miércoles, 26 de agosto de 2009
sábado, 22 de agosto de 2009
Hey Yude The Beatles
nspiration and composition
In 1968, John Lennon and his wife Cynthia Lennon separated due to his affair with Yoko Ono. Soon afterwards, Paul McCartney drove out to visit Cynthia and Julian, her son with Lennon. "We'd been very good friends for millions of years and I thought it was a bit much for them suddenly to be personae non gratae and out of my life," McCartney said.[3] Later, Cynthia Lennon recalled, "I was truly surprised when, one afternoon, Paul arrived on his own. I was touched by his obvious concern for our welfare.... On the journey down he composed 'Hey Jude' in the car. I will never forget Paul's gesture of care and concern in coming to see us."[4]
The song's original title was "Hey Jules", and it was intended to comfort Julian Lennon from the stress of his parents' divorce. McCartney said, "I started with the idea 'Hey Jules', which was Julian, don't make it bad, take a sad song and make it better. Hey, try and deal with this terrible thing. I knew it was not going to be easy for him. I always feel sorry for kids in divorces ... I had the idea [for the song] by the time I got there. I changed it to 'Jude' because I thought that sounded a bit better."[3] Julian Lennon discovered the song had been written for him almost twenty years later. He remembered being closer to McCartney than to his father: "Paul and I used to hang about quite a bit—more than Dad and I did. We had a great friendship going and there seems to be far more pictures of me and Paul playing together at that age than there are pictures of me and my dad."[5]
Although McCartney originally wrote the song for Julian Lennon, John Lennon thought it had actually been written for him:[6]
But I always heard it as a song to me. If you think about it... Yoko's just come into the picture. He's saying. 'Hey, Jude—Hey, John.' I know I'm sounding like one of those fans who reads things into it, but you can hear it as a song to me ... Subconsciously, he was saying, Go ahead, leave me. On a conscious level, he didn't want me to go ahead.
Other people believed McCartney wrote the song about them, including Judith Simons, a journalist with the Daily Express.[7] Still others, including John Lennon, have speculated that McCartney's failing long-term relationship with Jane Asher when he wrote "Hey Jude" was an unconscious "message to himself".[8] In fact, when John Lennon mentioned that he thought the song was about him, McCartney denied it, and told Lennon he had written the song about himself.[9]
McCartney changed the title to "Hey Jude" because the name Jude was easier to sing.[5] Much as he did with "Yesterday", McCartney played the song for other musicians and friends. Ron Griffith of Badfinger, the first band to join the Beatles-owned record label Apple Records, recalled that on their first day in the studio, "Paul walked over to the grand piano and said, 'Hey lads, have a listen', and he sat down and gave us a full concert rendition of 'Hey Jude'. We were gobsmacked."[5][10]
wikipedia Satisfaction
Release and success
"Satisfaction" was released as a single in the US by London Records on 6 June 1965, with "The Under-Assistant West Coast Promotion Man" as its B-side.[12] The single made its way through the American charts, reaching the top on 10 July, displacing The Four Tops' "I Can't Help Myself (Sugar Pie Honey Bunch)". "Satisfaction" held on for a full four weeks, being knocked off on 7 August by "I'm Henry the Eighth, I Am" from Herman's Hermits.[13] The song entered the Billboard Hot 100 charts in America in the week ending 12 June 1965, remaining there for 14 weeks; it was #1 for four straight weeks. While in its eighth week on the American charts, the single was certified a gold record award by the RIAA (Recording Industry Association of America) for selling more than a million copies in the United States, giving the band their first of many gold disc awards in America. Later the song was also released by London Records on Out of Our Heads in America.[6] According to "Joel Whitburn Presents, Top R&B/Hip-Hop Singles: 1942–2004", the song also reached #19 on the Top Selling Rhythm and Blues Singles.
"Satisfaction" was not immediately released by Decca Records in Great Britain. Decca was already in the process of preparing a live Rolling Stones EP for release, so the new single didn't come out in Britain until 20 August,[12] with "The Spider and the Fly" on the B-Side. The song peaked at number one for two weeks, replacing Sonny & Cher's "I Got You Babe", between 11 September and 25 September, before being toppled by The Walker Brothers' "Make It Easy on Yourself".[13]
In the decades since its release, "Satisfaction" has repeatedly been acclaimed by the music industry. In 1976, Britain's New Musical Express listed "Satisfaction" 7th among the top 100 singles of all time. There was a resurgence of interest in the song after it was prominently featured in the 1979 movie Apocalypse Now. In 1991, Vox listed "Satisfaction" among "100 records that shook the world".[citation needed] In 1999, BMI named "Satisfaction" as the 91st-most performed song of the 20th century. In 2000, VH1 listed "Satisfaction" first among its "Top 100 Greatest Rock Songs";[14] the same year, "Satisfaction" also finished runner-up to "Yesterday" in a list jointly compiled by Rolling Stone and MTV.[citation needed] In 2003, Q placed the song 68th out of its "1001 Best Songs Ever". In 2004, Rolling Stone's panel of judges named "Satisfaction" as the second-greatest song of all time, coming in second to Bob Dylan's "Like a Rolling Stone".[15] Newsweek has called the opening riff "five notes that shook the world".[16]
Jagger has said of "Satisfaction": "It was the song that really made The Rolling Stones, changed us from just another band into a huge, monster band... It has a very catchy title. It has a very catchy guitar riff. It has a great guitar sound, which was original at that time. And it captures a spirit of the times, which is very important in those kinds of songs... Which was alienation."[6] Richards claimed that the song's riff could be heard in half of the songs that The Rolling Stones had produced, saying that "there is only one song — it's just the variations you come up with."[1]
The song has become a staple at Rolling Stones shows. They have performed it on nearly every tour since its release, and concert renditions have been included on the albums Got Live if You Want It!, Still Life (American Concert 1981), Flashpoint, Live Licks and Shine a Light. One unusual rendition is included in Robert Frank's film Cocksucker Blues from the 1972 tour, when the song was performed by both the Rolling Stones and Stevie Wonder's band as the second half of a medley with Wonder's "Uptight".
