John 5 (guitarist)
John William Lowery, best known by the stage name John 5, is an American guitarist. His stage name was bestowed on him in 1998 when he left David Lee Roth and joined the industrial metal group Marilyn Manson as their guitarist, taking over for Zim Zum. Still going by the name "John 5", Lowery has since become the guitarist for Rob Zombie, he is a solo artist having recorded eight guitar albums: Vertigo, Songs for Sanity, The Devil Knows My Name, The Art of Malice, God Told Me To, Careful With That Axe, Season of the Witch. He has a remix album, a live album, It's Alive, he works as a staff writer for Chrysalis Records, working with artists such as Matt Ball, Avril Lavigne, Rob Halford, k.d. lang, Meat Loaf, Ozzy Osbourne, Slash, FeFe Dobson, Steve Perry, has written and recorded with southern rock band Lynyrd Skynyrd. Lowery was born in Michigan, he first started playing guitar at seven after watching Buck Owens and Roy Clark's television show Hee Haw with his dad. John recalls seeing a young Jimmy Henley playing banjo that drew his inspiration.
His parents supported his playing as long. They accompanied him at the adult bars he would play during the evening, his early musical influences came from The Monkees, guitarists Eddie Van Halen, Randy Rhoads, Jimi Hendrix, Yngwie Malmsteen and country music. Lowery started his career as a session guitarist having moved to Los Angeles from Michigan at age 17, his first band in L. A. was Alligator Soup, which led to an important meeting with Rudy Sarzo from Whitesnake who recruited Lowery for his band Sun King giving him his first real bit of exposure. This saw him meeting producer Bob Marlete, who has worked with, among others, Tracy Chapman, Alice Cooper, Rob Halford and Black Sabbath. Lowery began working on numerous projects with Marlette including television show soundtracks, movie soundtracks including Speed 2: Cruise Control, commercials and infomercials; this in turn saw Lowery being picked to play with Lita Ford. He started another long time friendship with the various Kiss members, including a close friendship with Paul Stanley which resulted in his guesting on Stanley's Live to Win album.
Lowery's next role saw him working with Randy Castillo, in the short-lived projects Bone Angels and Red Square Black, who issued the Square EP via Zoo/BMG. The band disbanded. In 1996, Lowery heard that Marilyn Manson was looking for a guitarist and attempted to cold-call the studio Manson was working with to request an audition, but was hung up on, as the guitarist role had been given to Zim Zum. Lowery teamed up with then-former Judas Priest frontman Rob Halford, along with Sid Riggs James Wooley, Ray Riendeau to work on an industrial metal-inspired album, under the band name of 2wo; the subsequent album was remixed by Trent Reznor and was released on Reznor's Nothing Records label, under the parent company Interscope Records. The album was not a commercial hit but did produce one video, made by gay porn director Chi Chi Larue, for the first single "I am a Pig", it featured some S&M scenes and so was not broadcast. But the video was not banned as has been rumored; the band embarked on a world tour and were part of the Ozzfest line-up, but the tour was pulled and 2wo disbanded.
Arguably, John 5's first "big break" came when he was selected by former Van Halen frontman David Lee Roth to play lead guitar on the critically well-received 1998 release DLR Band. John 5 joined a long line of guitarists who vaulted to fame after working with Roth, including Eddie Van Halen, Steve Vai, Jason Becker and Steve Hunter. Regarding how he came to meet Roth, in Guitarist Magazine, Lowery relates that, "when I was little, my dream was to play with David Lee Roth. One day I was sitting at my friend's house and... I wonder what... Roth is doing now.. I'm gonna call up his manager and see if he needs any songs."John 5 submitted six tracks that he had written to Roth's management. Having been a longtime fan of David Lee Roth's work, both in Van Halen and as a solo artist, Lowery believed that he knew what Roth would like. On hearing Lowery's songs, Roth was impressed and subsequently asked for Lowery to submit several more songs. At the time, Roth was choosing between Mike Hartman as to who would play lead guitar.
