Big Joe Turner: The life of a blues shouter
Big Joe Turner, known as "The Boss of the Blues," was a towering figure in American music. Born Joseph Vernon Turner Jr. on May 18, 1911, in Kansas City, Missouri, Turner’s robust voice and dynamic performances left an indelible mark on the blues genre and paved the way for rock and roll. His career spanned over six decades, during which he became a pivotal link between the traditional blues of the early 20th century and the burgeoning rock and roll movement of the 1950s.
Early life and influences
Turner’s early life was steeped in the rich musical culture of Kansas City, a hotbed for jazz and blues in the early 20th century. Tragically, his father died when Turner was just four years old, forcing him to leave school at age fourteen to help support his family. He found work in the city's nightclubs, initially as a cook and later as a bartender and bouncer at the legendary Sunset Club. It was here that Turner’s musical journey truly began.
The vibrant nightlife of Kansas City exposed Turner to a plethora of musical styles and prominent musicians. He often worked with pianist Pete Johnson, with whom he formed a successful partnership. Turner’s powerful voice and Johnson’s boogie-woogie piano created an electrifying combination that captivated audiences. This collaboration would later prove crucial in propelling Turner to national fame.
Rise to fame
Turner’s big break came in 1938 when record producer John Hammond invited him and Johnson to perform at the historic From Spirituals to Swing concert at Carnegie Hall in New York City. This performance introduced Turner to a wider audience and cemented his reputation as a premier blues shouter. His commanding voice, capable of delivering both raw power and nuanced emotion, stood out in a sea of talented performers.
Following the concert, Turner and Johnson recorded several tracks, including the seminal “Roll ‘Em Pete.” This song, with its driving rhythm and Turner's exuberant vocals, is often cited as one of the precursors to rock and roll. Turner's ability to project his voice without a microphone in noisy club environments earned him the nickname "Big Joe Turner" and showcased his unique talent.
Career highlights
Throughout the 1940s, Turner continued to build his career, performing in clubs and recording with various labels. He moved to Los Angeles in the early 1940s, where he became a regular performer on Central Avenue, a hub for African-American music and culture. His recordings during this period, including “Cherry Red” and “Wee Baby Blues,” further established his reputation as a leading blues singer.
The 1950s marked a significant turning point in Turner’s career. He signed with Atlantic Records, a label known for its roster of rhythm and blues artists. Under the guidance of producers Ahmet Ertegun and Jerry Wexler, Turner recorded a series of hits that brought him mainstream success. Songs like “Shake, Rattle and Roll,” “Flip, Flop and Fly,” and “Honey Hush” showcased Turner’s ability to blend blues with the emerging rock and roll sound. These tracks not only topped the R&B charts but also crossed over to the pop charts, introducing Turner to a new generation of listeners.
“Shake, Rattle and Roll,” in particular, became an anthem of the rock and roll era. Its infectious rhythm and Turner's commanding vocals made it a favorite among both black and white audiences. The song was later covered by Bill Haley and His Comets, further cementing its place in rock and roll history.
Legacy and influence
Turner passed away in California at the age of 74 on November 24, 1985. His influence on rock and roll cannot be overstated. His ability to infuse traditional blues with a contemporary edge laid the groundwork for future rock and roll artists. Elvis Presley, among others, cited Turner as a significant influence on his own music. Turner’s booming voice and energetic performances helped to break down racial barriers in the music industry, bringing black music to a wider audience.
In addition to his contributions to rock and roll, Turner remained a dedicated blues artist throughout his life. He continued to record and perform well into the 1970s and 1980s, often returning to his blues roots. His later work, including albums like The Boss of the Blues Sings Kansas City Jazz and Turns on the Blues, received critical acclaim and reinforced his status as a blues legend. Turner was inducted into the Rock and Roll Hall of Fame in 1987, a testament to his role in shaping the genre.
Conclusion
Big Joe Turner's life and career are a testament to the enduring power of the blues. His ability to bridge the gap between traditional blues and rock and roll helped to shape the course of American music. Turner’s legacy lives on through his recordings and the countless artists he influenced. As “The Boss of the Blues,” Big Joe Turner’s voice continues to resonate, reminding us of the rich cultural heritage of the blues and its profound impact on the evolution of modern music.
Showing posts with label Exploring the world of music. Show all posts
Showing posts with label Exploring the world of music. Show all posts
Wednesday, December 24, 2025
Saturday, May 17, 2025
Duke Ellington
Duke Ellington: Life, times, and major works
Edward Kennedy "Duke" Ellington was more than a jazz musician. He was a towering figure in 20th-century music, a cultural ambassador, and a relentless innovator whose compositions reshaped the boundaries of jazz, blues, classical, and popular music. Over a career that spanned more than five decades, Ellington not only composed thousands of pieces, but also redefined the role of the bandleader, treating his orchestra as a palette and his musicians as co-creators. His life and legacy are inseparable from the evolution of American music.
Early life and influences
Born on April 29, 1899, in Washington, D.C., Ellington grew up in a middle-class African-American family that valued culture, education, and refinement. His parents, James and Daisy Ellington, were both pianists. His mother, in particular, encouraged him to pursue elegance in everything he did, even nicknaming him “Duke” for his noble demeanor.
Ellington began piano lessons at age seven, but he wasn’t immediately drawn to music. That changed as a teenager, when he encountered ragtime and jazz in Washington's dance halls and poolrooms. Pianists like James P. Johnson and Willie "The Lion" Smith introduced him to stride piano, a style that would later inform his complex harmonic language.
Rise to prominence
Ellington moved to New York City in the early 1920s, during the Harlem Renaissance. He formed his band, the Washingtonians, which found steady work in clubs like the Kentucky Club. His big break came in 1927, when his group became the house band at the Cotton Club, a whites-only Harlem nightclub that showcased Black performers. This residency was crucial. It gave Ellington regular radio exposure and a platform to experiment with orchestration.
It was during this time that Ellington developed his signature style — rich textures, moody harmonies, and the use of "jungle" sounds (growling brass, exotic rhythms) to evoke atmosphere. Unlike many bandleaders, Ellington wrote with his musicians in mind, exploiting the unique timbres of players like Bubber Miley (muted trumpet), Harry Carney (baritone sax), and Johnny Hodges (alto sax).
Musical innovation and signature works
Ellington was both prolific and adventurous. He composed over 3,000 songs and instrumental pieces, ranging from short swing tunes to extended suites. His music spanned genres, often incorporating elements of blues, gospel, classical, and world music.
Key works include:
Leadership and legacy
Ellington ran his orchestra like a family, often retaining players for decades. He created a collaborative environment where musicians felt valued, often crediting co-composers like Billy Strayhorn, his closest musical partner. Strayhorn composed classics like “Take the ‘A’ Train,” which became the band’s signature tune.
Ellington’s leadership extended beyond music. During a time of intense racial segregation, he projected a powerful image of Black excellence and sophistication. He refused to perform in segregated venues when possible, and he used his visibility to quietly challenge racism through dignity and brilliance.
Even as big band jazz declined in popularity in the 1950s, Ellington adapted. His performance at the 1956 Newport Jazz Festival - featuring an explosive solo by tenor saxophonist Paul Gonsalves - reignited his career. From there, he toured extensively, composed film scores, and continued writing ambitious suites, including sacred concerts that blended jazz with choral and liturgical music.
Death and enduring influence
Ellington died on May 24, 1974, at the age of 75. He was posthumously awarded the Pulitzer Prize in 1999, a recognition many felt was long overdue. His influence endures in the work of composers from Charles Mingus to Wynton Marsalis, and in orchestras and educational programs around the world.
More than just a composer, Ellington redefined what it meant to be a jazz artist. He saw himself as “beyond category,” a label he embraced and lived by. His music was deeply personal yet universally resonant, grounded in African-American tradition yet always pushing forward.
Conclusion
Duke Ellington’s life was a blend of innovation, elegance, and relentless creativity. He transformed the big band into a vehicle for serious composition, elevated jazz into an art form of global stature, and left a legacy that continues to inspire. He didn’t just play jazz. He reshaped American music - and culture - on his own terms.
Edward Kennedy "Duke" Ellington was more than a jazz musician. He was a towering figure in 20th-century music, a cultural ambassador, and a relentless innovator whose compositions reshaped the boundaries of jazz, blues, classical, and popular music. Over a career that spanned more than five decades, Ellington not only composed thousands of pieces, but also redefined the role of the bandleader, treating his orchestra as a palette and his musicians as co-creators. His life and legacy are inseparable from the evolution of American music.
Early life and influences
Born on April 29, 1899, in Washington, D.C., Ellington grew up in a middle-class African-American family that valued culture, education, and refinement. His parents, James and Daisy Ellington, were both pianists. His mother, in particular, encouraged him to pursue elegance in everything he did, even nicknaming him “Duke” for his noble demeanor.
Ellington began piano lessons at age seven, but he wasn’t immediately drawn to music. That changed as a teenager, when he encountered ragtime and jazz in Washington's dance halls and poolrooms. Pianists like James P. Johnson and Willie "The Lion" Smith introduced him to stride piano, a style that would later inform his complex harmonic language.
Rise to prominence
Ellington moved to New York City in the early 1920s, during the Harlem Renaissance. He formed his band, the Washingtonians, which found steady work in clubs like the Kentucky Club. His big break came in 1927, when his group became the house band at the Cotton Club, a whites-only Harlem nightclub that showcased Black performers. This residency was crucial. It gave Ellington regular radio exposure and a platform to experiment with orchestration.