Steppenwolf
Steppenwolf
The name-change from "Sparrow" to "Steppenwolf" was suggested to John Kay by Gabriel Mekler, being inspired by Hermann Hesse's novel of the same name. Steppenwolf's first two singles were "A Girl I Knew" and "Sookie Sookie". The band finally rocketed to worldwide fame after their third single, "Born to Be Wild", and their version of Hoyt Axton's "The Pusher" were prominently used in the 1969 cult film Easy Rider (both titles originally had been released on the band's debut album). In the movie, "The Pusher" accompanies a drug deal, and Peter Fonda stuffing dollar bills into his Stars & Stripes-clad fuel tank, while "Born to Be Wild" is then heard in the opening credits, with Fonda and Dennis Hopper riding their Harley choppers through the American West. The song, which has been closely associated with motorcycles ever since, introduced to rock lyrics the signature term "heavy metal" (though not about a kind of music, but about a motorcycle: "I like smoke and lightning, heavy metal thunder, racin' with the wind..."). Written by Dennis Edmonton, who had begun using the pen name Mars Bonfire, the song had already reached #2 on the Hot 100 in August 1968.
Then followed albums had several more hits, including "Magic Carpet Ride" (which reached #3) from Steppenwolf The Second and "Rock Me" (which reached #10) from At Your Birthday Party.
Monster, which criticized US policy of the Nixon-era, and Steppenwolf 7 were the band's most political albums, which included the song "Snowblind Friend", another Axton-penned song, about the era and attitudes of drug problems. These albums are still fondly remembered by fans as two of the best rock & roll snapshots of the attitudes of the late 1960s and early 1970s.
There were several changes in the group's personnel after the first few years. Moreve was fired from the group in 1968 for missing gigs after he became afraid to return to Los Angeles, convinced that it was going to be leveled by an earthquake and fall into the sea. Rob Black filled in for Moreve until Nick St. Nicholas, Kay's old German buddy and former Sparrow member, came aboard. Monarch quit after disagreements with Kay that same year and was replaced by Larry Byrom. St. Nicholas' tenure with the group proved to be brief and he himself was let go in 1970 after incurring Kay's wrath by showing up onstage in a bunny suit and playing his bass loudly and out of tune. The above tales were related by Kay in his 1994 autobiography Magic Carpet Ride (co-written with Canadian author John Einarson). George Biondo was then recruited and guitarist Kent Henry replaced Byrom in 1971.
The band broke up in 1972 following the release of another political concept album, For Ladies Only, and Kay went on to a successful though inconsistent solo career, scoring a minor solo hit in 1972 with "I'm Movin' On" from his album Forgotten Songs and Unsung Heroes.
Kay toured Europe as The John Kay Band in 1972, and Steppenwolf with Steppenwolf also on the bill, Kay fronting both groups. His rapport with Steppenwolf and the audiences' enthusiastic responses convinced him that maybe Steppenwolf had disbanded prematurely.
jueves, 20 de agosto de 2009
domingo, 16 de agosto de 2009
wikipedia CrosbY Still and Nassh
Formation
Initially formed by the trio of David Crosby, Stephen Stills and Graham Nash, the genesis of the group lies in two 1960s rock bands, The Byrds and The Hollies, and the demise of a third, Buffalo Springfield. Friction existed between David Crosby and his bandmates in the Byrds, and he was dismissed from the Byrds in the fall of 1967.[1]
By early 1968, Buffalo Springfield had also disintegrated over personal issues, and after aiding in putting together the band’s final album, Stephen Stills found himself unemployed by the summer. He and Crosby began meeting informally and jamming, the results of one encounter in Florida on Crosby’s schooner being the song “Wooden Ships,” composed in collaboration with another guest, Paul Kantner.[2]
Graham Nash had been introduced to Crosby when the Byrds had toured the UK in 1966, and when the Hollies ventured to California in 1968, Nash resumed his acquaintance with Crosby.[3] At a party in July 1968 at Cass Elliot's house, Nash asked Stills and Crosby to repeat their performance of a new song by Stills, “You Don't Have To Cry,” with Nash improvising a second harmony part.[4] The vocals gelled, and the three realized that they had a unique vocal chemistry.
