings of the California psychedelic rock scene by playing at the rock venue the Fillmore, wearing colorful clothes, giving his albums titles like Dream Weaver and Forest Flower, which were bestselling jazz albums in 1967. Flautist Jeremy Steig experimented with jazz in his band Jeremy & the Satyrs with vibraphonist Mike Mainieri; the jazz label Verve released the first album by rock guitarist Frank Zappa in 1966. Rahsaan Roland Kirk performed with Jimi Hendrix at Ronnie Scott's Jazz Club in London. AllMusic states that "until around 1967, the worlds of jazz and rock were nearly separate".
As members of Miles Davis's band, Chick Corea and Herbie Hancock played electric piano on Filles de Kilimanjaro. Davis wrote in his autobiography that in 1968 he had been listening to Jimi Hendrix, James Brown, Sly and the Family Stone; when Davis recorded Bitches Brew in 1969, he abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album "mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion." Davis played his trumpet like an electric guitar -- pedals. By the end of the first year, Bitches Brew sold 400,000 copies, four times the average for a Miles Davis album. Over the next two years the aloof Davis recorded more worked with many sideman, appeared on television, performed at rock venues. Just as Davis tested the loyalty of rock fans by continuing to experiment, his producer, Teo Macero, inserted recorded material into the Jack Johnson soundtrack, Live-Evil, On the Corner. Although Bitches Brew gave him a gold record, the use of electric instruments and rock beats created consternation among some jazz critics, who accused Davis of betraying the essence of jazz.
Music critic Kevin Fellezs commented that some members of the jazz community regarded rock music as less sophisticated and more commercial than jazz. Davis's 1969 album In a Silent Way is considered his first fusion album. Composed of two side-long improvised suites edited by Teo Macero, the album was made by pioneers of jazz fusion: Corea, Wayne Shorter, Joe Zawinul, John McLaughlin. A Tribute to Jack Johnson has been cited as "the purest electric jazz record made" and "one of the most remarkable jazz rock discs of the era". According to music journalist Zaid Mudhaffer, the term "jazz fusion" was coined in a review of Song of Innocence by David Axelrod when it was released in 1968. Axelrod said. Miles Davis dropped out of music in 1975 because of problems with drugs and alcohol, but his sidemen took advantage of the creative and financial vistas, opened. Herbie Hancock brought elements of funk and electronic music into commercially successful albums such as Head Hunters and Feets, Don't Fail Me Now.
Several years after recording Miles in the Sky with Davis, guitarist George Benson becam
Talk box
A talk box is an effects unit that allows musicians to modify the sound of a musical instrument by shaping the frequency content of the sound and to apply speech sounds onto the sounds of the instrument. A talk box directs sound from the instrument into the musician's mouth by means of a plastic tube adjacent to their vocal microphone; the musician controls the modification of the instrument's sound by changing the shape of the mouth, "vocalizing" the instrument's output into a microphone. A talk box is an effects pedal that sits on the floor and contains a speaker attached with an airtight connection to a plastic tube; the speaker is in the form of a compression driver, the sound-generating part of a horn loudspeaker with the horn replaced by the tube connection. The box has connectors for the connection to the speaker output of an instrument amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talk box speaker or to the normal speaker.
The switch is a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth; when activated, the sound from the amplifier is reproduced by the speaker in the talk box and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone; the shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking. The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talk box speaker; the performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, when it enters a microphone, an instrument/voice hybrid is heard; the sound can be that of any musical instrument, but the effect is most associated with the guitar.
The rich harmonics of an electric guitar are shaped by the mouth, producing a sound similar to voice allowing the guitar to appear to "speak". The effect produced by talk boxes and vocoders are conflated by listeners. However, they have radically different mechanisms for achieving the effect. Talk boxes send the carrier signal into the singer's mouth, where it is modulated by the singer themselves. On the other hand, vocoders process both the carrier and the modulator signal integrally, producing the output as a separate electric signal. In addition, they are more common in different genres: a talk box is found in rock music due to its typical pairing with a guitar, whereas vocoders are always paired with synthesizers, as such, are ubiquitous in electronic music. In 1939, Alvino Rey, amateur radio operator W6UK, used a carbon throat microphone wired in such a way as to modulate his electric steel guitar sound; the mic developed for military pilot communications, was placed on the throat of Rey's wife Luise King, who stood behind a curtain and mouthed the words, along with the guitar lines.