It was during this time that Ellington developed his signature style — rich textures, moody harmonies, and the use of "jungle" sounds (growling brass, exotic rhythms) to evoke atmosphere. Unlike many bandleaders, Ellington wrote with his musicians in mind, exploiting the unique timbres of players like Bubber Miley (muted trumpet), Harry Carney (baritone sax), and Johnny Hodges (alto sax).
Musical innovation and signature works
Ellington was both prolific and adventurous. He composed over 3,000 songs and instrumental pieces, ranging from short swing tunes to extended suites. His music spanned genres, often incorporating elements of blues, gospel, classical, and world music.
Key works include:
- “Mood Indigo” (1930): A haunting ballad with unusual voicing - muted trumpet, unmuted trombone, and low clarinet - creating a rich, melancholic atmosphere.
- “It Don’t Mean a Thing (If It Ain’t Got That Swing)” (1931): This became a defining anthem of the swing era and helped popularize the term “swing” in music.
- “Sophisticated Lady” (1933): Showcased Ellington’s talent for melodic and harmonic elegance.
- “Caravan” (1936, with Juan Tizol): Infused with exotic, Middle Eastern textures, it expanded the rhythmic and tonal palette of jazz.
- “Black, Brown, and Beige” (1943): An ambitious suite premiered at Carnegie Hall, this work attempted to chronicle African-American history in musical form. It was bold, complex, and not always well-received at the time, but it demonstrated Ellington’s ambition to elevate jazz to the level of serious concert music.
- “Far East Suite” (1966): Inspired by the band’s State Department tour across the Middle East and Asia, this suite fused global musical ideas with Ellington’s jazz sensibility.
Leadership and legacy
Ellington ran his orchestra like a family, often retaining players for decades. He created a collaborative environment where musicians felt valued, often crediting co-composers like Billy Strayhorn, his closest musical partner. Strayhorn composed classics like “Take the ‘A’ Train,” which became the band’s signature tune.
Ellington’s leadership extended beyond music. During a time of intense racial segregation, he projected a powerful image of Black excellence and sophistication. He refused to perform in segregated venues when possible, and he used his visibility to quietly challenge racism through dignity and brilliance.
Even as big band jazz declined in popularity in the 1950s, Ellington adapted. His performance at the 1956 Newport Jazz Festival - featuring an explosive solo by tenor saxophonist Paul Gonsalves - reignited his career. From there, he toured extensively, composed film scores, and continued writing ambitious suites, including sacred concerts that blended jazz with choral and liturgical music.
Death and enduring influence
Ellington died on May 24, 1974, at the age of 75. He was posthumously awarded the Pulitzer Prize in 1999, a recognition many felt was long overdue. His influence endures in the work of composers from Charles Mingus to Wynton Marsalis, and in orchestras and educational programs around the world.
More than just a composer, Ellington redefined what it meant to be a jazz artist. He saw himself as “beyond category,” a label he embraced and lived by. His music was deeply personal yet universally resonant, grounded in African-American tradition yet always pushing forward.
Conclusion
Duke Ellington’s life was a blend of innovation, elegance, and relentless creativity. He transformed the big band into a vehicle for serious composition, elevated jazz into an art form of global stature, and left a legacy that continues to inspire. He didn’t just play jazz. He reshaped American music - and culture - on his own terms.
Sunday, June 23, 2024
The Life of Blues Musician Henry Thomas
The Life of Blues Musician Henry "Ragtime Texas" Thomas (1874-1930)
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| Henry Thomas in 1927. |
Henry Thomas, often referred to as "Ragtime Texas," is a pivotal yet enigmatic figure in the history of American blues and folk music. His unique style and contributions have had a lasting influence on subsequent generations of musicians, despite the limited amount of information available about his life. This essay explores the known details of Thomas's life, his musical career, and his enduring legacy.
Early life and background
Henry Thomas was born in Big Sandy, Texas, around 1874. The precise date of his birth remains uncertain due to the lack of official records. Growing up in post-Reconstruction Texas, Thomas was part of a generation that experienced significant social and economic changes. These formative years likely exposed him to a rich tapestry of musical influences, including African American spirituals, field hollers, and the emerging sounds of ragtime. Thomas left home at an early age, embarking on a hobo lifestyle that saw him traveling extensively across the southern United States. This itinerant existence not only shaped his music but also helped him gather a vast repertoire of songs and stories from different regions, which he would later incorporate into his recordings.
Musical style and influences
Henry Thomas's music is characterized by its blend of ragtime, early blues, and folk traditions. He was a multi-instrumentalist, known primarily for his guitar playing and his use of the quills, a type of panpipe that added a distinctive sound to his recordings. His guitar style often featured a steady, syncopated rhythm, reflecting the ragtime influences he absorbed during his travels.
Thomas's songs often included elements of traditional folk tunes, and his lyrics frequently depicted the life of itinerant workers and rural Southern life. This combination of musical styles and thematic content created a unique sound that set him apart from many of his contemporaries.
Recording career
Henry Thomas's recording career was brief but significant. Between 1927 and 1929, he recorded 23 songs for Vocalion Records. These recordings are some of the earliest examples of recorded blues music and offer invaluable insights into the musical landscape of the time.
Among his most famous songs are "Fishin' Blues," "Bull Doze Blues," and "Railroadin' Some." "Bull Doze Blues" is particularly notable for its later adaptation by the rock band Canned Heat, who reworked it into their hit "Going Up the Country." This adaptation brought Thomas's music to a new generation of listeners and highlighted the enduring appeal of his work.
Legacy and influence
Henry Thomas's influence on American music cannot be overstated. His recordings provide a critical link between the early folk traditions and the blues, showcasing the transition from pre-blues to the more structured forms that would dominate the genre in the following decades.
Thomas's use of the quills, in particular, has been a subject of interest for musicologists and enthusiasts. This instrument, rarely used in blues music, added a unique texture to his recordings and highlighted his innovative approach to music-making.
Despite his significant contributions, Thomas's life after his recording sessions remains shrouded in mystery. It is believed that he continued his itinerant lifestyle, performing in various towns and cities across the South. He likely passed away in 1930, at the age of roughly 55 or 56, but Mack McCormick claimed to have seen a man in 1949 while in Houston matching Thomas's description.
Conclusion
Henry Thomas, "Ragtime Texas," remains an essential yet enigmatic figure in the history of American blues and folk music. His brief recording career captured a unique blend of ragtime, blues, and folk traditions, offering a window into the musical landscape of the early 20th century. While much of his life remains a mystery, his influence on subsequent generations of musicians is undeniable. Thomas's legacy continues to be celebrated by music enthusiasts and scholars, ensuring that his contributions to American music are not forgotten.
Sunday, May 19, 2024
Sonny Terry & Brownie McGhee
In this latest installment of our ongoing, occasional series, "Exploring the world of music," we take a look at the legendary country blues duo, Sonny Terry & Brownie McGhee.
Sonny Terry & Brownie McGhee: Pioneers of the country blues
Sonny Terry and Brownie McGhee were a dynamic country blues duo whose musical partnership spanned over four decades, leaving an indelible mark on the blues genre. Their collaboration brought the raw, emotive power of the blues to a broader audience, blending traditional sounds with their unique styles and personal stories. This essay explores their backgrounds, their partnership, and their lasting legacy in the world of blues music.
Early life and musical beginnings
Sonny Terry, born Saunders Terrell on October 24, 1911, in Greensboro, Georgia, became known for his distinctive harmonica playing. Terry's introduction to music came early, influenced by his father, a sharecropper and amateur musician. A series of accidents left Terry nearly blind, pushing him to focus on music as a means of survival. His harmonica style, characterized by whoops, hollers, and a deep connection to rural life, became his signature.
Brownie McGhee, born Walter Brown McGhee on November 30, 1915, in Knoxville, Tennessee, was a talented guitarist and singer. McGhee's early life was marked by polio, which left him with a limp. Despite this, he pursued music fervently, inspired by his father and brother, who were both musicians. McGhee's guitar skills and rich, warm voice complemented Terry's harmonica, creating a seamless musical partnership.
Formation of the duo
The partnership between Terry and McGhee began in the late 1930s, facilitated by the folk music revival movement in New York City. They met through mutual connections in the music scene, particularly through Huddie "Lead Belly" Ledbetter and Woody Guthrie, who were central figures in the folk and blues revival.
Their collaboration officially took off in 1941 when they recorded their first sides together. Their chemistry was immediate and undeniable, blending Terry's explosive harmonica with McGhee's smooth guitar and vocals. They became a staple of the New York folk scene, performing at clubs, coffeehouses, and on radio shows.
Musical style and impact
Terry's and McGhee's music was deeply rooted in the Piedmont blues tradition, characterized by a finger picking guitar style and harmonica accompaniment. However, they brought their unique touches to the genre, with Terry's harmonica often mimicking the sounds of nature and McGhee's guitar providing a rhythmic and melodic foundation.
Their songs covered a wide range of themes, from love and hardship to social issues and everyday life. Notable tracks like "Walk On," "Hooray, Hooray, These Women is Killing Me," and "Cornbread, Peas, and Black Molasses" showcased their ability to blend humor, sorrow, and resilience.