Tragically, Hartman would die a short time later. Impressed by John 5's prodigious skill, Roth scheduled a meeting and scheduled a recording session that lasted two weeks and resulted in the fourteen track DLR Band album. "I remember before we started, he said,'If you can't do it in two takes, you can't do it.'"In 2003, while still lead guitarist for Marilyn Manson, Lowery was invited by David Lee Roth to write and record the single non-cover song for Roth's 2003 album Diamond Dave. In 2014, John 5 announced a new album with David Lee Roth, which he hoped would come out in the future. After the recording of Mechanical Animals, Marilyn Manson was again looking for a guitarist to replace Zim Zum, dismissed from the band during the recording process. Again John went to try out for the band. Following a tour with Rob Halford in Europe, John received a call from Manson's manager asking if he would like to meet Manson for lunch. At the meeting Man
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s. It takes its roots from genres such as folk blues. Country music consists of ballads and dance tunes with simple forms, folk lyrics, harmonies accompanied by string instruments such as banjos and acoustic guitars, steel guitars, fiddles as well as harmonicas. Blues modes have been used extensively throughout its recorded history. According to Lindsey Starnes, the term country music gained popularity in the 1940s in preference to the earlier term hillbilly music. In 2009 in the United States, country music was the most listened to rush hour radio genre during the evening commute, second most popular in the morning commute; the term country music is used today to describe many subgenres. The origins of country music are found in the folk music of working class Americans, who blended popular songs and Celtic fiddle tunes, traditional English ballads, cowboy songs, the musical traditions of various groups of European immigrants.
Immigrants to the southern Appalachian Mountains of eastern North America brought the music and instruments of Europe along with them for nearly 300 years. Country music was "introduced to the world as a Southern phenomenon." The U. S. Congress has formally recognized Bristol, Tennessee as the "Birthplace of Country Music", based on the historic Bristol recording sessions of 1927. Since 2014, the city has been home to the Birthplace of Country Music Museum. Historians have noted the influence of the less-known Johnson City sessions of 1928 and 1929, the Knoxville sessions of 1929 and 1930. In addition, the Mountain City Fiddlers Convention, held in 1925, helped to inspire modern country music. Before these, pioneer settlers, in the Great Smoky Mountains region, had developed a rich musical heritage; the first generation emerged in the early 1920s, with Atlanta's music scene playing a major role in launching country's earliest recording artists. New York City record label Okeh Records began issuing hillbilly music records by Fiddlin' John Carson as early as 1923, followed by Columbia Records in 1924, RCA Victor Records in 1927 with the first famous pioneers of the genre Jimmie Rodgers and the first family of country music The Carter Family.
Many "hillbilly" musicians, such as Cliff Carlisle, recorded blues songs throughout the 1920s. During the second generation, radio became a popular source of entertainment, "barn dance" shows featuring country music were started all over the South, as far north as Chicago, as far west as California; the most important was the Grand Ole Opry, aired starting in 1925 by WSM in Nashville and continuing to the present day. During the 1930s and 1940s, cowboy songs, or Western music, recorded since the 1920s, were popularized by films made in Hollywood. Bob Wills was another country musician from the Lower Great Plains who had become popular as the leader of a "hot string band," and who appeared in Hollywood westerns, his mix of country and jazz, which started out as dance hall music, would become known as Western swing. Wills was one of the first country musicians known to have added an electric guitar to his band, in 1938. Country musicians began recording boogie in 1939, shortly after it had been played at Carnegie Hall, when Johnny Barfield recorded "Boogie Woogie".
The third generation started at the end of World War II with "mountaineer" string band music known as bluegrass, which emerged when Bill Monroe, along with Lester Flatt and Earl Scruggs were introduced by Roy Acuff at the Grand Ole Opry. Gospel music remained a popular component of country music. Another type of stripped-down and raw music with a variety of moods and a basic ensemble of guitar, dobro or steel guitar became popular among poor whites in Texas and Oklahoma, it became known as honky tonk, had its roots in Western swing and the ranchera music of Mexico and the border states. By the early 1950s a blend of Western swing, country boogie, honky tonk was played by most country bands. Rockabilly was most popular with country fans in the 1950s, 1956 could be called the year of rockabilly in country music, with Johnny Cash emerging as one of the most popular and enduring representatives of the rockabilly genre. Beginning in the mid-1950s, reaching its peak during the early 1960s, the Nashville sound turned country music into a multimillion-dollar industry centered in Nashville, Tennessee.