The novel-sounding combination was called "Singing Guitar", employed on stage and in the movie Jam Session, as a "novelty" attraction, but was not developed further. Rey created a somewhat similar "talking" effect by manipulating the tone controls of his Fender electric guitar, but the vocal effect was less pronounced. Another early voice effect using the same principle of the throat as a filter was the Sonovox, invented by Gilbert Wright in 1939. Instead of a throat microphone modulating a guitar signal, it used small transducers attached to the performer's throat to pick up voice sounds; the Sonovox was marketed and promoted by the Wright-Sonovox company, an affiliate of the Free & Peters advertising agency. The Sonovox was used in many radio station IDs and jingles produced by JAM Creative Productions and the PAMS advertising agency of Dallas, Texas. Lucille Ball made one of her earliest film appearances during the 1930s in a Pathé Newsreel demonstrating the Sonovox; the first use in music was a score by Ernst Toch in the Paramount Picture "The Ghost Breakers", in June 1940.
The Sonovox appeared in the 1940 film You'll Find Out starring Kay Kyser and his orchestra, Bela Lugosi, Boris Karloff, Peter Lorre. Lugosi uses the Sonovox to portray the voice of a dead person during a seance; the Sonovox was used in films such as A Letter to Three Wives, The Secret Life of Walter Mitty, The Good Humor Man, the voice of Casey Junior the train in Dumbo and The Reluctant Dragon. It was heard on the piano in Sparky's Magic Piano, the airplane in Whizzer The Talking Airplane; the Sonovox was used to give the impression instruments "talking" in the children's album Rusty in Orchestraville. British rock band The Who included a piece on their 1967 album, The Who Sell Out, that consisted of the days of the week "spoken" by electric guitar chords using the Sonovox; this recording was in fact a radio jingle created by PAMS. Pete Drake, a Nashville mainstay on the pedal steel guitar, used a talk box on his 1964 album Forever, in what came to be called his "talking steel guitar"; the following year Gallant released three albums with the box, Pete Drake & His Talking Guitar, Talking Steel and Singing Strings, Talking Steel Guitar.
Drake's device consisted of an 8-inch paper cone speaker driver attached to a funnel from which a clear tube brought the sound to the performer's mouth. It was only
Hotel California
"Hotel California" is the title track from the Eagles' album of the same name and was released as a single in February 1977. Writing credits for the song are shared by Don Felder, Don Henley, Glenn Frey; the Eagles' original recording of the song features Henley singing the lead vocals and concludes with an extended section of electric guitar interplay between Felder and Joe Walsh. The song is considered the most famous recording by the band, its long guitar coda has been voted the best guitar solo of all time by readers of Guitarist in 1998; the song was awarded the Grammy Award for Record of the Year in 1978. The lyrics of the song have been given various interpretations by fans and critics alike, the Eagles themselves describing the song as their "interpretation of the high life in Los Angeles". In the 2013 documentary History of the Eagles, Henley said that the song was about "a journey from innocence to experience... that's all..."Since its release, "Hotel California" has been covered by a number of artists and has become a part of international popular culture.
Julia Phillips proposed adapting the song into a film, but the members of the Eagles disliked the idea and it never came to fruition. Commercially, "Hotel California" reached the number one position on the Billboard Hot 100 and reached the top ten of several international charts. A demo of the instrumental was developed by Don Felder in a rented house on Malibu Beach, he recorded the basic tracks with a Rhythm Ace drum machine and added a 12 string guitar on a four-track recording deck in his spare bedroom mixed in a bassline, gave Don Henley and Glenn Frey each a copy of the recording. Felder, who met the Eagles through his high school bandmate Bernie Leadon, said that Leadon advised him to make tapes of songs he wrote for the band so that other band members like Henley, whose forte is in writing lyrics, might work with him on finishing the songs they like; the demos he made were always instrumental, on every album project he would submit 15 or 16 ideas. The demo he made for "Hotel California" showed influences from Latin and reggae music, it grabbed the attention of Henley who said he liked the song that "sounds like a Mexican reggae or Bolero", which gave the song its first working title, "Mexican Reggae".