The duo's influence extended beyond their recordings. They were prominent figures in the folk revival of the 1950s and 1960s, performing at major festivals like the Newport Folk Festival and influencing a new generation of musicians. Their collaboration with artists like Pete Seeger, Woody Guthrie, and Lead Belly further cemented their place in American music history.
Challenges and resilience
Despite their success, Terry and McGhee faced significant challenges, both personally and professionally. Racial segregation and discrimination were pervasive during their careers, limiting their opportunities and affecting their lives. Additionally, their partnership was not without tension. Differences in personality and vision led to occasional conflicts, yet their mutual respect and musical synergy kept them together for over four decades.
Legacy and influence
Sonny Terry's and Brownie McGhee's legacy is profound. They brought country blues to urban audiences and international stages, helping to preserve and popularize the genre. Their recordings remain essential listening for blues enthusiasts and musicians alike.
Their impact is also evident in the artists they influenced. Musicians like Bob Dylan, Taj Mahal, and Ry Cooder have cited Terry and McGhee as significant influences. Their ability to convey deep emotion and tell compelling stories through their music continues to resonate with listeners today.
Conclusion
Sonny Terry and Brownie McGhee were more than just a blues duo; they were cultural ambassadors who bridged the gap between rural and urban, black and white, past and present. Their music, characterized by its authenticity and emotional depth, remains a testament to their talent and resilience. As we reflect on their contributions, it is clear that Terry's and McGhee's legacies will endure, inspiring future generations to explore and appreciate the rich tradition of the blues.
Sonny Terry & Brownie McGhee: Pioneers of the country blues
Sonny Terry and Brownie McGhee were a dynamic country blues duo whose musical partnership spanned over four decades, leaving an indelible mark on the blues genre. Their collaboration brought the raw, emotive power of the blues to a broader audience, blending traditional sounds with their unique styles and personal stories. This essay explores their backgrounds, their partnership, and their lasting legacy in the world of blues music.
Early life and musical beginnings
Sonny Terry, born Saunders Terrell on October 24, 1911, in Greensboro, Georgia, became known for his distinctive harmonica playing. Terry's introduction to music came early, influenced by his father, a sharecropper and amateur musician. A series of accidents left Terry nearly blind, pushing him to focus on music as a means of survival. His harmonica style, characterized by whoops, hollers, and a deep connection to rural life, became his signature.
Brownie McGhee, born Walter Brown McGhee on November 30, 1915, in Knoxville, Tennessee, was a talented guitarist and singer. McGhee's early life was marked by polio, which left him with a limp. Despite this, he pursued music fervently, inspired by his father and brother, who were both musicians. McGhee's guitar skills and rich, warm voice complemented Terry's harmonica, creating a seamless musical partnership.
Formation of the duo
The partnership between Terry and McGhee began in the late 1930s, facilitated by the folk music revival movement in New York City. They met through mutual connections in the music scene, particularly through Huddie "Lead Belly" Ledbetter and Woody Guthrie, who were central figures in the folk and blues revival.
Their collaboration officially took off in 1941 when they recorded their first sides together. Their chemistry was immediate and undeniable, blending Terry's explosive harmonica with McGhee's smooth guitar and vocals. They became a staple of the New York folk scene, performing at clubs, coffeehouses, and on radio shows.
Musical style and impact
Terry's and McGhee's music was deeply rooted in the Piedmont blues tradition, characterized by a finger picking guitar style and harmonica accompaniment. However, they brought their unique touches to the genre, with Terry's harmonica often mimicking the sounds of nature and McGhee's guitar providing a rhythmic and melodic foundation.
Their songs covered a wide range of themes, from love and hardship to social issues and everyday life. Notable tracks like "Walk On," "Hooray, Hooray, These Women is Killing Me," and "Cornbread, Peas, and Black Molasses" showcased their ability to blend humor, sorrow, and resilience.
The duo's influence extended beyond their recordings. They were prominent figures in the folk revival of the 1950s and 1960s, performing at major festivals like the Newport Folk Festival and influencing a new generation of musicians. Their collaboration with artists like Pete Seeger, Woody Guthrie, and Lead Belly further cemented their place in American music history.
Challenges and resilience
Despite their success, Terry and McGhee faced significant challenges, both personally and professionally. Racial segregation and discrimination were pervasive during their careers, limiting their opportunities and affecting their lives. Additionally, their partnership was not without tension. Differences in personality and vision led to occasional conflicts, yet their mutual respect and musical synergy kept them together for over four decades.
Legacy and influence
Sonny Terry's and Brownie McGhee's legacy is profound. They brought country blues to urban audiences and international stages, helping to preserve and popularize the genre. Their recordings remain essential listening for blues enthusiasts and musicians alike.
Their impact is also evident in the artists they influenced. Musicians like Bob Dylan, Taj Mahal, and Ry Cooder have cited Terry and McGhee as significant influences. Their ability to convey deep emotion and tell compelling stories through their music continues to resonate with listeners today.
Conclusion
Sonny Terry and Brownie McGhee were more than just a blues duo; they were cultural ambassadors who bridged the gap between rural and urban, black and white, past and present. Their music, characterized by its authenticity and emotional depth, remains a testament to their talent and resilience. As we reflect on their contributions, it is clear that Terry's and McGhee's legacies will endure, inspiring future generations to explore and appreciate the rich tradition of the blues.
Thursday, May 9, 2024
Buddy Holly, Ritchie Valens, Big Bopper
In this latest installment of our ongoing, occasional series, "Exploring the world of music," we take a look at the music, legacies, and tragic deaths of Buddy Holly, Ritchie Valens, and The Big Bopper.
The tragic event known as "The day the music died" refers to the fateful day of February 3, 1959, when three of Rock 'n' Roll’s brightest stars - Buddy Holly, Ritchie Valens, and J.P. Richardson, better known as The Big Bopper - perished in a plane crash near Clear Lake, Iowa. This essay explores the musical legacy and the influential tracks of these artists, their impact on the Rock 'n' Roll genre, and the subsequent generations of musicians they inspired.
Buddy Holly: A catalyst for change in Rock 'n' Roll
Early career and musical innovations
Buddy Holly, born Charles Hardin Holley, was a pioneering figure of the mid-1950s American music scene. His work with his band, The Crickets, introduced a new sound that combined elements of country, rhythm and blues, and rockabilly. Holly's innovative approach to music, featuring his distinctive vocal style and guitar playing, set new standards for the genre.
Greatest hits and their impact
Holly's tracks like "That'll Be the Day," "Peggy Sue," "Not Fade Away," "Maybe Baby," "Rave On," and "Oh, Boy!" were not only commercially successful but also influential in shaping the rock 'n' roll sound. His music was characterized by its straightforward lyrical content, catchy melodies, and pioneering studio techniques, including double tracking and overdubbing.
Influence on future generations
Holly's style and persona influenced countless musicians, including The Beatles, who named themselves partly in homage to Holly's Crickets. The Rolling Stones' first major U.S. hit was a cover of Holly's "Not Fade Away." Holly's emphasis on the singer-songwriter format and his band's configuration also set a template for future rock bands.
Ritchie Valens: Pioneer of Chicano Rock
Rise to fame
Ritchie Valens, born Richard Steven Valenzuela, broke through cultural barriers as one of the first musicians of Mexican descent to gain mainstream popularity on the U.S. Rock 'n' Roll scene. His career, though tragically brief, was marked by his energetic performances and fusion of traditional Mexican music with contemporary rock sounds.
Key tracks and contributions
Valens is perhaps best known for his hits "La Bamba," an adaptation of a traditional Mexican folk song that he transformed with a rock rhythm and beat, becoming a global sensation; and "Donna," another major hit written for his girlfriend, which showcased his ability to blend heartfelt lyrics with the Rock 'n' Roll style.
Legacy and influence
Valens’ influence has extended well beyond his own music, inspiring future generations of Latino artists and helping to pave the way for their acceptance in the mainstream music industry. Artists like Los Lobos would later cover "La Bamba" in 1987, which again topped the charts, reaffirming the timeless appeal of Valens' work.
The Big Bopper: A forefather of Rockabilly
Career highlights
J.P. Richardson, known as The Big Bopper, was a former DJ who turned to singing and became famous for his lively and humorous rockabilly style. He is best remembered for his song "Chantilly Lace," which exemplified his charismatic and theatrical delivery - a novel approach at the time.
Influence on music and media
Richardson's work foretold the music video era yet to come, with his engaging narrative style and persona. His approach to music, often integrating spoken word and theatrical elements, influenced future genres and performance styles, showcasing the potential of rock music as a form of entertainment that goes beyond mere songwriting.
Impact on other artists
The Big Bopper's influence is evident in the later works of artists who blend narrative storytelling with musical performance, such as Bob Dylan and Bruce Springsteen. His theatrical style also paved the way for future rock and pop stars who use persona as a central element of their artistic expression.
Conclusion
The deaths of Buddy Holly, Ritchie Valens, and The Big Bopper were a tremendous loss to the music and creative world, yet their legacies endure through their groundbreaking contributions to music and their influence on subsequent artists. Their innovations helped shape the sounds of Rock 'n' Roll and opened new pathways for future generations. As such, their music not only lives on but continues to inspire musicians around the globe, securing their place as foundational pillars of modern rock music.