Creatively frustrated with the Hollies, Nash decided to quit and throw his lot in with Crosby and Stills. After failing an audition with the Beatles' Apple Records, they were signed to Atlantic Records by Ahmet Ertegün, who had been a fan of Buffalo Springfield and was disappointed by that band's demise.[5] From the outset, given their respective band histories, the trio decided not to be locked into a group structure, using their surnames as identification to ensure independence and a guarantee against the band simply continuing without one of them, as had both the Byrds and the Hollies after the departures of Crosby and Nash. Their record contract with Atlantic reflected this, positioning CSN with a unique flexibility unheard of for an untested group. The trio also picked up a unique management team in Elliot Roberts and David Geffen, who had engineered their situation with Atlantic and would help to consolidate clout for the group in the industry.[6] Roberts kept the band focused and dealt with egos, while Geffen handled the business deals, since, in Crosby’s words, they needed a shark and Geffen was it.[7] Roberts and Geffen would play key roles in securing the band’s success during the early years.
When it was announced that the band was forming, they ran into a slight contractual problem. Nash was already signed to Epic Records, the North American distributor of records by the Hollies, while Crosby and Stills were signed to Atlantic. In order to resolve this problem, Geffen engineered a deal whereby Nash was essentially traded to Atlantic for the rights to Richie Furay's band Poco; Furay was signed to Atlantic as a result of his membership in Buffalo Springfield.
woodstock
On the morning of Sunday, August 17, New York Governor Nelson Rockefeller called festival organizer John Roberts and told him he was thinking of ordering 10,000 New York State National Guard troops to the festival. Roberts was successful in persuading Rockefeller not to do this. Sullivan County declared a state of emergency.[11]
"We were ready to rock out and we waited and waited and finally it was our turn... ...there were a half million people asleep. These people were out. It was sort of like a painting of a Dante scene, just bodies from hell, all intertwined and asleep, covered with mud.
And this is the moment I will never forget as long as I live: a quarter mile away in the darkness, on the other edge of this bowl, there was some guy flicking his Bic, and in the night I hear, "Don't worry about it John. We're with you." I played the rest of the show for that guy."
— John Fogerty[5] regarding Creedence Clearwater Revival's 3 a.m. start time at Woodstock.
Although the festival was remarkably peaceful given the number of people and the conditions involved, there were two recorded fatalities: one from what was believed to be a heroin overdose and another caused in an accident when a tractor ran over an attendee sleeping in a nearby hayfield. There also were two births recorded at the event (one in a car caught in traffic and another in a hospital after an airlift by helicopter) and four miscarriages.[17] Oral testimony in the film supports the overdose and run-over deaths and at least one birth, along with many logistical headaches.
Yet, in tune with the idealistic hopes of the 1960s, Woodstock satisfied most attendees. There was a sense of social harmony, the quality of music, and the overwhelming mass of people, many sporting bohemian dress, behavior, and attitudes.[18]
After the concert, Max Yasgur, who owned the site of the event, saw it as a victory of peace and love. He spoke of how nearly half a million people filled with possibilities of disaster, riot, looting, and catastrophe spent the three days with music and peace on their minds. He states that "if we join them, we can turn those adversities that are the problems of America today into a hope for a brighter and more peaceful future..."[4]
viernes, 7 de agosto de 2009
martes, 4 de agosto de 2009
domingo, 2 de agosto de 2009
Muddy Waters Rolling stone
The Rolling Stones named themselves after Waters' 1950 song "Rollin' Stone", (also known as "Catfish Blues", which Jimi Hendrix covered as well). Hendrix recalled "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". Cream covered "Rollin' and Tumblin'" on their 1966 debut album Fresh Cream, as Eric Clapton was a big fan of Muddy Waters when he was growing up, and Waters' music influenced Clapton's music career. The song was also covered by Canned Heat at the legendary Monterey Pop Festival and later adapted by Bob Dylan on the album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is lyrically based upon the Waters hit "You Need Love", written by Willie Dixon. Dixon wrote some of Muddy Waters' most famous songs, including "I Just Want to Make Love to You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man," which The Allman Brothers Band famously covered, and "I'm Ready", which was covered by Humble Pie. In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" (among others) in collaboration with a number of famous guitarists such as Brian May and Jeff Beck.
Fats Domino "The fat man"
mperial Records era (1949-1962)
Domino first attracted national attention with "The Fat Man" in 1949 on Imperial Records. This song is an early rock and roll record, featuring a rolling piano and Domino doing "wah-wah" vocalizing over a fat back beat. It sold over a million copies and is widely regarded as the first rock and roll record to do so.