Frey and Henley were both interested in the tune after hearing the demo, discussed the concept for the lyrics. In 2008, Felder described the writing of the lyrics: Don Henley and Glenn wrote most of the words. All of us kind of drove into L. A. at night. Nobody was from California, if you drive into L. A. at night... you can just see this glow on the horizon of lights, the images that start running through your head of Hollywood and all the dreams that you have, so it was kind of about that... What we started writing the song about. Henley decided on the theme of "Hotel California", noting how The Beverly Hills Hotel had become a literal and symbolic focal point of their lives at that time. Henley said of their personal and professional experience in LA: "We were getting an extensive education, in life, in love, in business. Beverly Hills was still a mythical place to us. In that sense it became something of a symbol, the'Hotel' the locus of all that LA had come to mean for us. In a sentence, I'd sum it up as the end of the innocence, round one."Frey came up with a cinematic scenario of a person who, tired from driving a long distance in a desert, saw a place for a rest and pulled in for the night, but entered "a weird world peopled by freaky characters", became "quickly spooked by the claustrophobic feeling of being caught in a disturbing web from which he may never escape."
In an interview with Cameron Crowe, Frey said that he and Henley wanted the song "to open like an episode of the Twilight Zone", added: "We take this guy and make him like a character in The Magus, where every time he walks through a door there’s a new version of reality. We wanted to write a song just like it was a movie." Frey described the song in an interview with NBC's Bob Costas as a cinematic montage "just one shot to the next... a picture of a guy on the highway, a picture of the hotel, the guy walks in, the door opens, strange people." Frey continued: "We decided to create something strange, just to see if we could do it." Henley wrote most of the lyrics based on Frey's idea, sought inspiration for the writing by driving out into the desert as well as from films and theater. Part of the lyrics, such as "Her mind is Tiffany twisted, she got the Mercedes bends / She got a lot of pretty pretty boys she calls friends", are based on Henley's break-up with his girlfriend Loree Rodkin. According to Glenn Frey's liner notes for The Very Best Of, the use of the word "steely" in the lyric, "They stab it with their steely knives, but they just can't kill the beast," was a playful nod to the band Steely Dan, who had included the lyric "Turn up the Eagles, the neighbors are listening" in their song "Everything You Did".
Frey had said that the writing of the song was inspired by the boldness of Steely Dan's lyrics and its willingness to go "out there", thought that the song they wrote had "achieved perfect ambiguity." The Eagles recorded the track with Don Henley on lead vocal three different times, twice at the Record Plant in Los Angeles and at the Criteria Studios in Miami. They first recorded a riff, but when it came to recording the vocal, it was found to be in too high a key for Henley's voice, so Felder progressively lowered the key from E minor settling on B minor; the second recording however was judged too fast. In Miami, the band recorded numerous takes. Five or six best ones were selected, the best parts were spliced together to create the released version. According to the pr
Larry Carlton
Larry Eugene Carlton is an American guitarist who built his career as a studio musician in the 1970s and'80s for acts such as Steely Dan and Joni Mitchell. He has participated in thousands of recording sessions, recorded on hundreds of albums in many genres, for television and movies, on more than 100 gold records, he has been a member of the jazz fusion groups The Crusaders and Fourplay and has maintained a long solo career. Carlton was born in Torrance, California in 1948 and at the age of six began guitar lessons, his interest in jazz came from hearing guitarist Joe Pass on the radio. From Pass he moved on to jazz guitarists Barney Kessel and Wes Montgomery and blues guitarist B. B. King, he went to junior college and Long Beach State College while playing professionally at clubs in Los Angeles. During the 1970s, he found steady work as a studio musician on electric and acoustic guitar in a variety of genres: pop, jazz pop, rock and blues, soul and country. Carlton appeared on hundreds of recording sessions with Steely Dan, Joni Mitchell, Linda Ronstadt, Michael Jackson, Quincy Jones, Bobby Bland, Sammy Davis, Jr. Paulinho Da Costa, the Fifth Dimension, Herb Alpert, Christopher Cross, Dolly Parton, Andy Williams, the Partridge Family.
In 1982 he appeared on The Nightfly by lead singer for Steely Dan. His guitar work on Steely Dan's "Kid Charlemagne" from their 1976 LP The Royal Scam was ranked No. 80 on a list of the best guitar songs by Rolling Stone magazine. Carlton recorded his debut solo album, With a Little Help from My Friends, in 1968. In the mid-'70s he built a home studio and called it Room 335 after the Gibson ES-335, an electric guitar he played, he has recorded most of his albums at Room 335. In 1988, with his solo career in ascent, he was shot in the throat by a teenager outside Room 335 and suffered nerve and vocal cord damage, which delayed completion of the album he was working on at the time, On Solid Ground, his left arm was paralyzed and for six months he was unable to play more than a few notes. Carlton produced six albums from 1978 to 1984, his version of "Sleepwalk" by Santo Farina climbed adult contemporary charts. From 1985-1990 he did various solo projects, including the live album Last Nite. Carlton was commissioned to compose music for the king of Thailand, Bhumibol Adulyadej, in honor of the king's birthday.