The tragic event known as "The day the music died" refers to the fateful day of February 3, 1959, when three of Rock 'n' Roll’s brightest stars - Buddy Holly, Ritchie Valens, and J.P. Richardson, better known as The Big Bopper - perished in a plane crash near Clear Lake, Iowa. This essay explores the musical legacy and the influential tracks of these artists, their impact on the Rock 'n' Roll genre, and the subsequent generations of musicians they inspired.
Buddy Holly: A catalyst for change in Rock 'n' Roll
Early career and musical innovations
Buddy Holly, born Charles Hardin Holley, was a pioneering figure of the mid-1950s American music scene. His work with his band, The Crickets, introduced a new sound that combined elements of country, rhythm and blues, and rockabilly. Holly's innovative approach to music, featuring his distinctive vocal style and guitar playing, set new standards for the genre.
Greatest hits and their impact
Holly's tracks like "That'll Be the Day," "Peggy Sue," "Not Fade Away," "Maybe Baby," "Rave On," and "Oh, Boy!" were not only commercially successful but also influential in shaping the rock 'n' roll sound. His music was characterized by its straightforward lyrical content, catchy melodies, and pioneering studio techniques, including double tracking and overdubbing.
Influence on future generations
Holly's style and persona influenced countless musicians, including The Beatles, who named themselves partly in homage to Holly's Crickets. The Rolling Stones' first major U.S. hit was a cover of Holly's "Not Fade Away." Holly's emphasis on the singer-songwriter format and his band's configuration also set a template for future rock bands.
Ritchie Valens: Pioneer of Chicano Rock
Rise to fame
Ritchie Valens, born Richard Steven Valenzuela, broke through cultural barriers as one of the first musicians of Mexican descent to gain mainstream popularity on the U.S. Rock 'n' Roll scene. His career, though tragically brief, was marked by his energetic performances and fusion of traditional Mexican music with contemporary rock sounds.
Key tracks and contributions
Valens is perhaps best known for his hits "La Bamba," an adaptation of a traditional Mexican folk song that he transformed with a rock rhythm and beat, becoming a global sensation; and "Donna," another major hit written for his girlfriend, which showcased his ability to blend heartfelt lyrics with the Rock 'n' Roll style.
Legacy and influence
Valens’ influence has extended well beyond his own music, inspiring future generations of Latino artists and helping to pave the way for their acceptance in the mainstream music industry. Artists like Los Lobos would later cover "La Bamba" in 1987, which again topped the charts, reaffirming the timeless appeal of Valens' work.
The Big Bopper: A forefather of Rockabilly
Career highlights
J.P. Richardson, known as The Big Bopper, was a former DJ who turned to singing and became famous for his lively and humorous rockabilly style. He is best remembered for his song "Chantilly Lace," which exemplified his charismatic and theatrical delivery - a novel approach at the time.
Influence on music and media
Richardson's work foretold the music video era yet to come, with his engaging narrative style and persona. His approach to music, often integrating spoken word and theatrical elements, influenced future genres and performance styles, showcasing the potential of rock music as a form of entertainment that goes beyond mere songwriting.
Impact on other artists
The Big Bopper's influence is evident in the later works of artists who blend narrative storytelling with musical performance, such as Bob Dylan and Bruce Springsteen. His theatrical style also paved the way for future rock and pop stars who use persona as a central element of their artistic expression.
Conclusion
The deaths of Buddy Holly, Ritchie Valens, and The Big Bopper were a tremendous loss to the music and creative world, yet their legacies endure through their groundbreaking contributions to music and their influence on subsequent artists. Their innovations helped shape the sounds of Rock 'n' Roll and opened new pathways for future generations. As such, their music not only lives on but continues to inspire musicians around the globe, securing their place as foundational pillars of modern rock music.
Saturday, October 1, 2022
Going Up the Country Canned Heat
I realize I haven't done an "Exploring the world of music" post in quite a while. Here is a fun song I'm excited to share with you. Being the classic rock and blues fan that I am, I've loved this song since I was a kid. It's called "Going Up the Country". Now, we're going to hear three versions of the song in this post.
The first video here is what appears to be the original version. It was recorded in 1928 in Chicago by a bluesman and songster named Henry Thomas. Born in 1874 in Big Sandy, Texas, Henry Thomas was known by the nickname "Ragtime Texas". It's thought that he died around 1930. His version is known by the title, "Bull Doze Blues". The lyrics in this original version by Thomas are very different from what is perhaps the best-known and most popular version of the song recorded by the blues rock band Canned Heat some 40 years later in 1968. Canned Heat's version will be the second video here. Canned Heat's Alan Wilson, nicknamed "Blind Owl", rewrote the lyrics, but kept the same musical arrangement. Both versions are perhaps famously-loved for their pleasant, calming, cheerful, beautiful panpipe/flute arrangement.
The third video is a live version, based on Canned Heat's lyrics, performed by the Bud Spencer Band, a group I recently discovered for the first time. Instead of a panpipe or flute in this live version, a harmonica is used. I love how much fun they're having with this song on the stage!
Before we get to the first video featuring the original version of the song by Henry "Ragtime Texas" Thomas, here is a story shared in the comments section on the YouTube page for this video by a user named Gareth. As I write this, he shared this story about two years ago, and it has 6.4K thumbs-up likes. Thank you so much for sharing this story with the world, Gareth. I was truly touched by it. That's the power of music. Here's that story:
Finally, here are the lyrics to both versions. First up is the version by Henry Thomas, followed by Canned Heat.
Henry "Ragtime Texas" Thomas - "Bull Doze Blues", 1928
I'm going away, babe, and it won't be long.
I'm going away and it won't be long.
I'm going away and it won't be long.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
I'm going back to Tennessee. I'm going back to Memphis, Tennessee.
I'm going back to Memphis, Tennessee.
I'm going where I never get bull-dozed.
I'm going where I never get the bull-doze.
I'm going where I never get bull-dozed.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a fool I've been.
Oh, my babe, take me back.
How in the world...
Lord, take me back.
Canned Heat - "Going Up the Country", 1968
I'm going up the country, babe, don't you wanna go?
I'm going up the country, babe, don't you wanna go?
I'm going to some place where I've never been before.
I'm going, I'm going where the water tastes like wine.
I'm going where the water tastes like wine.
We can jump in the water, stay drunk all the time.
I'm gonna leave this city, got to get away. I'm gonna leave this city, got to get away. All this fussing and fighting, man, you know I sure can't stay.
Now baby, pack your leaving trunk,
you know we've got to leave today.
Just exactly where we're going I cannot say, but we might even leave the USA.
'Cause there's a brand new game that I don't want to play.
No use of you running, or screaming and crying.
'Cause you've got a home as long as I've got mine.
The first video here is what appears to be the original version. It was recorded in 1928 in Chicago by a bluesman and songster named Henry Thomas. Born in 1874 in Big Sandy, Texas, Henry Thomas was known by the nickname "Ragtime Texas". It's thought that he died around 1930. His version is known by the title, "Bull Doze Blues". The lyrics in this original version by Thomas are very different from what is perhaps the best-known and most popular version of the song recorded by the blues rock band Canned Heat some 40 years later in 1968. Canned Heat's version will be the second video here. Canned Heat's Alan Wilson, nicknamed "Blind Owl", rewrote the lyrics, but kept the same musical arrangement. Both versions are perhaps famously-loved for their pleasant, calming, cheerful, beautiful panpipe/flute arrangement.
The third video is a live version, based on Canned Heat's lyrics, performed by the Bud Spencer Band, a group I recently discovered for the first time. Instead of a panpipe or flute in this live version, a harmonica is used. I love how much fun they're having with this song on the stage!
Before we get to the first video featuring the original version of the song by Henry "Ragtime Texas" Thomas, here is a story shared in the comments section on the YouTube page for this video by a user named Gareth. As I write this, he shared this story about two years ago, and it has 6.4K thumbs-up likes. Thank you so much for sharing this story with the world, Gareth. I was truly touched by it. That's the power of music. Here's that story:
My great-grandfather fought in WW1 for Great Britain (he was Scottish), in 1918 he befriended an American soldier who offered him work on his family's cattle farm in Huntsville after the war. Great grandad was lost mentally and craved a sea change, so he accepted the offer. In the mid 1920s he wrote in his diary about seeing an amazing black musician called 'Rag Rhyme Texas'. His music reached him in ways no other white music had before, and it transformed his outlook forever.
He returned to Scotland in the Great Depression, and in 1968 his nephew played the Canned Heat version on his record player. Great grandad nearly had a heart attack and broke down in tears, that panpipe chorus was unforgettable he said. After much research my uncle found the record of Henry Thomas in the 70s, and we learned that his nickname was actually 'Ragtime Texas'.
This is a story our family passes down from generation to generation, and we owe Henry Thomas so much in helping our family out of a very dark place.
Finally, here are the lyrics to both versions. First up is the version by Henry Thomas, followed by Canned Heat.
Henry "Ragtime Texas" Thomas - "Bull Doze Blues", 1928
I'm going away, babe, and it won't be long.
I'm going away and it won't be long.
I'm going away and it won't be long.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Just as sure as that train leaves out of that Mobile yard.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
Come shake your hand, tell your papa goodbye.
I'm going back to Tennessee. I'm going back to Memphis, Tennessee.
I'm going back to Memphis, Tennessee.
I'm going where I never get bull-dozed.
