Just months after announcing his first album in 38 years, Chuck Berry, one of the early fathers of rock 'n’ roll died Saturday at 90 years old, according to the St. Charles County police department in Missouri. Read more. (3/18/17, 6:30 PM)
Hi! @butterfliesforchubbyguys called for anyone interested to do this and so here it is! I
put my iTunes music on “Shuffle all” and this is what happened - no skips I
promise! (ps i have over 12,000 songs on there so this is a raindrop in an
Slash, third row, second from left.
Marc Canter, first row, on end.
“I first met Slash in 1976 when we were in the fifth grade and we became good friends.
At that time, I noticed that he had a great talent for sketching on school projects.
By 1978 we were riding bicycle motocross. The tricks that he performed were ahead of the time.
Slash was a star.
Camera flashes would go off when he took his jumps. He approached bicycle motocross with the same style and flash as he did everything else, including the guitar, which he took up in 1980.
By 1981, he was flying again, but with guitar, and I would always push him to learn tough solos. He understood how to get the right tone.
In trying to contribute to his success, I always helped out in any way I could. I would help him buy guitar strings, I’d help him with the effects that he might be interested in.
He worked a lot, like twelve-hour days at a clock company and he got by on very little wages, but he did buy his own guitars. The twelve-hour days at a clock company supported his guitar habit.
Slash wanted to play the bass, but when his teacher, Robert Wolin, pointed out that the bass had four strings, whereas the guitar had an alluring six, Slash characteristically went for the more challenging instrument.
A quick study, he didn’t need many lessons to master the basics and achieve his own expressive style.
He had a lot of respect and admiration for Wolin’s playing and credits him with inspiring his own ambitious approach for the instrument.
Black history month day 19: musical pioneer Sister Rosetta Tharpe.
Rosetta was born on March 20, 1915 to a pair of musicians in Arkansas. Her parents were also active in the Church of God in Christ (COGIC). This denomination encouraged musical expression, rhythm and dancing, and female preaching. Rosetta’s mother was a preacher and, at her encouragement, Rosetta began singing and playing the guitar as Little Rosetta Nubin at the age of four and was cited as a musical prodigy. By the age of six, Rosetta became a regular performer in her mother’s traveling evangelical troupe.
Rosetta became well known for her music in an age where prominent black female guitar players were a rarity. At the age of 23 she begin her recording career and became one of the first gospel performers to have the mainstream success. She performed with prominent musicians like cab Calloway and was one of only two gospel singers who was able to send records to the troops overseas during World War II.
Rosetta Tharpe has been referred to as “the godmother of rock ‘n’ roll” and her style of music heavily influenced early rock-and-roll musicians, including Little Richard, Johnny Cash, Chuck Berry, Elvis Presley and Jerry Lee Lewis.
And because I just can’t justify posting this without an actual example of how talented she was, click this link to hear one of her classic songs: https://youtu.be/SR2gR6SZC2M
Finding the right opener to write about Chuck Berry is a
daunting task: After all, among so much else, Berry crafted the greatest “lede”
in the history of rock and roll. The furious flurry of twanging, snapping
eighth notes that opens Berry’s 1956 hit “Roll Over
Beethoven”—and which reappears even more iconically atop 1958’s
“Johnny B. Goode”—is
to early rock and roll what Louis Armstrong’s trumpet introduction on 1928’s
“West End Blues” is to early jazz, a scorched-earth manifesto of craft and
virtuosity, laying out the stakes of an audacious new art form. Any
consideration of Chuck Berry starts there, with that burst of notes—I count 35
of them, whizzing by in a cool 6 seconds, although I’m on deadline and may have
missed a few. Listen closely enough and you’ll hear an entire generation of
young people, in the U.S., England, and elsewhere, informing their piano
teachers that they’ve decided to switch to electric guitar.
“Who invented rock and
roll?” is a truly unanswerable question, but Chuck Berry’s claim is as solid as
any. Jackie Brenston’s “Rocket 88,” the 1951 song most frequently cited as the
music’s Big Bang, predates Berry’s emergence by four years, and Lloyd Price,
Little Richard, Fats Domino, Carl Perkins, and even Elvis Presley had all made
records before Berry broke through with “Maybellene”
in 1955, at the shockingly advanced age of 28. But Berry was the first to
harness the new and unruly sounds into a sort of mission statement for a
generation, and many generations after. Years before Berry Gordy Jr. festooned
his fledgling Motown Records with the slogan “the Sound of Young America,”
Chuck Berry had worked to make each word of that perfect phrase intelligible.