He recorded The Jazz King with a jazz orchestra that included Tom Scott, Nathan East, Earl Klugh. Grammy Award for Best Pop Instrumental Performance, "Theme from Hill Street Blues", 1981 Grammy Award for Best Pop Instrumental Performance, "Minute by Minute", 1987 Grammy Award for Best Pop Instrumental Album, No Substitutions: Live in Osaka, 2001 Grammy Award for Best Pop Instrumental Album, Take Your Pick, 2010 Carlton is best known for his 1969 Gibson ES-335. Other guitars he owns and plays include a 1951 Fender Telecaster, a 1964 Fender Stratocaster, a 1955 Gibson Les Paul Special, he has used a Fender Vibrolux amplifier. Carlton married contemporary Christian music artist Michele Pillar in 1987, he is the father of bass player Travis Carlton. Larry's niece is a singer named Vanessa Carlton. 1969 With a Little Help from My Friends 1973 Playing/Singing 1978 Larry Carlton 1980 Strikes Twice 1982 Sleepwalk 1983 Friends 1986 Alone / But Never Alone 1987 Discovery 1989 Christmas at My House 1989 On Solid Ground 1992 Kid Gloves 1993 Renegade Gentleman 1995 Larry & Lee with Lee Ritenour 1996 The Gift 2000 Fingerprints 2001 Deep Into It 2003 Sapphire Blue 2006 Fire Wire 2006 The Jazz King – H.
M. The King Bhumibol Adulyadej Musical Compositions 2010 Plays the Sound of Philadelphia 2010 Take Your Pick with Tak Matsumoto 2012 Four Hands and a Heart, Volume One 2014 Four Hands and a Heart Christmas Source: 1979 Mr. 335 Live in Japan 1983 Eight Times Up 1986 Last Nite 2001 No Substitutions: Live in Osaka 2007 Larry Carlton with Robben Ford Live in Tokyo 2001 Larry Carlton Trio, The Paris Concert 2013 Larry Carlton & Robben Ford Unplugged 2015 Larry Carlton David T. Walker @ Billboard Live Tokyo 1981 Hill Street Blues with Mike Post 1998 4 1999 Snowbound 2000 Yes, Please 2002 Heartfelt 2004 Journey 2006 X 2008 Energy 2015 Silver 1972 1 1973 The 2nd Crusade 1973 Unsung Heroes 1974 Scratch 1974 Southern Comfort 1975 Chain Reaction 1975 Those Southern Knights 1976 Free as the Wind 1980 Standing Tall 1986 The Good and the Bad Times 1994 Happy Again 1996 Way Back Home 1996 Louisiana Hot Sauce 2003 Groove Crusade With Steely Dan 1975 Katy Lied 1976 The Royal Scam 1977 Aja 1980 GauchoWith Joni Mitchell 1974 Court and Spark 1975 The Hissing of Summer Lawns 1976 Hejira 1977 Don Juan's Reckless Daughter 1982 Wild Things Run Fast 2004 Dreamland 2014 Love Has Many Faces: A Quartet, A Ballet, Waiting to Be DancedWith others 1971 Sunstorm, John Stewart 1972 Garcia, Jerry Garcia 1972 High, Low and in Between, Townes Van Zandt 1973 Crossword Puzzle, The Partridge Family 1973 Don't Cry Now, Linda Ronstadt 1973 His California Album, Bobby "Blue" Bland 1974 Country Gentleman, Henry Mancini 1974 Visions, Paul Horn 1974 Haiku, Don Ellis 1975 Elliot Lurie, Elliot Lurie 1975 Take Me Back, Andraé Crouch 1976 Can't Hide Love, Carmen McRae 1977 Carnival, John Handy 1977 The Doctor Is In, Ben Sidran 1978 Love Island, Eumir Deodato 1978 Suite Lady, Gap Mangione 1979 Christopher Cross, Christopher Cross 1979 Off the Wall, Michael Jackson 1982 The Nightfly, Donald Fagen 1983 Clics Modernos, Charly García 1991
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