I'm going where I never get the bull-doze.
I'm going where I never get bull-dozed.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a hole I'm in.
If you don't believe I'm sinking.
Look what a fool I've been.
Oh, my babe, take me back.
How in the world...
Lord, take me back.
Canned Heat - "Going Up the Country", 1968
I'm going up the country, babe, don't you wanna go?
I'm going up the country, babe, don't you wanna go?
I'm going to some place where I've never been before.
I'm going, I'm going where the water tastes like wine.
I'm going where the water tastes like wine.
We can jump in the water, stay drunk all the time.
I'm gonna leave this city, got to get away. I'm gonna leave this city, got to get away. All this fussing and fighting, man, you know I sure can't stay.
Now baby, pack your leaving trunk,
you know we've got to leave today.
Just exactly where we're going I cannot say, but we might even leave the USA.
'Cause there's a brand new game that I don't want to play.
No use of you running, or screaming and crying.
'Cause you've got a home as long as I've got mine.
Friday, February 25, 2022
Travel the world without leaving home
How to travel the world without leaving home
There are many reasons why a person may not be able to travel. Perhaps it's due to failing health or lack of funds. Maybe it's obligations at home, work, and/or school. It doesn't much matter what keeps a person from straying too far from home. What matters is making the most of the current situation. So, if you want to travel the world, but circumstances have left you unable to do so for whatever reason, then here's your answer - do it virtually!
All you need to do to travel virtually is think of a place you've always wanted to visit, then immerse yourself in that country's culture. By immersing yourself in the other culture, you can take a virtual vacation to another land without leaving home. Here are seven virtual travel ideas to get you started.
1. Pick up some travel guides.
Travel guides are an excellent resource for learning about the people, culture, and attractions in the country you'll be virtually visiting. Beyond traditional guidebooks, you can also pick up brochures at a local travel agency and visit some travel websites about the country in question. The more you learn about your virtual vacation destination, the more it will feel like you're actually exploring it.
2. Watch a travel documentary.
Travel documentaries take you off the beaten path and into places that guidebooks rarely mention. They may also introduce you to some colorful locals while discussing region-specific customs and cuisines. To watch a travel documentary, check what's available regarding your chosen destination in your cable or streaming provider's on-demand catalog. If no programs are available for the particular country, or your cable package doesn't include on-demand programming, try searching YouTube for documentaries instead.
3. Enjoy some international cuisine.
To make your at-home travel experience feel more authentic, align your daily menu with meals inspired by your chosen travel destination. To do this, you have two options - either order in from a local restaurant specializing in authentic cuisine, or try cooking some travel-inspired meals from scratch. If you need some inspiration for your travel-themed meals, search online for famous dishes from the country you're virtually visiting.
4. Listen to travel podcasts.
You can learn a lot about a particular country by listening to travel podcasts about it. To find podcasts featuring your virtual travel destination, type 'Travel podcasts about' followed by the country's name (e.g., Travel podcasts about Mexico) in Google's search engine. While not all searched countries bring up a list of travel-themed podcasts, many do. As for listening to the travel podcasts, you can listen to them whenever you wish, though a highly recommended time for listening is while you're in the car.
5. Listen to foreign music.
Listening to foreign music can help get you in the travel spirit. To find suitable songs, first search online for a list of musicians or bands from the country you're virtually visiting. This search should provide you with the names of the country's most famous artists, making it possible to search for their music on YouTube or other similar websites. While you're searching, create a custom playlist featuring popular songs from the artists on the list. Once the playlist is complete, listen to the music whenever your travel spirit needs a little boost. If the country's top musicians and bands are already in heavy rotation on your local radio stations, then consider searching for traditional music from the region instead.
6. Watch a foreign television show or movie.
Streaming services like Netflix, Hulu, and Amazon Prime Video contain many international television shows and movies. If you currently subscribe to a streaming service, search the catalog for television shows or movies filmed in your chosen vacation destination. If you find a suitable program, but it's in a language you don't speak, look for a subtitles option to help you follow along. If you don't currently subscribe to a streaming service, check what's available through free options like YouTube or Tubi.
7. Learn some words and phrases in another language.
If you're going to be virtually traveling the world, then you might as well learn something new while you do. If the people in your chosen destination speak a language you don't currently know, then take the opportunity to learn some common words and phrases in the other language. Travel guides and brochures may be helpful in this regard, as would a dedicated language course if you feel like going the extra mile. Watching foreign-language media with the subtitles turned on can also help you pick up some frequently used words and phrases in the other language.
As you can see, there are many ways a person can virtually travel the world without leaving their home. So, keep these ideas in mind the next time you find yourself with a travel itch you can't scratch. With a bit of effort and creativity, you can create your own travel experience without ever leaving the comfort of your own home.
Tuesday, June 15, 2021
Great music playlist for working
Howdy! It feels like it's been a while. I hope you're doing well and about to embark on a fun, restful, and well-deserved summer break after one hell of a school year! I'm looking forward to catching a few car shows, Milwaukee Brewers games, church festivals, and the Wisconsin State Fair, among other things.
For those of you who have graduated high school or college, congratulations! Wishing you all the best as you prepare to head out on the next part of your journey.
I'm busy today working on some ideas and planning for this blog, and I thought I'd share the music that I'm working to. Here's my playlist today, along with a few brief notes and memories to go along with each song. For more great music from a variety of genres and generations, check out my occasional, ongoing series, "Exploring the world of music".
Here's to you and your success!
Mr. Robertson
"Rockin' All Over The World": John Fogerty
Forever linked to his role as frontman for the iconic 60s band Creedence Clearwater Revival (CCR), John Fogerty has managed to build quite an impressive solo career since CCR's breakup in 1972. Here he is performing "Rockin' All Over The World" live. I always enjoyed this tune. It's fun and upbeat. Check out my exclusive interviews with CCR drummer Doug "Cosmo" Clifford and bassist Stu Cook from June 2012 and July 2013, respectively.
"Killer Joe": Quincy Jones
I first came across this 1969 jazz hit by Quincy Jones as a freshman in high school in 1997. My band teacher was a big jazz fan, and he played the recording for us one day in class. I rediscovered it recently. I love it. The definition of "cool".
"Sometimes When I'm All Alone" and "Pony Express": Danny & The Juniors
From the legendary late 50s - early 60s Doo Wop group out of Philadelphia comes these two classics that are perhaps somewhat undervalued. Assuming you ever heard of Danny & The Juniors in the first place, you probably only know of them by their two smash hits, "At The Hop" and "Rock And Roll Is Here To Stay". I had the pleasure of interviewing the group's founder, David White, in April 2013. I was saddened to hear of his passing a couple years ago.
"Gimme Some Lovin'": Steve Winwood, Eric Clapton, and other guests - Live in London, 1983
I absolutely love this live 1983 version of this summer anthem first recorded in 1966. It brings the song's original vocalist and organist, Steve Winwood, (who recorded it as a member of The Spencer Davis Group) together with an all-star lineup of guests that includes Eric Clapton and Rolling Stones drummer Charlie Watts.
"We're An American Band": Grand Funk Railroad
Not much to say about this 1973 hit. The music and lyrics speak for themselves. This song is a must for any decent rock playlist. Fun and lively.
"Done Somebody Wrong": The Allman Brothers Band
Recorded live in March 1971 as a part of the band's Live at the Fillmore East album, this is an old blues tune first recorded by Elmore James, a master of the slide guitar. Check out this previous post I dedicated to Elmore James. In it, I included his original version of another hit covered by the Allman Brothers Band, "One Way Out".
"1965 Belgium TV Appearance (Complete)": Chuck Berry
Growing up as a kid, I fell in love with a lot of 50s and early 60s Rock 'n' Roll, fueled largely by the music played at family parties, company picnics, weddings, and during car rides while listening to the local oldies radio station here in Milwaukee. Buddy Holly. Bill Haley. Little Richard. Ritchie Valens. Danny & The Juniors. Jerry Lee Lewis. Del Shannon. Gene Vincent. Early Beach Boys and Beatles. I can go on and on. And one of my all-time favorites from that era is Chuck Berry. I recently came across this show he did for Belgium TV in 1965. It's just under 30 minutes long, and he goes through a good number of his hits, including "Johnny B. Goode" at the end.
"Can't You See": The Marshall Tucker Band
This version of this Southern Rock anthem was recorded live in September 1973 at the Grand Opera House. I never really got into The Marshall Tucker Band, but like many others who never did, we at least know this hit of theirs. Beautiful and brilliant.
"Honeydripper": Big Joe Turner and Count Basie
Recorded in 1974, this tune brings together two legends - blues shouter Big Joe Turner and jazz pianist & big band leader Count Basie, both of whom enjoyed 60+ year careers that spanned from the 1920s-80s.
"Stormy Monday": B.B. King and Albert Collins - Live in Memphis, TN, 1993 as part of B.B. King's Blues Summit concert and album
I've heard so many takes of "Stormy Monday" in my life from countless blues musicians and rock bands. I love it. I love this version, in particular. It's a combination of King's singing, the organ in the background, and Collins' guitar work that does it for me. I had the pleasure of seeing King perform live in downtown Milwaukee back in 1998. I was a sophomore in high school. Went with my dad, and we had seats in the very front row. I was fortunate to score King's autograph on the CD jacket for the Blues Summit album that I brought along with me. While traveling to Missouri in the summer of 2015 to see family, we made a brief stop in Memphis, where we explored Beale Street, including B.B. King's club, where this was recorded.