Berry was rock and roll’s first great auteur,blessed with an effortless
ability to render the specific into the universal, and vice versa. He wrote
songs infused with play, humor, ennui, pain, rage, swagger, and sex. They spoke
to a generation who assumed they were about them, which was always only
Berry possessed many geniuses as a songwriter, but the most
consequential was his ability to write songs about being black in America that
could double as allegories for being a teenager in America, an audacious bit of
rhetorical alchemy that altered popular culture and reverberates to this day.
Berry brought the blues into America’s high schools, and somehow did so without
sacrificing any of the form’s lyricism, wit, and pathos, even while sometimes
sacrificing specificity. According to Berry, the “country boy” of “Johnny B.
Goode” was originally written as “colored boy”—Berry changed it to ensure the
song got radio play. “Brown Eyed Handsome Man,” written after Berry watched a
Latino man in California being harassed by the cops as female companions
pleaded his innocence, was originally “Brown Skinned Handsome Man.” And yet
there was power in the ambiguity, with Berry’s talent and charisma filling in
the blanks. Anyone who’s ever listened to “Johnny B. Goode” and assumed the
protagonist is white has issues that are well outside Berry’s purview. [Read More]
Inside Of Emptiness was made in Los Angeles by Josh Klinghoffer,
engineer Ryan Hewitt and myself. My favorite records at the time, in
terms of the production, were White Light/White Heat by Velvet
Underground and Lust For Life by Iggy Pop.
The first song is called “What I Saw” and it was written in New York. We
distorted the fuck out everything on it. It is very dirty. The second
song is called “The World’s Edge” and it is a good example of why I
think Josh Klinghoffer is the best drummer in the world. The third song
is called “Inside A Break”. It was written in Japan. This song contains a
guitar solo by Josh that is being electronically bent out of tune.
The fourth song is called “A Firm Kick” and continues my series of A
songs (“A Doubt”, “A Corner”). It contains a noisy guitar solo that I
did by beating the fuck out of my guitar. “Look On” was written in
Paris, France and is a look back at the 70’s and long guitar solos.
“Emptiness” was inspired by the little known group Empire. They were an
offshoot of Gen X and they made brilliant original music that was
completely ignored by the public (how unusual!).
“Emptiness”, “I’m Around” and “666” were all written while I was reading
a biography about Aleister Crowley. Each of these three songs, in their
own way, are the result of me thinking about him and his life.
“I’m Around” contains our first example of what I call joined guitars.
Toward the end and in the second chorus Josh and I played intertwining
Johnny Marr type guitar parts through the same amp which causes the two
separate parts to be perceived by the ear as one part.
The title “666”, aside from being the name Aleister Crowley often signed
letters as, is also a reference to the chorus’ three bars of six which
are interjected into the otherwise 4/4 feel of the song (something that
was unintentional and subconscious).
“Interior Two” was written the same day as “Inside A Break”. It is
inspired by early rock n’ roll. I love that music and those types of
lyrics and it is fun for me as a songwriter to juxtapose music that
would have sounded current in 1958 with lyrics that go in surreal or
nonsensical directions that didn’t exist in music back then.
The last song is called “Scratches” and we think the Rolling Stones should buy it off us.
We are greatly indebted to the Rick James episode of Chapelle’s show,
the watching and quoting of which helped give this record a happy
James Norton talks about the new series 3 of Grantchester
Q: How does it feel when the first Grantchester script of a new series arrives?
“It is a bit of a homecoming for me every time. I get little teasers from writer Daisy Coulam, producer Emma Kingsman-‐Lloyd and executive producer Diederick Santer because we’re friends now. So when I know it’s being written I start to try and sneakily get some glimmers. Then when it arrives it’s lovely. Grantchester is always beautifully balanced between being familiar and welcoming, both for us and the audience, and having that sense of nostalgia and affection. But also it always has that bite in the stories.