The late 1960s in American music produced a unique blend as a result of traditionalist backlash within separate genres. In the aftermath of the British Invasion, many desired a return to the "old values" of rock n' roll. At the same time there was a lack of enthusiasm in the country sector for Nashville-produced music. What resulted was a crossbred genre known as country rock. Fourth generation music included outlaw country with roots in the Bakersfield sound, country pop with roots in the countrypolitan, folk music and soft rock. Between 1972 and 1975 singer/guitarist John Denver released a se
Requiem (John 5 album)
Requiem is the fourth solo album by guitarist John 5. It is an instrumental metal album, but it has some bluegrass elements; the album is notable for having the majority of its songs named after medieval torture devices. The first single, "Sounds of Impalement", was released via John 5's official website; the album received positive reviews, the album received a 3/5 on Sputnik Music and a 10/10 on FPM102, the highest rating the site had given to a metal album. John 5 – lead guitar, bass. Co-producer album Tommy Clufetos – drums Chris Baseford – producer
The Devil Knows My Name
The Devil Knows My Name is the third solo album from Rob Zombie/ex-Marilyn Manson guitarist John 5. This is the first album to date. Several artists including Joe Satriani, Eric Johnson, Jim Root, Tommy Clufetos, Piggy D, Matt Bissonette made guest appearances on the album. Zakk Wylde was reported to have an appearance on the album, but it was canceled due to scheduling problems. "The Werewolf of Westeria" was the nickname used for blood maniak Albert Fish. "Black Widow of La Porte" is a reference to female serial killer Belle Gunness of Indiana. "Harold Rollings Hymn" is an edited version of a song Danny Rolling, a convicted serial killer, sang before he was executed. "Dead Art in Plainfield" references serial killer Ed Gein, who worked in the area of Plainfield, Wisconsin. "July 31st" is a reference to the last victim of David Berkowitz, killed on the 31 July. "27 Needles" is a reference to Albert Fish. In an infamous x-ray, it was revealed. John 5 – lead guitars, banjo, production album Piggy D – graphic design, photography Matt Bissonette – bass guitar Sid Riggs – drums, engineering, programming Tommy Clufetos – drums Undercurrent Studios – Mastering Gabrielle Geiselman – photography VQPR/Nancy Sayle – marketing album Best album John 5
God Told Me To (album)
God Told Me To is the sixth solo album from guitarist John 5. Released on May 8, 2012 The album was announced in 2011. John 5 stated in a podcast to Kerrang magazine: "I have an album called God Told Me To coming out and it's half heavy and it's half acoustic, which I've never done before. I'm doing an instrumental version of it, and it's gonna be amazing. I'm excited about this record'cause of the acoustic stuff,'cause I've never done that before" Promotion of the album started in summer 2011, when John 5 released the first of 4 singles from the album on digital release only; the first being a cover of the Michael Jackson track Beat It. The track was released on August 2011, on what would have been Jackson's 53rd birthday. There were three more single releases: Welcome to Noche Acosador and The Castle. On September 16, 2011, it was announced the cover for the album would feature a painting of John 5 by Rob Zombie, it was announced that a DVD would accompany the final album release. On October 30, 2011, John 5 unveiled the video Welcome to Violence on his website.
The video was a montage piece similar to John 5's 2004 video'God is Closed', released to coincide with his first album Vertigo. On February 23, 2012 John 5 announced that the release date for the album had changed from April 10, 2012 to May 8, 2012. Track listing revealed on February 1, 2012 by the record label Rocket Science who deal with the distribution of John 5's albums. Rocket Science posted the press release on their Facebook page which included the ten tracks on the album. John 5 – All Guitars, Producer Bourbon Bob – Drums Chris Baseford – Mixing, Producer Bob Marlette – Mixing, Producer Rob Zombie – Artwork Bruce Somers @ Undercurrent Studios Los Angeles, CA – Mastering
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i