Wednesday, March 25, 2020
Fun activity with your favorite song
Lately, I've been reading a book called, Falling in Love with Close Reading: Lessons for Analyzing Texts - and Life, written by Christopher Lehman and Kate Roberts, and published in 2014.
I've adapted a fun activity/lesson from the book for you to try here, one involving your favorite song. If you have more than one favorite song in mind, great! That just means more practice - and more fun! The song or songs you have in mind must have lyrics for this activity, though. They can't be instrumentals. Come, let's dive in.
First, you'll need paper and a pen or pencil.
Next, think about your favorite song. Feel free to pull it up on your computer/listening device, if you'd like, but this isn't necessary. As you think about/listen to this song, what's coming to mind? What is the song about? What message, or messages, is the singer trying to convey? What images do you have? Jot this all down, whatever comes to mind. There are no right or wrong answers.
After you've completed these steps, look for the written lyrics to the song online. Print them off, if you can. Otherwise, have them up on your device's screen.
Read the lyrics. And don't just quickly scan them over. Really spend some time with them. It's important to examine them closely.
Now, jot down what the lyrics appear to be saying. What is the song about? What message, or messages, is the song trying to convey? What images do you have? Write it all down. Again, there are no right or wrong answers here.
Finally, look at what you wrote down the first time (after thinking about/listening to the song), and then take a look at what you wrote down the second time (after a close examination of the song's lyrics). Compare and contrast in a third writing. Synthesize and reflect. Are there any major differences between the first two writings that stand out? Any similarities? Any new ideas that emerged in your second writing after a close reading of the lyrics?
There are several main takeaways here. First, it's easy to form preconceived notions about something without really diving into the available evidence. Now, in many cases throughout life, forming preconceived notions about something without truly examining evidence may, thankfully, prove to be relatively harmless. But in other cases, it goes without saying, this can certainly be very dangerous or even fatal, for ourselves and for others.
In this instance, fortunately, we just happen to be considering a favorite song of ours, and the preconceived notions we're trying to break here may simply be differences in moods. For example, coming into this activity, perhaps you've always identified your favorite song with a joyful occasion. Maybe this song causes you to think about your favorite vacation spot, or a love interest, or what you believe was a more care-free time in your life. After going through this exercise, though, perhaps you now realize, after truly listening to the lyrics through reading them, the song doesn't have much to do at all with happiness. And vice-versa - maybe a song that you've always associated with a more unpleasant or complex time, place, or event in your life, it turns out, is actually a little sunnier in its outlook after a deeper examination of it. If the song tells of a story, maybe you realize now that you had a completely different interpretation of that story before engaging in this exercise.
Lastly, we're further enhancing a number of skills with this fun activity, and you may not even be aware of it. We're working on our listening, writing/communication, reading, and critical thinking/reflection skills. We're building new connections in our minds, and creating new meanings and understandings.
The next time you listen to that favorite song of yours, don't be surprised if you find yourself thinking about it differently after this activity!
Happy Learning,
Mr. Robertson
Feel free to share your favorite song and thoughts after completing this exercise in the comments section below. We'd love to hear from you!
If you enjoyed this activity, check out this other exercise involving your favorite video game!
I've adapted a fun activity/lesson from the book for you to try here, one involving your favorite song. If you have more than one favorite song in mind, great! That just means more practice - and more fun! The song or songs you have in mind must have lyrics for this activity, though. They can't be instrumentals. Come, let's dive in.
First, you'll need paper and a pen or pencil.
Next, think about your favorite song. Feel free to pull it up on your computer/listening device, if you'd like, but this isn't necessary. As you think about/listen to this song, what's coming to mind? What is the song about? What message, or messages, is the singer trying to convey? What images do you have? Jot this all down, whatever comes to mind. There are no right or wrong answers.
After you've completed these steps, look for the written lyrics to the song online. Print them off, if you can. Otherwise, have them up on your device's screen.
Read the lyrics. And don't just quickly scan them over. Really spend some time with them. It's important to examine them closely.
Now, jot down what the lyrics appear to be saying. What is the song about? What message, or messages, is the song trying to convey? What images do you have? Write it all down. Again, there are no right or wrong answers here.
Finally, look at what you wrote down the first time (after thinking about/listening to the song), and then take a look at what you wrote down the second time (after a close examination of the song's lyrics). Compare and contrast in a third writing. Synthesize and reflect. Are there any major differences between the first two writings that stand out? Any similarities? Any new ideas that emerged in your second writing after a close reading of the lyrics?
There are several main takeaways here. First, it's easy to form preconceived notions about something without really diving into the available evidence. Now, in many cases throughout life, forming preconceived notions about something without truly examining evidence may, thankfully, prove to be relatively harmless. But in other cases, it goes without saying, this can certainly be very dangerous or even fatal, for ourselves and for others.
In this instance, fortunately, we just happen to be considering a favorite song of ours, and the preconceived notions we're trying to break here may simply be differences in moods. For example, coming into this activity, perhaps you've always identified your favorite song with a joyful occasion. Maybe this song causes you to think about your favorite vacation spot, or a love interest, or what you believe was a more care-free time in your life. After going through this exercise, though, perhaps you now realize, after truly listening to the lyrics through reading them, the song doesn't have much to do at all with happiness. And vice-versa - maybe a song that you've always associated with a more unpleasant or complex time, place, or event in your life, it turns out, is actually a little sunnier in its outlook after a deeper examination of it. If the song tells of a story, maybe you realize now that you had a completely different interpretation of that story before engaging in this exercise.
Lastly, we're further enhancing a number of skills with this fun activity, and you may not even be aware of it. We're working on our listening, writing/communication, reading, and critical thinking/reflection skills. We're building new connections in our minds, and creating new meanings and understandings.
The next time you listen to that favorite song of yours, don't be surprised if you find yourself thinking about it differently after this activity!
Happy Learning,
Mr. Robertson
Feel free to share your favorite song and thoughts after completing this exercise in the comments section below. We'd love to hear from you!
If you enjoyed this activity, check out this other exercise involving your favorite video game!
Friday, March 20, 2020
Elmore James
As I'm working on a number of ideas for new blog posts here, I find myself in an Elmore James -kinda mood at the moment. Here's my playlist right now, if you want to follow along.
Elmore James (1918-1963) is a blues legend and master of the slide guitar. Sadly, he died young, at the age of 45, from a heart attack. He had a serious heart condition. Yet, he was around long enough to produce some incredible material, and many of his songs have been covered by some of the biggest acts in both the blues and rock worlds over the decades.
Elmore James is included in my previous posts, Paying homage to the slide guitar, and, Paying homage to the instrumental, as well.
Enjoy!
Elmore James playlist, in order of appearance:
Sho' Nuff I Do
It Hurts Me Too
One Way Out
Every Day I Have The Blues
Stormy Monday
Early One Morning
Talk To Me Baby
Something Inside Me
Standing At The Crossroads
The Sky Is Crying
Elmore James (1918-1963) is a blues legend and master of the slide guitar. Sadly, he died young, at the age of 45, from a heart attack. He had a serious heart condition. Yet, he was around long enough to produce some incredible material, and many of his songs have been covered by some of the biggest acts in both the blues and rock worlds over the decades.
Elmore James is included in my previous posts, Paying homage to the slide guitar, and, Paying homage to the instrumental, as well.
Enjoy!
Elmore James playlist, in order of appearance:
Sho' Nuff I Do
It Hurts Me Too
One Way Out
Every Day I Have The Blues
Stormy Monday
Early One Morning
Talk To Me Baby
Something Inside Me
Standing At The Crossroads
The Sky Is Crying
Sunday, February 16, 2020
Gary Lewis and the Playboys
In this latest installment of my occasional "Exploring the world of music" series, I'm excited to bring you some music by Gary Lewis & the Playboys, a pop and rock band that had its heyday in the mid-late 1960s.
Gary Lewis, who still tours today, is the son of legendary comedian, actor, singer, and telephon host, Jerry Lewis. Gary's mother, Patti Palmer, was also a singer of note. You can read about Gary's father, Jerry Lewis, here on Wikipedia.
Check out these Wikipedia articles on Gary Lewis and Gary Lewis & the Playboys.
Enjoy!
Gary Lewis, who still tours today, is the son of legendary comedian, actor, singer, and telephon host, Jerry Lewis. Gary's mother, Patti Palmer, was also a singer of note. You can read about Gary's father, Jerry Lewis, here on Wikipedia.
Check out these Wikipedia articles on Gary Lewis and Gary Lewis & the Playboys.
Enjoy!
Sunday, February 9, 2020
The benefits of playing an instrument
Playing a musical instrument has many benefits for your brain and your ability to learn. Following are three videos I came across today on a YouTube search that discuss these many benefits. Do you play a musical instrument? What are your thoughts on the points being discussed in these videos? Feel free to share your observations and insights in the comments section below. We'd love to hear, and learn, from you!
Monday, January 20, 2020
Paying homage to the instrumental
In this latest installment of my occasional "Exploring the world of music" series, I present a small collection of instrumental tunes, spanning in time from the first blues recordings in the 1920s, on up to 1992's "Summer Song" by hard rocker Joe Satriani.
In no particular order, here's the playlist I've assembled:
Joe Satriani - "Summer Song"
Santo & Johnny - "Sleep Walk"
Elmore James - "Pickin' the Blues"
Booker T. & the M.G.'s - "Green Onions" (live)
Bill Haley and the Comets - "Rudy's Rock"
The Allman Brothers Band - "Jessica"
The Champs - "Tequila"
Miles Davis - "Freddie Freeloader"
Dave 'Baby' Cortez - "The Happy Organ"
Dave 'Baby' Cortez - "Rinky Dink"
Sylvester Weaver - "Guitar Rag"
Sylvester Weaver - "Guitar Blues"
The Surfaris - "Wipe Out"
A few interesting notes: According to this Wikipedia article, Sylvester Weaver is credited as the first to record a blues guitar instrumental (both "Guitar Rag" and "Guitar Blues" were recorded in the same session in 1923, though the YouTube video here for "Guitar Rag" mentions that this particular version was recorded in 1927). According to the same Wikipedia article, these two songs are also, "...the first recorded country blues, and the first known recordings of a slide guitar."
Many people mistakenly credit 1950s rock 'n' roll star Ritchie Valens (who tragically died in the 1959 plane crash that also claimed the lives of Buddy Holly and J.P. Richardson, a.k.a. "The Big Bopper," in what has become known as "the day the music died") for the song "Sleep Walk" because it appears in the 1987 Valens biopic La Bamba, starring Lou Diamond Phillips as Valens. It was really recorded by Santo & Johnny.
"Rudy's Rock" is named for Bill Haley's longtime sax player, Rudy Pompilli, who sadly passed away in 1976 at the age of 51 after a battle with lung cancer. According to this Wikipedia article on Pompilli, he did not smoke himself, and it's thought that he contracted it through passive smoking. Back in 2015, I had the opportunity to interview Bill Turner, who played guitar in Haley's band in the 1970s. If you're interested in more music history and fun facts, including the 1970s revival of 1950s rock 'n' roll, then you'll definitely want to check this interview out.
Enjoy!
In no particular order, here's the playlist I've assembled:
Joe Satriani - "Summer Song"
Santo & Johnny - "Sleep Walk"
Elmore James - "Pickin' the Blues"
Booker T. & the M.G.'s - "Green Onions" (live)
Bill Haley and the Comets - "Rudy's Rock"
The Allman Brothers Band - "Jessica"
The Champs - "Tequila"
Miles Davis - "Freddie Freeloader"
Dave 'Baby' Cortez - "The Happy Organ"
Dave 'Baby' Cortez - "Rinky Dink"
Sylvester Weaver - "Guitar Rag"
Sylvester Weaver - "Guitar Blues"
The Surfaris - "Wipe Out"
A few interesting notes: According to this Wikipedia article, Sylvester Weaver is credited as the first to record a blues guitar instrumental (both "Guitar Rag" and "Guitar Blues" were recorded in the same session in 1923, though the YouTube video here for "Guitar Rag" mentions that this particular version was recorded in 1927). According to the same Wikipedia article, these two songs are also, "...the first recorded country blues, and the first known recordings of a slide guitar."
Many people mistakenly credit 1950s rock 'n' roll star Ritchie Valens (who tragically died in the 1959 plane crash that also claimed the lives of Buddy Holly and J.P. Richardson, a.k.a. "The Big Bopper," in what has become known as "the day the music died") for the song "Sleep Walk" because it appears in the 1987 Valens biopic La Bamba, starring Lou Diamond Phillips as Valens. It was really recorded by Santo & Johnny.
"Rudy's Rock" is named for Bill Haley's longtime sax player, Rudy Pompilli, who sadly passed away in 1976 at the age of 51 after a battle with lung cancer. According to this Wikipedia article on Pompilli, he did not smoke himself, and it's thought that he contracted it through passive smoking. Back in 2015, I had the opportunity to interview Bill Turner, who played guitar in Haley's band in the 1970s. If you're interested in more music history and fun facts, including the 1970s revival of 1950s rock 'n' roll, then you'll definitely want to check this interview out.
Enjoy!
Tuesday, September 10, 2019
An introduction to Scott Joplin
Sometime in high school, I believe, I first came across the music of Scott Joplin (1867 or 68 - 1917), and he's the focus in this latest installment of my occasional series here on this blog, "Exploring the world of music." Famous for a style of music known as ragtime, and even nicknamed, "The King of Ragtime," Joplin, like many ragtime composers and artists, was a pianist.
Following are just three of the many "rags" that Scott Joplin wrote. Just the tip of the iceberg for the vast body of brilliant work he left for us to enjoy and cherish.
The first one here is called "Maple Leaf Rag" (1899), while the second is "The Entertainer" (1902). You may find that you are already somewhat familiar with these tunes when you listen to them here, as they are pretty famous. This is especially true of "The Entertainer." Both have been used in movies, ringtones, and elsewhere all throughout pop culture.
The third one, "Wall Street Rag" (1909), is also fairly well-known but, I would suspect, not at quite the level of fame and familiarity as the other two.
An interesting note here about "Wall Street Rag" - Joplin, who truly had a brilliant mind, wrote each of the song's parts and transitions in such a way as to mimic the different cycles and moods of the stock market, specifically during the Panic of 1907. You can read more about the background of "Wall Street Rag" by clicking here.
What do you think of this music? What's your reaction? Feel free to share in the comments section below.
Following are just three of the many "rags" that Scott Joplin wrote. Just the tip of the iceberg for the vast body of brilliant work he left for us to enjoy and cherish.
The first one here is called "Maple Leaf Rag" (1899), while the second is "The Entertainer" (1902). You may find that you are already somewhat familiar with these tunes when you listen to them here, as they are pretty famous. This is especially true of "The Entertainer." Both have been used in movies, ringtones, and elsewhere all throughout pop culture.
The third one, "Wall Street Rag" (1909), is also fairly well-known but, I would suspect, not at quite the level of fame and familiarity as the other two.
An interesting note here about "Wall Street Rag" - Joplin, who truly had a brilliant mind, wrote each of the song's parts and transitions in such a way as to mimic the different cycles and moods of the stock market, specifically during the Panic of 1907. You can read more about the background of "Wall Street Rag" by clicking here.
What do you think of this music? What's your reaction? Feel free to share in the comments section below.
Cavalleria Rusticana
I'm pleased to revive my occasional series on this blog, "Exploring the world of music," after a hiatus over the summer. In this installment, I'd like to reflect on a classical/opera piece by Italian composer Pietro Mascagni. It's called, "Cavalleria Rusticana (Intermezzo)," and it was prominently featured in the films Raging Bull and The Godfather Part III. Listen to it in the video below, and then let's discuss it.
I don't know about you, but this piece can be highly emotional and reflective in nature for me, mostly in a tragic sense. I don't know if it's because of the scenes where it plays in The Godfather Part III, and, to a little bit of a lesser extent, Raging Bull, but this piece often paints a picture for me of an old man near the end of his life, thinking back on his life - all the triumphs, joy, sorrow, memories, regrets. Thinking back on all the people and moments that touched his life in a meaningful, profound way; all the people that hurt him and all the people he hurt. Thinking about all the unfinished business he's about to leave behind. All the unfinished words that should have been said. But also, hopefully, thinking, "Man, what an incredible journey it all was."
Sometimes, the piece makes me think of someone experiencing deep loss. The loss of a loved one, and the immense agony that comes with never being able to see that loved one ever again in this world. Thanks, Godfather Part III.
But for all the tragedy and the heartache, if there's any good that can come out of thinking about this piece in that light, it's that we should attempt to simply treat others, along with ourselves, better in the limited time we each have.
When you listen to this piece - and I'd suggest listening to it at least a couple of times - what does it make you imagine, or think about? How does the music move you, and speak to you? Share in the comments below.
I don't know about you, but this piece can be highly emotional and reflective in nature for me, mostly in a tragic sense. I don't know if it's because of the scenes where it plays in The Godfather Part III, and, to a little bit of a lesser extent, Raging Bull, but this piece often paints a picture for me of an old man near the end of his life, thinking back on his life - all the triumphs, joy, sorrow, memories, regrets. Thinking back on all the people and moments that touched his life in a meaningful, profound way; all the people that hurt him and all the people he hurt. Thinking about all the unfinished business he's about to leave behind. All the unfinished words that should have been said. But also, hopefully, thinking, "Man, what an incredible journey it all was."
Sometimes, the piece makes me think of someone experiencing deep loss. The loss of a loved one, and the immense agony that comes with never being able to see that loved one ever again in this world. Thanks, Godfather Part III.
But for all the tragedy and the heartache, if there's any good that can come out of thinking about this piece in that light, it's that we should attempt to simply treat others, along with ourselves, better in the limited time we each have.
When you listen to this piece - and I'd suggest listening to it at least a couple of times - what does it make you imagine, or think about? How does the music move you, and speak to you? Share in the comments below.
Monday, March 18, 2019
David White passes away
This morning, I learned that David White, songwriter and founding member of the 1950s-60s doo-wop group Danny & The Juniors, passed away yesterday, March 17, 2019. He was 79 years old.
I had the opportunity to interview David back in 2013. I really enjoyed our conversation and got a lot out of it. I'm thankful he took a little time out of his busy schedule to chat with me for a while. He was very talented, and he was definitely one of the good guys. Rest in peace, David White, and thank you for your many and lasting contributions to the world of music.
Here is my interview with David White of Danny and the Juniors. There's a lot of neat history and trivia in it about the early days of rock 'n' roll that I think you'll enjoy.
And here are a couple of videos of Danny & The Juniors performing. The first video is "At the Hop," which came out in 1957, and the second is "Rock and Roll is Here to Stay," which was released the following year, in 1958.
In the "At the Hop" video, David is the one all the way to the left. In "Rock and Roll is Here to Stay," he is the second one from the bottom seat.
Enjoy!
I had the opportunity to interview David back in 2013. I really enjoyed our conversation and got a lot out of it. I'm thankful he took a little time out of his busy schedule to chat with me for a while. He was very talented, and he was definitely one of the good guys. Rest in peace, David White, and thank you for your many and lasting contributions to the world of music.
Here is my interview with David White of Danny and the Juniors. There's a lot of neat history and trivia in it about the early days of rock 'n' roll that I think you'll enjoy.
And here are a couple of videos of Danny & The Juniors performing. The first video is "At the Hop," which came out in 1957, and the second is "Rock and Roll is Here to Stay," which was released the following year, in 1958.
In the "At the Hop" video, David is the one all the way to the left. In "Rock and Roll is Here to Stay," he is the second one from the bottom seat.
Enjoy!
Sunday, February 24, 2019
Blues Story: A Documentary
Came across this 2003 documentary on the blues this morning while browsing music on YouTube. It's called, Blues Story: A Documentary, and I thought it was worth sharing. A lot of great music, interviews, and history here. Hope you enjoy!
Tuesday, February 19, 2019
Miles Davis Kind of Blue album
Starting the morning off right here with a little jazz to go with my morning coffee. Here are a couple of tunes from Miles Davis, one of my favorite jazz artists. We have "Freddie Freeloader" and "So What" here, from Davis' album, Kind of Blue.
Hope you're all doing well. Let's make it a great day!
Hope you're all doing well. Let's make it a great day!
Wednesday, February 13, 2019
Frank Sinatra
I'd like to pay tribute to Frank Sinatra for my "Exploring the world of music" series today.
While I heard some of Ol' Blue Eyes' crooning around the holidays and in the many mob movies I grew up watching as a kid, it wasn't until high school that I really started exploring his music and learning about his life and career. I think it all began when I picked up a biography of Sinatra written by Kitty Kelley one day, and I was hooked. It's entitled, His Way: The Unauthorized Biography of Frank Sinatra, and it was originally published in 1986. Read it cover to cover - twice. I remember his passing. It was 1998, and I was still in high school. I remember being pretty bummed out about it.
Anyway, the first recording is a fun one called, "Luck Be A Lady," performed live. The next one is called, "Summer Wind." For me, this song invokes memories and images of carefree summer days and evenings - baseball games, barbecues, walking the beach, enjoying the State Fair, outdoor dining, and lounging in the backyard. The song features prominently in one of my favorite films of all time, The Pope of Greenwich Village.
The last two recordings get a little more philosophical. "That's Life" talks about the ups and downs, the joys and challenges, of daily life. "My Way" looks back on the narrator's life, which is presumably coming to an end. It's all about originality - standing out as an individual, being one's true self, no regrets worth mentioning.
Enjoy!
While I heard some of Ol' Blue Eyes' crooning around the holidays and in the many mob movies I grew up watching as a kid, it wasn't until high school that I really started exploring his music and learning about his life and career. I think it all began when I picked up a biography of Sinatra written by Kitty Kelley one day, and I was hooked. It's entitled, His Way: The Unauthorized Biography of Frank Sinatra, and it was originally published in 1986. Read it cover to cover - twice. I remember his passing. It was 1998, and I was still in high school. I remember being pretty bummed out about it.
Anyway, the first recording is a fun one called, "Luck Be A Lady," performed live. The next one is called, "Summer Wind." For me, this song invokes memories and images of carefree summer days and evenings - baseball games, barbecues, walking the beach, enjoying the State Fair, outdoor dining, and lounging in the backyard. The song features prominently in one of my favorite films of all time, The Pope of Greenwich Village.
The last two recordings get a little more philosophical. "That's Life" talks about the ups and downs, the joys and challenges, of daily life. "My Way" looks back on the narrator's life, which is presumably coming to an end. It's all about originality - standing out as an individual, being one's true self, no regrets worth mentioning.
Enjoy!
Monday, February 4, 2019
Paying homage to the slide guitar
In this latest installment of the "Exploring the world of music" series, we're recognizing the beauty and wonder of the slide guitar.
If I had to guess, I probably came across the sounds of the slide guitar for the first time when I was in late middle school or early high school while diving deeper into the blues and blues-rock genres and going further and further back in time tracing roots and influences.
The eight videos/recordings I've assembled here are just the tip of the iceberg when it comes to this amazing style of guitar playing.
In the first one, we'll hear Sylvester Weaver playing "Guitar Blues." Recorded in 1923, Weaver is credited for not only the first known recordings of slide guitar, but also the first recordings of country blues.
From there, we'll listen to the legendary Robert Johnson's "Come On in My Kitchen," recorded in 1936. In a previous post, I discussed the legacy of another one of Johnson's songs, "Crossroads," also known by its original name, "Cross Road Blues," which became a big hit and popular cover on the rock circuit starting in the 1960s.
Next up is Elmore James' 1951 electrified rendition of "Dust My Broom," which is a cover of Robert Johnson's original "I Believe I'll Dust My Broom."
After that is "One Way Out," recorded live in 1971 by the original full lineup of The Allman Brothers Band. The song's writing credit is a little fuzzy. It's often attributed to both Elmore James and Sonny Boy Williamson II, who both recorded it around the same time. On the slide guitar in this Allman Brothers version is Duane Allman. Listen to that fun, lively, fiery solo of his. Awesome stuff. One of my favorite tunes of all time. Tragically, Duane passed away later that year (1971) in a horrible motorcycle accident. A year and some days later, in November 1972, original Allman Brothers bassist Berry Oakley met the same fate, just three blocks away from where Duane had his crash.
"Love in Vain," performed live by The Rolling Stones in 1972, is up next. Another Robert Johnson original, Mick Taylor launches into a slow yet riveting slide solo aching in the blues around the 2:50 mark. He comes back later around the 5:08 mark with a conventional (regular playing) solo.
Stevie Ray Vaughn plays a fun and upbeat instrumental jam called "Slide Thing" next. It was recorded live in 1980 at an Austin, Texas club.
Finally, we'll hear two versions of "The Sky is Crying," an Elmore James original that's been covered over the years by many in both blues and rock. Very popular song. Both of these versions here are performed live by The Allman Brothers Band. The first one up is from 2009, and the second is from 2011. In the 2009 performance, Derek Trucks begins his slide solo around the 1:20 mark, and things really start to heat up around 2:50. In the 2011 rendition, he starts around 6:40, and really opens up on fire around 8:00. To use the words powerful and moving would be an understatement.
If I had to guess, I probably came across the sounds of the slide guitar for the first time when I was in late middle school or early high school while diving deeper into the blues and blues-rock genres and going further and further back in time tracing roots and influences.
The eight videos/recordings I've assembled here are just the tip of the iceberg when it comes to this amazing style of guitar playing.
In the first one, we'll hear Sylvester Weaver playing "Guitar Blues." Recorded in 1923, Weaver is credited for not only the first known recordings of slide guitar, but also the first recordings of country blues.
From there, we'll listen to the legendary Robert Johnson's "Come On in My Kitchen," recorded in 1936. In a previous post, I discussed the legacy of another one of Johnson's songs, "Crossroads," also known by its original name, "Cross Road Blues," which became a big hit and popular cover on the rock circuit starting in the 1960s.
Next up is Elmore James' 1951 electrified rendition of "Dust My Broom," which is a cover of Robert Johnson's original "I Believe I'll Dust My Broom."
After that is "One Way Out," recorded live in 1971 by the original full lineup of The Allman Brothers Band. The song's writing credit is a little fuzzy. It's often attributed to both Elmore James and Sonny Boy Williamson II, who both recorded it around the same time. On the slide guitar in this Allman Brothers version is Duane Allman. Listen to that fun, lively, fiery solo of his. Awesome stuff. One of my favorite tunes of all time. Tragically, Duane passed away later that year (1971) in a horrible motorcycle accident. A year and some days later, in November 1972, original Allman Brothers bassist Berry Oakley met the same fate, just three blocks away from where Duane had his crash.
"Love in Vain," performed live by The Rolling Stones in 1972, is up next. Another Robert Johnson original, Mick Taylor launches into a slow yet riveting slide solo aching in the blues around the 2:50 mark. He comes back later around the 5:08 mark with a conventional (regular playing) solo.
Stevie Ray Vaughn plays a fun and upbeat instrumental jam called "Slide Thing" next. It was recorded live in 1980 at an Austin, Texas club.
Finally, we'll hear two versions of "The Sky is Crying," an Elmore James original that's been covered over the years by many in both blues and rock. Very popular song. Both of these versions here are performed live by The Allman Brothers Band. The first one up is from 2009, and the second is from 2011. In the 2009 performance, Derek Trucks begins his slide solo around the 1:20 mark, and things really start to heat up around 2:50. In the 2011 rendition, he starts around 6:40, and really opens up on fire around 8:00. To use the words powerful and moving would be an understatement.
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